Displays at Sawyer: November 2021 - Native American Heritage Month

Whether looking back to a troubled past or welcoming a hopeful future, the powerful voices of Indigenous women across North America resound in this book. #Not Your Princess presents an eclectic collection of poems, essays, interviews, and art that combine to express the experience of being a Native woman. Stories of abuse, humiliation, and stereotyping are countered by the voices of passionate women making themselves heard and demanding change. Sometimes angry, often reflective, but always strong, the women in this book will give teen readers insight into the lives of women who, for so long, have been virtually invisible.

In the early 1800s, the Mvskoke people were forcibly removed from their original lands east of the Mississippi to Indian Territory, which is now part of Oklahoma. Two hundred years later, Joy Harjo returns to her family's lands and opens a dialogue with history ... Harjo finds blessings in the abundance of her homeland and confronts the site where her people, and other indigenous families, essentially disappeared. From her memory of her mother's death, to her beginnings in the Native rights movement, to the fresh road with her beloved, Harjo's personal life intertwines with tribal histories to create a space for renewed beginnings. Her poems sing of beauty and survival, illuminating a spirituality that connects her to her ancestors and thrums with the quiet anger of living in the ruins of injustice

Selected by Kathy Fagan as a winner of the 2018 National Poetry Series, Eyes Bottle Dark with a Mouthful of Flowers is a debut collection of poems by a dazzling geologist of queer eros. Drunktown, New Mexico, is a place where men 'only touch when they fuck in a backseat.' Its landscape is scarred by violence: done to it, done on it, done for it. Under the cover of deepest night, sleeping men are run over by trucks. Navajo bodies are deserted in fields. Resources are extracted. Lines are crossed. Men communicate through beatings, and football, and sex. In this place, 'the closest men become is when they are covered in blood / or nothing at all.' But if Jake Skeets's collection is an unflinching portrait of the actual west, it is also a fierce reclamation of a living place'full of beauty as well as brutality, whose shadows are equally capable of protecting encounters between boys learning to become, and to love, men. Its landscapes are ravaged, but they are also startlingly lush with cacti, yarrow, larkspur, sagebrush. And even their scars are made newly tender when mapped onto the lover's body: A spine becomes a railroad. 'Veins burst oil, elk black.' And 'becoming a man / means knowing how to become charcoal.' Rooted in Navajo history and thought, these poems show what has been brewing in an often forgotten part of the American literary landscape, an important language, beautiful and bone dense. Sculptural, ambitious, and defiantly vulnerable, the poems of Eyes Bottle Dark with a Mouthful of Flowers are coal that remains coal, despite the forces that conspire for diamond, for electricity

This volume confronts the coercive language of the United States government in its responses, treaties, and apologies to Native American peoples and tribes, and reflects that language in its officiousness and duplicity back on its perpetrators. Through an array of short lyrics, prose poems, longer narrative sequences, resolutions, and disclaimers, Layli Long Soldier has created an innovative text to examine histories, landscapes, her own writing, and her predicament inside national affiliations. "I am," she writes, "a citizen of the United States and an enrolled member of the Oglala Sioux Tribe, meaning I am a citizen of the Oglala Lakota Nation -- and in this dual citizenship I must work, I must eat, I must art, I must mother, I must friend, I must listen, I must observe, constantly I must live."

Black Indian, searing and raw, is Amy Tan's The Joy Luck Club and Alice Walker's The Color Purple meets Leslie Marmon Silko's Ceremony--only, this isn't fiction. Beautifully rendered and rippling with family dysfunction, secrets, deaths, alcoholism, and old resentments, Shonda Buchanan's memoir is an inspiring story that explores her family's legacy of being African Americans with American Indian roots and how they dealt with not just society's ostracization but the consequences of this dual inheritance. Buchanan was raised as a Black woman, who grew up hearing cherished stories of her multi-racial heritage, while simultaneously suffering from everything she (and the rest of her family) didn't know. Tracing the arduous migration of Mixed Bloods, or Free People of Color, from the Southeast to the Midwest, Buchanan tells the story of her Michigan tribe--a comedic yet manically depressed family of fierce women, who were everything from caretakers and cornbread makers to poets and witches, and men who were either ignored, protected, imprisoned, or maimed--and how their lives collided over love, failure, fights, and prayer despite a stacked deck of challenges, including addiction and abuse. Ultimately, Buchanan's nomadic people endured a collective identity crisis after years of constantly straddling two, then three, races. The physical, spiritual, and emotional displacement of American Indians who met and married Mixed or Black slaves and indentured servants at America's early crossroads is where this powerful journey begins. Black Indian doesn't have answers, nor does it aim to represent every American's multi-ethnic experience. Instead, it digs as far down into this one family's history as it can go--sometimes, with a bit of discomfort. But every family has its own truth, and Buchanan's search for hers will resonate with anyone who has wondered "maybe there's more than what I'm being told."

Why is there no Native woman David Sedaris? Or Native Anne Lamott? Humor categories in publishing are packed with books by funny women and humorous sociocultural-political commentary--but no Native women. There are presumably more important concerns in Indian Country. More important than humor? Among the Diné/Navajo, a ceremony is held in honor of a baby's first laugh. While the context is different, it nonetheless reminds us that laughter is precious, even sacred. Bury My Heart at Chuck E. Cheese's is a powerful and compelling collection of Tiffany Midge's musings on life, politics, and identity as a Native woman in America. Artfully blending sly humor, social commentary, and meditations on love and loss, Midge weaves short, stand-alone musings into a memoir that stares down colonialism while chastising hipsters for abusing pumpkin spice. She explains why she does not like pussy hats, mercilessly dismantles pretendians, and confesses her own struggles with white-bread privilege. Midge goes on to ponder Standing Rock, feminism, and a tweeting president, all while exploring her own complex identity and the loss of her mother. Employing humor as an act of resistance, these slices of life and matchless takes on urban-Indigenous identity disrupt the colonial narrative and provide commentary on popular culture, media, feminism, and the complications of identity, race, and politics.

"A "raw and honest" (Los Angeles Review of Books) memoir from the first Native American Poet Laureate of the United States. In this transcendent memoir, grounded in tribal myth and ancestry, music and poetry, Joy Harjo details her journey to becoming a poet. Born in Oklahoma, the end place of the Trail of Tears, Harjo grew up learning to dodge an abusive stepfather by finding shelter in her imagination, a deep spiritual life, and connection with the natural world. Narrating the complexities of betrayal and love, Crazy Brave is a haunting, visionary memoir about family and the breaking apart necessary in finding a voice

In this food memoir, named for the manoomin or wild rice that also gives the Menominee tribe its name, tribal member Thomas Pecore Weso takes readers on a cook's journey through Wisconsin's northern woods. He connects each food—beaver, trout, blackberry, wild rice, maple sugar, partridge—with colorful individuals who taught him Indigenous values. Cooks will learn from his authentic recipes. Amateur and professional historians will appreciate firsthand stories about reservation life during the mid-twentieth century, when many elders, fluent in the Algonquian language, practiced the old ways. Weso's grandfather Moon was considered a medicine man, and his morning prayers were the foundation for all the day's meals. Weso's grandmother Jennie'made fire'each morning in a wood-burning stove, and oversaw huge breakfasts of wild game, fish, and fruit pies. As Weso grew up, his uncles taught him to hunt bear, deer, squirrels, raccoons, and even skunks for the daily larder. He remembers foods served at the Menominee fair and the excitement of'sugar bush,'maple sugar gatherings that included dances as well as hard work. Weso uses humor to tell his own story as a boy learning to thrive in a land of icy winters and summer swamps. With his rare perspective as a Native anthropologist and artist, he tells a poignant personal story in this unique book.

As a small boy in remote Alberta, Darrel J. McLeod is immersed in his Cree family's history, passed down in the stories of his mother, Bertha. But after a series of tragic losses, Bertha turns wild and unstable, and their home life becomes chaotic. Meanwhile, he begins to question and grapple with his sexual identity--a reckoning complicated by the repercussions of his abuse and his sibling's own gender transition. Thrillingly written in a series of fractured vignettes, and unflinchingly honest, Mamaskatch--"It's a wonder!" in Cree--is a heartbreaking account of how traumas are passed down from one generation to the next, and an uplifting story of one individual who broke the cycle in pursuit of a fulfilling and adventurous life

The book focuses on the concept of asegi stories--stories that revise and revive Cherokee cultural memories of same-sex relationships and non-binary gender systems. It is the first full-length work of scholarship to develop a tribally specific Indigenous queer/two-spirit critique, providing a Cherokee 2GLBTQ lens from which to interpret the past, understand our present, and imagine decolonial futures

Interrogating the concept of environmental justice in the U.S. as it relates to Indigenous peoples, this book argues that a different framework must apply compared to other marginalized communities, while it also attends to the colonial history and structure of the U.S. and ways Indigenous peoples continue to resist, and ways the mainstream environmental movement has been an impediment to effective organizing and allyship

As a botanist, Robin Wall Kimmerer has been trained to ask questions of nature with the tools of science. As a member of the Citizen Potawatomi Nation, she embraces the notion that plants and animals are our oldest teachers. In Braiding Sweetgrass, Kimmerer brings these two lenses of knowledge together to take us on "a journey that is every bit as mythic as it is scientific, as sacred as it is historical, as clever as it is wise

This illuminating and comprehensive analysis of Native nation's resilience in the twentieth century demonstrates how Native Americans reinvented themselves, rebuilt their nations, and ultimately became major forces in the United States. Written by Donald L. Fixico, Indian Resilience and Rebuilding, redefines how modern American history can and should be told

Today in the United States, there are more than five hundred federally-recognized Indigenous nations comprising nearly three million people, descendants of the fifteen million Native people who once inhabited this land. The centuries-long genocidal program of the US settler-colonial regimen has largely been omitted from history. Now historian and activist Roxanne Dunbar-Ortiz offers a history of the United States told from the perspective of Indigenous peoples and reveals how Native Americans, for centuries, actively resisted expansion of the US empire. In An Indigenous Peoples' History of the United States, Dunbar-Ortiz challenges the founding myth of the United States and shows how policy against the Indigenous peoples was colonialist and designed to seize the territories of the original inhabitants, displacing or eliminating them. And as Dunbar-Ortiz reveals, this policy was praised in popular culture, through writers like James Fenimore Cooper and Walt Whitman, and in the highest offices of government and the military. As the genocidal policy reached its zenith under President Andrew Jackson, its ruthlessness was best articulated by US Army general Thomas S. Jesup, who, in 1836, wrote of the Seminoles: "The country can be rid of them only by exterminating them."

Exploring intergenerational trauma in Indigenous communities--and strategies for healing--with provocative prose and an empathetic approach Indigenous peoples have shockingly higher rates of addiction, depression, diabetes, and other chronic health conditions than other North Americans. According to the Aboriginal Healing Foundation, these are a result of intergenerational trauma: the unresolved terror, anger, fear, and grief created in Indigenous communities by the painful experiences of colonialism, passed down from generation to generation. How are we to turn this desperate tide? With passionate argumentation and chillingly clear prose, author and educator Suzanne Methot uses her own and others' stories to trace the roots of colonial trauma and the mechanisms by which trauma has become intergenerational, and she explores the Indigenous ways of knowing that can lead us toward change

With authoritative research and reportage, Treuer illuminates misunderstood contemporary issues like sovereignty, treaty rights, and natural-resource conservation. He traces the convoluted waves of public policy that have deracinated, disenfranchised, and exploited Native Americans, exposing the tension and conflict that has marked the historical relationship between the United States government and the Native American population. Through the eyes of students, teachers, government administrators, lawyers, and tribal court judges, he shows how casinos, tribal government, and the Bureau of Indian Affairs have transformed the landscape of Native American life.​

There has been a great deal of writing the past several decades about Native American Code Talkers of World War Two. The published works have been about Navajos and the tremendous contribution they made in the Pacific campaigns of the war. What is often overlooked is the role played in both World Wars by men of other tribes. There were Cherokee, Choctaw, Comanche, Creek and other tribal representatives with their languages involved as well. Tales of the Mighty Code Talkers, a graphic anthology of historically based stories, begins to fill that void. Seven stories -- two by the book's editor, Arigon Starr, dealing with Choctaw and Comanche code talkers, one by Roy Boney, Jr. on Cherokees, one by Johnnie Diacon on Creeks, and one by Jonathan Nelson on Navajos, plus stories from Lee Francis IV and Michael Sheyahshe -- provide an excellent rendering of the subject

Comedy historian Kliph Nesteroff focuses on one of comedy's most significant and little-known stories: how, despite having been denied representation in the entertainment industry, Native Americans have influenced and advanced the art form. Profiles important events and humorists from the 1880s to the present

Tayo, a young Native American, has been a prisoner of the Japanese during World War II, and the horrors of captivity have almost eroded his will to survive. His return to the Laguna Pueblo reservation only increases his feeling of estrangement and alienation. While other returning soldiers find easy refuge in alcohol and senseless violence, Tayo searches for another kind of comfort and resolution. Tayo's quest leads him back to the Indian past and its traditions, to beliefs about witchcraft and evil, and to the ancient stories of his people. The search itself becomes a ritual, a curative ceremony that defeats the most virulent of afflictions -- despair

In 1980 life is hard on the Tuscarora Reservation in upstate New York, and most of the teenagers feel like they are going nowhere: Carson Mastick dreams of forming a rock band, and Maggi Bokoni longs to create her own conceptual artwork instead of the traditional beadwork that her family sells to tourists--but tensions are rising between the reservation and the surrounding communities, and somehow in the confusion of politics and growing up Carson and Maggi have to make a place for themselves

When Louise Wolfe's boyfriend mocks and disrespects Native people in front of her, she breaks things off and dumps him over e-mail. She'd rather spend her senior year with her family and friends and working on the school newspaper. The editors pair her up with Joey Kairouz, an ambitious new photojournalist, and in no time the paper's staff find themselves with a major story to cover: the school musical director's inclusive approach to casting The Wizard of Oz has been provoking backlash in their mostly white, middle-class Kansas town. As tensions mount at school, so does a romance between Lou and Joey. But 'dating while Native' can be difficult. In trying to protect her own heart, will Lou break Joey's?

Here is a story of several people, each of whom has private reasons for travelling to the Big Oakland Powwow. Jacquie Red Feather is newly sober and trying to make it back to the family she left behind in shame. Dene Oxendene is pulling his life together after his uncle's death and has come to work at the powwow to honour his uncle's memory. Opal Viola Victoria Bear Shield has come to watch her nephew Orvil Red Feather, who has taught himself traditional Indian dance through YouTube videos and has come to the powwow to dance in public for the very first time. There will be glorious communion, and a spectacle of sacred tradition and pageantry. And there will be sacrifice, and heroism, and unspeakable loss

Retells Kiowa myths the author learned from his grandmother and describes the Indian life he knew as a child

For the loosely connected Seneca community members living in Upstate New York, intergenerational memory slips into everyday life: a teenager struggles to understand her grandmother's silences, a family seeks to reconnect with a lost sibling, and a young woman searches for a cave that's called to her family for generations. With these stories, debut writer Melissa Michal weaves together an understated and contemplative collection exploring what it means to be Native

contemporary short fiction by Native American women

an anthology of indigenous science fiction.