Revealing Andrew Jackson's central role in the government's policies, Wallace examines the racist attitudes toward Native Americans that led to their removal and, ultimately, their tragic fate.

    Drawing on scholarly research and archaeological evidence, the author examines the accomplishments of the Anasazi people of the American Southwest and speculates on why the culture vanished by the 13th century.

    She also examines overlooked communities—including Native American, Muslim, transgender, and more—and their ongoing struggles for social change. With “intellectually smart and emotionally intelligent” (Patrisse Cullors, New York Times bestselling author and Black Lives Matter cofounder) writing, Beck meticulously documents how elitism and racial prejudice have driven the narrative of feminist discourse. Blending pop culture, primary historical research, and first-hand storytelling, she shows us how we have shut women out of the movement, and what we can do to correct our course for a new generation. Combining a scholar’s understanding with hard data and razor-sharp cultural commentary, White Feminism “is a rousing blueprint for a more inclusive ‘new era of feminism’” (The Boston Globe).

    We witness their drive as they build neighborhoods and networks and their energy as they enjoy leisure hours in dance halls and clubs. We learn of their militance and the way they resisted efforts to keep them economically depressed and medically victimized. Finally, we see the despair and defeat provoked by Jim Crow laws and segregation and how they spurred large numbers of black laboring women to migrate north.Recommended by the Association of Black Women Historians.

    It is created entirely by over 150 women of all experience levels. The purpose of the book is to show support for female creators in comics and media. There are multiple short stories, "how to"s & interviews with professionals, and features showcasing iconic female comic creators that have passed, such as Nell Brinkley and Tarpe Mills. A Kids & Teens section is also included, showcasing their work, and offering tips & tricks to help them prepare themselves for their future careers in comics.

    Now, she takes on one of today’s hottest cultural topics: feminism. Nugent is a proud feminist—and she’s not afraid to say it. From the “scarlet F” thrust upon you if you declare yourself a feminist at a party to how to handle judgmental store clerks when you buy Plan B, You Don’t Have to Like Me skewers a range of cultural issues, and confirms Nugent as a star on the rise.

    Chapter introductions provide background information on each chapter's topic, including explanations of key concepts and ideas and references to the subsequent reading selections. The anthology also offers numerous pedagogical features designed to engage students in active learning.

    His wide-ranging, acclaimed stories from the last two decades, from The Lone Ranger and Tonto Fistfight in Heaven to his most recent PEN/Faulkner award-winning War Dances, have established him as a star in modern literature. A bold and irreverent observer of life among Native Americans in the Pacific Northwest, the daring, versatile, funny, and outrageous Alexie showcases all his talents in his newest collection, Blasphemy, where he unites fifteen beloved classics with fifteen new stories in one sweeping anthology for devoted fans and first-time readers. Included here are some of his most esteemed tales, including "What You Pawn I Will Redeem," "This is What it Means to Say Phoenix, Arizona,” "The Toughest Indian in the World,” and "War Dances.” Alexie’s new stories are fresh and quintessential—about donkey basketball leagues, lethal wind turbines, the reservation, marriage, and all species of contemporary American warriors.An indispensable collection of new and classic stories, Blasphemy reminds us, on every thrilling page, why Sherman Alexie is one of our greatest contemporary writers and a true master of the short story.

    From their origins among the first group of Indians to arrive in North America some 20,000 years ago to their epic struggle to regain traditional lands taken from them in the nineteenth century, the Havasupai have a long and colorful history. The story of this tiny tribe once confined to a toosmall reservation depicts a people with deep cultural ties to the land, both on their former reservation below the rim of the Grand Canyon and on the surrounding plateaus. In the spring of 1971, the federal government proposed incorporating still more Havasupai land into Grand Canyon National Park. At hearings that spring, Havasupai Tribal Chairman Lee Marshall rose to speak. “I heard all you people talking about the Grand Canyon,” he said. “Well, you’re looking at it. I am the Grand Canyon!” Marshall made it clear that Havasu Canyon and the surrounding plateau were critical to the survival of his people; his speech laid the foundation for the return of thousands of acres of Havasupai land in 1975. I Am the Grand Canyon is the story of a heroic people who refused to back down when facing overwhelming odds. They won, and today the Havasupai way of life quietly continues in the Grand Canyon and on the surrounding plateaus.

    No confrontation was more brutal and notorious than the massacre of the British garrison of Fort William Henry--an incident memorably depicted in James Fenimore Cooper's The Last of the Mohicans. That atrocity stoked calls for revenge, and the tough young Major Robert Rogers and his "Rangers" were ordered north into enemy territory to exact it.On the morning of October 4, 1759, Rogers and his men surprised the Abenaki Indian village of St. Francis, slaughtering its sleeping inhabitants without mercy. A nightmarish retreat followed. When, after terrible hardships, the raiders finally returned to safety, they were hailed as heroes by the colonists, and their leader was immortalized as "the brave Major Rogers." But the Abenakis remembered Rogers differently: To them he was Wobomagonda--"White Devil."

    She built houses and ground corn, wove blankets and painted pottery, played field hockey and rode racehorses. Frequently she enjoyed an open and joyous sexuality before marriage; if her marriage didn't work out she could divorce her husband by the mere act of returning to her parents. She mourned her dead by tearing her clothes and covering herself with ashes, and when she herself died was often shrouded in her wedding dress. She was our native sister, the American Indian woman, and it is of her life and lore that Carolyn Niethammer writes in this rich tapestry of America's past and present. Here, as it unfolded, is the chronology of the Native American woman's life. Here are the birth rites of Caddo women from the Mississippi-Arkansas border, who bore their children alone by the banks of rivers and then immersed themselves and their babies in river water; here are Apache puberty ceremonies that are still carried on today, when the cost for the celebrations can run anywhere from one to six thousand dollars. Here are songs from the Night Dances of the Sioux, where girls clustered on one side of the lodge and boys congregated on the other; here is the Shawnee legend of the Corn Person and of Our Grandmother, the two female deities who ruled the earth. Far from the submissive, downtrodden “squaw” of popular myth, the Native American woman emerges as a proud, sometimes stoic, always human individual from whom those who came after can learn much. At a time when many contemporary American women are seeking alternatives to a lifestyle and role they have outgrown, Daughters of the Earth offers us an absorbing—and illuminating—legacy of dignity and purpose.

    In doing so they took control of their lives -- and those of other people -- and made the world do their will.Extremely accomplished, well-educated, and unusually literate, courtesans exerted an incredible influence as leaders of society. They were not received at court, but inhabited their own parallel world -- the demimonde -- complete with its own hierarchies, etiquette, and protocol. They were queens of fashion, linguists, musicians, accomplished at political intrigue, and, of course, possessors of great erotic gifts. Even to be seen in public with one of the great courtesans was a much-envied achievement.

    In the summer of 1877, General Oliver Otis Howard, a champion of African American civil rights, ruthlessly pursued hundreds of Nez Perce families who resisted moving onto a reservation. Standing in his way was Chief Joseph, a young leader who never stopped advocating for Native American sovereignty and equal rights. Thunder in the Mountains is the spellbinding story of two legendary figures and their epic clash of ideas about the meaning of freedom and the role of government in American life.

    “Real Women Write about Real Sex” in Sugar in My Bowl, as such marquee names as Gail Collins, Eve Ensler, Daphne Merken, Anne Roiphe, Liz Smith, Naomi Wolf, and Jennifer Weiner, to name but a few, join together to speak openly about female desire—what provokes it and what satisfies it. In the free, unfettered spirit of The Bitch in the House, Sugar in My Bowl explores the bedroom lives of women with daring, wit, intelligence, and candor.

    Using journals, unpublished manuscripts, songs, news accounts, novels, medical literature, and numerous interviews, she relates an often surprising narrative of lesbian life. "A key work...the point of reference from which all subsequent studies of 20th-century lesbian life in the United States will begin."—San Francisco Examiner.