These sixteen stories—ten of which have not been previously published—represent the work of one of the most influential Native American writers of the twentieth century—held by many to be the most important Native Americans to write fiction before N. Scott Momaday. Birgit Hans's introductory essay provides a brief biography of McNickle, sets the stories in the context of his better known work, and provides insights into their literary significance. Together, they constitute a collection essential to an adequate understanding of McNickle and of the development of Native American fiction.

CONTENTS

The Reservation
Hard Riding
En roulant ma boule, roulant...
Meat for God
Snowfall
Train Time
Montana
The Hawk Is Hungry
Debt of Gratitude
Newcomers
Man's Work
Going to School
The City
Manhattan Wedlock
Let the War Be Fought
In the Alien Corn
Six Beautiful in Paris
The Silver Locket

Identifies town site locations and clarifies entries from the earliest documents and maps of explorers in Alabama

This encyclopedic work is a listing of 398 ancient towns recorded within the present boundaries of the state of Alabama, containing basic information on each village's ethnic affiliation, time period, geographic location, descriptions, and (if any) movements. While publications dating back to 1901 have attempted to compile such a listing, none until now has so exhaustively harvested the 214 historic maps drawn between 1544, when Hernando de Soto's entourage first came through the southeastern territory, and 1846, when Indian removal to the Oklahoma Territory was complete. Wright combines the map data with a keen awareness of both previously published information and archival sources, such as colonial town lists, census information, and travel narratives.

The towns are listed alphabetically, and the text of each entry develops chronologically. While only a few of these towns have been accurately located by archaeologists, this volume provides a wealth of information for the future study of cultural geography, southeastern archaeology, and ethnohistory. It will be an enduring reference source for many years to come.

SAMPLE ENTRY,

ALIBAMA TOWN (Alibama)
The Alibama consisted of several towns—Mucclassa, Tawasa, Tomopa, Koarsati (Knight 1981, 27:48). Pickett ([1851] 1962:81) adds Ecanchati, Pawokti, and Autauga. The Alibama Town can also be added. Many maps show the Alibama as a group, but one map, 1796 Thomas and Andrews, locates the "Alabama Town"on the east bank of the Coosa just below Wetumpka.

Swanton ([1922] 1970a:209) wrote that the Tuskegee at the Alabama forks may have been known as the "Alabama Town"; however, this is unlikely, as Major W. Blue, a removal agent, wrote in July 1835 that Coosada, Alabama Town, and Tuskegee were ready to emigrate and they all lived adjoining each other in Macon County (ASP, Military Affairs 1861,6:731).

On 6 July 1838, some twenty-seven towns, including "Alibama" (NA M234 R225), attended the Creek council held in Indian Territory. Thomas Bibb, brother to Alabama territorial govenor William Wyatt Bibb, and others, including Nashville investors, founded the town of Alabama in 1817 at Ten Mile Bluff in Montgomery County (Moser 1980-94, 4:131). The town soon disappeared into history.

The History of the Central Brooks Range uses rare primary sources in order to provide a chronological examination and history of the Koyukuk region—including anthropological descriptions of the Native groups that make the Central Brooks Range and its surroundings their home. The history of early exploration, mining, and the Klondike all overflow into the story of the Koyukuk region and its rich cultural heritage, and William E. Brown provides a fascinating history of the extraordinary ways of survival employed by pioneers in this rugged northern land. Supplemented with detailed descriptions by Robert Marshall, The History of the Central Brooks Range is further enhanced by over 150 beautiful full-color illustrations—from early exploration to the creation of the Gates of the Arctic National Park—making this an essential volume for anyone interested in Alaska Native studies.

Traces 400 years of Osage culture from prehistoric times to the group's current status as an officially recognized tribe.

Osage traditional lands are located in mid-continental America encompassed by the present-day states of Arkansas, Missouri, Kansas, and Oklahoma. Major waterways through these lands and the defensible terrain of the Ozark range provided the tribe a distinct advantage in prehistoric and early historic times. A warlike people, the Osage long encroached on neighboring tribal lands, especially those of the Caddo to the southwest. Yet good natural boundaries and centuries of success in warfare afforded the tribe little advantage in attempts to forestall Euro-American westward expansion. Three major routes to the West—the Missouri and Arkansas Rivers and the Continental Trail—crossed Osage land, so conflict with the newcomers was inevitable.

Louis Burns draws on ancestral oral traditions and research in a broad body of literature to tell the story of the Osage people. He writes clearly and concisely, from the Osage perspective. First published in 1989 and for many years out of print, this revised edition is augmented by a new preface and maps. Because of its masterful compilation and synthesis of the known data, A History of the Osage People continues to be the best reference for information on an important American Indian people.

Louis F. Burns, of Osage-French-Scottish heritage, is a member of the Mottled Eagle Clan and author of six books, including Symbolic and Decorative Art of the Osage People.

Hobomok, A Tale of Early Times is the provocative story of an upperclass white woman who marries an Indian chief, has a child, then leaves him--with the child--for another man. This novel, originally published in 1824, is a powerful first among antipatriarchal and antiracist novels in American literature. In addition, this collection contains seven remarkable short stories; an extract on Indian women from Child's groundbreaking History of the Condition of Women in Various Ages and Nations (1835); a selection from her best-selling volume of journalistic sketches, Letters from New-York (1843); and her eloquent Appeal for Indians (1868). This revised edition of "Hobomok" and Other Writings on Indians includes three new stories: "The Church in the Wilderness," "Willie Wharton," and "The Indians"--as well as explanatory notes and an updated bibliography.

What has nourished native peoples on this continent since time immemorial, say the editors of this volume, are wellsprings of creativity. "Down at the source," Havasupai singer Dan Hanna assures us, "a spring will always be there." The creative wellspring of American Indian culture is well represented in this anthology, a compilation of stories, songs, poems, and other writings taken from twenty-five years of Sun Tracks: An American Literary Series. Editors Larry Evers and Ofelia Zepeda have gathered the contributions of nineteen Native Americans in compiling this collection.

Some are stories from oral traditions, others are autobiographical writings, and some are songs or poems. But all are contemporary, and all have as a unifying element a strong central theme in Native American writing: home places. Some of the contributors define the home place as a center of established values, while others speak of its cultural or physical geography. Healing powers are often found at home places. Home is a place to defend against those who would reduce it to insignificance, a place to reclaim, or a place reclaimed but not yet realized.

One writer recalls a home that must be pulled from deep beneath the waters of the Columbia River. By listening to these stories of home places, the reader can gain a new appreciation of the contemporary verbal expressions of Native American communities. Home Places, note the editors, "asks you to listen to Native American signers, storytellers, and writers, and in this way to celebrate the wellsprings of creativity that continue to flow from the home places in Native America."

Homol'ovi II is a fourteenth-century, ancestral Hopi pueblo with over 700 rooms. Although known by archaeologists since 1896, no systematic excavations were conducted at the pueblo until 1984. This report summarizes the findings of the excavations by the Arizona State Museum of five rooms and an outside activity area, which now form the core of the interpretive program for Homolovi Ruins State Park. The significant findings reported here are that the excavated deposits date between A.D. 1340 and 1400; that nearly all the decorated ceramics during this period were imported from villages on the Hopi Mesas; that cotton was a principal crop which probably formed the basis of Homol'ovi II's participation in regional exchange; that chipped stone was a totally expedient technology in contrast to ground stone which was becoming more diverse; and that the katsina cult was probably present or developing at Homol'ovi II. These findings from the basis for future excavations that should broaden our knowledge of the developments taking place in fourteenth-century Pueblo society connecting the people whom archaeologists term the Anasazi with those calling themselves Hopi.

Hope Leslie (1827), set in the seventeenth-century New England, is a novel that forced readers to confront the consequences of the Puritans’ subjugation and displacement of the indigenous Indian population at a time when contemporaries were demanding still more land from the Cherokees, the Chickasaws, and the Choctaws.

"This handsome reprint ... makes available after many decades the New Englander's tale of seventeeth-century Puritans, and their relations with the indigenous Indian population." -- Nineteeth-Century Literature

" A splendidly conceived edition of Sedwick's historical romance. Highly recommended." --Choice

"Develop(s) the connections between patriarchal authority within the Puritan state and its policy of dispossessing and exterminating Indians. The different heritage it envisions explicitly link white women and Indians and elaborates a communal concept of liberty at odds with the individualistic concept which predominated in American culture." -- Legacy

"With the inborn wisdom that has guided them for so long through so many obstacles, Hopi men and women perpetuate their proven rituals, strongly encouraging those who attempt to neglect or disrespect their obligations to uphold them. One of these obligations is to respect the flora and fauna of our planet. The Hopi closeness to the Earth is represented in all the arts of all three mesas, whether in clay or natural fibers. What clay is to a potter's hands, natural fibers are to a basket weaver." —from the Introduction

Rising dramatically from the desert floor, Arizona's windswept mesas have been home to the Hopis for hundreds of years. A people known for protecting their privacy, these Native Americans also have a long and less known tradition of weaving baskets and plaques. Generations of Hopi weavers have passed down knowledge of techniques and materials from the plant world around them, from mother to daughter, granddaughter, or niece.

This book is filled with photographs and detailed descriptions of their beautiful baskets—the one art, above all others, that creates the strongest social bonds in Hopi life. In these pages, weavers open their lives to the outside world as a means of sharing an art form especially demanding of time and talent. The reader learns how plant materials are gathered in canyons and creek bottoms, close to home and far away. The long, painstaking process of preparation and dying is followed step by step. Then, using techniques of coiled, plaited, or wicker basketry, the weaving begins.

Underlying the stories of baskets and their weavers is a rare glimpse of what is called "the Hopi Way," a life philosophy that has strengthened and sustained the Hopi people through centuries of change. Many other glimpses of the Hopi world are also shared by author and photographer Helga Teiwes, who was warmly invited into the homes of her collaborators. Their permission and the permission of the Cultural Preservation Office of the Hopi Tribe gave her access to people and information seldom available to outsiders.

Teiwes was also granted access to some of the ceremonial observances where baskets are preeminent. Woven in brilliant reds, greens, and yellows as well as black and white, Hopi weavings, then, not only are an arresting art form but also are highly symbolic of what is most important in Hopi life. In the women's basket dance, for example, woven plaques commemorate and honor the Earth and the perpetuation of life. Other plaques play a role in the complicated web of Hopi social obligation and reciprocity.

Living in a landscape of almost surreal form and color, Hopi weavers are carrying on one of the oldest arts traditions in the world. Their stories in Hopi Basket Weaving will appeal to collectors, artists and craftspeople, and anyone with an interest in Native American studies, especially Native American arts. For the traveler or general reader, the book is an invitation to enter a little-known world and to learn more about an art form steeped in meaning and stunning in its beauty.

More than twenty years after its publication in 1991, Leslie Marmon Silko’s monumental novel Almanac of the Dead continues to disconcert, move, provoke, and outrage readers. In a work that is overtly and often uncomfortably political, Silko’s overflowing cast of characters includes representatives from a range of cultures and communities who are united by common experiences of dispossession, disenfranchisement, exploitation, and poverty. Clearly, Silko’s depiction of a social uprising that draws together the indigenous People’s Army of the Americas and the American Army of the Homeless triggered—and was designed to trigger—a range of reactions among readers and critics alike.
 
Howling for Justice actively engages with both the literary achievements and the politics of Silko’s text. It brings together essays by international scholars reacting to the novel while keeping in mind its larger concern with issues of social justice, both local and transnational. Aiming both to refocus critical attention and open the book to a broader array of readers, this collection offers fresh perspectives on its transnational vision, on its sociocultural, historical, and political ambitions, and on its continued relevance in the twenty-first century. The essays examine and explain some of the key points that readers and critics have identified as confusing, problematic, and divisive. Together, they offer new ways to approach and appreciate the text.
 
The book concludes with a new, never-before-published interview in which Silko reflects on the twenty years since the novel’s publication and relates the concerns of Almanac to her current work.

Photographer and filmmaker Victor Masayesva, Jr., was raised in the Hopi village of Hotevilla and was educated at the Horace Mann School in New York, Princeton University, and the University of Arizona. His immersion in photographic experimentation embraces a projection of stories and symbols, natural objects, and locations both at Hopi and worldwide. His work has been exhibited internationally, and he is perhaps best known for his feature-length film Imagining Indians. For Masayesva, photography is a discipline that he approaches in a manner similar to the way that he was taught about himself and his clan identity. As he navigates his personal associations with Hopi subject matter in varied investigations of biology, ecology, humanity, history, planetary energy, places remembered, and musings on things broken and whole, he has created an extraordinary visual cosmography. In this compilation of his photographic journey, Masayesva presents some of the most important and vibrant images of that visual quest and reflects on them in provocative essays.