Welcome to the Seventh Annual Conference of the Society for Protection and Reclamation of Indian Images. Expect to find, amid all the refined cultural observations, academic posturing, and political maneuvering, an Indian who defies anyone to protect, let alone reclaim, her image. This is Shirley Mounter, a Tuscarora woman and the chief storyteller among the acerbic, eloquent, and often hilarious speakers who overflow the pages of this latest novel by the noted Onondaga writer Eric Gansworth. A lecture on Indian stereotypes by Shirley?s daughter, art historian Annie Boans, calls forth Shirley?s recollections, whose outpourings deposit us in the turbulent yet restorative waters of modern Iroquoian reservation life, always flowing and eddying around kin. ø Indeed, Shirley?s house and land are now, after a long and bitter fight, forever lost to her in the construction of a water reservoir that feeds the government?s hydroelectric plant. The story of this battle is the story of Shirley?s generation and the faltering generation that follows?of violent love and losses, of children turning away only to find themselves forever negotiating the nuances of identity, of popular culture in jarring juxtaposition with the sometimes even more incredible realities of Native life. Weaving a complex narrative illustrated with his own paintings, Gansworth creates a rich, wry, and multifaceted tapestry of the intricate twists and turns of coincidence, memories, and stories that bind Native families together.

Intro -- Title Page -- Copyright Page -- Table of Contents -- Acknowledgments -- Prologue: Opening Addresses -- Part One: Feeling Bolts -- Switching Foundations -- Parting Weighs -- Connecting Flights -- Border One: Burying Voices -- Part Two: Cutting Patterns -- Leaving Messages -- Identifying Marks -- Answering Calls -- Border Two: Burning Memories -- Part Three: Hiding Seams -- Matching Lots -- Tanning Hides -- Fraying Threads -- Epilogue: Noting Entries

Since the fourteenth century, Eastern Woodlands tribes have used delicate purple and white shells called “wampum” to form intricately woven belts. These wampum belts depict significant moments in the lives of the people who make up the tribes, portraying everything from weddings to treaties. Wampum belts can be used as a form of currency, but they are primarily used as a means to record significant oral narratives for future generations. In Reading the Wampum, Kelsey provides the first academic consideration of the ways in which these sacred belts are reinterpreted into current Haudenosaunee tradition. While Kelsey explores the aesthetic appeal of the belts, she also provides insightful analysis of how readings of wampum belts can change our understanding of specific treaty rights and land exchanges. Kelsey shows how contemporary Iroquois intellectuals and artists adapt and reconsider these traditional belts in new and innovative ways. Reading the Wampum conveys the vitality and continuance of wampum traditions in Iroquois art, literature, and community, suggesting that wampum narratives pervade and reappear in new guises with each new generation.

Editor: winter 1939-autumn 1941 J. C. Ransom.

In recent years, works by American Indian artists and filmmakers such as Jaune Quick-To-See Smith, Edgar Heap of Birds, Sherman Alexie, Shelley Niro, and Chris Eyre have illustrated the importance of visual culture as a means to mediate identity in contemporary Native America. This insightful collection of essays explores how identity is created and communicated through Native film-, video-, and art-making; what role these practices play in contemporary cultural revitalization; and how indigenous creators revisit media pasts and resignify dominant discourses through their work. Taking an interdisciplinary approach, Visualities: Perspectives on Contemporary American Indian Film and Art draws on American Indian Studies, American Studies, Film Studies, Cultural Studies, Women’s Studies, and Postcolonial Studies. Among the artists examined are Hulleah J. Tsinhnahjinnie, Eric Gansworth, Melanie Printup Hope, Jolene Rickard, and George Longfish. Films analyzed include Imprint, It Starts with a Whisper, Mohawk Girls, Skins, The Business of Fancydancing, and a selection of Native Latin films.

National Book Award Longlist TIME's 10 Best YA and Children's Books of 2020 NPR's Best Book of 2020 Shelf Awareness's Best Books of 2020 Publishers Weekly's Big Indie Books of Fall Amazon's Best Book of the Month AICL Best YA Books of 2020 CSMCL Best Multicultural Children's Books of 2020 PRAISE "Stirring.... Raw and moving." —TIME "Beautiful imagery and with words that soar and scald." —The Buffalo News "Easily one of the best books to be published in 2020. The kind of book bound to save lives." —LitHub "A powerful narrative about identity and belonging." —Paste Magazine FOUR STARRED REVIEWS ★ "Timely and important." —Booklist, starred review ★ "Searing yet dryly funny." —The Bulletin, starred review ★ "Exceptional." —Shelf-Awareness, starred review ★ "Captivating." —School Library Journal, starred review The term "Apple" is a slur in Native communities across the country. It's for someone supposedly "red on the outside, white on the inside." In APPLE (SKIN TO THE CORE), Eric Gansworth tells his story, the story of his family—of Onondaga among Tuscaroras—of Native folks everywhere. From the horrible legacy of the government boarding schools, to a boy watching his siblings leave and return and leave again, to a young man fighting to be an artist who balances multiple worlds. Eric shatters that slur and reclaims it in verse and prose and imagery that truly lives up to the word heartbreaking.