Growing up in a small town to me was an adventure. In Bluff, a small town in central Queensland, everyone knew everyone. I had plenty of friends to hang out with. My mates and I were always outside playing and never got home until dark, which I sometimes got a flogging for, but I had fun playing. The school had about five to six buildings in the seventies and eighties but big enough to keep us kids busy. I was raised by my mother along with two older brothers and one younger sister and lots of relatives. On the weekends, we’d go camping down the creek, where our cubby house was or go crawchying (yabbies) for something to eat. Having a childhood gave me a lot of imagination and inspired me to write stories about our adventures and begin to write poetry. This book is mostly about my Aboriginal culture and thoughts and hopefully some poems that the reader can relate to.

A Land Remembered has become Florida's favorite novel. Now this Student Edition in two volumes makes this rich, rugged story of the American pioneer spirit more accessible to young readers. Patrick Smith tells of three generations of the MacIveys, a Florida family battling the hardships of the frontier. The story opens in 1858, when Tobias and Emma MacIvey arrive in the Florida wilderness with their son, Zech, to start a new life, and ends in 1968 with Solomon MacIvey, who realizes that his wealth has not been worth the cost to the land. Between is a sweeping story rich in Florida history with a cast of memorable characters who battle wild animals, rustlers, Confederate deserters, mosquitoes, starvation, hurricanes, and freezes to carve a kingdom out of the Florida swamp. In this volume, meet young Zech MacIvey, who learns to ride like the wind through the Florida scrub on Ishmael, his marshtackie horse, his dogs, Nip and Tuck, at this side. His parents, Tobias and Emma, scratch a living from the land, gathering wild cows from the swamp and herding them across the state to market. Zech learns the ways of the land from the Seminoles, with whom his life becomes entwined as he grows into manhood. Next in series > > See all of the books in this series

*Winner of the William Carlos Williams Award* *National Book Critics Circle Award Finalist* *Included in The New York Times Best Poetry of 2016* *Named one of The Washington Post's Best Poetry Collections of 2016* * Longlisted for the National Book Award* “Blackacre” is a centuries-old legal fiction—a placeholder name for a hypothetical estate. Treacherously lush or alluringly bleak, these poems reframe their subjects as landscape, as legacy—a bereavement, an intimacy, a racial identity, a pubescence, a culpability, a diagnosis. With a surveyor’s keenest tools, Youn marks the boundaries of the given, what we have been allotted: acreage that has been ruthlessly fenced, previously tenanted, ploughed and harvested, enriched and depleted. In the title sequence, the poet gleans a second crop from the field of Milton’s great sonnet on his blindness: a lyric meditation on her barrenness, on her own desire—her own struggle—to conceive a child. What happens when the transformative imagination comes up against the limits of unalterable fact?

A collection of love poems based on George Herriman's comic strip characters Ignatz Mouse and Krazy Kat.

A “raw and honest” (Los Angeles Review of Books) memoir from the first Native American Poet Laureate of the United States. In this transcendent memoir, grounded in tribal myth and ancestry, music and poetry, Joy Harjo details her journey to becoming a poet. Born in Oklahoma, the end place of the Trail of Tears, Harjo grew up learning to dodge an abusive stepfather by finding shelter in her imagination, a deep spiritual life, and connection with the natural world. Narrating the complexities of betrayal and love, Crazy Brave is a haunting, visionary memoir about family and the breaking apart necessary in finding a voice.

Throughout Oceania, land is central to identity because it is understood to be spiritually nourishing and sustaining. Land is the mother. Land, and the kinship it nurtures, is the basis for sustaining livelihoods and ways of life. Therefore, Indigenous dispossession from the land has deep and far-reaching consequences. My Land, My Life: Dispossession at the Frontier of Desire explores the land rush that took place in Vanuatu from 2001 to 2014 which resulted in over ten percent of all customary land being leased. In this book, Siobhan McDonnell offers new insights into the drivers of capitalist land transformations. Using multi-scalar and multi-sited ethnography, she describes not simply a linear march toward commodification of the landscape by foreign interests, but a complex web replete with the local powerful Indigenous men involved in manipulating power and property. McDonnell meticulously describes land-leasing processes and maps the relationships between investors, middlemen, and local men. She shows how property is a tool with which foreigners reassert capitalism and neocolonial control over Indigenous landscapes. The legal identity of “landowner” contains foundational contradictions between the rights established in Vanuatu’s kastom system and those afforded by property, as individualized rights over land. Property has also created sites for the production of masculine authority and enabled men to manipulate claims to land and entrench their personal power. This book explores how transactions of customary land have created new domains of agency and frontiers of desire: foreign desire to possess land and local desire to lease land for cash. It concludes with a discussion of Vanuatu’s constitutional and land reform package, drafted by the author, which took effect in 2014 and delivered a more empathetic approach to Indigenous land rights and ended the land rush. Informed by decades of study, legal work, and community engagement, My Land, My Life demonstrates an engaged anthropological practice based on reciprocity that responds directly to what Indigenous people have asked for. This book is certain to appeal to a wide range of scholars as well as policy makers.

WINNER OF THE 2021 PULITZER PRIZE IN POETRY FINALIST FOR THE 2020 NATIONAL BOOK AWARD FOR POETRY Natalie Diaz’s highly anticipated follow-up to When My Brother Was an Aztec, winner of an American Book Award Postcolonial Love Poem is an anthem of desire against erasure. Natalie Diaz’s brilliant second collection demands that every body carried in its pages—bodies of language, land, rivers, suffering brothers, enemies, and lovers—be touched and held as beloveds. Through these poems, the wounds inflicted by America onto an indigenous people are allowed to bloom pleasure and tenderness: “Let me call my anxiety, desire, then. / Let me call it, a garden.” In this new lyrical landscape, the bodies of indigenous, Latinx, black, and brown women are simultaneously the body politic and the body ecstatic. In claiming this autonomy of desire, language is pushed to its dark edges, the astonishing dunefields and forests where pleasure and love are both grief and joy, violence and sensuality. Diaz defies the conditions from which she writes, a nation whose creation predicated the diminishment and ultimate erasure of bodies like hers and the people she loves: “I am doing my best to not become a museum / of myself. I am doing my best to breathe in and out. // I am begging: Let me be lonely but not invisible.” Postcolonial Love Poem unravels notions of American goodness and creates something more powerful than hope—in it, a future is built, future being a matrix of the choices we make now, and in these poems, Diaz chooses love.