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"Set on the Blackfeet Reservation, the life of one Indian boy, Doby Saxon, is laid bare through the eyes of those who witness it: his near-death experience, his suicide attempts, his brief glimpse of victory, and the overdose of one of his best friends." "But through Doby there emerges a connection to the past, to an Indian Agent who served the United States Government over a century before. This revelation leads to another and another until it becomes clear that the decisions of this single Indian Agent have impacted the lives of generations of Blackfeet. And the life of Doby Saxon, a boy standing in the middle of the road at night, his hands balled into fists, the reservation wheeling all around him like the whole of Blackfeet history."--BOOK JACKET.
This book examines the future in Indigenous North American speculative literature and digital arts. Asking how different Indigenous works imagine the future and how they negotiate settler colonial visions of what is to come, the chapters illustrate that the future is not an immutable entity but a malleable textual/digital product that can function as both a colonial tool and a catalyst for decolonization. Central to this study is the development of a methodology that helps unearth the signifying structures producing the future in selected works by Darcie Little Badger, Gerald Vizenor, Stephen Graham Jones, Skawennati, Danis Goulet, Scott Benesiinaabandan, Postcommodity, Kite, Jeff Barnaby, and Ryan Singer. Drawing on Jason Lewis’s "future imaginary" as the theoretical core, the book describes the various forms of textual representation and virtual simulation through which notions of Indigenous continuation are expressed in literary and new media works. Arguing that Indigenous authors and artists apply the aesthetics of the future as a strategy in their works, the volume conceptualizes its multimedia corpus as a continuously growing archive of, and for, Indigenous futures.
Even as Stephen Graham Jones generates a dizzying range of brilliant fiction, his work remains strikingly absent from scholarly conversations about Native and western American literature, owing in part to his unapologetic embrace of popular genres such as horror and science fiction. Steeped in dense narrative references, literary and historical allusions, and experimental postmodern stylings, his fiction informs a broad array of literary and popular conversations. The Fictions of Stephen Graham Jones is the first collection of scholarship on Jones’s ever-expanding oeuvre. The diverse methodologies that inform these essays—from Native American critical theory to poststructuralism and gothic noirism—illuminate the unique complexity of Jones’s narrative worlds while positioning his works within broader conversations in literary studies and popular culture. Jones challenges at every turn the notions of what constitutes Native American literature and what it means to be a Native American writer. Contributing editor Billy J. Stratton foregrounds these heavily contested questions and their ongoing relevance to readers and critics alike.
A NEW YORK TIMES BESTSELLER From USA TODAY bestselling author Stephen Graham Jones comes a “masterpiece” (Locus Magazine) of a novel about revenge, cultural identity, and the cost of breaking from tradition. Labeled “one of 2020’s buzziest horror novels” (Entertainment Weekly), this is a remarkable horror story that “will give you nightmares—the good kind of course” (BuzzFeed). Seamlessly blending classic horror and a dramatic narrative with sharp social commentary, The Only Good Indians is “a masterpiece. Intimate, devastating, brutal, terrifying, warm, and heartbreaking in the best way” (Paul Tremblay, author of A Head Full of Ghosts). This novel follows four American Indian men after a disturbing event from their youth puts them in a desperate struggle for their lives. Tracked by an entity bent on revenge, these childhood friends are helpless as the culture and traditions they left behind catch up to them in violent, vengeful ways.
This collection investigates modern imperialist practices and their management of hunger through its punctuated distribution amongst asymmetrically related marginal populations. Drawing on relevant material from Egypt, Ireland, India, Ukraine, and other regions of the globe, The Aesthetics and Politics of Global Hunger is a rigorously comparative study made up of ten essays by well-established scholars from universities around the world. Since modernity, we have been inhabitants of a globe increasingly connected through discourses of equal access for all humans to the resources of the planet, but the volume emphasizes alongside this reality the flagrant politicization of those same resources. From this emphasis, the essays in the volume place into relief the idea that ideological and aesthetic discourses of hunger could inform ethical thinking and practices about who or what constitutes the figure of the modern historical human.
The author, an Indian himself, profiles the lives of many Native Americans and how people treat them just because of their race. Even in today's society the uneasy relations between Indians and white's is still fueled by mistrust, stereo-types and casual violence.
When med student Hale is called home by his ailing mother on Halloween night, he and a group of friends are trapped in an inescapable cycle of violence.
A woefully overmatched PI must confront his past and solve a murder in rural Texas.
A novel unlike any previous work of Native American fiction.
Flushboy is every job you ever had in high school, times ten: working the window of your father's drive-through urinal.