. . . No one is writing better or more needed verse than this."--Boston Evening Globe

    Water Protectors knew this battle for native sovereignty had already been fought many times before, and that, even after the encampment was gone, their anticolonial struggle would continue. In Our History Is the Future, Nick Estes traces traditions of Indigenous resistance that led to the #NoDAPL movement. Our History Is the Future is at once a work of history, a manifesto, and an intergenerational story of resistance.

    “What is a body in a stolen country,” Yoon asks. “What is right in war.”Moving readers through time, space, and different cultures, and bringing vivid life to the testimonies and confessions of the victims,Yoon takes possession of a painful and shameful history even while unearthing moments of rare beauty in acts of resistance and resilience, and in the instinct to survive and bear witness.

    Evincing the power of translation as a poetic device to navigate historical and linguistic borders, it explores Edward Said's notion of "the intertwined and overlapping histories" in regards to South Korea and the United States through innovative deployments of voice, story, and poetics. Like its sister book, Hardly War, it holds history accountable, its very presence a resistance to empire and a hope in humankind.

    Many were written in response to the grim tide of emotions, memories, dreams and nightmares that arose in her as the Truth and Reconciliation process unfolded. With fearlessly wrought verse, Halfe describes how the experience of the residential schools continues to haunt those who survive, and how the effects pass like a virus from one generation to the next. She asks us to consider the damage done to children taken from their families, to families mourning their children; damage done to entire communities and to ancient cultures. Halfe’s poetic voice soars in this incredibly moving collection as she digs deep to discover the root of her pain. Her images, created from the natural world, reveal the spiritual strength of her culture.

    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.

    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.

    Trethewey's resonant and beguiling collection is a haunting conversation between personal experience and national history.

    Alan Paton’s impassioned novel about a black man’s country under white man’s law is a work of searing beauty.Cry, the beloved country, for the unborn child that is the inheritor of our fear. Let him not love the earth too deeply. Let him not laugh too gladly when the water runs through his fingers, nor stand too silent when the setting sun makes red the veld with fire. Let him not be too moved when the birds of his land are singing, nor give too much of his heart to a mountain or valley. For fear will rob him of all if he gives too much.The eminent literary critic Lewis Gannett wrote, “We have had many novels from statesmen and reformers, almost all bad; many novels from poets, almost all thin. In Alan Paton’s Cry, the Beloved Country the statesman, the poet and the novelist meet in a unique harmony.” Cry, the Beloved Country is the deeply moving story of the Zulu pastor Stephen Kumalo and his son, Absalom, set against the background of a land and a people riven by racial injustice. Remarkable for its lyricism, unforgettable for character and incident, Cry, the Beloved Country is a classic work of love and hope, courage and endurance, born of the dignity of man.

    Winner of the Nobel Prize in LiteratureFrom Pulitzer Prize-winning poet Louise Glück, a stunningly beautiful collection of poems that encompasses the natural, human, and spiritual realmsBound together by the universal themes of time and mortality and with clarity and sureness of craft, Louise Glück's poetry questions, explores, and finally celebrates the ordeal of being alive.

    In her absence, the landscape had been altered beyond recognition, her tribal government swayed by corporate interests, and her community burdened by a surge in violence and addiction. Three years later, when Lissa learned that a young white oil worker, Kristopher "KC" Clarke, had disappeared from his reservation worksite, she became particularly concerned. No one knew where Clarke had gone, and few people were actively looking for him.Yellow Bird traces Lissa's steps as she obsessively hunts for clues to Clarke's disappearance. She navigates two worlds--that of her own tribe, changed by its newfound wealth, and that of the non-Native oilmen, down on their luck, who have come to find work on the heels of the economic recession. Her pursuit of Clarke is also a pursuit of redemption, as Lissa atones for her own crimes and reckons with generations of trauma.

    We—Indigenous, Black and people of color, women and trans folks, migrants, and working people—did not create this disaster, but we have inherited it. We have barely a decade to turn back the tide of climate disaster. It is time to reclaim the life and destiny that has been stolen from us and rise up together to confront this challenge and build a world where all life can thrive. Only mass movements can do what the moment demands. Politicians may or may not follow--it is up to them--but we will design, build, and lead this movement with or without them.The Red Deal is a call for action beyond the scope of the US colonial state. It’s a program for Indigenous liberation, life, and land—an affirmation that colonialism and capitalism must be overturned for this planet to be habitable for human and other-than-human relatives to live dignified lives. The Red Deal is not a response to the Green New Deal, or a “bargain” with the elite and powerful. It’s a deal with the humble people of the earth; a pact that we shall strive for peace and justice and a declaration that movements for justice must come from below and to the left.

    Little Tree as his grandparents call him is shown how to hunt and survive in the mountains, to respect nature in the Cherokee Way, taking only what is needed, leaving the rest for nature to run its course. Little Tree also learns the often callous ways of white businessmen and tax collectors, and how Granpa, in hilarious vignettes, scares them away from his illegal attempts to enter the cash economy. Granma teaches Little Tree the joys of reading and education. But when Little Tree is taken away by whites for schooling, we learn of the cruelty meted out to Indian children in an attempt to assimilate them and of Little Tree's perception of the Anglo world and how it differs from the Cherokee Way. A classic of its era, and an enduring book for all ages, The Education of Little Tree has now been redesigned for this twenty-fifth anniversary edition.

    He tells her that his words were stolen from him when he was taken to live at a residential school as a boy. The little girl then sets out to help her grandpa find his language again.

    Writing in a lyrical mixture of Spanish and English that is her unique heritage, she meditates on the condition of Chicanos in Anglo culture, women in Hispanic culture, and lesbians in the straight world. Her essays and poems range over broad territory, moving from the plight of undocumented migrant workers to memories of her grandmother, from Aztec religion to the agony of writing. Anzaldua is a rebellious and willful talent who recognizes that life on the border, "life in the shadows," is vital territory for both literature and civilization. Venting her anger on all oppressors of people who are culturally or sexually different, the author has produced a powerful document that belongs in all collections with emphasis on Hispanic American or feminist issues.