In The Range Eternal, Louise Erdrich, a member of the Turtle Mountain Band of Chippewa tells the story of the heart of a home in the Turtle Mountains, It is a woodstove. This woodstove is where Mama makes her good soup, where she cooks a potato for warming hands on icy mornings, where she heats a stone for warming cold toes at night. It warms the winter nights and keeps Windigo, the ice monster, at bay.
Johnny's Pheasant is written by Cheryl Minnema (Waabaanakwadookwe), a member of Mille Lacs Band of Ojibwe, and illustrated by Julie Flett, Cree-Métis. Johnny's Pheasant starts with their car stopping: "Pull over, Grandma! Hurry!” Johnny says. Grandma does and Johnny runs to show her what he spotted near the ditch: a sleeping pheasant. It’s hard to say who is most surprised by what happens next—Grandma, Johnny, or the pheasant.
As We Have Always Done by Leanne Betasamosake Simpson, a renowned Michi Saagiig Nishnaabeg scholar, writer and artist, and who has been widely recognized as one of the most compelling Indigenous voices of her generation, locates Indigenous political resurgence as a practice rooted in uniquely Indigenous theorizing, writing, organizing, and thinking.
New Architecture on Indigenous Lands is an introduction to a contemporary genre of North American architecture. This 416-page volume by professor of architecture at the University of Illinois Joy Monice Malnar along with professor of fine arts at Loyola University Chicago Frank Vodvarka breaks new, academic ground for Indigenous architecture.
In Plants Have So Much to Give Us, All We Have to Do Is Ask: Anishinaabe Botanical Teachings Mary Siisip Geniusz makes Anishinaabe botanical information available to healers and educators and emphasizes the Anishinaabe culture that developed the knowledge and practice. Teaching the way she was taught—through stories—Geniusz brings the plants to life with narratives that explain their uses, meaning, and history. Mary Siisip Geniusz is of Cree and Métis descent and an oshkaabewis, a traditionally trained apprentice, of the late Keewaydinoquay.
Red Skin, White Masks: Rejecting the Colonial Politics of Recognition examines how recognition has become the dominant mode of negotiation and decolonization between the nation-state and Indigenous nations in North America. The term recognition shapes debates over Indigenous cultural distinctiveness, Indigenous rights to land and self-government, and Indigenous peoples' right to benefit from the development of their lands and resources.
The Common Pot: The Recovery of Native Space in the Northeast is a recent historical study by Abenaki History professor Lisa Brooks in the University of Minnesota Press series, Indigenous Americas. The book offers a unique view of the early writings of Samson Occom, Joseph Brant, Hendrick Aupaumut, and William Apess. Instead of using the standard literary and historical view of these men as persons struggling to walk in two worlds, this examination view the works of these leaders as ways they used to extend their arguments for reclaiming Indigenous lands and rights.
Taxidermic Signs: Reconstructing Aboriginality written by assistant professor of English at the University of Western Ontario Pauline Wakeman offers readers a fascinating look at taxidermy both literally and symbolically within the context of museums, ethnographic photography, phonography, film, forensic anthropology, and the human genome project. Chapters discuss Reading the Banff Park Museum: Time, Affect, and the Production of Frontier Nostalgia; Celluloid Salvage: Edward S.
Everything You Know About Indians is Wrong is a 2009 release from the Indigenous Americas series published by the University of Minnesota Press. This volume is written by Comanche writer Paul Chaat Smith, associate curator at the Smithsonian's National Museum of the American Indian. This collection of 20 essays have appeared previously as speeches and essays from art catalogues, art periodicals, and in full-length scholarly publications.
The People and the Word: Reading Native Nonfiction written by Osage scholar Robert Warrior offers readers a look at Native American nonfiction writing. Taking four distinct pieces of prose, Warrior asks readers to journey through these ancient trade routes to locate the foundation for Aboriginal Peoples' intellectual work. From the 1830s autobiographical writing of Pequot intellectual William Apess, the Osage Constitution of 1881, the writings of boarding school pupils, and an essay by N. Scott Momaday, the author makes the case for an enduring tradition of nonfiction writings.