Böcker i Indigenous Studies-serien

Gathers nine conversations with Indigenous writers about the relationship between Indigenous literatures and learning, and how their writing relates to communities. Relevant, reflexive, and critical, these conversations explore the pressing topic of Indigenous writings and its importance to the well-being of Indigenous peoples.

Brings together an extraordinary range of Indigenous stories from across Turtle Island (North America). From short fiction to as-told-to narratives, from illustrated stories to personal essays, these stories celebrate the strength of heritage and the liveliness of innovation.

Since first contact, Natives and newcomers have been involved in an increasingly complex struggle over power and identity. Modern Indian wars are fought over land and treaty rights, artistic appropriation, and academic analysis, while Native communities struggle among themselves over membership, money, and cultural meaning. In cultural and political arenas across North America, Natives enact and newcomers protest issues of traditionalism, sovereignty, and self-determination. In these struggles over domination and resistance, over different ideologies and Indian identities, neither Natives nor other North Americans recognize the significance of being rooted together in history and culture, or how representations of Indianness set them in opposition to each other. In Indian Country: Essays on Contemporary Native Culture, Gail Guthrie Valaskakis uses a cultural studies approach to offer a unique perspective on Native political struggle and cultural conflict in both Canada and the United States. She reflects on treaty rights and traditionalism, media warriors, Indian princesses, powwow, museums, art, and nationhood. According to Valaskakis, Native and non-Native people construct both who they are and their relations with each other in narratives that circulate through art, anthropological method, cultural appropriation, and Native reappropriation. For Native peoples and Others, untangling the past personal, political, and cultural can help to make sense of current struggles over power and identity that define the Native experience today. Grounded in theory and threaded with Native voices and evocative descriptions of Indian experience (including the author s), the essays interweave historical and political process, personal narrative, and cultural critique. This book is an important contribution to Native studies that will appeal to anyone interested in First Nations experience and popular culture.

In From the Iron House: Imprisonment in First Nations Writing, Deena Rymhs identifies continuities between the residential school and the prison, offering ways of reading "the carceral"-that is, the different ways that incarceration is constituted and articulated in contemporary Aboriginal literature. Addressing the work of writers like Tomson Highway and Basil Johnston along with that of lesser-known authors writing in prison serials and underground publications, this book emphasizes the literary and political strategies these authors use to resist the containment of their institutions. The first part of the book considers a diverse sample of writing from prison serials, prisoners' anthologies, and individual autobiographies, including Stolen Life by Rudy Wiebe and Yvonne Johnson, to show how these works serve as second hearings for their authors-an opportunity to respond to the law's authority over their personal and public identities while making a plea to a wider audience. The second part looks at residential school narratives and shows how the authors construct identities for themselves in ways that defy the institution's control. The interactions between these two bodies of writing-residential school accounts and prison narratives-invite recognition of the ways that guilt is colonially constructed and how these authors use their writing to distance themselves from that guilt. Offering new ways of reading Native writing, From the Iron House is a pioneering study of prison literature in Canada and situates its readings within international criticism of prison writing. Contributing to genre studies and theoretical understandings of life writing, and covering a variety of social topics, this work will be relevant to readers interested in indigenous studies, Canadian cultural studies, postcolonial studies, auto/biography studies, law, and public policy.

The Homing Place calls for a vital process of listening to the stories that Indigenous peoples have been telling about this continent since before the arrival of European Settlers centuries ago. Moreover, the text performs this process, creating a model for listening and incorporating Indigenous stories, throughout.

Autobiography as Indigenous Intellectual Tradition critiques ways of approaching Indigenous texts that are informed by the Western academic tradition and offers instead a new way of theorizing Indigenous literature based on the Indigenous practice of life writing. Since the 1970s non-Indigenous scholars have perpetrated the notion that Indigenous people were disinclined to talk about their lives and underscored the assumption that autobiography is a European invention. Deanna Reder challenges such long held assumptions by calling attention to longstanding autobiographical practices that are engrained in Cree and M tis, or n hiyawak, culture and examining a series of examples of Indigenous life writing. Blended with family stories and drawing on original historical research, Reder examines censored and suppressed writing by n hiyawak intellectuals such as Maria Campbell, Edward Ahenakew, and James Brady. Grounded in n hiyawak ontologies and epistemologies that consider life stories to be an intergenerational conduit to pass on knowledge about a shared world, this study encourages a widespread re-evaluation of past and present engagement with Indigenous storytelling forms across scholarly disciplines