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Rock, Ghost, Willow, Deer is Allison Adelle Hedge Coke's searching account of her life as a mixed-blood woman coming of age off reservation, yet deeply immersed in her Huron, Metis, and Cherokee heritage. In a style at once elliptical and achingly clear, Hedge Coke details her mother's schizophrenia; the domestic and community abuse overshadowing her childhood; and torments both visited upon her--(rape and violence) and inflicted on herself (alcohol and drug abuse during her youth). Yet she managed to survive with her dreams and her will, her sense of wonder and promise undiminished. The title Rock, Ghost, Willow, Deer refers to life-revelations guiding the award-winning poet and writer through her many trials, as well as her labors in tobacco fields, factories, construction, and fishing; her motherhood; her involvement with music and performance; and the melding of language and experience that brought order to her life. Hedge Coke shares insights gathered along the way, insights touching on broader Native issues such as modern life in the diaspora; lack of a national eco-ethos; the threat of alcohol, drug abuse, and violence; and the ongoing onslaught on self amid a complex, mixed heritage.
Postindian Aesthetics is a collection of critical, cutting-edge essays on a new generation of Indigenous writers who are creatively and powerfully contributing to a thriving Indigenous literary canon that is redefining the parameters of Indigenous literary aesthetics.
The Willow's Whisper brings the voices of 35 poets from the Irish and Native American communities together in one compilation. This collection of poems provides an aesthetic commentary on the potential which is beyond and within the everyday. From Gabriel Rosenstock and Biddy Jenkinson to N. Scott Momaday and Karenne Wood, mother-earth comes to life through each sound and syllable, and reawakens our senses to the world at its most beautiful and evocative. This volume will aid us to reconnect ...
Comparative Indigeneities of the Américas highlights intersecting themes such as indigenismo, mestizaje, migration, displacement, autonomy, sovereignty, borders, spirituality, and healing that have historically shaped the experiences of Native peoples across the Américas. In doing so, it promotes a broader understanding of the relationships between Native communities in the United States and Canada and those in Latin America and the Caribbean and invites a hemispheric understanding of the relationships between Native and mestiza/o peoples.
In Reconstructing the Native South, Melanie Benson Taylor examines the diverse body of Native American literature in the contemporary U.S. South--literature written by the descendants of tribes who evaded Removal and have maintained ties with their southeastern homelands. In so doing Taylor advances a provocative, even counterintuitive claim: that the U.S. South and its Native American survivors have far more in common than mere geographical proximity. Both cultures have long been haunted by separate histories of loss and nostalgia, Taylor contends, and the moments when those experiences converge in explicit and startling ways have yet to be investigated by scholars. These convergences often bear the scars of protracted colonial antagonism, appropriation, and segregation, and they share preoccupations with land, sovereignty, tradition, dispossession, subjugation, purity, and violence. Taylor poses difficult questions in this work. In the aftermath of Removal and colonial devastation, what remains--for Native and non-Native southerners--to be recovered? Is it acceptable to identify an Indian "lost cause"? Is a deep sense of hybridity and intercultural affiliation the only coherent way forward, both for the New South and for its oldest inhabitants? And in these newly entangled, postcolonial environments, has global capitalism emerged as the new enemy for the twenty-first century? Reconstructing the Native South is a compellingly original work that contributes to conversations in Native American, southern, and transnational American studies.
“A delight and highly recommended.” —Booklist “Showcases the truth and fullness of people of color.” —Book Riot In the tradition of Best American Short Stories comes Everyday People: The Color of Life, a dazzling collection of contemporary short fiction. Everyday People is a thoughtfully curated anthology of short stories that presents new and renowned work by established and emerging writers of color. It illustrates the dynamics of character and culture that reflect familial strife, political conflict, and personal turmoil through an array of stories that reveal the depth of the human experience. Representing a wide range of styles, themes, and perspectives, these selected stories depict moments that linger—crossroads to be navigated, relationships, epiphanies, and times of doubt, loss, and discovery. A celebration of writing and expression, Everyday People brings to light the rich tapestry that binds us all. The contributors are an eclectic mix of award-winning and critically lauded writers, including Mia Alvar, Carleigh Baker, Nana Brew-Hammond, Glendaliz Camacho, Alexander Chee, Mitchell S. Jackson, Yiyun Li, Allison Mills, Courttia Newland, Denne Michele Norris, Jason Reynolds, Nelly Rosario, Hasanthika Sirisena, and Brandon Taylor. Some of the proceeds from the sale of Everyday People will benefit the Rhode Island Writers Colony, a nonprofit organization founded by the late Brook Stephenson that provides space for speculation, production, and experimentation by writers of color.
The Oxford Handbook of the Literature of the U.S. South brings together contemporary views of the literature of the region in a series of chapters employing critical tools not traditionally used in approaching Southern literature. It assumes ideas of the South--global, multicultural, plural: more Souths than South--that would not have been embraced two or three decades ago, and it similarly expands the idea of literature itself. Representative of the current range of activity in the field of Southern literary studies, it challenges earlier views of antebellum Southern literature, as well as, in its discussions of twentieth-century writing, questions the assumption that the Southern Renaissance of the 1920s, 1930s, and 1940s was the supreme epoch of Southern expression, that writing to which all that had come before had led and by which all that came afterward was judged. As well as canonical Southern writers, it examines Native American literature, Latina/o literature, Asian American as well as African American literatures, Caribbean studies, sexuality studies, the relationship of literature to film, and a number of other topics which are relatively new to the field.
Whenever a memoirist gives a reading, someone in the audience is sure to ask: How did your family react? Revisiting our pasts and exploring our experiences, we often reveal more of our nearest and dearest than they might prefer. This volume navigates the emotional and literary minefields that any writer of family stories or secrets must travel when depicting private lives for public consumption. Essays by twenty-five memoirists, including Faith Adiele, Alison Bechdel, Jill Christman, Judith Ortiz Cofer, Rigoberto González, Robin Hemley, Dinty W. Moore, Bich Minh Nguyen, and Mimi Schwartz, explore the fraught territory of family history told from one perspective, which, from another angle in the family drama, might appear quite different indeed. In her introduction to this book, Joy Castro, herself a memoirist, explores the ethical dilemmas of writing about family and offers practical strategies for this tricky but necessary subject. A sustained and eminently readable lesson in the craft of memoir, Family Trouble serves as a practical guide for writers to find their own version of the truth while still respecting family boundaries.
This book provides the historical framework for the shift in Native American literary studies away from cultural analyses toward more politically inflected and motivated perspectives, and examines the key moments in this turn.
This is the first full-length biography of William W. Warren (1825-53), an Ojibwe interpreter, historian, and legislator in the Minnesota Territory. Devoted to the interests of the Ojibwe at a time of government attempts at removal, Warren lives on in his influential book History of the Ojibway , still the most widely read and cited source on the Ojibwe people. The son of a Yankee fur trader and an Ojibwe-French mother, Warren grew up in a frontier community of mixed cultures. Warren's loyalty to government Indian policies was challenged, but never his loyalty to the Ojibwe people. In his short life the issues with which he was concerned included land rights, treaties, Indian removal, mixed-blood politics, and state and federal Indian policy. Theresa M. Schenck has assembled a remarkable collection of newly discovered documents. Dozens of letters and other writings illuminate not only Warren's heart and mind but also a time of radical change in American Indian history. These documents, combined with Schenck's commentary, provide historical and contextual perspective on Warren's life, on the breadth of his activities, and on the complexity of the man himself; as such they offer a useful and long-awaited companion to Warren's History of the Ojibway .