NDN word warrior Marie Annharte Baker's fourth book of poems, Indigena Awry, is her largest and wildest yet. It collects a decade's worth of verse — fifty-nine poems. Set noticeably in Winnipeg and Vancouver, but in many other places on either side of the Medicine Line as well, the poems are a laser-eyed meander through contested streets filled with racism, classism, and sexism. Shot through with sex and violence and struggle and sadness and trauma, her work is always set to detect and confront the delusions of colonialism and its discontents. These poems are informed by a sceptical spirituality. They call for justice for NDNs through the Permanent Resistance that goes around in cities. This is bruising and exacting stuff, but Annharte is also one of poetry's best jokers. In Indigena Awry, you can find fictitious girl gangs coexisting with real boy ones. NDN grannies may be found flirting salaciously in some internet chat room. One might use duct tape to prevent a war. You might be worried that hand-signalling for a Timbit on an airplane flight will be considered a terrorist act. Annharte may be seam-walking a singular path but she is not without allies. In the United States, they could include Leslie Marmon Silko and Chrystos. In Canada, Beth Brant and Gerry Gilbert. The jazz inflections of Beat writing are often apparent in her work. She swings from a poetic madness into a mad poetics. Way under it all, acting as a deep sort of platform, could be considered the Kenyan writer Ngugi wa Thiong'o's project of decolonizing one's mind. Both sketch out an argument that we will not see, feel, or respond correctly in or to our own lives without doing this, because otherwise we will be living within a philosophical myopia generated by a bad fiction. While Indigena Awry is written for NDN persons, it is highly recommended for truth-seekers of every nature and anarchs of word and spirit. In an Annharte poem you might lose your way only to find what's important.
A celebration of achievement, accomplishments, and courage! Native American Medal of Honor recipients, Heisman Trophy recipients, U.S. Olympians, a U.S. vice president, Congressional representatives, NASA astronauts, Pulitzer Prize recipients, U.S. poet laureates, Oscar winners, and more. The first Native magician, all-Native comedy show, architects, attorneys, bloggers, chefs, cartoonists, psychologists, religious leaders, filmmakers, educators, physicians, code talkers, and inventors. Luminaries like Jim Thorpe, King Kamehameha, Debra Haaland, and Will Rogers, along with less familiar notables such as Native Hawaiian language professor and radio host Larry Lindsey Kimura and Cree/Mohawk forensic pathologist Dr. Kona Williams. Their stories plus the stories of 2000 people, events and places are presented in Indigenous Firsts: A History of Native American Achievements and Events, including … Suzanne Van Cooten, Ph.D., Chickasaw Nation, the first Native female meteorologist in the country Caleb Cheeshahteaumuck, Wampanoag from Martha’s Vineyard, graduate of Harvard College in 1665 Debra Haaland, the Pueblo of Laguna, U.S. Congresswoman and Secretary of the Interior Sam Campos, the Native Hawaiian who developed the Hawaiian superhero Pineapple Man Thomas L. Sloan, Omaha, was the first Native American to argue a case before the U.S. Supreme Court William R. Pogue, Choctaw, astronaut Johnston Murray, Chickasaw, the first person of Native American descent to be elected governor in the United States, holding the office in Oklahoma from 1951 to 1955 The Cherokee Phoenix published its first edition February 21, 1828, making it the first tribal newspaper in North America and the first to be published in an Indigenous language The National Native American Honor Society was founded by acclaimed geneticist Dr. Frank C. Dukepoo , the first Hopi to earn a Ph.D. Louis Sockalexis, Penobscot, became the first Native American in the National Baseball League in 1897 as an outfielder with the Cleveland Spiders Jock Soto, Navajo/Puerto Rican, the youngest-ever man to be the principal dancer with the New York City Ballet The Seminole Tribe of Florida was the first Nation to own and operate an airplane manufacturing company Warrior's Circle of Honor, the National Native American Veterans Memorial in Washington, DC, on the grounds of the Smithsonian’s National Museum of the American Indian The Iolani Palace, constructed 1879–1882, the home of the Hawaiian royal family in Honolulu Loriene Roy, Anishinaabe, White Earth Nation, professor at the University of Texas at Austin’s School of Information, former president of the American Library Association Ben Nighthorse Campbell, Northern Cheyenne, U.S. representative and U.S. senator from Colorado Hanay Geiogamah, Kiowa /Delaware, founded the American Indian Theatre Ensemble Gerald Vizenor, White Earth Nation, writer, literary critic, and journalist for the Minneapolis Tribune Ely S. Parker (Hasanoanda, later Donehogawa), Tonawanda Seneca, lieutenant colonel in the Union Army, serving as General Ulysses S. Grant’s military secretary Fritz Scholder, Luiseno, painter inducted into the California Hall of Fame The Native American Women Warriors, the first all Native American female color guard Lori Arviso Alvord, the first Navajo woman to become a board-certified surgeon Kay “Kaibah” C. Bennett, Navajo, teacher, author, and the first woman to run for the presidency of the Navajo Nation Sandra Sunrising Osawa, Makah Indian Nation, the first Native American to have a series on commercial television The Choctaw people’s 1847 donation to aid the Irish people suffering from the great famine Otakuye Conroy-Ben, Oglala Lakota, first to earn an environmental engineering Ph.D. at the University of Arizona Diane J. Willis, Kiowa, former President of the Society of Pediatric Psychology and founding editor of the Journal of Pediatric Psychology Shelly Niro, Mohawk, winner of Canada’s top photography prize, the Scotiabank Photography Award Loren Leman, Alutiiq/Russian-Polish, was the first Alaska Native elected lieutenant governor Kim TallBear, Sisseton-Wahpeton Oyate, the first recipient of the Canada Research Chair in Indigenous Peoples, Technoscience, and Environment Carissa Moore, Native Hawaiian, won the Gold Medal in Surfing at the 2020 Tokyo Olympics Will Rogers, Cherokee, actor, performer, humorist was named the first honorary mayor of Beverly Hills Foods of the Southwest Indian Nations by Lois Ellen Frank, Kiowa, was the first Native American cookbook to win the James Beard Award Diane Humetewa, Hopi, nominated by President Barack Obama, became the first Native American woman to serve as a federal judge Susie Walking Bear Yellowtail, Crow, the first Native American nurse to be inducted into the American Nursing Association Hall of Fame Indigenous Firsts honors the ongoing and rich history of personal victories and triumphs, and with more than 200 photos and illustrations, this information-rich book also includes a helpful bibliography and an extensive index, adding to its usefulness. This vital collection will appeal to anyone interested in America’s amazing history and its resilient and skilled Indigenous people.
Introduction to Indigenous Literary Criticism in Canada collects 26 seminal critical essays indispensable to our understanding of the rapidly growing field of Indigenous literatures. The texts gathered in this collection, selected after extensive consultation with experts in the field, trace the development of Indigenous literatures while highlighting major trends and themes, including appropriation, stereotyping, language, land, spirituality, orality, colonialism, residential schools, reconciliation, gender, resistance, and ethical scholarship.
Hebrews seems like unpromising material for feminist interpretation, although it is the only New Testament writing for which female authorship has been seriously posited. Mary Ann Beavis and HyeRan Kim-Cragg highlight the similarities between Hebrews and the book of Wisdom/Sophia, which share cosmological, ethical, historical, and sapiential themes, revealing that Hebrews is in fact a submerged tradition of Sophia-Wisdom. They also tackle the sacrificial Christology of Hebrews, concluding that in its ancient context, far from symbolizing suffering and abjection, sacrifice was understood as celebratory and relational. Contributions from Filipina (Maricel and Marilou Ibita), Jewish (Justin Jaron Lewis), historical (Nancy Calvert-Koyzis), and First Nations (Marie Annharte Baker) perspectives bring additional scholarly, cultural, religious, and experiential wisdom to the commentary. From the Wisdom Commentary series Feminist biblical interpretation has reached a level of maturity that now makes possible a commentary series on every book of the Bible. It is our hope that Wisdom Commentary, by making the best of current feminist biblical scholarship available in an accessible format to ministers, preachers, teachers, scholars, and students, will aid all readers in their advancement toward God’s vision of dignity, equality, and justice for all. The aim of this commentary is to provide feminist interpretation of Scripture in serious, scholarly engagement with the whole text, not only those texts that explicitly mention women. A central concern is the world in front of the text, that is, how the text is heard and appropriated by women. At the same time, this commentary aims to be faithful to the ancient text, to explicate the world behind the text, where appropriate, and not impose contemporary questions onto the ancient texts. The commentary addresses not only issues of gender (which are primary in this project) but also those of power, authority, ethnicity, racism, and classism, which all intersect. Each volume incorporates diverse voices and differing interpretations from different parts of the world, showing the importance of social location in the process of interpretation and that there is no single definitive feminist interpretation of a text.
When asked the question "what is the power of poetry?," writer Ian Williams said "poetry punctures the surface." Williams' statement—that poetry matters and that it does something—is at the heart of this book. Building from this core idea that poetry perforates the everyday to give greater range to our lives and our thinking, the practical and pedagogical aim of this book is twofold: the first aim is to provide students with an introduction to the key cultural, political, and historical events that inform twentieth- and twenty-first-century Canadian poetry; and to familiarize those same readers with poetic movements, trends, and forms of the same time period. This book addresses the aesthetic and social contexts of Canadian poetry written in the twentieth and twenty-first centuries: it models for its readers the critical and theoretical discourses needed to understand the contexts of literary production in Canada. Put differently, readers need a sense of the "where" and "how" of poetic production to help situate them in the "what" of poetry itself. In addition to offering a historically contextualized overview of the significant movements, developments, and poets of this time period, this book also familiarizes readers with key moments of reflection and rupture, such as the effects of economic and ecological crisis, global conflicts, and debates around appropriation of culture. This book is built on the premise that poetry in Canada does not happen outside of political, social, and cultural contexts.
In the summer of 1990, the Oka Crisis—or the Kanehsatake Resistance—exposed a rupture in the relationships between settlers and Indigenous peoples in Canada. In the wake of the failure of the Meech Lake Accord, the conflict made visible a contemporary Indigenous presence that Canadian society had imagined was on the verge of disappearance. The 78-day standoff also reactivated a long history of Indigenous people’s resistance to colonial policies aimed at assimilation and land appropriation. The land dispute at the core of this conflict raises obvious political and judicial issues, but it is also part of a wider context that incites us to fully consider the ways in which histories are performed, called upon, staged, told, imagined, and interpreted. Stories of Oka: Land, Film, and Literature examines the standoff in relation to film and literary narratives, both Indigenous and non-Indigenous. This new English edition of St-Amand’s interdisciplinary, intercultural, and multi-perspective work offers a framework for thinking through the relationships that both unite and oppose settler societies and Indigenous peoples in Canada.
Avant Canada presents a rich collection of original essays and creative works on a representative array of avant-garde literary movements in Canada from the past fifty years. From the work of Leonard Cohen and bpNichol to that of Jordan Abel and Liz Howard, Avant Canada features twenty-eight of the best writers and critics in the field. The book proposes four dominant modes of avant-garde production: “Concrete Poetics,” which accentuates the visual and material aspects of language; “Language Writing,” which challenges the interconnection between words and things; “Identity Writing,” which interrogates the self and its sociopolitical position; and “Copyleft Poetics,” which undermines our habitual assumptions about the ownership of expression. A fifth section commemorates the importance of the Centennial in the 1960s at a time when avant-garde cultures in Canada began to emerge. Readers of this book will become familiar with some of the most challenging works of literature—and their creators—that this country has ever produced. From Concrete Poetry in the 1960s through to Indigenous Literature in the 2010s, Avant Canada offers the most sweeping study of the literary avant-garde in Canada to date.
Taken from the Anishinaabe word for woman, MISKWAGOODE is a lyrical portrayal of unreconciled Indigenous experience under colonialism, past and present. Miskwagoode, the woman in the red dress, is Annharte, and she is Annharte's mother, who disappeared when the poet was a girl.Miskwagoodeis Annharte's new book about her mother loss, her mothermiss, about all the women buried in common enough / cross-generational graves. Marked with her characteristic sharp eye and humour, and hard earned wisdom about the ominous progress ahead, Annharte's fifth collection encompasses the poet's experiences as an Anishinaabe Elder, witness not survivor, writing of the weight of a present and persisting colonialism. In her sly, cheeky riffs on life behind the buckskin curtain at the margins of settler society, Annharte tells us about granny circles, the horny old guys, and getting your hair done. But these poems about rez life and the community and belonging it offers are set against the background radiation of the poverty and the sicknesses, despair, violence, sexism, and sexual abuse, the legacies of unequal relations. Miskwagoodeconcludes with Wabang, a suite of short poems comprising Annharte's own thumbnail transcontinental Indigenous mythology. Poetry. Native American Studies. Women's Studies.
"Exercises in Lip Pointing is a new collection of poems by respected First Nations writer Annharte. She uses oral sounds and written signs to probe and prod the reader, to ask the right questions, to lay bare the contradictions and delights in the serendipities of her experience. She makes us laugh, cry, and learn."--Publisher.
A free open access ebook is available upon publication. Learn more at www.luminosoa.org. What can anthropological thinking contribute to the study of revolutions? The first book-length attempt to develop an anthropological approach to revolutions, Anthropologies of Revolution proposes that revolutions should be seen as concerted attempts to radically reconstitute the worlds people inhabit. Viewing revolutions as all-embracing, world-creating projects, the authors ask readers to move beyond the idea of revolutions as acts of violent political rupture, and instead view them as processes of societal transformation that penetrate deeply into the fabric of people’s lives, unfolding and refolding the coordinates of human existence.
