Starting in the present day and moving backward, the novel is told in the voices of the three women: fifteen-year-old part-black Rayona; her American Indian mother, Christine, consumed by tenderness and resentment toward those she loves; and the fierce and mysterious Ida, mother and grandmother whose haunting secrets, betrayals, and dreams echo through the years, braiding together the strands of the shared past.

    They are inspired by the late-night talk radio discourses of Stone Columbus, a trickster healer who became rich as the captain of the sovereign bingo barge Santa Maria Casino, anchored in the international waters of the Lake of the Woods. The heirs' plan to reclaim their heritage enrages the government and inspires the tribal nations in a comic tale of mythic proportions.Vizenor is a mixed-blood Chippewa who writes fiction in the trickster mode of Native American tradition, using humor to challenge received ideas and subvert the status quo. In The Heirs of Columbus, he "reveals not only how Indians have staved off the tidal wave of assimilation," noted the San Francisco Chronicle, "but also how, through humor and persistence, they sometimes reverse the direction of cultural appropriation and, in the process, transform the alien values imposed on them.""Vizenor understands the wilder, irrational, half-mad parts of the Discoverer's soul as few people ever have," noted Kirkpatrick Sale in the Nation; "Columbus is appropriated here in an entirely new way, made to be an Indian in service to his Indian descendants." And the Voice Literary Supplement said, "Even more rousing than Vizenor's deconstruction of Columbus, though, is his alternative vision of an American identity."

    Some of these encounters are slights, seeming slips of the tongue, and some are intentional offensives in the classroom, at the supermarket, at home, on the tennis court with Serena Williams and the soccer field with Zinedine Zidane, online, on TV-everywhere, all the time. The accumulative stresses come to bear on a person's ability to speak, perform, and stay alive. Our addressability is tied to the state of our belonging, Rankine argues, as are our assumptions and expectations of citizenship. In essay, image, and poetry, Citizen is a powerful testament to the individual and collective effects of racism in our contemporary, often named "post-race" society.

    What Would your life say if it could talk?                                                            —from “No Fly Zone”With allusions to David Bowie and interplanetary travel, Life on Mars imagines a soundtrack for the universe to accompany the discoveries, failures, and oddities of human existence. In these new poems, Tracy K. Smith envisions a sci-fi future sucked clean of any real dangers, contemplates the dark matter that keeps people both close and distant, and revisits the kitschy concepts like “love” and “illness” now relegated to the Museum of Obsolescence. These poems reveal the realities of life lived here, on the ground, where a daughter is imprisoned in the basement by her own father, where celebrities and pop stars walk among us, and where the poet herself loses her father, one of the engineers who worked on the Hubble Space Telescope.

    Filled with the sharp humor, emotional acuity, and joyful language Moore has become famous for, these nine glittering tales marked the introduction of an extravagantly gifted writer.

    . . He's a very different kind of Wasano, bloodsucker, he always hungers for more".—from Shell ShakerThe action in this debut novel alternates between 1738, as a Choctaw family prepares for war against the English, and the 1990s, as their Oklahoma descendants, the Billys, fight a Mafia takeover of the tribe's casino. In trouble with the law and in the fight of their lives, the Billy women must find a way, as their ancestors did, to join forces against a devious foe. Humor, toughness, and resourcefulness are the Billys' only weapons.Until the Shell Shaker shows up.LeAnne Howe, an enrolled member of the Choctaw Nation of Oklahoma, is a fiction writer, playwright, scholar and poet whose writings on Choctaw women are drawn from both personal experience and scholarly research. Her short fiction has appeared in several anthologies, including Through the Eye of the Deer, Returning the Gift, Spider Woman's Granddaughters, and Earth Song, Sky Spirit, as well as in journals such as Callaloo and Fiction International.Howe has read her fiction and lectured throughout the United States, Japan and the Middle East, and her plays have been produced in Los Angeles and New York City. She has also presented programs on recruitment and retention of American Indians at universities and colleges. Currently, she teaches in the English Department at Wake Forest University in Winston-Salem, North Carolina.In 1991, Howe received a National Endowment for the Humanities grant to conduct research for Shell Shaker.

    Spanning more than 400 years, this classic bottom-up history examines the legacy of Indigenous peoples' resistance, resilience, and steadfast fight against imperialism.Going beyond the story of America as a country "discovered" by a few brave men in the "New World," Indigenous human rights advocate Roxanne Dunbar-Ortiz reveals the roles that settler colonialism and policies of American Indian genocide played in forming our national identity.The original academic text is fully adapted by renowned curriculum experts Debbie Reese and Jean Mendoza, for middle-grade and young adult readers to include discussion topics, archival images, original maps, recommendations for further reading, and other materials to encourage students, teachers, and general readers to think critically about their own place in history.

    For the first time, the complete collection of Maya Angelou's published poems-including "On the Pulse of Morning"-in a permanent collectible, handsome hardcover edition.

    The story that unfolds captures the intense and varied conflict that already characterized reservation life in 1936, when this remarkable novel was first published.Educated at a federal Indian boarding school, Archilde is torn not only between white and Indian cultures but also between love for his Spanish father and his Indian mother, who in her old age is rejecting white culture and religion to return to the ways of her people. Archilde's young contemporaries, meanwhile, are succumbing to the destructive influence of reservation life, growing increasingly uprooted, dissolute, and hopeless. Although Archilde plans to leave the reservation after a brief visit, his entanglements delay his departure until he faces destruction by the white man's law.In an early review of The Surrounded, Oliver La Farge praised it as "simple, clear, direct, devoid of affectations, and fast-moving." He included it in his "small list of creditable modern novels using the first Americans as theme." Several decades later, long out of print but not forgotten, The Surrounded is still considered one of the best works of fiction by or about Native Americans.

    Editors Elissa Washuta and Theresa Warburton ground this anthology of essays by Native writers in the formal art of basket weaving. Using weaving techniques such as coiling and plaiting as organizing themes, the editors have curated an exciting collection of imaginative, world-making lyric essays by twenty-seven contemporary Native writers from tribal nations across Turtle Island into a well-crafted basket.Shapes of Native Nonfiction features a dynamic combination of established and emerging Native writers, including Stephen Graham Jones, Deborah Miranda, Terese Marie Mailhot, Billy-Ray Belcourt, Eden Robinson, and Kim TallBear. Their ambitious, creative, and visionary work with genre and form demonstrate the slippery, shape-changing possibilities of Native stories. Considered together, they offer responses to broader questions of materiality, orality, spatiality, and temporality that continue to animate the study and practice of distinct Native literary traditions in North America.

    With his single mother in jail, Sequoyah, a fifteen-year-old Cherokee boy, is placed in foster care. Literally and figuratively scarred by his mother’s years of substance abuse, Sequoyah keeps mostly to himself, living with his emotions pressed deep below the surface. At least until he meets seventeen-year-old Rosemary, a troubled artist who also lives with the family.Sequoyah and Rosemary bond over their shared Native American background and tumultuous paths through the foster care system, but as Sequoyah’s feelings toward Rosemary deepen, the precariousness of their lives and the scars of their pasts threaten to undo them both.

    In simple but vivid detail, Velma Wallis depicts a landscape and way of life that are at once merciless and starkly beautiful. In her old women, she has created two heroines of steely determination whose story of betrayal, friendship, community and forgiveness "speaks straight to the heart with clarity, sweetness and wisdom" (Ursula K. Le Guin).

    For August and her girls, sharing confidences as they ambled through neighborhood streets, Brooklyn was a place where they believed that they were beautiful, talented, brilliant—a part of a future that belonged to them.But beneath the hopeful veneer, there was another Brooklyn, a dangerous place where grown men reached for innocent girls in dark hallways, where ghosts haunted the night, where mothers disappeared. A world where madness was just a sunset away and fathers found hope in religion.

    Using her training as a librarian and archivist, Geller collects her mother's documents, diaries, and photographs into a single suitcase and begins on a journey of confronting her family's history and the decisions she's been forced to make, a journey that will end at her mother's home: the Navajo reservation. Geller masterfully intertwines wrenching prose with archival documents to create a deeply moving narrative of loss and inheritance that pays homage to our pasts, traditions, heritage, the family we are given, and the family we choose.

    This collection of more than 100 poems that honestly and artfully confront topics ranging from poverty and motherhood to Van Gogh and Mandela is presented in Tupac Shakur's own handwriting on one side of the page, with a typed version on the opposite side.