Black Elk's searing visions of the unity of humanity and Earth, conveyed by John G. Neihardt, have made this book a classic that crosses multiple genres. Whether appreciated as the poignant tale of a Lakota life, as a history of a Native nation, or as an enduring spiritual testament, Black Elk Speaks is unforgettable.Black Elk met the distinguished poet, writer, and critic John G. Neihardt in 1930 on the Pine Ridge Reservation in South Dakota and asked Neihardt to share his story with the world. Neihardt understood and conveyed Black Elk's experiences in this powerful and inspirational message for all humankind.

    At first she enjoys exploring the area around their new home, including the boyhood haunts of the celebrated American writer Wallace Stegner, the back roads of the Cypress Hills, the dinosaur skeletons at the T.Rex Discovery Centre, the fossils to be found in the dust-dry hills. She also revels in her encounters with the wild inhabitants of this mysterious land-three coyotes in a ditch at night, their eyes glinting in the dark; a deer at the window; a cougar pussy-footing it through a gully a few minutes' walk from town.But as Savage explores further, she uncovers a darker reality-a story of cruelty and survival set in the still-recent past--and finds that she must reassess the story she grew up with as the daughter, granddaughter, and great-granddaughter of prairie homesteaders.Beautifully written, impeccably researched, and imbued with Savage's passion for this place, A Geography of Blood offers both a shocking new version of plains history and an unforgettable portrait of the windswept, shining country of the Cypress Hills.

    This incisive single-volume report tells the stories of the conquest and survival of five great American cultures — Aztec, Maya, Inca, Cherokee, and Iroquois. Through their eloquent words, we relive their strange, tragic experiences — including, in a new epilogue, incidents that bring us up to the twenty-first century.

    St. Anne’s, in north­ern Ontario, is an institution now notorious for the range of punishments that staff and teachers inflicted on students. Even as Metatawabin built the trappings of a successful life—wife, kids, career—he was tormented by horrific memories. Fuelled by alcohol, the trauma from his past caught up with him, and his family and work lives imploded. In seeking healing, Metatawabin travelled to southern Alberta. There he learned from elders, par­ticipated in native cultural training workshops that emphasize the holistic approach to personhood at the heart of Cree culture, and finally faced his alcoholism and PTSD. Metatawabin has since worked tirelessly to expose the wrongdoings of St. Anne’s, culminating in a recent court case demanding that the school records be released to the Truth and Reconciliation Commission. Now Metatawabin’s mission is to help the next generation of residential school survivors. His story is part of the indigenous resurgence that is happening across Canada and worldwide: after years of oppression, he and others are healing themselves by rediscovering their culture and sharing their knowledge.  Coming full circle, Metatawabin’s haunting and brave narrative offers profound lessons on the impor­tance of bearing witness, and the ability to become whole once again.

    In considering the connections between literature and lived experience, this book contemplates four key questions at the heart of Indigenous kinship traditions: How do we learn to be human? How do we become good relatives? How do we become good ancestors? How do we learn to live together? Blending personal narrative and broader historical and cultural analysis with close readings of key creative and critical texts, Justice argues that Indigenous writers engage with these questions in part to challenge settler-colonial policies and practices that have targeted Indigenous connections to land, history, family, and self. More importantly, Indigenous writers imaginatively engage the many ways that communities and individuals have sought to nurture these relationships and project them into the future. This provocative volume challenges readers to critically consider and rethink their assumptions about Indigenous literature, history, and politics while never forgetting the emotional connections of our shared humanity and the power of story to effect personal and social change. Written with a generalist reader firmly in mind, but addressing issues of interest to specialists in the field, this book welcomes new audiences to Indigenous literary studies while offering more seasoned readers a renewed appreciation for these transformative literary traditions.

    Five decades ago, Native American leaders launched a crusade to force museums to return their sacred objects and allow them to rebury their kin. Today, hundreds of tribes use the Native American Graves Protection and Repatriation Act to help them recover their looted heritage from museums across the country. As senior curator of anthropology at the Denver Museum of Nature & Science, Chip Colwell has navigated firsthand the questions of how to weigh the religious freedom of Native Americans against the academic freedom of scientists and whether the emptying of museum shelves elevates human rights or destroys a common heritage. This book offers his personal account of the process of repatriation, following the trail of four objects as they were created, collected, and ultimately returned to their sources: a sculpture that is a living god, the scalp of a massacre victim, a ceremonial blanket, and a skeleton from a tribe considered by some to be extinct. These specific stories reveal a dramatic process that involves not merely obeying the law, but negotiating the blurry lines between identity and morality, spirituality and politics. Things, like people, have biographies. Repatriation, Colwell argues, is a difficult but vitally important way for museums and tribes to acknowledge that fact—and heal the wounds of the past while creating a respectful approach to caring for these rich artifacts of history.

    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.

    The rise of DNA testing has further complicated the issues and raised the stakes.In Native American DNA, Kim TallBear shows how DNA testing is a powerful—and problematic—scientific process that is useful in determining close biological relatives. But tribal membership is a legal category that has developed in dependence on certain social understandings and historical contexts, a set of concepts that entangles genetic information in a web of family relations, reservation histories, tribal rules, and government regulations. At a larger level, TallBear asserts, the “markers” that are identified and applied to specific groups such as Native American tribes bear the imprints of the cultural, racial, ethnic, national, and even tribal misinterpretations of the humans who study them.TallBear notes that ideas about racial science, which informed white definitions of tribes in the nineteenth century, are unfortunately being revived in twenty-first-century laboratories. Because today’s science seems so compelling, increasing numbers of Native Americans have begun to believe their own metaphors: “in our blood” is giving way to “in our DNA.” This rhetorical drift, she argues, has significant consequences, and ultimately she shows how Native American claims to land, resources, and sovereignty that have taken generations to ratify may be seriously—and permanently—undermined.

    Kinsella meant little or nothing to readers of Canadian fiction. Dance Me Outside, a collection of stories about the Indian reserve near Hobbema in southern Alberta, changed all that. Then came Scars and now Born Indian, a new collection of stories about such old friends as Silas Ermineskin, Frank Fence-post and Mad Etta. Comedy is rare in Canadian writing and Kinsella is treasured above all for his sense of humour. He also knows how to tell a story, which makes him a delightful companion in any season.

    While little of the pueblo itself remains, five centuries of history lie beneath the low rises of sandstone masonry, and theories about the events of that night are as persistent as the desert winds. The easternmost town on Antelope Mesa, Awat’ovi was renowned for its martial strength, and had been the gateway to the entire Hopi landscape for centuries. Why did kinsmen target it for destruction?Drawing on oral traditions, archival accounts, and extensive archaeological research, James Brooks unravels the story and its significance. Mesa of Sorrows follows the pattern of an archaeological expedition, uncovering layer after layer of evidence and theories. Brooks questions their reliability and shows how interpretations were shaped by academic, religious and tribal politics. Piecing together three centuries of investigation, he offers insight into why some were spared—women, mostly, and taken captive—and others sacrificed. He weighs theories that the attack was in retribution for Awat’ovi having welcomed Franciscan missionaries or for the residents’ practice of sorcery, and argues that a perfect storm of internal and external crises revitalized an ancient cycle of ritual bloodshed and purification.A haunting account of a shocking massacre, Mesa of Sorrows is a probing exploration of how societies confront painful histories, and why communal violence still plagues us today.

    Talayesva, the Sun Chief, who was born and reared until the age of ten as a Hopi Indian, and then trained as a white man until he was twenty. Although torn between two worlds and cultures, he returned to Hopiland and readopted all the tribal customs. This is his autobiography, written for Leo Simmons, a white man who was a clan brother.

    The many highlights include Lee Maracle's creation story, Salish style; Tomson Highway explaining why Cree is the sexiest of all languages; Joseph Boyden asking the eternal question, "Do Native people have less (or more) pubic hair?"; Marius P. Tungilik looking at the dark side of Inuit sex; and Marissa Crazytrain discussing her year as a stripper in Toronto, and how it shaped her life back in Saskatchewan.

    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.

    Yet, in his many travels, he'd never visited the Northwest Territories, "the white ribbon across the top of North American maps found beneath a paper crease still crisp at the fold." After an all-too-brief visit to a literary festival in Yellowknife, Bidini was hooked on the place and its people. From the time he returned home, all he could do was think about going back to the North.At the same time, Bidini found himself at a career crossroads. His position as a columnist with a national newspaper had come to an end, leaving him reflecting on his lifelong love of newspapers and questioning the future of journalism in Canada. Writing had always been Bidini's way to make sense of the world around him and he was determined to find an outlet for his unique perspective. Still fresh with the memories of his recent visit to the Northwest Territories, Bidini contacts the Yellowknifer, one of the last truly local and independent newspapers, and signs on as a guest columnist for an unforgettable summer. Midnight Light: A Personal Journey to the North, is Dave Bidini's fast, funny and, at times, powerfully poignant chronicle of the incredible time he spent "up there" in the NWT. The Yellowknifer, like the city it serves, bucks all of the trends and invokes all of the charms and frustrations of stubborn nationalism. The newspaper is completely locally-focused and treats the global news sharescape as if it never existed. The paper gives Bidini a ground-level view of a city and its environs, including Great Bear Lake, Tuktoyaktuk, and Nahanni National Park, that are on one hand lost in time, and on another faced with the very stark realities of poverty, racism, addiction, and hopelessness. Along the way, Midnight Light introduces readers to an extraordinary cast of characters, including Dene elders and entrepreneurs adapting to a changing way of life, various artists who are giving the region a powerful voice to the rest of the world, politicians and law enforcement officers who are dealing with the community's difficult history and economic realities, and an assortment of complicated souls from the South who have travelled North as a "last chance" to build lives for themselves. Woven throughout Midnight Light's tremendous narrative is the story of the irascible John McFadden, a veteran Toronto newspaper crime reporter who "escaped" to Yellowknife. McFadden is the key character in the Yellowknifer's ongoing fight with the authorities (RCMP forces) who do not take kindly to journalistic doggedness. McFadden and the paper became the centre of attention across the country when he was charged with obstruction and threatened with jail time. He was found not guilty and the police were forced to change their tactics. Yet the tension between the RCMP and the Yellowknifer remains unresolved. In Midnight Light, Dave Bidini brings Yellowknife, the Northwest Territories and its remarkable and proud people to brilliant life.

    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.