Native American Heritage Month

The long-awaited, profoundly moving, and unforgettable new novel from PEN Award–winning Native American author Mona Susan Power, spanning three generations of Yanktonai Dakota women from the 19 th century to the present day. From the mid-century metropolis of Chicago to the windswept ancestral lands of the Dakota people, to the bleak and brutal Indian boarding schools, A Council of Dolls is the story of three women, told in part through the stories of the dolls they carried.... Sissy, born 1961: Sissy's relationship with her beautiful and volatile mother is difficult, even dangerous, but her life is also filled with beautiful things, including a new Christmas present, a doll called Ethel. Ethel whispers advice and kindness in Sissy's ear, and in one especially terrifying moment, maybe even saves Sissy's life. Lillian, born 1925: Born in her ancestral lands in a time of terrible change, Lillian clings to her sister, Blanche, and her doll, Mae. When the sisters are forced to attend an "Indian school" far from their home, Blanche refuses to be cowed by the school's abusive nuns. But when tragedy strikes the sisters, the doll Mae finds her way to defend the girls. Cora, born 1888: Though she was born into the brutal legacy of the "Indian Wars," Cora isn't afraid of the white men who remove her to a school across the country to be "civilized." When teachers burn her beloved buckskin and beaded doll Winona, Cora discovers that the spirit of Winona may not be entirely lost... A modern masterpiece, A Council of Dolls is gorgeous, quietly devastating, and ultimately hopeful, shining a light on the echoing damage wrought by Indian boarding schools, and the historical massacres of Indigenous people. With stunning prose, Mona Susan Power weaves a spell of love and healing that comes alive on the page.

In 'Native American Women and the Burdens of Southern History,' Daniel Usner gives closer consideration to the experiences of Native American women over time to show how they both complicate and enrich our understanding of southern history and culture. Usner explores the dynamic role that Indigenous women in the South played in confronting sequential waves of colonization, European imperial invasion, plantation encroachment, and post-Civil War racialization, revealing that these events affected them in particular ways, and their means of adaptation and resistance likewise took distinct forms. Though long neglected, Indigenous women's history is increasing and improving, thanks primarily to specialized work on select individuals, places, and periods. While drawing attention to that scholarship, Usner's work uses original research to advance a new line of inquiry that focuses on Native American women's responses and initiatives across centuries. Usner especially emphasizes the deployment of a particular feature of material culture in the Lower Mississippi Valley and Gulf Coastal area of the South. Overall, his work underscores how central Indigenous women have been in struggles for Native American territory and sovereignty throughout southern history.

A photographic and narrative celebration of contemporary Native American life and cultures, alongside an in-depth examination of issues that Native people face, by celebrated photographer and storyteller Matika Wilbur of the Swinomish and Tulalip Tribes. "This book is too important to miss. It is a vast, sprawling look at who we are as Indigenous people in these United States."-Tommy Orange (Cheyenne and Arapaho), author of There There Longlisted for the Andrew Carnegie Medal In 2012, Matika Wilbur sold everything in her Seattle apartment and set out on a Kickstarter-funded pursuit to visit, engage, and photograph people from what were then the 562 federally recognized Native American Tribal Nations. Over the next decade, she traveled six hundred thousand miles across fifty states-from Seminole country (now known as the Everglades) to Inuit territory (now known as the Bering Sea)-to meet, interview, and photograph hundreds of Indigenous people. The body of work Wilbur created serves to counteract the one-dimensional and archaic stereotypes of Native people in mainstream media and offers justice to the richness, diversity, and lived experiences of Indian Country. The culmination of this decade-long art and storytelling endeavor, Project 562 is a peerless, sweeping, and moving love letter to Indigenous Americans, containing hundreds of stunning portraits and compelling personal narratives of contemporary Native people-all photographed in clothing, poses, and locations of their choosing. Their narratives touch on personal and cultural identity as well as issues of media representation, sovereignty, faith, family, the protection of sacred sites, subsistence living, traditional knowledge-keeping, land stewardship, language preservation, advocacy, education, the arts, and more. A vital contribution from an incomparable artist, Project 562 inspires, educates, and truly changes the way we see Native America.

For too long, Native American people in the United States have been stereotyped as vestiges of the past, invisible citizens in their own land obliged to remind others, "We are still here!" Yet today, Native leaders are at the center of social change, challenging philanthropic organizations that have historically excluded Native people, and fighting for economic and environmental justice. Edited by Raymond Foxworth of First Nations Development Institute and Steve Dubb of The Nonprofit Quarterly, Invisible No More is a groundbreaking collection of stories by Native American leaders, many of them women, who are leading the way through cultural grounding and nation-building in the areas of community, environmental justice, and economic justice. Authors in the collection come from over a dozen Native nations, including communities in Alaska and Hawaiʻi. Chapters are grouped by themes of challenging philanthropy, protecting community resources, environmental justice, and economic justice. While telling their stories, authors excavate the history and ongoing effects of genocide and colonialism, reminding readers how philanthropic wealth often stems from the theft of Native land and resources, as well as how major national parks such as Yosemite were "conserved" by forcibly expelling Native residents. At the same time, the authors detail ways that readers might imagine the world differently, presenting stories of Native community building that offer benefits for all. Accepting this invitation to reset assumptions can be at once profound and pragmatic. For instance, wildfires in large measure result from recent Western land mismanagement; Native techniques practiced for thousands of years can help manage fire for everyone's benefit. In a world facing a mounting climate crisis and record economic inequality, Invisible No More exposes the deep wounds of a racist past while offering a powerful call to care for one another and the planet. Indigenous communities have much to offer, not the least of which are solutions gleaned from cultural knowledge developed over generations.  

In The Incarceration of Native American Women, Carma Corcoran examines the rising number of Native American women being incarcerated in Indian Country. With years of experience as a case management officer, law professor, consultant to tribal defenders' offices, and workshop leader in prisons, she believes this upward trajectory of incarceration continues largely unacknowledged and untended. She explores how a combination of F. David Peat's gentle action theory and the Native traditional ways of knowing and being could heal Native American women who are or have been incarcerated. Colonization and the historical trauma of Native American incarceration runs through history, spanning multiple generations and including colonial wartime imprisonment, captivity, Indian removal, and boarding schools. The ongoing ills of childhood abuse, domestic violence, sexual assault, and drug and alcohol addiction and the rising number of suicides are indicators that Native people need healing. Based on her research and work with Native women in prisons, Corcoran provides a theory of wellness and recovery that creates a pathway for meaningful change. The Incarceration of Native American Women offers students, academics, social workers, counselors, and those in the criminal justice system a new method of approach and application while providing a deeper understanding of the cultural and historical experiences of Native Americans in relation to criminology.

This new volume offers a broad overview of topics pertaining to gender-related health, violence, and healing. Employing a strength-based approach (as opposed to a deficit model), the chapters address the resiliency of Indigenous women and two-spirit people in the face of colonial violence and structural racism. The book centers the concept of "rematriation"--the concerted effort to place power, peace, and decision making back into the female space, land, body, and sovereignty--as a decolonial practice to combat injustice. Chapters include such topics as reproductive health, diabetes, missing and murdered Indigenous women, Indigenous women in the academy, and Indigenous women and food sovereignty. As part of the Indigenous Justice series, this book provides an overview of the topic, geared toward undergraduate and graduate classes. Contributors Alisse Ali-Joseph Michèle Companion Mary Jo Tippeconnic Fox Brooke de Heer Lomayumtewa K. Ishii Karen Jarratt-Snider Lynn C. Jones Anne Luna-Gordinier Kelly McCue Marianne O. Nielsen Linda M. Robyn Melinda S. Smith Jamie Wilson

Maylei Blackwell tells the story of how Indigenous women's activism in Mexico and California moves in and between local, national, continental, and transborder scales.

The story of Catawba women who experienced sweeping changes to their world but held onto traditional customs to create and preserve a Catawba identity and build a nation   Winner of the Anne B. & James B. McMillan Prize in Southern History Winner of the 2023 Erminie Wheeler-Voegelin Book Award Winner Winner of the 2022 Berkshire Conference of Women Historians Book Award Winner of the 2022 George C. Rogers, Jr. Award from the South Carolina Historical Society   Brooke M. Bauer's Becoming Catawba: Catawba Indian Women and Nation-Building, 1540-1840 is the first book-length study of the role Catawba women played in creating and preserving a cohesive tribal identity over three centuries of colonization and cultural turmoil. Bauer, a citizen of the Catawba Indian Nation of South Carolina, weaves ethnohistorical methodologies, family history, cultural context, and the Catawba language together to generate an internal perspective on the Catawbas' history and heritage in the area now known as the Carolina Piedmont. This unique and important study examines the lives and legacies of women who executed complex decision-making and diplomacy to navigate shifting frameworks of kinship, land ownership, and cultural production in dealings with colonial encroachments, white settlers, and Euro-American legal systems and governments from the mid-sixteenth century to the early nineteenth century. Personified in the figure of Sally New River, a Catawba cultural leader to whom 500 remaining acres of occupied tribal lands were deeded on behalf of the community in 1796 and which she managed until her death in 1821, Bauer reveals how women worked to ensure the survival of the Catawba people and their Catawba identity, an effort that resulted in a unified nation. Bauer's approach is primarily ethnohistorical, although it draws on a number of interdisciplinary strategies. In particular, Bauer uses "upstreaming," a critical strategy that moves toward the period under study by using present-day community members' connections to historical knowledge--for example, family histories and oral traditions--to interpret primary-source data. Additionally, Bauer employs archaeological data and material culture as a means of performing feminist recuperation, filling the gaps and silences left by the records, newspapers, and historical accounts as primarily written by and for white men. Ultimately, Becoming Catawba effects a welcome intervention at the intersections of Native, women's, and Southern history, expanding the diversity and modes of experience in the fraught, multifaceted cultural environment of the early American South.  

A magnificent selection of fifty poems to celebrate three-term US Poet Laureate Joy Harjo's fifty years as a poet. Over a long, influential career in poetry, Joy Harjo has been praised for her "warm, oracular voice" (John Freeman, Boston Globe) that speaks "from a deep and timeless source of compassion for all" (Craig Morgan Teicher, NPR). Her poems are musical, intimate, political, and wise, intertwining ancestral memory and tribal histories with resilience and love. In this gemlike volume, Harjo selects her best poems from across fifty years, beginning with her early discoveries of her own voice and ending with moving reflections on our contemporary moment. Generous notes on each poem offer insight into Harjo's inimitable poetics as she takes inspiration from Navajo horse songs and jazz, reckons with home and loss, and listens to the natural messengers of the earth. As evidenced in this transcendent collection, Joy Harjo's "poetry is light and elixir, the very best prescription for us in wounded times" (Sandra Cisneros, Millions).

In her first book, Blonde Indian, Ernestine Hayes powerfully recounted the story of coming back to Juneau and to her Tlingit home after many years of wandering. The Tao of Raven takes up the next and in some ways more interesting question: once the exile returns, then what? Using motifs from the story Raven and the Box of Daylight to deepen her narration and reflection, Hayes expresses an ongoing frustration and anger at the obstacles and prejudices still facing Alaska Natives in their own land, but also recounts her own story of attending and completing college in her fifties and becoming a professor and a writer. Now seventy years old and thinking very much of the generations who will come after her, Hayes speaks for herself but also has powerful things to say about the possibilities and complications of her Native community.

What are the limits of political solidarity, and how can visual culture contribute to social change? A fundamental dilemma exists in documentary photography: can white artists successfully portray Indigenous lives and communities in a manner that neither appropriates nor romanticizes them? With an attentive and sensitive eye, Louise Siddons examines lesbian photographer Laura Gilpin''s classic 1968 book The Enduring Navaho to illuminate the intersectional politics of photography, Navajo sovereignty, and queerness over the course of the twentieth century.   Gilpin was a New York-trained fine arts photographer who started working with Navajo people when her partner accepted a job as a nurse in Arizona. She spent more than three decades documenting Navajo life and creating her book in collaboration with Navajo friends and colleagues. Framing her lesbian identity and her long relationship with the Navajo people around questions of allyship, Good Pictures Are a Strong Weapon addresses the long and problematic history of White photographers capturing images of Native life. Simultaneously, Siddons uses Gilpin''s work to explore the limitations of White advocacy in a political moment that emphasized the need for Indigenous visibility and voices.   Good Pictures Are a Strong Weapon introduces contemporary Diné (Navajo) artists as interlocutors, critics, and activists whose work embodies and extends the cultural sovereignty politics of earlier generations and makes visible the queerness often left implicit in Gilpin''s photographs. Siddons puts their work in conversation with Gilpin''s, taking up her mandate to viewers and readers of The Enduring Navajo to address Navajo aesthetics, traditions, politics, and people on their own terms.     Retail e-book files for this title are screen-reader friendly with images accompanied by short alt text and/or extended descriptions. rong Weapon addresses the long and problematic history of White photographers capturing images of Native life. Simultaneously, Siddons uses Gilpin''s work to explore the limitations of White advocacy in a political moment that emphasized the need for Indigenous visibility and voices.   Good Pictures Are a Strong Weapon introduces contemporary Diné (Navajo) artists as interlocutors, critics, and activists whose work embodies and extends the cultural sovereignty politics of earlier generations and makes visible the queerness often left implicit in Gilpin''s photographs. Siddons puts their work in conversation with Gilpin''s, taking up her mandate to viewers and readers of The Enduring Navajo to address Navajo aesthetics, traditions, politics, and people on their own terms.     Retail e-book files for this title are screen-reader friendly with images accompanied by short alt text and/or extended descriptions. rong Weapon addresses the long and problematic history of White photographers capturing images of Native life. Simultaneously, Siddons uses Gilpin''s work to explore the limitations of White advocacy in a political moment that emphasized the need for Indigenous visibility and voices.   Good Pictures Are a Strong Weapon introduces contemporary Diné (Navajo) artists as interlocutors, critics, and activists whose work embodies and extends the cultural sovereignty politics of earlier generations and makes visible the queerness often left implicit in Gilpin''s photographs. Siddons puts their work in conversation with Gilpin''s, taking up her mandate to viewers and readers of The Enduring Navajo to address Navajo aesthetics, traditions, politics, and people on their own terms.     Retail e-book files for this title are screen-reader friendly with images accompanied by short alt text and/or extended descriptions. rong Weapon addresses the long and problematic history of White photographers capturing images of Native life. Simultaneously, Siddons uses Gilpin''s work to explore the limitations of White advocacy in a political moment that emphasized the need for Indigenous visibility and voices.   Good Pictures Are a Strong Weapon introduces contemporary Diné (Navajo) artists as interlocutors, critics, and activists whose work embodies and extends the cultural sovereignty politics of earlier generations and makes visible the queerness often left implicit in Gilpin''s photographs. Siddons puts their work in conversation with Gilpin''s, taking up her mandate to viewers and readers of The Enduring Navajo to address Navajo aesthetics, traditions, politics, and people on their own terms.     Retail e-book files for this title are screen-reader friendly with images accompanied by short alt text and/or extended descriptions. I> addresses the long and problematic history of White photographers capturing images of Native life. Simultaneously, Siddons uses Gilpin''s work to explore the limitations of White advocacy in a political moment that emphasized the need for Indigenous visibility and voices.   Good Pictures Are a Strong Weapon introduces contemporary Diné (Navajo) artists as interlocutors, critics, and activists whose work embodies and extends the cultural sovereignty politics of earlier generations and makes visible the queerness often left implicit in Gilpin''s photographs. Siddons puts their work in conversation with Gilpin''s, taking up her mandate to viewers and readers of The Enduring Navajo to address Navajo aesthetics, traditions, politics, and people on their own terms.     Retail e-book files for this title are screen-reader friendly with images accompanied by short alt text and/or extended descriptions.

For too long, Native American people in the United States have been stereotyped as vestiges of the past, invisible citizens in their own land obliged to remind others, "We are still here!" Yet today, Native leaders are at the center of social change, challenging philanthropic organizations that have historically excluded Native people, and fighting for economic and environmental justice. Edited by Raymond Foxworth of First Nations Development Institute and Steve Dubb of The Nonprofit Quarterly, Invisible No More is a groundbreaking collection of stories by Native American leaders, many of them women, who are leading the way through cultural grounding and nation-building in the areas of community, environmental justice, and economic justice. Authors in the collection come from over a dozen Native nations, including communities in Alaska and Hawaiʻi. Chapters are grouped by themes of challenging philanthropy, protecting community resources, environmental justice, and economic justice. While telling their stories, authors excavate the history and ongoing effects of genocide and colonialism, reminding readers how philanthropic wealth often stems from the theft of Native land and resources, as well as how major national parks such as Yosemite were "conserved" by forcibly expelling Native residents. At the same time, the authors detail ways that readers might imagine the world differently, presenting stories of Native community building that offer benefits for all. Accepting this invitation to reset assumptions can be at once profound and pragmatic. For instance, wildfires in large measure result from recent Western land mismanagement; Native techniques practiced for thousands of years can help manage fire for everyone's benefit. In a world facing a mounting climate crisis and record economic inequality, Invisible No More exposes the deep wounds of a racist past while offering a powerful call to care for one another and the planet. Indigenous communities have much to offer, not the least of which are solutions gleaned from cultural knowledge developed over generations.  

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. Love after the End demonstrates the imaginatively queer Two-Spirit futurisms we have all been dreaming of since 1492. Contributors include Darcie Little Badger, Mari Kurisato, Kai Minosh Pyle, David Alexander Robertson, and jaye simpson.

The first book to examine the correlation between mixed-race identity and HIV/AIDS among Native American gay men and transgendered people, Indian Blood provides an analysis of the emerging and often contested LGBTQ 'two-spirit' identification as it relates to public health and mixed-race identity. Prior to contact with European settlers, most Native American tribes held their two-spirit members in high esteem, even considering them spiritually advanced. However, after contact--and religious conversion--attitudes changed and social and cultural support networks were ruptured. This discrimination led to a breakdown in traditional values, beliefs, and practices, which in turn pushed many two-spirit members to participate in high-risk behaviors. The result is a disproportionate number of two-spirit members who currently test positive for HIV. Using surveys, focus groups, and community discussions to examine the experiences of HIV-positive members of San Francisco's two-spirit community, Indian Blood provides an innovative approach to understanding how colonization continues to affect American Indian communities and opens a series of crucial dialogues in the fields of Native American studies, public health, queer studies, and critical mixed-race studies.

"This landmark book combines the voices of Native Americans and non-Indians, anthropologists and others, in an exploration of gender and sexuality issues as they relate to lesbian, gay, trans-gendered, and other "marked" Native Americans." "Focusing on the concept of two-spirit people - individuals not necessarily gay or lesbian, transvestite or bisexual, but whose behaviors or beliefs may sometimes be interpreted by others as uncharacteristic of their sex - this book is the first to provide an intimate look at how many two-spirit people feel about themselves, how other Native Americans treat them, and how anthropologists and other scholars interpret them and their cultures."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved

I could hand you a braid of sweetgrass as thick and shining as the braid that hung down my grandmother's back. But it is not mine to give, nor yours to take. Wiingaashk belongs to herself. I offer, in her place, a braid of stories meant to heal our relationship with the world. As a botanist, Robin Wall Kimmerer is trained to use the tools of science to ask questions of nature. As a member of the Citizen Potawatomi Nation, she embraces plants and animals as our oldest teachers. Drawing from her experiences as an Indigenous scientist, Kimmerer demonstrated how when we listen to the languages of other beings--from strawberries and witch hazel to water lilies and lichen--we are capable of understanding the generosity of the earth and learn to give our own gifts in return in her best-selling book Braiding Sweetgrass. Adapted for young adults by Monique Gray Smith, this new edition reinforces how wider ecological understanding stems from listening to the earth's oldest teachers: the plants around us. With informative sidebars, reflection questions, and art from illustrator Nicole Neidhardt, Braiding Sweetgrass for Young Adults highlights how acknowledging and celebrating our reciprocal relationship with the earth results in a wider, more complete understanding of our place and purpose.

On June 25, 2013, the U.S. Supreme Court heard the case Adoptive Couple vs. Baby Girl, which pitted adoptive parents Matt and Melanie Capobianco against baby Veronica's biological father, Dusten Brown, a citizen of the Cherokee Nation of Oklahoma. Veronica's biological mother had relinquished her for adoption to the Capobiancos without Brown's consent. Although Brown regained custody of his daughter using the Indian Child Welfare Act (ICWA) of 1978, the Supreme Court ruled in favor of the Capobiancos, rejecting the purpose of the ICWA and ignoring the long history of removing Indigenous children from their families. In A Generation Removed, a powerful blend of history and family stories, award-winning historian Margaret D. Jacobs examines how government authorities in the post-World War II era removed thousands of American Indian children from their families and placed them in non-Indian foster or adoptive families. By the late 1960s an estimated 25 to 35 percent of Indian children had been separated from their families. Jacobs also reveals the global dimensions of the phenomenon: these practices undermined Indigenous families and their communities in Canada and Australia as well. Jacobs recounts both the trauma and resilience of Indigenous families as they struggled to reclaim the care of their children, leading to the ICWA in the United States and to national investigations, landmark apologies, and redress in Australia and Canada.