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American Indian Writers and Indigenous Mexico
The forty years of American Indian literature taken up by James H. Cox—the decades between 1920 and 1960—have been called politically and intellectually moribund. On the contrary, Cox identifies a group of American Indian writers who share an interest in the revolutionary potential of the indigenous peoples of Mexico—and whose work demonstrates a surprisingly assertive literary politics in the era.
By contextualizing this group of American Indian authors in the work of their contemporaries, Cox reveals how the literary history of this period is far more rich and nuanced than is generally acknowledged. The writers he focuses on—Todd Downing (Choctaw), Lynn Riggs (Cherokee), and D’Arcy McNickle (Confederated Salish and Kootenai)—are shown to be on par with writers of the preceding Progressive and the succeeding Red Power and Native American literary renaissance eras.
Arguing that American Indian literary history of this period actually coheres in exciting ways with the literature of the Native American literary renaissance, Cox repudiates the intellectual and political border that has emerged between the two eras.
Set in northern Minnesota, The Road Back to Sweetgrass follows Dale Ann, Theresa, and Margie, a trio of American Indian women, from the 1970s to the present, observing their coming of age and the intersection of their lives as they navigate love, economic hardship, loss, and changing family dynamics on the fictional Mozhay Point reservation. As young women, all three leave their homes. Margie and Theresa go to Duluth for college and work; there Theresa gets to know a handsome Indian boy, Michael Washington, who invites her home to the Sweetgrass land allotment to meet his father, Zho Wash, who lives in the original allotment cabin. When Margie accompanies her, complicated relationships are set into motion, and tensions over “real Indian-ness” emerge.
Dale Ann, Margie, and Theresa find themselves pulled back again and again to the Sweetgrass allotment, a silent but ever-present entity in the book; sweetgrass itself is a plant used in the Ojibwe ceremonial odissimaa bag, containing a newborn baby’s umbilical cord. In a powerful final chapter, Zho Wash tells the story of the first days of the allotment, when the Wazhushkag, or Muskrat, family became transformed into the Washingtons by the pen of a federal Indian agent. This sense of place and home is both tangible and spiritual, and Linda LeGarde Grover skillfully connects it with the experience of Native women who came of age during the days of the federal termination policy and the struggle for tribal self-determination.
The Road Back to Sweetgrass is a novel that that moves between past and present, the Native and the non-Native, history and myth, and tradition and survival, as the people of Mozhay Point navigate traumatic historical events and federal Indian policies while looking ahead to future generations and the continuation of the Anishinaabe people.
Queerness and Everyday Colonialism in the American Renaissance
In Settler Common Sense, Mark Rifkin explores how canonical American writers take part in the legacy of displacing Native Americans. Although the books he focuses on are not about Indians, they serve as examples of what Rifkin calls “settler common sense,” taking for granted the legal and political structure through which Native peoples continue to be dispossessed.
In analyzing Nathaniel Hawthorne’s House of the Seven Gables, Rifkin shows how the novel draws on Lockean theory in support of small-scale landholding and alternative practices of homemaking. The book invokes white settlers in southern Maine as the basis for its ethics of improvement, eliding the persistent presence of Wabanaki peoples in their homeland. Rifkin suggests that Henry David Thoreau’s Walden critiques property ownership as a form of perpetual debt. Thoreau’s vision of autoerotic withdrawal into the wilderness, though, depends on recasting spaces from which Native peoples have been dispossessed as places of non-Native regeneration. As against the turn to “nature,” Herman Melville’s Pierre presents the city as a perversely pleasurable place to escape from inequities of land ownership in the country. Rifkin demonstrates how this account of urban possibility overlooks the fact that the explosive growth of Manhattan in the nineteenth century was possible only because of the extensive and progressive displacement of Iroquois peoples upstate.
Rifkin reveals how these texts’ queer imaginings rely on treating settler notions of place and personhood as self-evident, erasing the advancing expropriation and occupation of Native lands. Further, he investigates the ways that contemporary queer ethics and politics take such ongoing colonial dynamics as an unexamined framework in developing ideas of freedom and justice.
Native American Myth, Story, and Song
Sky Loom offers a dazzling introduction to Native American myths, stories, and songs drawn from previous collections by acclaimed translator and poet Brian Swann. With a general introduction by Swann, Sky Loom is a stunning collection that provides a glimpse into the intricacies and beauties of story and myth, placing them in their cultural, historical, and linguistic contexts.
Each of the twenty-five selections is translated and introduced by a well-known expert on Native oral literatures and offers entry into the cultures and traditions of several different tribes and bands, including the Yupiit and the Tlingits of the polar North; the Coast Salish and the Kwakwaka’wakw of the Pacific Northwest; the Navajos, the Pimas, and the Yaquis of the Southwest; the Lakota Sioux and the Plains Crees of the Great Plains; the Ojibwes of the Great Lakes; the Naskapis and the Eastern Crees of the Hudson Bay area in Canada; and the Munsees of the Northeast. Sky Loom takes the reader on a wide-ranging journey through literary traditions older than the “discovery” of the New World.
American Ethnic Modernism between the World Wars
Vol. 16 (2004) through current issue
Studies in American Indian Literatures (SAIL) is the only journal in the United States that focuses exclusively on American Indian literatures. With a wide scope of scholars and creative contributors, the journal is on the cutting edge of activity in the field. SAIL invites the submission of scholarly, critical pedagogical, and theoretical manuscripts focused on any aspect of American Indian literatures as well as the submission of poetry and short fiction, bibliographical essays, review essays, and interviews. SAIL defines "literatures" broadly to include all written, spoken, and visual texts created by Native peoples.
Interpretations of Native North American Literatures
Dakota and Haudenosaunee Writing and Indigenous Worldviews