Fiction. Native American Studies. Erika T. Wurth's BUCKSKIN COCAINE is a wild, beautiful ride into the seedy underworld of Native American film. These are stories about men maddened by fame, actors desperate for their next buckskin gig, directors grown cynical and cruel, and dancers who leave everything behind in order to make it, only to realize at thirty that there is nothing left. Poetic and strange, Wurth's characters and vivid language will burn themselves into your mind, and linger. "This is the raw stuff, the loud stuff, the hard stuff, the true stuff. It'll infect you in a way you won't realize at first, too. Not until days later, when you can't remember if you read this or you lived it. Trust me: you did both."-- Stephen Graham Jones "BUCKSKIN COCAINE is a big voicey chorus of drugs, sex, booze, movies, and most of all the drumbeat of want, need, and desire."-- Kyle Minor

Finalist for the 2020 Colorado Book Award in the Literary Fiction category presented by the Colorado Center for the Book Finalist for the 2019 Foreword INDIES Book of the Year Award in the Multicultural (Adult Fiction) category 2020 In the Margins Top Ten and Fiction Recommendation Matthew has grown up in hell. His father is gone, and his mother drinks and hooks up with men who abuse Matthew and his sister. He finally decides to hit the streets of Farmington to get away and to drink himself to death—in his mind, his destiny. He meets Chris, who saves him, takes him home, cleans him up, gets him sober, and initiates Matthew into one of Albuquerque's Native American gangs, the 505s. The 505s have been around for generations. They now sell heroin, and it's their subservience to the Mexican gangs that has allowed them to survive. However, Chris decides that his little Native American gang deserves to be as big as the Mexican gangs in Albuquerque, bringing in new business from deep inside Indigenous communities in Mexico. Then, Matthew falls in love with Chris's girlfriend. Matthew's story is one of terrible darkness, but also, unexpected beauty and tenderness.

Our Bearings is a collection of narrative poetry that examines and celebrates Anishinaabe life in modern Minneapolis. Crafted around the four elements—earth, air, water, and fire— the poems are a beautifully layered discourse between landscapes, stories, and the people who inhabit them. Throughout the collection, McGlennen weaves the natural elements of Minnesota with rich historical commentary and current images of urban Native life. Reverence for wildlife and foliage is pierced by the sharp man-made skylines of Minneapolis while McGlennen reckons with the heavy impact of industrial progress on the souls and everyday lives of individuals. While working with both traditional and contemporary form, McGlennen’s unique use of space and rhythm creates poetry that is both captivating and accessible. Our Bearings does not attempt to speak for a population; rather it offers vibrant stories and moments that give voice to pieces of a large and complex tapestry of experiences. Through keen observation and a deep understanding of Native life in Minneapolis, McGlennen has created a timely collection that contributes beautifully to the important conversation about contemporary urban Native life in North America and globally.

The 1960s on Film tells the narrative of the 1960s through the lens of the movie camera, analyzing 10 films that focus on the people, events, and issues of the decade. Films create both an impression of and — at times for younger audiences — a primary definition of events, people, and issues of an era. The 1960s on Film examines the 1960s as the decade was presented in ten films that focused on that decade. Discussion will focus on both what the films have to say about the era and how close they come to accurately depicting it. For example, films such as Mississippi Burning and Selma tell the story of racial conflict and hope for reconciliation in the 1960s. Other films such as The Right Stuff and Hidden Figures show the deep fascination America had at that time with the burgeoning space program and NASA, while Easy Rider analyzes the role of rock music and drugs among young people of the decade. The Deer Hunter studies the controversies surrounding the war in Vietnam. The Graduate, Mad Men, JFK, and Thirteen Days also receive significant treatment in this exciting volume.

“State of the art science fiction . . . a landmark novel.”—Isaac Asimov's Science Fiction Magazine Now, in the stunning continuation of the epic adventure begun in Hyperion, Simmons returns us to a far future resplendent with drama and invention. On the world of Hyperion, the mysterious Time Tombs are opening. And the secrets they contain mean that nothing—nothing anywhere in the universe—will ever be the same. Praise for The Fall of Hyperion “One of the finest SF novels published in the past few years.”—Science Fiction Eye “A magnificently original blend of themes and styles.”—The Denver Post

These poems are tributes to an entirely new tribe--the unsung mixed blood Indians of modern America.

Told through the spirit of the loon with a hint of lesbian fairytale, THE BUCKSKIN SKIRT OAR TRAVELER is set in theforest ofLacdu Flambeau,Wisconsin. The Hamlet of Winonah is on one side of the forest, a primitive feminist tribe geared to start a new culture through their children, Winonah meaning “first-born daughter.” TheProvinceofBligewill be the other side, going into the Celtic fringe of postcard mythicalIreland. Perhaps theProvinceofBligewill be the shop window for the lesbian community with fragrance chemists, designer-slip crafters and sprite-wing builders flying the purple flag on the Maypole. The Buckskin Skirt Oar Traveler taps maple trees to make maple syrup. It’s the annual