In The Sovereign Trickster Vicente L. Rafael offers a prismatic view of the age of Rodrigo Duterte in the contemporary Philippines. Framing Duterte as a trickster figure who boasts, jokes, terrorizes, plays the victim, and instills terror, Rafael weaves together topics ranging from the drug war, policing, and extrajudicial killings to neoliberal citizenship, intimacy, and photojournalism. He is less concerned with defining Duterte as a fascist, populist, warlord, and traditional politician than he is with examining what Duterte does: how he rules, the rhetoric of his humor, his use of obscenity to stoke fear, and his projection of masculinity and misogyny. Locating Duterte's rise within the context of counterinsurgency, neoliberalism, and the history of electoral violence, while drawing on Foucault’s biopower and Mbembe’s necropolitics, Rafael outlines how Duterte weaponizes death to control life. By diagnosing the symptoms of the authoritarian imaginary as it circulates in the Philippines, Rafael provides a complex account of Duterte’s regime and the social conditions that allow him to enjoy continued support.

Land is key to the operations of coloniality, but the power of the land is also the key anticolonial force that grounds Indigenous liberation. This work is an attempt to articulate the nature of land as a material, conceptual, and ontological foundation for Indigenous ways of knowing, being, and valuing. As a foundation of valuing, land forms the framework for a conceptualization of Indigenous environmental ethics as an anticolonial force for sovereign Indigenous futures. This text is an important contribution in the efforts to Indigenize Western philosophy, particularly in the context of settler colonialism in the United States. It breaks significant ground in articulating Indigenous ways of knowing and valuing to Western philosophy—not as artifact that Western philosophy can incorporate into its canon, but rather as a force of anticolonial Indigenous liberation. Ultimately, Indigenizing Philosophy through the Land shines light on a possible road for epistemically, ontologically, and morally sovereign Indigenous futures.

New from celebrated poet and performer Anne Waldman - an edgy, visionary collection that meditates on gender, existence, passion and activism Mythopoetics, shape shifting, quantum entanglement, Anthropocene blues, litany and chance operation play inside the field of these intertwined poems, which coalesced out of months of protests with some texts penned in the streets. Anne Waldman looks to the imagination of mercurial possibility, to the spirits of the doorway and of crossroads, and to language that jolts the status quo of how one troubles gender and outwits patriarchy. She summons Tarot's Force Arcana, the passion of the suffragettes, and various messengers and heroines of historical, hermetic, and heretical stance, creating an intersectionality of lived experience: class, sexuality, race, politics all enter the din. These are experiments of survival.

Gerald Vizenor's novel reclaims the story of Chrisopher Columbus on behalf of Native Americans by declaring the explorer himself to be a descendent of early Mayans and follows the adventures of his modern-day, mixedblood heirs as they create a fantastic tribal nation.

Two-Spirit people, identified by many different tribally specific names and standings within their communities, have been living, loving, and creating art since time immemorial. It wasn’t until the 1970s, however, that contemporary queer Native literature gained any public notice. Even now, only a handful of books address it specifically, most notably the 1988 collection Living the Spirit: A Gay American Indian Anthology. Since that book’s publication twenty-three years ago, there has not been another collection published that focuses explicitly on the writing and art of Indigenous Two-Spirit and Queer people. This landmark collection strives to reflect the complexity of identities within Native Gay, Lesbian, Bisexual, Transgender, Queer, and Two-Spirit (GLBTQ2) communities. Gathering together the work of established writers and talented new voices, this anthology spans genres (fiction, nonfiction, poetry, and essay) and themes (memory, history, sexuality, indigeneity, friendship, family, love, and loss) and represents a watershed moment in Native American and Indigenous literatures, Queer studies, and the intersections between the two. Collaboratively, the pieces in Sovereign Erotics demonstrate not only the radical diversity among the voices of today’s Indigenous GLBTQ2 writers but also the beauty, strength, and resilience of Indigenous GLBTQ2 people in the twenty-first century. Contributors: Indira Allegra, Louise Esme Cruz, Paula Gunn Allen, Qwo-Li Driskill, Laura Furlan, Janice Gould, Carrie House, Daniel Heath Justice, Maurice Kenny, Michael Koby, M. Carmen Lane, Jaynie Lara, Chip Livingston, Luna Maia, Janet McAdams, Deborah Miranda, Daniel David Moses, D. M. O’Brien, Malea Powell, Cheryl Savageau, Kim Shuck, Sarah Tsigeyu Sharp, James Thomas Stevens, Dan Taulapapa McMullin, William Raymond Taylor, Joel Waters, and Craig Womack

2021 Spur Award Winner for Best Historical Nonfiction from the Western Writers of America True West Magazine's 2020 Best Author and Historical Nonfiction Book of the Year The Last Sovereigns is the story of how Sioux chief Sitting Bull resisted the white man's ways as a last best hope for the survival of an indigenous way of life on the Great Plains--a nomadic life based on buffalo and indigenous plants scattered across the Sioux's historical territories that were sacred to him and his people. Robert M. Utley explores the final four years of Sitting Bull's life of freedom, from 1877 to 1881. To escape American vengeance for his assumed role in the annihilation of Gen. George Armstrong Custer's command at the Little Bighorn, Sitting Bull led his Hunkpapa following into Canada. There he and his people interacted with the North-West Mounted Police, in particular Maj. James M. Walsh. The Mounties welcomed the Lakota and permitted them to remain if they promised to abide by the laws and rules of Queen Victoria, the White Mother. But the Canadian government wanted the Indians to return to their homeland and the police made every effort to persuade them to leave. They were aided by the diminishing herds of buffalo on which the Indians relied for sustenance and by the aggressions of Canadian Native groups that also relied on the buffalo. Sitting Bull and his people endured hostility, tragedy, heartache, indecision, uncertainty, and starvation and responded with stubborn resistance to the loss of their freedom and way of life. In the end, starvation doomed their sovereignty. This is their story.

Babaylan Sing Back depicts the embodied voices of Native Philippine ritual specialists popularly known as babaylan. These ritual specialists are widely believed to have perished during colonial times, or to survive on the margins in the present-day. They are either persecuted as witches and purveyors of superstition, or valorized as symbols of gender equality and anticolonial resistance. Drawing on fieldwork in the Philippines and in the Philippine diaspora, Grace Nono's deep engagement with the song and speech of a number of living ritual specialists demonstrates Native historical agency in the 500th year anniversary of the contact between the people of the Philippine Islands and the European colonizers.