Welcome to the Seventh Annual Conference of the Society for Protection and Reclamation of Indian Images. Expect to find, amid all the refined cultural observations, academic posturing, and political maneuvering, an Indian who defies anyone to protect, let alone reclaim, her image. This is Shirley Mounter, a Tuscarora woman and the chief storyteller among the acerbic, eloquent, and often hilarious speakers who overflow the pages of this latest novel by the noted Onondaga writer Eric Gansworth. A lecture on Indian stereotypes by Shirley?s daughter, art historian Annie Boans, calls forth Shirley?s recollections, whose outpourings deposit us in the turbulent yet restorative waters of modern Iroquoian reservation life, always flowing and eddying around kin. ø Indeed, Shirley?s house and land are now, after a long and bitter fight, forever lost to her in the construction of a water reservoir that feeds the government?s hydroelectric plant. The story of this battle is the story of Shirley?s generation and the faltering generation that follows?of violent love and losses, of children turning away only to find themselves forever negotiating the nuances of identity, of popular culture in jarring juxtaposition with the sometimes even more incredible realities of Native life. Weaving a complex narrative illustrated with his own paintings, Gansworth creates a rich, wry, and multifaceted tapestry of the intricate twists and turns of coincidence, memories, and stories that bind Native families together.

Intro -- Title Page -- Copyright Page -- Table of Contents -- Acknowledgments -- Prologue: Opening Addresses -- Part One: Feeling Bolts -- Switching Foundations -- Parting Weighs -- Connecting Flights -- Border One: Burying Voices -- Part Two: Cutting Patterns -- Leaving Messages -- Identifying Marks -- Answering Calls -- Border Two: Burning Memories -- Part Three: Hiding Seams -- Matching Lots -- Tanning Hides -- Fraying Threads -- Epilogue: Noting Entries

In this anthology, eighteen scholars discuss the themes and practices of survivance in literature, examining the legacy of Vizenor's original insights and exploring the manifestations of survivance in a variety of contexts. Contributors interpret and compare the original writings of William Apess, Eric Gansworth, Louis Owens, Carter Revard, Gerald Vizenor, and Velma Wallis, among others.

National Book Award Longlist TIME's 10 Best YA and Children's Books of 2020 NPR's Best Book of 2020 Shelf Awareness's Best Books of 2020 Publishers Weekly's Big Indie Books of Fall Amazon's Best Book of the Month AICL Best YA Books of 2020 CSMCL Best Multicultural Children's Books of 2020 PRAISE "Stirring.... Raw and moving." —TIME "Beautiful imagery and with words that soar and scald." —The Buffalo News "Easily one of the best books to be published in 2020. The kind of book bound to save lives." —LitHub "A powerful narrative about identity and belonging." —Paste Magazine FOUR STARRED REVIEWS ★ "Timely and important." —Booklist, starred review ★ "Searing yet dryly funny." —The Bulletin, starred review ★ "Exceptional." —Shelf-Awareness, starred review ★ "Captivating." —School Library Journal, starred review The term "Apple" is a slur in Native communities across the country. It's for someone supposedly "red on the outside, white on the inside." In APPLE (SKIN TO THE CORE), Eric Gansworth tells his story, the story of his family—of Onondaga among Tuscaroras—of Native folks everywhere. From the horrible legacy of the government boarding schools, to a boy watching his siblings leave and return and leave again, to a young man fighting to be an artist who balances multiple worlds. Eric shatters that slur and reclaims it in verse and prose and imagery that truly lives up to the word heartbreaking.

Presents an encyclopedia of American Indian literature in an alphabetical format listing authors and their works.

This compilation of essays by 20 scholars trained in comparative literatures, art history, critical theory, and American cultural studies further explores and expands the spirited and energetic field of visual cultural studies and its cognate or supplemental projects of “visual practices” and “visual literacy.” Their topics and perspectives engage contemporary re-theorizations of “text,” of “word” and “image,” while their alignments, ruptures, slippages and aporias fall across a range of media practices and institutions. These include photography and exhibition, film, television, entertainment, journalism, poetry and literature as visual and spectacular performances, and graphic narratives, but also their discursive intersections with “race” and ethnicity, their conjugations of gender, their tense and constitutive relations within multiple public spheres and (post)modernities.

Gerald Vizenor presents in this anthology some of the best contemporary Native American Indian authors writing today. The five books from which these excerpts are drawn are published in the University of Nebraska Press’s Native Storiers series. This series introduces innovative, emergent, avant-garde Native literary artists and promotes a sense of survivance over the conventional themes of victimry, historical absence, cultural tragedy, and separation that often accompany Native characters in popular commercial fiction. These original narratives demonstrate a new and distinctive aesthetic in the literature of Native American Indians. The five Native authors in this anthology, drawing from the practices of traditional oral storiers, create an active sense of presence, both in the literary world, and the wider world of cultural studies. Native Storiers includes selections from Mending Skins by Eric Gansworth, Designs of the Night Sky by Diane Glancy, Bleed into Me by Stephen Graham Jones, Hiroshima Bugi: Atomu 57 by Gerald Vizenor, and Elsie’s Business by Frances Washburn.