A baffling museum murder that appears to be the work of twisted human killers results in an unexpected and violent confrontation with powerful shape-shifters for Choctaw detective Monique Blue Hawk. Blending tribal beliefs and myths into a modern context, The Hatak Witches continues the storyline of Choctaw cosmology and cultural survival that are prominent in Devon A. Mihesuah's award-winning novel, The Roads of My Relations.

After a security guard is found dead and another wounded at the Children’s Museum of Science and History in Norman, Oklahoma, Detective Monique Blue Hawk and her partner Chris Pierson are summoned to investigate. They find no fingerprints, no footprints, and no obvious means to enter the locked building. Monique discovers that a portion of an ancient and deformed skeleton had also been stolen from the neglected museum archives. Her uncle, the spiritual leader Leroy Bear Red Ears, concludes that the stolen remains are those of Hatak haksi, a witch and the matriarch of the Crow family, a group of shape-shifting Choctaws who plan to reestablish themselves as the powerful creatures they were when the tribe lived in Mississippi. Monique, Leroy, and Chris must stop the Crows, but to their dread, the entities have retreated to the dark and treacherous hollow in the center of Chalakwa Ranch. The murderous shape-shifters believe the enormous wild hogs, poisonous snakes, and other creatures of the hollow might form an adequate defense for Hatak haksi. But what no one counts on is the unexpected appearance and power of the Old Ones who guard the lands of the Choctaw afterlife. Blending tribal beliefs and myths into a modern context, The Hatak Witches continues the storyline of Choctaw cosmology and cultural survival that are prominent in Devon A. Mihesuah’s award-winning novel, The Roads of My Relations.

Chronicles the lives of several generations of a close-knit Choctaw family as they are forced from their traditional homeland in nineteenth-century Mississippi and endure unspeakable sorrows during their journey before settling in southeastern Oklahoma.

Santali, or the language of the Santhals, is spoken by the sons of the soil in a large territory spread over Bihar, West Bengal, Orissa and North-Eastern India. Apart from Santhals several other tribes also use Santali as their dialect. Though several dictionaries on the Santali language have been compiled by earlier Christian missionaries to spread the message of Bible in the local idiom, Bodding s remains the most exhaustive, most elaborate and most acceptable of all the lexicons. The entries carry not only the meaning and usage but also ethnological description. The reason is to help all readers who use the dictionary for clearer understanding of what each word stands for or refers to. With parantheses at the end of each article some etymological matter has been added. Foreign words which have been assimilated into Santali are included. In all, the dictionary is the only complete and authoritative reference work for those who want to use Santali either as mother tongue or neighbouring or foreign language.

Why is there no Native woman David Sedaris? Or Native Anne Lamott? Humor categories in publishing are packed with books by funny women and humorous sociocultural-political commentary—but no Native women. There are presumably more important concerns in Indian Country. More important than humor? Among the Diné/Navajo, a ceremony is held in honor of a baby’s first laugh. While the context is different, it nonetheless reminds us that laughter is precious, even sacred. Bury My Heart at Chuck E. Cheese’s is a powerful and compelling collection of Tiffany Midge’s musings on life, politics, and identity as a Native woman in America. Artfully blending sly humor, social commentary, and meditations on love and loss, Midge weaves short, stand-alone musings into a memoir that stares down colonialism while chastising hipsters for abusing pumpkin spice. She explains why she does not like pussy hats, mercilessly dismantles pretendians, and confesses her own struggles with white-bread privilege. Midge goes on to ponder Standing Rock, feminism, and a tweeting president, all while exploring her own complex identity and the loss of her mother. Employing humor as an act of resistance, these slices of life and matchless takes on urban-Indigenous identity disrupt the colonial narrative and provide commentary on popular culture, media, feminism, and the complications of identity, race, and politics.