Most activities in our lives involve electricity. Yet, how often do we recall that even the simple act of turning on a light is supported by a long history of debates over group vs. individual rights, environmental impact, political agendas and technological innovations?

Using the image of cross-currents as the organizing metaphor, this book details the many and often turbulent interactions and interconnections that occurred among the various people and events during the building of the northeastern Ontario hydroelectric system. Special focus is on Native and non-Native interests; southern business and political elites; northern natural resources and the interactions between technology and the environment.

Manore concentrates on the co-operation that existed among the various interest groups during periods of expansion and amalgamation. In today’s environment of limited energy resources, respect for the rights of First Nations and ecological concerns, this book is a reminder that co-operation rather than conquest is a more realistic approach to development.

Bringing together criticism on both African American and Native American women writers, this book offers fresh perspectives on art and beauty, truth, justice, community, and the making of a good and happy life. The essays draw on interdisciplinary, feminist, and comparative methods in the works of writers such as Toni Morrison, Leslie Silko, Alice Walker, Linda Hogan, Paula Gunn Allen, Luci Tapahonso, Phillis Wheatley, and Sherley Anne Williams, making them more accessible for critical consideration in the fields of aesthetics, philosophy, and critical theory. The contributors formulate unique frameworks for interpreting the multiple levels of complex, cultural play between Native American and African American women writers in America, and pave the way for innovative hermeneutic possibilities for reassessing writers of both traditions.

In 1834 Samuel W. Pond and his brother Gideon built a cabin near Cloud Man's village of the Dakota Indians on the shore of Lake Calhoun--now present-day Minneapolis--intending to preach Christianity to the Indians. The brothers were to spend nearly twenty years learning the Dakota language and observing how the Indians lived.In the 1860s and 1870s, after the Dakota had fought a disastrous war with the whites who had taken their land, Samuel Pond recorded his recollections of the Indians "to show what manner of people the Dakotas were . . . while they still retained the customs of their ancestors."Pond's work, first published in 1908, is now considered a classic. Gary Clayton Anderson's introduction discusses Pond's career and the effects of his background on this work, "unrivaled today for its discussion of Dakota material culture and social, political, religious, and economic institutions."

Charles Eastman straddled two worlds in his life and writing. The author of Indian Boyhood was raised in the traditional way after the 1862 U.S.-Dakota War. His father later persuaded him to study Christianity and attend medical school. But when Eastman served as a government doctor during the Wounded Knee massacre, he became disillusioned about Americans' capacity to live up to their own ideals. While Eastman's contemporaries viewed him as "a great American and a true philosopher," Indian scholars have long dismissed Eastman's work as assimilationist. Now, for the first time, his philosophy as manifested in his writing is examined in detail. David Martinez explores Eastman's views on the U.S.-Dakota War, Dakota and Ojibwe relations, Dakota sacred history, and citizenship in the Progressive Era, claiming for him a long overdue place in America's intellectual pantheon.

A tiny pair of beaded deerskin moccasins, given to a baby in 1913, provides the starting point for this thoughtful examination of the work of Dakota women. Mary Eastman Faribault, born in Minnesota, made them almost four decades after the U.S.–Dakota War of 1862. This and other ornately decorated objects created by Dakota women—cradleboards, clothing, animal skin containers—served more than a utilitarian function. They tell the story of colonization, genocide, and survival. Author Colette Hyman traces the changes in the lives of Dakota women, starting before the arrival of whites and covering the fur trade, the years of treaties and shrinking lands, the brutal time of removal, starvation, and shattered families after 1862—and then the transition to reservation life, when missionaries and government agents worked to turn the Dakota into Christian farmers. The decorative work of Dakota women reflected all of this: native organic dyes and quillwork gave way to beading and needlework, items traditionally decorated for family gifts were produced to sell to tourists and white collectors, work on cradleboards and animal skin bags shifted to the ornamenting of hymnals and the creation of star quilts. Through it all, the work of Dakota women proclaims and retains Dakota identity: it is a testament to the endurance of Dakota traditions, to the survival of the Dakota in exile, and—most vividly—to the role of women in that survival.

Decolonizing Native Histories is an interdisciplinary collection that grapples with the racial and ethnic politics of knowledge production and indigenous activism in the Americas. It analyzes the relationship of language to power and empowerment, and advocates for collaborations between community members, scholars, and activists that prioritize the rights of Native peoples to decide how their knowledge is used. The contributors—academics and activists, indigenous and nonindigenous, from disciplines including history, anthropology, linguistics, and political science—explore the challenges of decolonization. These wide-ranging case studies consider how language, the law, and the archive have historically served as instruments of colonialism and how they can be creatively transformed in constructing autonomy. The collection highlights points of commonality and solidarity across geographical, cultural, and linguistic boundaries and also reflects deep distinctions between North and South. Decolonizing Native Histories looks at Native histories and narratives in an internationally comparative context, with the hope that international collaboration and understanding of local histories will foster new possibilities for indigenous mobilization and an increasingly decolonized future.

This significant contribution to Cherokee studies examines the tribe’s life during the eighteenth century, up to the Removal. By revealing town loyalties and regional alliances, Tyler Boulware uncovers a persistent identification hierarchy among the colonial Cherokee.

Boulware aims to fill the gap in Cherokee historical studies by addressing two significant aspects of Cherokee identity: town and region. Though other factors mattered, these were arguably the most recognizable markers by which Cherokee peoples structured group identity and influenced their interactions with outside groups during the colonial era.

This volume focuses on the understudied importance of social and political ties that gradually connected villages and regions and slowly weakened the localism that dominated in earlier decades. It highlights the importance of borderland interactions to Cherokee political behavior and provides a nuanced investigation of the issue of Native American identity, bringing geographic relevance and distinctions to the topic.

Weaving connections between indigenous modes of oral storytelling, visual depiction, and contemporary American Indian literature, Deep Waters demonstrates the continuing relationship between traditional and contemporary Native American systems of creative representation and signification. Christopher B. Teuton begins with a study of Mesoamerican writings, Diné sand paintings, and Haudenosaunee wampum belts. He proposes a theory of how and why indigenous oral and graphic means of recording thought are interdependent, their functions and purposes determined by social, political, and cultural contexts. The center of this book examines four key works of contemporary American Indian literature by N. Scott Momaday, Gerald Vizenor, Ray A. Young Bear, and Robert J. Conley. Through a textually grounded exploration of what Teuton calls the oral impulse, the graphic impulse, and the critical impulse, we see how and why various types of contemporary Native literary production are interrelated and draw upon long-standing indigenous methods of creative representation. Teuton breaks down the disabling binary of orality and literacy, offering readers a cogent, historically informed theory of indigenous textuality that allows for deeper readings of Native American cultural and literary expression.