Native American Literature

Two essential plays by award-winning Native American playwright Larissa FastHorse. In The Thanksgiving Play, good intentions collide with absurd assumptions when a group of white teaching artists scramble to create an ambitious, culturally sensitive Thanksgiving pageant, only to reveal that even the best of intentions can be undone by our own blind spots. Larissa FastHorse's wickedly funny satire was premiered off-Broadway at Playwrights Horizons in New York City in October 2018. In What Would Crazy Horse Do?, twins Calvin and Journey, the last two members of the Marahotah tribe, make a suicide pact to end the Marahotah when the grandfather who raised them dies. Then two white strangers knock on their door and the insular world of the twins is ripped wide open. The play was premiered by KCRep (Kansas City Repertory Theatre) in May 2017.

Drama. Native American Studies. KEEPERS OF THE MORNING STAR is the first major anthology of Native women's contemporary theater bringing together works from established and new playwrights. This collection, representing a rich diversity of Native communities, showcases the exciting range of Native women's theater today from the dynamic fusion of storytelling, ceremony, music and dance to the bold experimentation of poetic stream of consciousness and Native agitprop.

This first collection of plays by an Indian playwright presents a spectrum of Indian life that ranges in time from the past to the present and on into the future. "Body Indian, "the earliest, most widely performed, and most highly acclaimed of Geiogamah's plays, deals with a problem of the present -Indian alcoholism. But the play is not so much about alcoholism as it is about the social and moral obligations that Indian people owe to one another. "Foghorn, "through the use of humor rather than bitterness, tries to exorcise the harmful stereotyping that often stands in the way of non-Indians' understanding of Indians, and even on occasion of Indians' own appreciation of themselves. In the play "49" the author links the past with the present and points a road to the future. Here the approach is synchronic rather than diachronic. The value of Indian traditions is emphasized -but only where those traditions are used imaginatively and not treated as ossified relics to be blindly venerated. "49" celebrates the continuity of Indian life in the vigor of new forms and with an abiding optimism. This collection of plays-all widely performed and seriously and extensively reviewed-adds a new and important voice to the small body of Indian authors who write about their own people.

Seventh Generation: An Anthology of Native American Plays is the first major collection of contemporary Native American writing for the theatre. Contributors include: Hanay Geiogamah -- Body Indian William S. Yellow Robe, Jr. -- The Independence of Eddie Rose LeAnne Howe and Roxy Gordon -- Indian Radio Days Spiderwoman Theater (Lisa Mayo, Gloria Miguel, Muriel Miguel, founders) -- Power Pipes Drew Hayden Taylor -- Only Drunks and Children Tell the Truth Diane Glancy -- The Woman Who Was a Red Deer Dressed for the Deer Dance Victoria Nalani Kneubuhl -- The Story of Susanna

Cultural Writing. Native American Studies. STORIES OF OUR WAY is the first anthology of its kind to span more than thirty years of American Indian theater, including the 1930s classic THE CHEROKEE NIGHT. This distinguished group of twelve plays draws ona rich range of tribal experiences -- Cherokee, Choctaw, Creek, Kiowa, Navajo, Oneida, Otoe-Missouria, Rappahonack, and urban. They treatthe diverse stories of Native people's ways with gritty integrity, uncompromising honesty, and deep respect, balanced with an awareness of the challenges and responsibilities to renew, and a commitment to an evolving American Indian theatrical aesthetic. These playwrights invite audiences to probe the often painful past, share the enduring values of family, community, and tribe, and celebrate humor and spirituality.

Ask the Brindled, selected by Rick Barot as a winner of the 2021 National Poetry Series, bares everything that breaks between "seed" and "summit" of a life--the body, a people, their language. It is an intergenerational reclamation of the narratives foisted upon Indigenous and queer Hawaiians--and it does not let readers look away. In this debut collection, No'u Revilla crafts a lyric landscape brimming with shed skin, water, mo'o, ma'i. She grips language like a fistful of wet guts and inks the page red--for desire, for love, for generations of blood spilled by colonizers. She hides knives in her hair "the way my grandmother--not god-- / the way my grandmother intended," and we heed; before her, "we stunned insects dangle." Wedding the history of the Kingdom of Hawaiʻi with contemporary experiences of queer love and queer grief, Revilla writes toward sovereignty: linguistic, erotic, civic. Through the medium of formal dynamism and the material of ʻŌiwi culture and mythos, this living decolonial text both condemns and creates. Ask the Brindled is a song from the shattered throat that refuses to be silenced. It is a testament to queer Indigenous women who carry baskets of names and stories, "still sacred." It is a vow to those yet to come: "the ea of enough is our daughters / our daughters need to believe they are enough."

In this stunning collection, Joy Harjo finds blessings in the abundance of her homeland and confronts the site where the Mvskoke people, including her own ancestors, were forcibly displaced. From her memory of her mother's death, to her beginnings in the Native rights movement, to the fresh road with her beloved, Harjo's personal life intertwines with tribal histories to create a space for renewed beginnings.

This landmark anthology celebrates the indigenous peoples of North America, the first poets of this country, whose literary traditions stretch back centuries. Opening with a blessing from Pulitzer Prize winner N. Scott Momaday, the book contains powerful introductions from contributing editors who represent the five geographically organized sections. Each section begins with a poem from the massive libraries of oral literatures and closes with emerging poets, ranging from Eleazar, a seventeenth-century Native student at Harvard, to Jake Skeets, a young Dinéh poet born in 1991, and including renowned writers such as Natalie Diaz, Tommy Pico, Layli Long Soldier, and Ray Young Bear. In When the Light of the World Was Subdued, Our Songs Came Through, Harjo offers the extraordinary sweep of Native literature.

In "Why Storms are named after People but Bullets remain nameless," we find Tanaya Winder in the thick of a beautiful burn, where "pain demands to be felt," where joy or maybe something more decolonial than it bubbles up from the black hole of the past. Winder aims a sociological eye at the gun, the bullet, and the throttle so that we might together constellate differently.

A landmark anthology celebrating twenty-one Native poets first published in the twenty-first century New Poets of Native Nations gathers poets of diverse ages, styles, languages, and tribal affiliations to present the extraordinary range and power of new Native poetry. Heid E. Erdrich has selected twenty-one poets whose first books were published after the year 2000 to highlight the exciting works coming up after Joy Harjo and Sherman Alexie. Collected here are poems of great breadth--long narratives, political outcries, experimental works, and traditional lyrics--and the result is an essential anthology of some ofthe best poets writing now. Poets included are Tacey M. Atsitty, Trevino L. Brings Plenty, Julian Talamantez Brolaski, Laura Da', Natalie Diaz, Jennifer Elise Foerster, Eric Gansworth, Gordon Henry, Jr., Sy Hoahwah, LeAnne Howe, Layli Long Soldier, Janet McAdams, Brandy Nalani McDougall, Margaret Noodin, dg okpik, Craig Santos Perez, Tommy Pico, Cedar Sigo, M. L. Smoker, Gwen Westerman, and Karenne Wood.

WHEREAS confronts the coercive language of the United States government in its responses, treaties, and apologies to Native American peoples and tribes, and reflects that language in its officiousness and duplicity back on its perpetrators. Through a virtuosic array of short lyrics, prose poems, longer narrative sequences, resolutions, and disclaimers, Layli Long Soldier has created a brilliantly innovative text to examine histories, landscapes, her own writing, and her predicament inside national affiliations. "I am," she writes, "a citizen of the United States and an enrolled member of the Oglala Sioux Tribe, meaning I am a citizen of the Oglala Lakota Nation--and in this dual citizenship I must work, I must eat, I must art, I must mother, I must friend, I must listen, I must observe, constantly I must live." This strident, plaintive book introduces a major new voice in contemporary literature.

This collection of poetry is inspired by the author's lineage as an Iñupiaq Eskimo woman with family from King Island and Mary's Igloo, Alaska. The poems' syncopated cadences and evocative images bring to life the exceptional physical and cultural conditions of the Arctic and sub-Arctic that have been home to her ancestors for tens of thousands of years, while the poems' speakers refer to an indigenous identity that has become increasingly plural. The author's perspective as a Native person affords her unique insight into the relationship with place and self, which she applies in her consideration of the arctic landscape and to questions of adaptation and resilience. Kane's work refers to the Inupiaq oral tradition, and while in some poems she continues to revisit, rewrite, and revise traditional narratives that are suited to the lyric form, she moves beyond narrative retelling, honoring the legacy of imagination that has sustained Inupiaq people for millennia.

Dragonfly Dance is a collection of poems remarkable for their candor and sense of catharsis. Writing from the vantage point of an American Indian women, Denise Lajimodiere opens a door into the lives of Native girls and women. Her poems often reflect the deep tensions between Native culture and white culture.      Reflected in Lajimodiere's poems, life is sometimes beautiful but rarely easy. "The Necklace," the narrator details how her mother repaired a favorite beaded necklace, "her arthritic fingers patiently / threading beads / on the long thin needle, weaving / night after night." When the necklace is finally repaired, she wears it to school where At recess a White boy ran by, yanked it off my neck and threw it. I watched as it ascended high above the blacktop, the beads glittered, scattering their light, a rainbow against gray skies.      Unadorned, direct, and often raw, these riveting poems sear their way into our imaginations, inviting us into a world we might never have known. We are richer for the knowledge.

Absentee Indians and Other Poems evokes personal yet universal experiences of the places that Native Americans call home, their family and national histories, and the emotional forces that help forge Native American identities. These are poems of exile, loss, and the celebration of that which remains. Anchored in the physical landscape, Blaeser's poetry finds the sacred in those ordinary actions that bind a community together. As Blaeser turns to the mysterious passage from sleeping to wakefulness, or from nature to spirit, she reveals not merely the movement from one age or place to another, but the movement from experience to vision.

In the Presence of the sun is a celebration of extraordinary works of extraordinary range. It is informed with wonder and delight, sorrow and joy, the evanescence of seasons and the persistence of the human spirit. It is a concentration of riches, a distillation of thirty years in which the creative impulse is defined, refined, and sustained. Here are the best expressions of a man who is intensely alive to the world and whose vision reaches to the horizon and beyond. Scott Momaday inhabits the element of language easily. He is at home there. He is a man made of words. A glorious testament to our Native American past, this book features over seventy poems, sixteen new stories about the great tribal shields that delve into the deeper meaning of legend, love and loss, as well as an entire section devoted to Billy the Kid. The words, poems, and stories are enhanced by Momaday's complementary images. His drawings are in turn fine, bold, provocative, and moving. Momaday's eye is penetrating, truly interpretive. His vision is original. He enables us to see in a way we have not seen before. Scott Momaday calls upon his Kiowa background to give us echoes of ancient oral tradition. His use of traditional English poetic forms is both fluent and exact. His voice is ancestral and contemporary, profoundly American and genuinely universal. Here, at his best, is one of the truly distinguished poets, storytellers, and artists of our time.

Beth Piatote's luminous debut collection opens with a feast, grounding its stories in the landscapes and lifeworlds of the Native Northwest, exploring the inventive and unforgettable pattern of Native American life in the contemporary world Told with humor, subtlety, and spareness, the mixed-genre works of Beth Piatote's first collection find unifying themes in the strength of kinship, the pulse of longing, and the language of return. A woman teaches her niece to make a pair of beaded earrings while ruminating on a fractured relationship. An eleven-year-old girl narrates the unfolding of the Fish Wars in the 1960s as her family is propelled to its front lines. In 1890, as tensions escalate at Wounded Knee, two young men at college--one French and the other Lakota--each contemplate a death in the family. In the final, haunting piece, a Nez Perce-Cayuse family is torn apart as they debate the fate of ancestral remains in a moving revision of the Greek tragedy Antigone. Formally inventive and filled with vibrant characters, The Beadworkers draws on Indigenous aesthetics and forms to offer a powerful, sustaining vision of Native life.

Set in a Native community in Maine, Night of the Living Rez is a riveting debut collection about what it means to be Penobscot in the twenty-first century and what it means to live, to survive, and to persevere after tragedy.   In twelve striking, luminescent stories, author Morgan Talty--with searing humor, abiding compassion, and deep insight--breathes life into tales of family and a community as they struggle with a painful past and an uncertain future. A boy unearths a jar that holds an old curse, which sets into motion his family's unraveling; a man, while trying to swindle some pot from a dealer, discovers a friend passed out in the woods, his hair frozen into the snow; a grandmother suffering from Alzheimer's projects the past onto her grandson; and two friends, inspired by Antiques Roadshow, attempt to rob the tribal museum for valuable root clubs.  A collection that examines the consequences and merits of inheritance, Night of the Living Rez is an unforgettable portrayal of an Indigenous community and marks the arrival of a standout talent in contemporary fiction.

These eighteen short stories by American Indians, written between 1881 and 1936, represent the rise of Indian short fiction--as opposed to traditional legends and tales--following confinement of all recognized tribes to reservations. Previously published only in small journals or American Indian newspapers (with one never published), these stories have been largely inaccessible to general readers, and even to most scholars specializing in Native American literature.

Pyromaniacs, vigilantes, mysterious phenomena, prehistoric beasts, cryptid species, grave robbers and ghosts... the stories of Ghost Lake feature a cast of interrelated characters and their brushes with the supernatural, creatures of Ojibwe cosmology, the Spirit World, and with monsters, both human and otherwise. Nathan Niigan Noodin Adler shows us that the precolonial past is not so distant, that history informs the present, and nothing is ever truly lost or destroyed, because the land remembers.

This exciting and groundbreaking fiction anthology showcases a number of new and emerging 2SQ (Two-Spirit and queer Indigenous) writers from across Turtle Island. These visionary authors show how queer Indigenous communities can bloom and thrive through utopian narratives that detail the vivacity and strength of 2SQness throughout its plight in the maw of settler colonialism's histories. Love after the End demonstrates the imaginatively queer Two-Spirit futurisms we have all been dreaming of since 1492. Contributors include Darcie Little Badger, Mari Kurisato, Kai Minosh Pyle, David Alexander Robertson, and jaye simpson.