This oppression continued for decades, until, in the summer of 1680, led by a visionary shaman named Pope, the Puebloans revolted. In total secrecy they coordinated an attack, killing 401 settlers and soldiers and routing the rulers in Santa Fe. Every Spaniard was driven from the Pueblo homeland, the only time in North American history that conquering Europeans were thoroughly expelled from Indian territory. Yet today, more than three centuries later, crucial questions about the Pueblo Revolt remain unanswered. How did Pope succeed in his brilliant plot? And what happened in the Pueblo world between 1680 and 1692, when a new Spanish force reconquered the Pueblo peoples with relative ease? David Roberts set out to try to answer these questions and to bring this remarkable historical episode to life. He visited Pueblo villages, talked with Native American and Anglo historians, combed through archives, discovered backcountry ruins, sought out the vivid rock art panels carved and painted by Puebloans contemporary with the events, and pondered the existence of centuries-old Spanish documents never seen by Anglos.

    Stories about the Battle of Little Bighorn are therefore often more myth than truth. In 1922, Thomas B. Marquis decided to uncover the true story of Custer’s Last Stand by speaking to someone who had actually fought against him. For hour after hour Marquis spoke to Wooden Leg and pieced together the narrative of the battle. Yet, Marquis’ studies cover much more than the final demise of Custer. Through his interviews with Wooden Leg, who was a young man at the time of Little Bighorn, he was able to uncover fascinating details about the everyday life of Cheyenne Indians and their practices. Their hunting practices, their conflicts with the Crows, how they were given names, their religion, their marriage customs, and other details of their way of life are all covered. As the relations between American soldiers and Native Americans grew more tense Wooden Leg and his Cheyenne people were drawn into conflict. Wooden Leg provides a fascinating account of how the Native American tribes were drawn together in a loose alliance to repel the oppression to which they had been subjected. Though the Native Americans won the battle, they certainly did not win the war. Wooden Leg’s account of the years after Little Bighorn demonstrates how many Native Americans struggled with life on the reservations and how they longed to be on the plains once again. Wooden Leg’s memoirs interpreted by Thomas B. Marquis give a fascinating insight into Native American life in the late-nineteenth century. “[A] deeply interesting story.” The New York Times After entering a reservation Wooden Leg worked as a scout, messenger and sentry. He was part of the 1913 delegation sent to Washington to speak about the Cheyenne tribe. Later he became a judge on the reservation and died in 1940.

    Faced with unceasing pressure, her father finally agrees to let her make the five-day journey to attend school, but he warns Margaret of the terrors of residential schools.At school Margaret soon encounters the Raven, a black-cloaked nun with a hooked nose and bony fingers that resemble claws. She immediately dislikes the strong-willed young Margaret. Intending to humiliate her, the heartless Raven gives gray stockings to all the girls -- all except Margaret, who gets red ones. In an instant Margaret is the laughingstock of the entire school.In the face of such cruelty, Margaret refuses to be intimidated and bravely gets rid of the stockings. Although a sympathetic nun stands up for Margaret, in the end it is this brave young girl who gives the Raven a lesson in the power of human dignity.Complemented by archival photos from Margaret Pokiak-Fenton's collection and striking artwork from Liz Amini-Holmes, this inspiring first-person account of a plucky girl's determination to confront her tormentor will linger with young readers.

    Afterward he lived in New York, the city of choice for political exiles, and eventually arrived in Washington, D.C., at the newly minted National Museum of the American Indian (“a bad idea whose time has come”) as a curator. In his journey from fighting activist to federal employee, Smith tells us he has discovered at least two things: there is no one true representation of the American Indian experience, and even the best of intentions sometimes ends in catastrophe. Everything You Know about Indians Is Wrong is a highly entertaining and, at times, searing critique of the deeply disputed role of American Indians in the United States. In “A Place Called Irony,” Smith whizzes through his early life, showing us the ironic pop culture signposts that marked this Native American’s coming of age in suburbia: “We would order Chinese food and slap a favorite video into the machine—the Grammy Awards or a Reagan press conference—and argue about Cyndi Lauper or who should coach the Knicks.” In “Lost in Translation,” Smith explores why American Indians are so often misunderstood and misrepresented in today’s media: “We’re lousy television.” In “Every Picture Tells a Story,” Smith remembers his Comanche grandfather as he muses on the images of American Indians as “a half-remembered presence, both comforting and dangerous, lurking just below the surface.” Smith walks this tightrope between comforting and dangerous, offering unrepentant skepticism and, ultimately, empathy. “This book is called Everything You Know about Indians Is Wrong, but it’s a book title, folks, not to be taken literally. Of course I don’t mean everything, just most things. And ‘you’ really means we, as in all of us.”

    It has been translated into every major language on Earth and dozens of minor ones; it has spawned entire genres of animation, and had more books written about it than all but a handful of American Presidents. Even its minor characters have become iconic, and the titular family is recognizable in almost every corner of the planet. It is a definitive and truly global cultural phenomenon, perhaps the biggest of the television age. As of this writing, if you flip on FOX at 8pm on Sundays, you will see a program that bills itself as "The Simpsons". It is not "The Simpsons". That show, the landmark piece of American culture that debuted on 17 December 1989, went off the air more than a decade ago. The replacement is a hopelessly mediocre imitation that bears only a superficial resemblance to the original. It is the unwanted sequel, the stale spinoff, the creative dry hole that is kept pumping in the endless search for more money. It is Zombie Simpsons.

    Its rich variety of 34 primary sources - including narratives, myths, speeches, and transcribed oral histories - gives students the rare opportunity to view the transformation of the West from Native American perspective. Calloway's comprehensive introduction offers crucial information on western expansion, territorial struggles among Indian tribes, the slaughter of the buffalo, and forced assimilation through the reservation system. More than 30 pieces of Plains Indian art are included, along with maps, headnotes, questions for consideration, a bibliography, a chronology, and an index. A Sioux archive --Horses, guns, and smallpox --The life and death of Four Bears --Counting coups and fighting for survival in Crow country --Massacres North and South --Talking to the Peace Commissioners: the Treaty of Medicine Lodge, 1867 --The slaughter of the buffalo --The battle of the Greasy Grass, 1876 --The end of freedom --Going home --Attending the white man's schools --Killing the dream

    As one served American expansion by promoting Indian dispossession and religious conversion, and the other struggled to defend and strengthen Indian territories, the two friends became bitter enemies. Their battle over control of the Indian borderland, that divided ground between the British Empire and the nascent United States, would come to define nationhood in North America. Taylor tells a fascinating story of the far-reaching effects of the American Revolution and the struggle of American Indians to preserve a land of their own.

    In this book, first published in 1972, he recounts a Zuni myth first recorded a century ago by the anthropologist Frank Hamilton Cushing. Hillerman's version of the story, written to be read by children ten years old and up, will have equal appeal for adults with an interest in Native American culture.In our society, Hillerman explains, this would be called a 'Bible story.' Like stories based on the Old Testament, this narrative is intended to teach both the history and morality of a people. It tells the consequences of a drought in which Zuni crops were ruined and the tribe was forced to accept charity from neighboring Hopis.

    Called “the team that invented football,” Carlisle’s innovative squad challenged the greatest, most elite teams—Harvard, Yale, Army—audaciously vowing to take their place among the nation’s football powers.This is an astonishing underdog sports story—and more. It’s an unflinching look at the U.S. government’s violent persecution of Native Americans and the school that was designed to erase Indian cultures. It’s the story of a group of young men who came together at that school, the overwhelming obstacles they faced both on and off the field, and their absolute refusal to accept defeat.

    For more than forty years, Theodora Kroeber's biography has captivated readers. Now recent advances in technology make it possible to return to print the 1976 deluxe edition, filled with plates and historic photographs that enhance Ishi's story and bring it to life.Ishi stumbled into the twentieth century on the morning of August 29, 1911, when, desperate with hunger and terrified of the white murderers of his family, he was found in the corral of a slaughter house near Oroville, California. Finally identified as a Yahi by an anthropologist, Ishi was brought to San Francisco by Professor T. T. Waterman and lived there the rest of his life under the care and protection of Alfred Kroeber and the staff of the University of California's Museum of Anthropology.Karl Kroeber adds an informative tribute to the text, describing how the book came to be written and how Theodora Kroeber's approach to the project was a product of both her era and her special personal insight and empathy.

    There are many corrections and many notes stuck between the pages, and the ink and pencil are faded and often difficult to read. I have had to guess at the meaning a few times and hope I haven’t done too much harm to her intent. Many changes were made in punctuation, spelling, paragraphing and chapters, and I’ve updated a few words, like Black Feet to Blackfoot. She made a few mistakes I did not correct, like mixing up the locations of the Little Blue and Big Blue rivers. The name Mary Faraday Huntington does not appear in any of the old records. Whoever wrote the words was neither shy nor humble, has a very foul mouth, and shamelessly talks about things rarely mentioned in stories of the Wild West. Her story is the way it was long ago, not the sugar coated fairly tales of book and film. Her story reminds me of something Jamake Highwater wrote: “The outward rusticity of primal behavior makes Western people devise a self-serving ideal of themselves as civilized, which sets them widely apart from other peoples and from nature. Their withdrawal from an awareness of their place in nature is nearly complete…primal peoples live among animals and vegetation constantly in close contact with the sources of nourishment and death, understanding their environment and expressing their ideas and feelings in terms of the natural world. In contrast, people in the West have created an idealization of their relationship with nature which has neither life nor spirit.” ADVENTURES IN THE WILD WEST OF LONG AGO Mary Faraday Huntington I’ve led a wild life and had a hell of a good time. I still have my nose, all my fingers and my scalp thanks to my high intelligence, strength, quickness, excellent judgment, and a little help from all my many, many friends. I promise not to lie too bad. If you are a prissy little thing, best to pass on by. If you are a refined gentleman, pass on by. 1. You’re just a girrrrrrl 2. The Under Water People 3. Fort Childs 4. Rising Wolf 5. The second best whorehouse in town 1 YOU’RE JUST A GIRRRRRL “You can't race. You’re just a girrrrrrl!” I bounced him a good one and he shrieked and jumped up and down with blood spurting out of his big, ugly nose. Oh my, how he did carry on. I got on my pony and went to the line. The flag dropped and off we went. No problem, I promised Charlie 3 cobs if we win. He got his corn and I got a shiny silver dollar and a tin can full of chewing tobacco. I traded the can for a bunch of fancy ribbons at old man Bailey’s haberdashery. ____________________ My name is Mary Faraday Huntington and I was born in 1834 at Independence, Missouri. My mother died when I was 9 months old and an Indian woman working at a whorehouse was the only one Christian enough to take me in. Don’t know who my father was but he must have been big, strong, and sharp as a whip. Probably an army man having a little fun. Sure they call me a bastard, but they learned quick enough not to do that to my face. Jennie is a Blackfoot spirit woman and a real good mother who cooks and cleans at Polly’s Paradise. We have a little room in the basement. Her real name is Aokii’aki, Water Woman. She taught me sign and Blackfoot, how to live off the land, and how to fight with my hands and feet and knife. And she is teaching me the ways of a spirit woman.

    He has affirmed his innocence ever since--his case was made fully and famously in Peter Matthiessen's bestselling In the Spirit of Crazy Horse--and many remain convinced he was wrongly convicted. Prison Writings is a wise and unsettling book, both memoir and manifesto, chronicling his life in Leavenworth Prison in Kansas. Invoking the Sun Dance, in which pain leads one to a transcendent reality, Peltier explores his suffering and the insights it has borne him. He also locates his experience within the history of the American Indian peoples and their struggles to overcome the federal government's injustices.

    But how did they come to be here? What were their agricultural, spiritual, and hunting practices? How did their societies evolve and what challenges do they face today? Eminent historians Theda Perdue and Michael Green begin by describing how nomadic bands of hunter-gatherers followed the bison and woolly mammoth over the Bering land mass between Asia and what is now Alaska between 25,000 and 15,000 years ago, settling throughout North America. They describehunting practices among different tribes, how some made the gradual transition to more settled, agricultural ways of life, the role of kinship and cooperation in Native societies, their varied burial rites and spiritual practices, and many other features of Native American life. Throughout the book, Perdue and Green stress the great diversity of indigenous peoples in America, who spoke more than 400 different languages before the arrival of Europeans and whose ways of life varied according to the environments they settled in and adapted to so successfully. Most importantly, the authors stresshow Native Americans have struggled to maintain their sovereignty--first with European powers and then with the United States--in order to retain their lands, govern themselves, support their people, and pursue practices that have made their lives meaningful. Going beyond the stereotypes that so often distort our views of Native Americans, this Very Short Introduction offers a historically accurate, deeply engaging, and often inspiring account of the wide array of Native peoples in America.About the Series: Combining authority with wit, accessibility, and style, Very Short Introductions offer an introduction to some of life's most interesting topics. Written by experts for the newcomer, they demonstrate the finest contemporary thinking about the central problems and issues in hundredsof key topics, from philosophy to Freud, quantum theory to Islam.

    Apache conceptions of wisdom, manners and morals, and of their own history are inextricably intertwined with place, and by allowing us to overhear his conversations with Apaches on these subjects Basso expands our awareness of what place can mean to people.Most of us use the term "sense of place" often and rather carelessly when we think of nature or home or literature. Our senses of place, however, come not only from our individual experiences but also from our cultures. "Wisdom Sits in Places," the first sustained study of places and place-names by an anthropologist, explores place, places, and what they mean to a particular group of people, the Western Apache in Arizona. For more than thirty years, Keith Basso has been doing fieldwork among the Western Apache, and now he shares with us what he has learned of Apache place-names--where they come from and what they mean to Apaches."This is indeed a brilliant exposition of landscape and language in the world of the Western Apache. But it is more than that. Keith Basso gives us to understand something about the sacred and indivisible nature of words and place. And this is a universal equation, a balance in the universe. Place may be the first of all concepts; it may be the oldest of all words."--N. Scott Momaday"In "Wisdom Sits in Places" Keith Basso lifts a veil on the most elemental poetry of human experience, which is the naming of the world. In so doing he invests his scholarship with that rarest of scholarly qualities: a sense of spiritual exploration. Through his clear eyes we glimpse the spirit of a remarkable people and their land, and when we look away, we see our own world afresh."--William deBuys"A very exciting book--authoritative, fully informed, extremely thoughtful, and also engagingly written and a joy to read. Guiding us vividly among the landscapes and related story-tellings of the Western Apache, Basso explores in a highly readable way the role of language in the complex but compelling theme of a people's attachment to place. An important book by an eminent scholar."--Alvin M. Josephy, Jr.

    At the Boston Tea Party, colonial rebels played Indian in order to claim an aboriginal American identity. In the nineteenth century, Indian fraternal orders allowed men to rethink the idea of revolution, consolidate national power, and write nationalist literary epics. By the twentieth century, playing Indian helped nervous city dwellers deal with modernist concerns about nature, authenticity, Cold War anxiety, and various forms of relativism. Deloria points out, however, that throughout American history the creative uses of Indianness have been interwoven with conquest and dispossession of the Indians. Indian play has thus been fraught with ambivalence—for white Americans who idealized and villainized the Indian, and for Indians who were both humiliated and empowered by these cultural exercises. Deloria suggests that imagining Indians has helped generations of white Americans define, mask, and evade paradoxes stemming from simultaneous construction and destruction of these native peoples. In the process, Americans have created powerful identities that have never been fully secure.