Displays at Sawyer: November 2024 - Indigenous Art & Resistance

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

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

Joy Harjo, one of this country's foremost Native American voices, combines elements of storytelling, prayer, and song, informed by her interest in jazz and by her North American tribal background, in this, her fourth volume of poetry. She is a mythic, visionary, and spiritual poet who draws from the Native American tradition of praising the land and the spirit, the realities of American culture, and the concept of feminine individuality. In describing this volume Harjo has said: "I believe that the word poet is synonymous with the word truth teller. So this collection tells a bit of the truth of what I have seen since my coming of age in the late sixties.

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."

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.

"Documenting international Indigenous artists' responses to the impacts of nuclear testing, nuclear accidents and uranium mining on Native peoples and the environment, Exposure gives artists a voice to address the long-term effects of these manmade disasters on Indigenous communities in the United States and around the world. Indigenous artists from Australia, Canada, Greenland, Japan, the Pacific Islands and the US utilize local and tribal knowledge, as well as Indigenous and contemporary art forms as visual strategies for their works.

For over 150 years, Tlingit women artists have beaded colorful, intricately beautiful designs on moccasins, dolls, octopus bags, tunics, and other garments. Painful Beauty suggests that at a time when Indigenous cultural practices were actively being repressed, beading supported cultural continuity, demonstrating Tlingit women's resilience, strength, and power. Beadwork served many uses, from the ceremonial to the economic, as women created beaded pieces for community use and to sell to tourists. Like other Tlingit art, beadwork reflects rich artistic visions with deep connections to the environment, clan histories, and Tlingit worldviews. Contemporary Tlingit artists Alison Bremner, Chloe French, Shgen Doo Tan George, Lily Hudson Hope, Tanis S'eiltin, and Larry McNeil foreground the significance of historical beading practices in their diverse, boundary-pushing artworks. Working with museum collection materials, photographs, archives, and interviews with artists and elders, Megan Smetzer reframes this often overlooked artform as a site of historical negotiations and contemporary inspirations. She shows how beading gave Tlingit women the freedom to innovate aesthetically, assert their clan crests and identities, support tribal sovereignty, and pass on cultural knowledge. Painful Beauty is the first dedicated study of Tlingit beadwork and contributes to the expanding literature addressing women's artistic expressions on the Northwest Coast

The first intersectional history of the Black and Native American struggle for freedom in our country that also reframes our understanding of who was Indigenous in early America. Beginning with pre-Revolutionary America and moving into the movement for Black lives and contemporary Indigenous activism, Afro-Indigenous historian Kyle T. Mays argues that the foundations of the US are rooted in antiblackness and settler colonialism, and that these parallel oppressions continue into the present. He explores how Black and Indigenous peoples have always resisted and struggled for freedom, sometimes together, and sometimes apart. Whether to end African enslavement and Indigenous removal or eradicate capitalism and colonialism, Mays show how the fervor of Black and Indigenous peoples calls for justice have consistently sought to uproot white supremacy. Mays uses a wide-array of historical activists and pop culture icons, 'sacred' texts, and foundational texts like the Declaration of Independence and Democracy in America. He covers the civil rights movement and freedom struggles of the 1960s and 1970s, and explores current debates around the use of Native American imagery and the cultural appropriation of Black culture. Mays compels us to rethink both our history as well as contemporary debates and to imagine the powerful possibilities of Afro-Indigenous solidarity.

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

The City of Cahokia provides a unique case study to review what draws people to a place and why. This Element examines not only the emergence and decline of this great American city but also its intersection with the broader Native American world during medieval period. Cahokia was not an isolated complex but a place vivid on the landscape where people made pilgrimages to and from Cahokia for trade and religious practices. It was a central place with expansive reach and cultural influence. This Element analyses the social and political processes that helped create this city while also reflecting on the trajectory of Native American history in North America.

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

In Indigenous Continent, acclaimed historian Pekka Hämäläinen presents a sweeping counternarrative that shatters the most basic assumptions about American history. Shifting our perspective away from Jamestown, Plymouth Rock, the Revolution, and other well-trodden episodes on the conventional timeline, he depicts a sovereign world of Native nations whose members, far from helpless victims of colonial violence, dominated the continent for centuries after the first European arrivals. From the Iroquois in the Northeast to the Comanches on the Plains, and from the Pueblos in the Southwest to the Cherokees in the Southeast, Native nations frequently decimated white newcomers in battle. Even as the white population exploded and colonists' land greed grew more extravagant, Indigenous peoples flourished due to sophisticated diplomacy and leadership structures. By 1776, various colonial powers claimed nearly all of the continent, but Indigenous peoples still controlled it--as Hämäläinen points out, the maps in modern textbooks that paint much of North America in neat, color-coded blocks confuse outlandish imperial boasts for actual holdings. In fact, Native power peaked in the late nineteenth century, with the Lakota victory in 1876 at Little Big Horn, which was not an American blunder, but an all-too-expected outcome. Hämäläinen ultimately contends that the very notion of "colonial America" is misleading, and that we should speak instead of an "Indigenous America" that was only slowly and unevenly becoming colonial. The evidence of Indigenous defiance is apparent today in the hundreds of Native nations that still dot the United States and Canada. Necessary reading for anyone who cares about America's past, present, and future, Indigenous Continent restores Native peoples to their rightful place at the very fulcrum of American history

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."

A masterful and unsettling history of the forced migration of 80,000 Native Americans across the Mississippi River in the 1830s. On May 28, 1830, Congress authorized the expulsion of indigenous peoples from the East to territories west of the Mississippi River. Over the next decade, Native Americans saw their homelands and possessions stolen through fraud, intimidation, and murder. Thousands lost their lives. In this powerful, gripping book, Claudio Saunt upends the common view that "Indian Removal" was an inevitable chapter in US expansion across the continent. Instead, Saunt argues that it was a contested political act--resisted by both indigenous peoples and US citizens--that passed in Congress by a razor-thin margin. In telling the full story of this systematic, state-sponsored theft, Saunt reveals how expulsion became national policy, abetted by southern slave owners and financed by Wall Street. Moving beyond the familiar story of the Trail of Tears, Unworthy Republic offers a fast-paced yet deeply researched account of unbridled greed, government indifference, and administrative incompetence. The consequences of this vast transfer of land and wealth still resonate today

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

The author shows how a new generation of researchers equipped with novel scientific techniques have come to previously unheard of conclusions about the Americas before the arrival of the Europeans: In 1491 there were probably more people living in the Americas than in Europe. Certain cities such as Tenochtitlan, the Aztec capital, were greater in population than any European city. Tenochtitlan, unlike any capital in Europe at that time, had running water, beautiful botanical gardens, and immaculately clean streets. The earliest cities in the Western Hemisphere were thriving before the Egyptians built the great pyramids. Native Americans transformed their land so completely that Europeans arrived in a hemisphere already massively "landscaped" by human beings. Pre-Columbian Indians in Mexico developed corn by a breeding process that the journal Science recently described as "man's first, and perhaps the greatest, feat of genetic engineering.

Told in a series of voices, Calling for a Blanket Dance takes us into the life of Ever Geimausaddle through the multigenerational perspectives of his family as they face myriad obstacles. His father's injury at the hands of corrupt police, his mother's struggle to hold on to her job and care for her husband, the constant resettlement of the family, and the legacy of centuries of injustice all intensify Ever's bottled-up rage. Meanwhile, all of Ever's relatives have ideas about who he is and who he should be. His Cherokee grandmother urges the family to move across Oklahoma to find security; his grandfather hopes to reunite him with his heritage through traditional gourd dances; his Kiowa cousin reminds him that he's connected to an ancestral past. And once an adult, Ever must take the strength given to him by his relatives to save not only himself but also the next generation of family. How will this young man visualize a place for himself when the world hasn't given him a place to start with?

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

Imagine an America very similar to our own. It's got homework, best friends, and pistachio ice cream. There are some differences. This America has been shaped dramatically by the magic, monsters, knowledge, and legends of its peoples, those Indigenous and those not. Some of these forces are charmingly everyday, like the ability to make an orb of light appear or travel across the world through rings of fungi. But other forces are less charming and should never see the light of day. Seventeen-year-old Elatsoe ("Ellie" for short) lives in this slightly stranger America. She can raise the ghosts of dead animals, a skill passed down through generations of her Lipan Apache family. Her beloved cousin has just been murdered, in a town that wants no prying eyes. But she is going to do more than pry. The picture-perfect façade of Willowbee masks gruesome secrets, and she will rely on her wits, skills, and friends to tear off the mask and protect her family

Daunis Fontaine has never quite fit in, either in her hometown or on the nearby Ojibwe reservation. She dreams of college, but when her family is struck by tragedy she puts her future on hold to care for her fragile mother. The only bright spot is meeting Jamie, a new recruit on her brother Levi's hockey team. When Daunis witnesses a shocking murder, she reluctantly agrees to go undercover, drawing on her knowledge of chemistry and Ojibwe traditional medicine to track down the source of a new drug. How far will she go to protect her community, if it threatens to tear apart the only world she's ever known?

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?

In a future world ravaged by global warming, people have lost the ability to dream, and the dreamlessness has led to widespread madness. The only people still able to dream are North America's Indigenous population-- and it is their marrow that holds the cure for the rest of the world. But getting the marrow-- and dreams-- means death for the unwilling donors. Driven to flight, a 15-year-old and his companions struggle for survival, attempt to reunite with loved ones, and take refuge from the "recruiters" who seek them out to bring them to the marrow-stealing 'factories.

The hilarious story of an unlikely group of Indigenous dancers who find themselves thrown together on a performance tour of Europe in 1972. The Tour is all prepared. The Prairie Chicken dance troupe is all set for a fifteen-day trek through Europe, performing at festivals and cultural events. But then the performers all come down with the flu. And John Greyeyes, a retired cowboy who hasn't danced in fifteen years, finds himself abruptly thrust into the position of leading a hastily-assembled group of replacement dancers. A group of expert dancers they are not. There's a middle-aged woman with advanced arthritis, her nineteen-year-old niece who is far more interested in flirtations than pow-wow, and an enigmatic man from the U.S. -- all being chased by Nadine, the organizer of the original tour who is determined to be a part of the action, and the handsome man she picked up in a gas-station bathroom. They're all looking to John, who has never left the continent, to guide them through a world that he knows nothing about. As the gang makes its way from one stop to another, absolutely nothing goes as planned and the tour becomes a string of madcap adventures. The Prairie Chicken Dance Tour is loosely based -- like, hospital-gown loose -- on the true story of a group of Indigenous dancers who left Saskatchewan and toured through Europe in the 1970s. Dawn Dumont brings her signature razor-sharp wit and impeccable comedic timing to this hilarious, warm, and wildly entertaining novel.

Fifteen-year-olds Nina and Oli come from different words--she is a Lipan Apache living in Texas and he is a cottonmouth from the Reflecting World--but their lives intersect when Oli journeys to Earth to find a cure for his ailing friend and they end up helping each other save their families

A girl grows up in Nunavut in the 1970s. She knows joy, and friendship, and parents' love. She knows boredom, and listlessness, and bullying. She knows the tedium of the everyday world, and the raw, amoral power of the ice and sky, the seductive energy of the animal world. She knows the ravages of alcohol, and violence at the hands of those she should be able to trust. She sees the spirits that surround her, and the immense power that dwarfs all of us. When she becomes pregnant, she must navigate all of this

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

While most of the world has drowned beneath the sudden rising waters of a climate apocalypse, Dinétah (formerly the Navajo reservation) has been reborn. The gods and heroes of legend walk the land, but so do monsters. Maggie Hoskie is a Dinétah monster hunter, a supernaturally gifted killer. When a small town needs help finding a missing girl, Maggie is their last best hope. But what Maggie uncovers about the monster is much more terrifying than anything she could imagine. Maggie reluctantly enlists the aid of Kai Arviso, an unconventional medicine man, and together they travel the rez, unraveling clues from ancient legends, trading favors with tricksters, and battling dark witchcraft in a patchwork world of deteriorating technology. As Maggie discovers the truth behind the killings, she will have to confront her past if she wants to survive

A bold and breathtaking anthology of queer Indigenous speculative fiction, edited by the author of Jonny Appleseed. This exciting and groundbreaking fiction anthology showcases a number of new and emerging 2SQ (Two-Spirit and queer) Indigenous writers from across Turtle Island. These visionary authors show how queer Indigenous communities can bloom and thrive through Utopian narratives that detail the vivacity and strength of 2SQness throughout its plight in the maw of settler colonialism's histories. Here, readers will discover bioengineered AI rats, transplanted trees in space, the rise of a 2SQ resistance camp, a primer on how to survive Indigiqueerly, virtual reality applications, mother ships at sea, and the very bending of space-time continuums queered through NDN time. Love after the End demonstrates the imaginatively queer Two-Spirit futurisms we have all been dreaming of since 1492. Contributors include Nathan Adler, Darcie Little Badger, Gabriel Castilloux Calderón, Adam Garnet Jones, Mari Kurisato, Kai Minosh Pyle, David Alexander Robertson, jaye simpson, and Nazbah Tom.

A bold, clever, and sublimely sinister collection of horror, fantasy, science fiction, and gritty crime by both new and established Indigenous authors that dares to ask the question: "Are you ready to be un-settled?" Many Indigenous people believe that one should never whistle at night. This belief ranges far and wide and takes many forms; for instance, Native Hawaiians believe it summons the Hukai'po, the spirits of ancient warriors, and Native Mexicans say it calls a Lechuza, a witch that can transform into an owl and snatch the foolish whistlers in the dark. But what all these legends hold in common is the certainty that whistling at night can cause evil spirits to appear-and even follow you home. In twenty-five wholly original and shiver-inducing tales, bestselling and award-winning authors including Tommy Orange, Rebecca Roanhorse, Cherie Dimaline, Waubgeshig Rice, and Mona Susan Power introduce readers to ghosts, curses, hauntings, monstrous creatures, complex family legacies, desperate deeds, and chilling acts of revenge. Introduced and contextualized by bestselling author Stephen Graham Jones, these stories are a celebration of Indigenous peoples' survival and imagination, and a glorious reveling in all the things an ill-advised whistle might summon

There's nothing new under the sun, but there are new suns, ' proclaimed Octavia E. Butler. New Suns: Original Speculative Fiction by People of Color showcases emerging and seasoned writers of many races telling stories filled with shocking delights, powerful visions of the familiar made strange. Between this book's covers burn tales of science fiction, fantasy, horror, and their indefinable overlappings. These are authors aware of our many possible pasts and futures, authors freed of stereotypes and clichés, ready to dazzle you with their daring genius. Unexpected brilliance shines forth from every page

contemporary short fiction by Native American women

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

An Indigenous environmental scientist breaks down why Western conservationism isn't working--and offers Indigenous models informed by case studies, historical overviews, and stories that center the voices of Latin American women and land protectors. Despite the fact that Indigenous communities are among the most affected by climate devastation, Indigenous science is nowhere to be found in mainstream environmental policy or discourse. And while holistic land, water, and forest management practices born from millennial of Indigenous knowledge systems have much to teach all of us, Indigenous science has long been ignored, otherized, or perceived as "soft" -- the product of a systematic, centuries-long campaign of racism, colonialism, and extractive capitalism. Jessica Hernandez--a Maya Ch'orti' and Zapotec environmental scientist and founder of environmental agency Piña Soul--introduces and contextualizes Indigenous environmental knowledge and proposes a vision of land stewardship that heals rather than displaces, that generates rather than destroys. She breaks down the failures of Western-defined conservationism and shares alternatives, citing the restoration work of urban Indigenous people in Seattle; her family's fight against eco-terrorism in Latin America; and holistic land management approaches of Indigenous groups across the continent. If we're to recover the health of our planet--for everyone--we need to stop the eco-colonialism ravaging Indigenous lands and restore our relationships with Earth to one of harmony and respect.

Throughout her life, Elissa Washuta has been surrounded by cheap facsimiles of Native spiritual tools and occult trends, "starter witch kits" of sage, rose quartz, and tarot cards packaged together in paper and plastic. Following a decade of abuse, addiction, PTSD, and heavy-duty drug treatment for a misdiagnosis of bipolar disorder, she felt drawn to the real spirits and powers her dispossessed and discarded ancestors knew, while she undertook necessary work to find love and meaning. In this collection of intertwined essays, she writes about land, heartbreak, and colonization, about life without the escape hatch of intoxication, and about how she became a powerful witch. She interlaces stories from her forebears with cultural artifacts from her own life--Twin Peaks, the Oregon Trail II video game, a Claymation Satan, a YouTube video of Stevie Nicks and Lindsey Buckingham--to explore questions of cultural inheritance and the particular danger, as a Native woman, of relaxing into romantic love under colonial rule