Karankawa is a collection that explores some of the ways in which we (re)construct our personal histories. Rich in family narratives, myths, and creation stories, these are poems that investigate passage—dying, coming out, transforming, being born—as well as the gaps that also reside in our stories, for, as Rocha suggests, the opportunity to create myths is provided by great silences. Much like the Karankawa Indians whose history works in omissions, Karankawa reconfigures such spaces, engaging with the burden and freedom of memory in order to rework and recontextualize private and public mythologies. First and last, these are poems that honor our griefs and desires, for they keep alive the very things we cannot possess.

Popular lore has long depicted the Karankawa Indians as primitive scavengers (perhaps even cannibals) who eked out a meager subsistence from fishing, hunting and gathering on the Texas coastal plains. That caricature, according to Robert Ricklis, hides the reality of a people who were well-adapted to their environment, skillful in using its resources, and successful in maintaining their culture until the arrival of Anglo-American settlers. The Karankawa Indians of Texas is the first modern, well-researched history of the Karankawa from prehistoric times until their extinction in the nineteenth century. Blending archaeological and ethnohistorical data into a lively narrative history, Ricklis reveals the basic lifeway of the Karankawa, a seasonal pattern that took them from large coastal fishing camps in winter to small, dispersed hunting and gathering parties in summer. In a most important finding, he shows how, after initial hostilities, the Karankawa incorporated the Spanish missions into their subsistence pattern during the colonial period and coexisted peacefully with Euroamericans until the arrival of Anglo settlers in the 1820s and 1830s. These findings will be of wide interest to everyone studying the interactions of Native American and European peoples.

In 1885, along the Gulf Coast of Texas, the once-numerous Karankawa Indians had all but disappeared. The story unfolds as an orphan Indian boy, Kola, finds that he is the last living member of his people. Kola is taken in by W. S. and Jane Deats and their family, after their son, Sparkman, finds him floating in a canoe in Dickinson Bay. The Deats family soon realizes that Kola is extremely smart and more than willing to do his part in becoming a member of their family. After W. S. Deats gives Kola a gray filly as his own to ride, for the daily ranch work that is expected of the boys, an unusual bond develops between horse and boy. Kola soon becomes one of the best cowboys on the open prairies of the Gulf Coast. His roping skills soon become legendary. Many of the white settlers still had memories of problems with the nomadic Karankawa tribes as they roamed along the coast line of Texas. The embellished tales of these conflicts, over the years, had been passed on to new arrivals in Galveston County. When the Deats family enrolled Kola in school, there was an outcry from many of the citizens of Dickinson. An Indian boy in the classroom with white children was unacceptable in their eyes. How WS and Jane handle the violence that erupts makes for an intriguing story.

Chronicles the conquest of the Karankawas and Tonkawas Indians by white settlers in nineteenth-century Texas.

"Vivid . . . Garza's accomplished debut enriches the public imagination of this corner of America, and the communities within." —The New York Times A blazing and kaleidoscopic debut about a tight-knit community of Mexican and Filipino American families on the Texas coast from a voice you won't soon forget. Welcome to Galveston, Texas. Population 50,241. A popular tourist destination and major shipping port, Galveston attracts millions of visitors each year. Yet of those who come to drink by the beach, few stray from the boulevards to Fish Village, the neighborhood home to individuals who for generations have powered the island. Carly Castillo has only ever known Fish Village. Her grandmother claims that they descend from the Karankawas, an extinct indigenous Texan tribe, thereby tethering them to Galveston. But as Carly ages, she begins to imagine a life elsewhere, undefined by her family’s history. Meanwhile, her boyfriend and all-star shortstop turned seaman, Jess, treasures the salty, familiar air. He’s gotten chances to leave Galveston for bigger cities with more possibilities. But he didn’t take them then, and he sure as hell won’t now. When word spreads of a storm gathering strength offshore, building into Hurricane Ike, each Galveston resident must make a difficult decision: board up the windows and hunker down or flee inland and abandon their hard-won homes. Moving through these characters’ lives and those of the extraordinary individuals who circle them, Kimberly Garza's The Last Karankawas weaves together a multitude of voices to present a lyrical, emotionally charged portrait of everyday survival. The result is an unforgettable exploration of familial inheritance, human resilience, and the histories we assign to ourselves, reminding us that the deepest bonds are forged not by blood, but by fire.

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This breakthrough book examines dynamic intersections of poetics and geography. Gathering the essays of an international cohort whose work converges at the crossroads of poetics and the material world, Geopoetics in Practice offers insights into poetry, place, ecology, and writing the world through a critical-creative geographic lens. This collection approaches geopoetics as a practice by bringing together contemporary geographers, poets, and artists who contribute their research, methodologies, and creative writing. The 24 chapters, divided into the sections “Documenting,” “Reading,” and “Intervening,” poetically engage discourses about space, power, difference, and landscape, as well as about human, non-human, and more-than-human relationships with Earth. Key explorations of this edited volume include how poets engage with geographical phenomena through poetry and how geographers use creativity to explore space, place, and environment. This book makes a major contribution to the geohumanities and creative geographies by presenting geopoetics as a practice that compels its agents to take action. It will appeal to academics and students in the fields of creative writing, literature, geography, and the environmental and spatial humanities, as well as to readers from outside of the academy interested in where poetry and place overlap.