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By Lawrence L. Loendorf, Nancy Medaris Stone. 2014
Bighorn sheep graze on the last of the green grass on Gets-Struck-By-Lightning Mountain in the late fall. Two Hawk’s father… and older brother, Night Heron, set off through newly fallen snow to hunt with their dogs. Two Hawk is sad to be left behind, but he has heard the bull elk’s mating call for only seven seasons, too few to be old enough to hunt.So begins another day for a boy of the Tukudika (Sheep Eater) Shoshones, living in the traditional ways in what will one day be known as Yellowstone National Park. Two Hawk is learning those ways, accompanied by his dog, Gypsum, and a talkative magpie whose secrets only Two Hawk can hear. His adventures, beautifully illustrated by Davíd Joaquín, show Two Hawk, and the reader, the meaning of rituals and responsibilities and the mystical origins of Two Hawk’s name. Only the appearance of the hairy-face man who crosses paths with Two Hawk’s family suggests the vast changes that are soon to shake the Shoshones’ world.
By George Kenny, Renate Eigenbrod, Patricia M. Ningewance. 2014
George Kenny is an Anishinaabe poet and playwright who learned traditional ways from his parents before being sent to residential… school in 1958. When Kenny published his first book, 1982’s Indians Don’t Cry, he joined the ranks of Indigenous writers such as Maria Campbell, Basil Johnston, and Rita Joe whose work melded art and political action. Hailed as a landmark in the history of Indigenous literature in Canada, this new edition is expected to inspire a new generation of Anishinaabe writers with poems and stories that depict the challenges of Indigenous people confronting and finding ways to live within urban settler society. Indians Don’t Cry: Gaawin Mawisiiwag Anishinaabeg is the second book in the First Voices, First Texts series, which publishes lost or underappreciated texts by Indigenous artists. This new bi-lingual edition includes a translation of Kenny’s poems and stories into Anishinaabemowin by Pat Ningewance and an afterword by literary scholar Renate Eigenbrod.
By Jane Louise Curry. 1987
By Paula Gunn Allen. 1989
These 24 compelling and bleakly evocative narratives compiled by Allen, a professor of Native American studies at the University of… California, all stress the theme of loss: loss of identity, loss of culture, loss of personal meaning. By juxtaposing traditional stories with contemporary tales, Allen allows readers to see how the same themes, values and perceptions have endured through the centuries, "testaments to cultural persistence, to a vision and a spiritual reality that will not die." Echoes of the traditional "Oshkikwe's Baby," about an old witch who steals babies, can be found in two stories. In Louise Erdrich's "American Horse," a white social worker separates a boy from his mother for his own "good," to the anguish of mother and son.- Publishers Weekly
By Tim Tingle, Norma Howard. 2003
Oklahoma, or "Okla Homma," is a Choctaw word meaning "Red People." In this collection, acclaimed storyteller Tim Tingle tells the… stories of his people, the Choctaw People, the Okla Homma. For years, Tim has collected stories of the old folks, weaving traditional lore with stories from everyday life. Walking the Choctaw Road is a mixture of myth stories, historical accounts passed from generation to generation, and stories of Choctaw people living their lives in the here and now.The Wordcraft Circle of Native American Writers and Storytellers selected Tim as "Contemporary Storyteller Of The Year" for 2001, and in 2002, Tim was the featured storyteller at the National Storyteller Festival in Jonesboro, Tennessee.Tim Tingle lives in Canyon Lake, Texas.
By Linda Legarde Grover. 2014
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.