Short Nights of the Shadow Catcher

Timothy Egan’s Short Nights of the Shadow Catcher: The Epic Life and Immortal Photographs of Edward Curtis (2011), a work of American historical nonfiction, tells the story of the man behind some of the most famous photographs in Native American history, and how he chose which shots to take. The book has won numerous awards, including the 2013 Andrew Carnegie Medal and the 2013 Washington State Book Award. Egan, the Pulitzer Prize-winning author of many nonfiction books, currently serves The New York Times as Pacific Northwest Correspondent. One of his best-known works, Short Nights of the Shadow Catcher is not structured as a traditional biography. Instead, Egan tells us more about Edward Sheriff Curtis by looking at the stories behind his most memorable photographs.

Edward has always been destined to be a photographer. Building his own camera after completing sixth grade, he can’t imagine ever doing anything else with his life. From his late twenties, Edward specializes in Native American photography, building a respectful working relationship with Native American tribes.

Edward takes his first photograph of a Native American in 1896. The subject is Princess Angeline, the daughter of Chief Seattle; she lives in Seattle. At the time, there are very few Native Americans still living in Seattle. Princess Angeline lives in squalor after her father’s death; she receives no respect from locals who are not Native American. She is paraded before tourists and visiting dignitaries, mocked for her so-called royal heritage.



To Edward, she is the perfect Native American to capture on camera. Edward is known for capturing the true character of his subjects, and this early picture is one of the best examples. He quickly earns a name for himself—the “Shadow Catcher.” Native Americans call him this because of his ability to capture their essence so well on film; the name sticks with him for the rest of his career.

Before long, Americans, including prominent financiers, see the potential in Edward’s work. He is offered grants to continue his work, although he never receives any salary. All the money he receives goes toward equipment and fieldwork, and hiring employees to help him with the mammoth task set before him—a project expected to last twenty years.

Not interested in money or fame, Edward does not care how long the project takes. All he cares about is capturing perfect images, which he can do only after taking the time to learn about Native Americans and their fading way of life. This, sadly, does not endear him to financiers, and the investments dry up, no matter hard he tries to find new backers.



Curious and borderline obsessive about his mission, Edward is not afraid to manipulate his subjects for art. However, this is still the story of a man with very little education who wants to preserve Native American culture and history before it fades forever. He travels across the plains, meeting many tribes and their leaders, and he never fails to capture their essence.

Some of the chapters center on photographs taken during tumultuous periods in Edward’s private life. His obsessive dedication to his job means he ignores his family, and he accrues serious debts very quickly. His wife leaves him, and he loses property, including his sprawling studio. Not all of Edward’s efforts to capture the Native Americans are successful, either. For example, he never uncovers some of the true stories he set out to reveal—including the story of Little Bighorn—because the stories are either lost to time or no Native American trusts him enough to give him the information. While many books ignore Edward’s failures, Short Nights of the Shadow Catcher brings them to life.

Through studying Edward’s photographs, Egan highlights the importance of preserving history and culture before they are lost forever. Edward takes his pictures at the right time—only a few decades later, capturing such authentic images would be impossible. Culture is lost to stereotypes, and authentic crafts and religious rituals are forgotten. Edward’s photographs show his contemporaries that Native Americans are not heathens or wild. Instead, they are a dignified, spiritual people with their own moral codes and value systems.



Egan does not spend too long on Edward as a man, or on his character traits. He focuses on Edward’s photographs and his artistic talents, as a means of understanding the curious, insatiable, and almost manic man behind this cultural preservation. The narrative structure separates Egan’s book from similar works out there.

Sadly, for Edward, Depression-era America does not care much for Native Americans, and so when his final work is published, no one notices. He dies in obscurity, and the importance of his work is forgotten for many years. Now, he is remembered for capturing both an incredible people and the beauty of the North America in which they lived.