Danny Blackgoat, a Navajo teenager, was taken to a Civil War prison camp during the Long Walk of 1864. He escaped in volume one, Danny Blackgoat, Navajo Prisoner, but in this second installment, he must still face many obstacles in order to rescue his family and find freedom. Whether it’s the soldiers and bandits who are chasing him or the dangers of the harsh desert climate, Danny ricochets from one bad situation to the next, but his bravery doesn’t falter and he never loses faith.
Danny Blackgoat, a sixteen-year-old Navajo, is labeled a troublemaker during the Long Walk of 1864 and sent to a prisoner outpost in Texas, where fellow captive Jim Davis saves him from a bully and starts him on the road to literacy--and freedom.
During the Civil War, the United States Army imprisoned thousands of Navajos in unsafe conditions at Fort Sumner. Through the eyes of teenager Danny Blackgoat, readers experience how the Din� people struggled to survive. In the concluding novel of the Danny Blackgoat trilogy, the major characters appear in a final scene of reckoning. Danny Blackgoat must face the charge of stealing a horse from Fort Davis'or reveal that his old friend, Jim Davis, stole the horse to help Danny escape. The penalty for horse theft in the 1860s? Death by hanging. Only the word of a Navajo woman can save both Danny and Jim Davis, but will she arrive at Fort Sumner before the bugles sound and the hanging begins? Danny Blackgoat: Dangerous Passage is filled with history-based action, as the Din� people leave their imprisonment and return to Navajo country.
The fictional worlds created by many contemporary American and Canadian Indigenous novelists for young people provide unique access to the lived experiences of Indigenous people, past, present, and future and the often inaccessible worlds they inhabit. Readers aged 10-16 will gain many insights about Indigenous people and themselves—Indigenous and non-Indigenous readers alike—through sustained immersion in fictional worlds where Indigenous people are foregrounded, active, autonomous, respected, and valued. Exploring Indigenous Novels in Grades 5-10: Literature Studies Focusing on Indigenized Worlds, a companion book for Indigenous Novels, Indigenized Worlds, offers teachers and students in grades 5-10 a unique framework and specialized sets of resources for collaborative classroom explorations of indigenized worlds created by the Indigenous writers. This unique book offers illuminating sets of questions and carefully selected print and digital resources for classroom explorations of 11 Indigenous novels spanning the genres of historical, contemporary realistic, and fantasy fiction. These questions and resources focus student learning on such indigenizing features as ancestral beings, sacred objects, cultural values, celebratory dances, traditional stories, material appropriation, cultural denigration, community leadership, restoration, and more.
The fictional worlds created by many contemporary American and Canadian Indigenous novelists for young people provide unique access to the lived experiences of Indigenous people, past, present, and future and the often inaccessible worlds they inhabit. Readers age 10-16 will gain many insights about Indigenous people and themselves—Indigenous and non-Indigenous readers alike—through sustained immersion in fictional worlds where Indigenous people are foregrounded, active, autonomous, respected, and valued.
A Choctaw boy tells in his own words the story of his tribe’s removal from the only land its people have ever known, and how their journey to Oklahoma led him to become a ghost — one with the ability to help those he left behind. Isaac leads a remarkable foursome of Choctaw comrades: a tough minded teenage girl, a shape-shifting panther boy, a lovable five-year-old ghost who only wants her mom and dad to be happy, and Isaac’s talking dog, Jumper. The first in a series, How I Became a Ghost thinly disguises an important and oft-overlooked piece of history.
“The hour has come to speak of troubled times. It is time we spoke of Skullyville.” Thus begins the House of Purple Cedar, Rose Goode’s telling of the year when she was eleven in Indian country, Oklahoma. The Indian schools boys and girls had been burned, stores too. By the time the railroad came, all of Skullyville had been burned.
A Broken Flute is a book of reviews that critically evaluate children's books about Native Americans written between the early 1900s and 2003, accompanied by stories, essays and poems from its contributors. The authors critique some 600 books by more than 500 authors, arranging titles A to Z and covering pre-school, K-12 levels, and evaluations of some adult and teacher materials. This book is a valuable resource for community and educational organizations, and a key reference for public and school libraries, and Native American collections.
This book pays homage to the counterculture movement through the words and photographs of a select gathering of people who lived it. At its height in the late 1960s and early 1970s, the counterculture movement permeated every region of America as thousands of activists took on the establishment. Although counterculture has often been trivialized as “dirty hippies” and “sex, drugs, and rock ‘n’ roll,” committed activists formed powerful strands of resistance to the political/military/industrial complex. American Indians, Hispanos, Blacks, and Anglos joined in marches and protests—often at their peril. Veterans of Haight-Ashbury in San Francisco, communards in northern New Mexico, practitioners of drug-induced mysticism, disciplined seekers of spiritual awakening, back-to-the-landers, defenders of wilderness—counterculturalists all—questioned, reframed, and redefined American and global perspectives that remain to this day. The American Southwest became a haven for individuals from both coasts seeking refuge in this vast landscape. Many found an affinity with the native cultures and local inhabitants who were already here. Others joined forces to combat the Vietnam War, racial discrimination, and pillaging of the environment. Still others founded communes based on diverse cultures of practice. Movement leaders organized community events, protests, and spoke for their generation; many used their talents as writers, musicians, artists, and photographers to express their angst and promote change. Jack Loeffler draws from his extensive archive of recorded interviews and transcribed conversations with contemporaries—among them writers, artists, elders, activists, and scholars—including Philip Whalen, Gary Snyder, Edward Abbey, Shonto Begay, Camillus Lopez, Tara Evonne Trudell, Roberta Blackgoat, Richard Grow, Alvin Josephy, David Brower, Dave Foreman, Elinor Ostrom, Fritjof Capra, and Melissa Savage. The book includes personal essays by Yvonne Bond, Peter Coyote, Lisa Law, Peter Rowan, Siddiq Hans von Briesen, Art Kopecky, Bill Steen, Sylvia Rodríguez, Enrique R. Lamadrid, Levi Romero, Rina Swentzell, Gary Paul Nabhan, Meredith Davidson, and Jack Loeffler. It includes photographs by Lisa Law, Seth Roffman, Terrence Moore, and others.
Oklahoma, or "Okla Homma," is a Choctaw word meaning "Red People." In this collection, acclaimed storyteller Tim Tingle tells the stories of his people, the Choctaw People, the Okla Homma. For years, Tim has collected stories of the old folks, weaving traditional lore with stories from everyday life. Walking the Choctaw Road is a mixture of myth stories, historical accounts passed from generation to generation, and stories of Choctaw people living their lives in the here and now. The Wordcraft Circle of Native American Writers and Storytellers selected Tim as "Contemporary Storyteller Of The Year" for 2001, and in 2002, Tim was the featured storyteller at the National Storyteller Festival in Jonesboro, Tennessee. Tim Tingle lives in Canyon Lake, Texas.
