Cover

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pp. 1-1

Title Page, Other Works in the Series, Copyright, Dedication

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pp. 2-7

Contents

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pp. vii-viii

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Acknowledgments

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pp. ix-x

Support for this project was generously provided by a grant-in-aid from the Division of Arts and Humanities at The Ohio State University; a Lannan Summer Institute in American Indian Studies at the Newberry Library in Chicago; an NEH Summer Seminar on “Reimagining Indigenous Cultures: ...

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Introduction: Ands turn Comparative turn Trans-

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pp. xi-xxxiv

Many of us are drawn to the comparative: to projects involving one or more ands, to processes of thinking between or among, to conclusions that hinge on like and unlike. As students, we choose “compare and contrast” over the singular focus. ...

Part I: Recovery/Interpretation

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Chapter 1: "Being" Indigenous "Now": Resettling "The Indian Today" within and beyond the U.S. 1960s

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pp. 3-48

Autumn 2005 marked the fortieth anniversary of “The Indian Today,” the Fall 1965 special issue of the Midcontinent American Studies Journal (MASJ). Over the intervening four decades, while much changed for Indigenous peoples in what is now the United States, too much remained the same. ...

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Chapter 2: Unsettling the Spirit of ’76: American Indians Anticipate the U.S. Bicentennial

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pp. 49-98

Graffiti on the footpath declared, “FIRST FEET WERE ABORIGINAL,” and farther along, “YOU ARE STANDING ON ABORIGINAL LAND.” The concrete path meandered through grass and gum trees and then up a steep rise, eventually leading visitors to a scenic overlook where outcroppings of red rock framed postcard views of the famous Sydney Harbor. ...

Part II: Interpretation/Recovery

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3. Pictographic, Woven, Carved: Engaging N. Scott Momaday’s “Carnegie, Oklahoma, 1919” through Multiple Indigenous Aesthetics

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pp. 101-142

The juxtapositions of the 2006 exhibit Manawa—Pacific Heartbeat: A Celebration of Contemporary Maori and Northwest Coast Art may have struck some viewers as unprecedented, perhaps as exotic or “unique.” In fact, they were built on a foundation of at least twenty-five years of active exchange among Māori and Northwest Coast First Nations artists, ...

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Chapter 4: Indigenous Languaging: Empathy and Translation across Alphabetic, Aural, and Visual Texts

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pp. 143-192

In the previous chapter I juxtapose serial readings of a single Indigenous poem, each interpretive installment based in a distinct Indigenous worldview and system of aesthetics. In this chapter I trace how a chain of readings can result from staging a series of purposeful juxtapositions of multiple texts composed by multiple, diverse Indigenous writers and artists. ...

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Chapter 5: Siting Earthworks, Navigating Waka: Patterns of Indigenous Settlement in Allison hedge Coke’s Blood Run and Robert Sullivan’s Star Waka

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pp. 193-248

In a 1986 interview with Louis Owens (Choctaw/Cherokee), N. Scott Momaday warns that increasing light pollution in the U.S. desert Southwest represents far more than a technical problem for astronomers or an aesthetic nuisance for artists and romantics who turn their eyes skyward alongside professional watchers of the stars. ...

Notes

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pp. 249-278

Bibliography

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pp. 279-294

Index

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pp. 295-301

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About the Author

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pp. 337-337

Chadwick Allen is professor of English at The Ohio State University. He is the author of Blood Narrative: Indigenous Identity in American Indian and Maori Literary and Activist Texts.