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An American Sunrise by
National Bestseller A stunning new volume from the first Native American Poet Laureate of the United States, informed by her tribal history and connection to the land. In the early 1800s, the Mvskoke people were forcibly removed from their original lands east of the Mississippi to Indian Territory, which is now part of Oklahoma. Two hundred years later, Joy Harjo returns to her family's lands and opens a dialogue with history. In An American Sunrise, Harjo finds blessings in the abundance of her homeland and confronts the site where her people, and other indigenous families, essentially disappeared. From her memory of her mother's death, to her beginnings in the native rights movement, to the fresh road with her beloved, Harjo's personal life intertwines with tribal histories to create a space for renewed beginnings. Her poems sing of beauty and survival, illuminating a spirituality that connects her to her ancestors and thrums with the quiet anger of living in the ruins of injustice. A descendent of storytellers and "one of our finest--and most complicated--poets" (Los Angeles Review of Books), Joy Harjo continues her legacy with this latest powerful collection.
Ascending Red Cedar Moon by
A collection of poetry by Duane Niatum, a Native American poet, author and playwright of Klallam descent.
The Book of Medicines by
National Book Critic's Circle Award finalist, 1994. Colorado Book Award winner."...elemental and direct with a tremendous evocative force of imagery..."--Publisher's Weekly
Clay Pots and Bones by
The poetry of Clay Pots and Bones is Lindsay Marshall's way of telling stories, of speaking with others about what things that matter to him. His heritage. His people. His life as a Mi'kmaw. For the reader, Clay Pots and Bones is a colourful journey from early days, when the People of the Dawn understood, interacted with and roamed the land freely, to the turbulent present and the uncertain future where Marshall envisions a rebirth of the Mi'kmaq. The poetry challenges and enlightens. It will, most certainly, entertain.
Corpse Whale by
A self-proclaimed "vessel in which stories are told from time immemorial," poet dg nanouk okpik seamlessly melds both traditional and contemporary narrative, setting her apart from her peers. The result is a collection of poems that are steeped in the perspective of an Inuit of the twenty-first century--a perspective that is fresh, vibrant, and rarely seen in contemporary poetics. Fearless in her craft, okpik brings an experimental, yet poignant, hybrid aesthetic to her first book, making it truly one of a kind. "It takes all of us seeing, hearing, touching, tasting, and smelling to be one," she says, embodying these words in her work. Every sense is amplified as the poems, carefully arranged, pull the reader into their worlds. While each poem stands on its own, they flow together throughout the collection into a single cohesive body. The book quickly sets up its own rhythms, moving the reader through interior and exterior landscapes, dark and light, and other spaces both ecological and spiritual. These narrative, and often visionary, poems let the lives of animal species and the power of natural processes weave into the human psyche, and vice versa. Okpik's descriptive rhythms ground the reader in movement and music that transcend everyday logic and open up our hearts to the richness of meaning available in the interior and exterior worlds.
Crow Gulch by
Winner, E.J. Pratt Poetry AwardShortlisted, NL Reads, Derek Walcott Prize for Poetry and Raymond Souster AwardLonglisted, First Nation Communities READ AwardFrom the author: I cannot let the story of Crow Gulch -- the story of my family and, subsequently, my own story -- go untold. This book is my attempt to resurrect dialogue and story, to honour who and where I come from, to remind Corner Brook of the glaring omission in its social history.In his debut poetry collection, Douglas Walbourne-Gough reflects on the legacy of a community that sat on the shore of the Bay of Islands, less than two kilometres west of downtown Corner Brook.Crow Gulch began as a temporary shack town to house migrant workers in the 1920s during the construction of the pulp and paper mill. After the mill was complete, some of the residents, many of Indigenous ancestry, settled there permanently -- including the poet's great-grandmother Amelia Campbell and her daughter, Ella -- and those the locals called the "jackytars," a derogatory epithet used to describe someone of mixed French and Mi'kmaq descent. Many remained there until the late 1970s, when the settlement was forcibly abandoned and largely forgotten.Walbourne-Gough lyrically sifts through archival memory and family accounts, resurrecting story and conversation, to patch together a history of a people and place. Here he finds his own identity within the legacy of Crow Gulch and reminds those who have forgotten of a glaring omission in history.
The Death of Sitting Bear by
"These are the poems of a master poet. . . . When you read these poems, you will learn to hear deeply the sound a soul makes as it sings about the mystery of dreaming and becoming." -- Joy Harjo, Mvskoke Nation, U.S. Poet Laureate Pulitzer Prize winner and celebrated American master N. Scott Momaday returns with a radiant collection of more than 200 new and selected poems rooted in Native American oral tradition. One of the most important and unique voices in American letters, distinguished poet, novelist, artist, teacher, and storyteller N. Scott Momaday was born into the Kiowa tribe and grew up on Indian reservations in the Southwest. The customs and traditions that influenced his upbringing--most notably the Native American oral tradition--are the centerpiece of his work. This luminous collection demonstrates Momaday's mastery and love of language and the matters closest to his heart. To Momaday, words are sacred; language is power. Spanning nearly fifty years, the poems gathered here illuminate the human condition, Momaday's connection to his Kiowa roots, and his spiritual relationship to the American landscape. The title poem, "The Death of Sitting Bear" is a celebration of heritage and a memorial to the great Kiowa warrior and chief. "I feel his presence close by in my blood and imagination," Momaday writes, "and I sing him an honor song." Here, too, are meditations on mortality, love, and loss, as well as reflections on the incomparable and holy landscape of the Southwest. The Death of Sitting Bear evokes the essence of human experience and speaks to us all.
Disintegrate/Dissociate by
Winner, Dayne Ogilvie Prize for LGBTQ Emerging Writers (Writers' Trust of Canada) and the Indigenous Voices Award; finalist, Publishing Triangle Award for Trans and Gender-Variant Literature In her powerful debut collection of poetry, Arielle Twist unravels the complexities of human relationships after death and metamorphosis. In these spare yet powerful poems, she explores, with both rage and tenderness, the parameters of grief, trauma, displacement, and identity. Weaving together a past made murky by uncertainty and a present which exists in multitudes, Arielle Twist poetically navigates through what it means to be an Indigenous trans woman, discovering the possibilities of a hopeful future and a transcendent, beautiful path to regaining softness.
Eyes Bottle Dark with a Mouthful of Flowers by
Winner of the 2021 Kate Tufts Discovery Award Winner of a 2020 Whiting Award in Poetry Finalist for the 2020 Lambda Literary Award in Gay Poetry Selected by Kathy Fagan as a winner of the 2018 National Poetry Series, Eyes Bottle Dark with a Mouthful of Flowers is a debut collection of poems by a dazzling geologist of queer eros. Drunktown, New Mexico, is a place where men "only touch when they fuck in a backseat." Its landscape is scarred by violence: done to it, done on it, done for it. Under the cover of deepest night, sleeping men are run over by trucks. Navajo bodies are deserted in fields. Resources are extracted. Lines are crossed. Men communicate through beatings, and football, and sex. In this place, "the closest men become is when they are covered in blood / or nothing at all." But if Jake Skeets's collection is an unflinching portrait of the actual west, it is also a fierce reclamation of a living place--full of beauty as well as brutality, whose shadows are equally capable of protecting encounters between boys learning to become, and to love, men. Its landscapes are ravaged, but they are also startlingly lush with cacti, yarrow, larkspur, sagebrush. And even their scars are made newly tender when mapped onto the lover's body: A spine becomes a railroad. "Veins burst oil, elk black." And "becoming a man / means knowing how to become charcoal." Rooted in Navajo history and thought, these poems show what has been brewing in an often forgotten part of the American literary landscape, an important language, beautiful and bone dense. Sculptural, ambitious, and defiantly vulnerable, the poems of Eyes Bottle Dark with a Mouthful of Flowers are coal that remains coal, despite the forces that conspire for diamond, for electricity. Additional recognition: Named a "Best Poetry Book of 2019" by Electric Literature, Entropy Mag, and Auburn Avenue Named a "Favorite Book of 2019" by Lit Hub Named a "Best Queer Book of 2019" by BuzzFeed and Book Marks
From Sand Creek by
Poems portray the persecution of American Indians and analyze the author's sense of identity as an Indian.
Hope Matters by
Hope Matters, written by multiple award-winner Lee Maracle, in collaboration with her daughters Columpa Bobb and Tania Carter, focuses on the journey of Indigenous people from colonial beginnings to reconciliation. Maracle states that the book, "is also about the journey of myself and my two daughters." During their youth, Bobb and Carter wrote poetry with their mother, and eventually they all decided that one day they would write a book together. This book is the result of that dream. Written collaboratively by all three women, the poems in Hope Matters blend their voices together into a shared song of hope and reconciliation.
Infinite Citizen of the Shaking Tent by
The mechanisms we use to make sense of our worlds, even our direct intimate experiences of it, come under constant scrutiny and a pressure that feels like love in Liz Howard's wild, scintillating debut poetry collection, Infinite Citizen of the Shaking Tent. What Howard can accomplish with language strikes us as electric, hyper-contemporary, a kind of alchemy of perception and catastrophe.
Inquiries by
In poems that risk the comingling of anger and elegy, poetry and documentation, humour and the dark spectre of poverty, Michelle Porter’s Inquiries oscillates at its edges, and amplifies the presence of human strength as it keeps company with our enigmatic and ever-present nemeses. This is a startling debut where the line between reality and reality television blurs, where a simple trip to the grocery store unifies mother and daughter in struggle, and where an economics of iniquity proves the existence of love as equality. With wit, poise, raw emotion, and versatility, Inquiries announces the emergence of an impressive new talent.
Itch Like Crazy by
Among Native American writers of mixed-blood heritage, few have expressed their concerns with personal identity with as much passion as Wendy Rose. A mainstay among American Indian poets whose work addresses these issues, she is a writer with whom readers of diverse ethnic backgrounds have consistently identified. In her latest work, Rose returns to these major motifs while exploring a new dimension: using poetry as a tool to delve into the buried secrets of family history--and all of American history as well. Confronting questions of personal history that itch like crazy--the irritations that drive human existence--she acknowledges and pays tribute to her Indian and European ancestors without hiding her anger with American society. Rose's poems are strong political and social statements that have a distinctly narrative flavor. Here are Europeans who first set foot on America's shores while Taino Indians greeted them as if they were visiting neighbors; Hopi and Miwok "Clan Mothers, grand-daughters, all those the missionaries erased"; and European forebears who as settlers pushed their way relentlessly west. Through her vivid imagery, she speaks to and for these ancestors with a sense of loss and an itching caused by the biases provoked by ethnic chauvinism. Itch Like Crazy is a finely crafted literary work that is also a manifesto addressing contacts and conflicts in the history of Indian-white relations. By presenting another view of U.S. history and its impact on the Native Americans who are her ancestors, it offers a new appreciation of the issue of "tribal identity" that too often faces Native peoples of the Americas--and is too often misunderstood by Euro-American society.
Laguna Woman by
Silko published her first poetry collection Laguna Woman in 1974. She gained attention for her short story called “The Man to Send Rain Clouds,” which went on to win the National Endowment for the Humanities Discovery Grant. As the Poetry Foundation explains, Silko is known for “her lyric treatment of Native American subjects.”
Lnu and Indians We're Called by
With this collection, celebrated poet and Micmac Indian, Rita Joe, expands uponher desire to communicate gently with her own people, and reach out to the wider community of Canadians. On the eve of the 500th Anniversary of Columbus' arrival in the Americas, Rita Joe once again extends her hand to us in friendship, and reminds us of the native culture that was here long before the Europeans. These new poems compel us to listen.
New Poets of Native Nations by
A landmark anthology celebrating twenty-one Native poets first published in the twenty-first century New Poets of Native Nations gathers poets of diverse ages, styles, languages, and tribal affiliations to present the extraordinary range and power of new Native poetry. Heid E. Erdrich has selected twenty-one poets whose first books were published after the year 2000 to highlight the exciting works coming up after Joy Harjo and Sherman Alexie. Collected here are poems of great breadth--long narratives, political outcries, experimental works, and traditional lyrics--and the result is an essential anthology of some ofthe best poets writing now. Poets included are Tacey M. Atsitty, Trevino L. Brings Plenty, Julian Talamantez Brolaski, Laura Da', Natalie Diaz, Jennifer Elise Foerster, Eric Gansworth, Gordon Henry, Jr., Sy Hoahwah, LeAnne Howe, Layli Long Soldier, Janet McAdams, Brandy Nalani McDougall, Margaret Noodin, dg okpik, Craig Santos Perez, Tommy Pico, Cedar Sigo, M. L. Smoker, Gwen Westerman, and Karenne Wood.
Noopiming by
The new novel from the author of As We Have Always Done, a poetic world-building journey into the power of Anishinaabe life and traditions amid colonialism In fierce prose and poetic fragments, Leanne Betasamosake Simpson's Noopiming braids together humor, piercing detail, and a deep, abiding commitment to Anishinaabe life to tell stories of resistance, love, and joy. Mashkawaji (they/them) lies frozen in the ice, remembering the sharpness of unmuted feeling from long ago, finding freedom and solace in isolated suspension. They introduce the seven characters: Akiwenzii, the old man who represents the narrator's will; Ninaatig, the maple tree who represents their lungs; Mindimooyenh, the old woman, their conscience; Sabe, a gentle giant, their marrow; Adik, the caribou, their nervous system; and Asin and Lucy, the humans who represent their eyes, ears, and brain. Simpson's book As We Have Always Done argued for the central place of storytelling in imagining radical futures. Noopiming (Anishinaabemowin for "in the bush") enacts these ideas. The novel's characters emerge from deep within Abinhinaabeg thought to commune beyond an unnatural urban-settler world littered with SpongeBob Band-Aids, Ziploc baggies, and Fjällräven Kånken backpacks. A bold literary act of decolonization and resistance, Noopiming offers a breaking open of the self to a world alive with people, animals, ancestors, and spirits--and the daily work of healing.
Postcolonial Love Poem by
WINNER OF THE 2021 PULITZER PRIZE IN POETRY FINALIST FOR THE 2020 NATIONAL BOOK AWARD FOR POETRY Natalie Diaz's highly anticipated follow-up to When My Brother Was an Aztec, winner of an American Book Award Postcolonial Love Poem is an anthem of desire against erasure. Natalie Diaz's brilliant second collection demands that every body carried in its pages--bodies of language, land, rivers, suffering brothers, enemies, and lovers--be touched and held as beloveds. Through these poems, the wounds inflicted by America onto an indigenous people are allowed to bloom pleasure and tenderness: "Let me call my anxiety, desire, then. / Let me call it, a garden." In this new lyrical landscape, the bodies of indigenous, Latinx, black, and brown women are simultaneously the body politic and the body ecstatic. In claiming this autonomy of desire, language is pushed to its dark edges, the astonishing dunefields and forests where pleasure and love are both grief and joy, violence and sensuality. Diaz defies the conditions from which she writes, a nation whose creation predicated the diminishment and ultimate erasure of bodies like hers and the people she loves: "I am doing my best to not become a museum / of myself. I am doing my best to breathe in and out. // I am begging: Let me be lonely but not invisible." Postcolonial Love Poem unravels notions of American goodness and creates something more powerful than hope--in it, a future is built, future being a matrix of the choices we make now, and in these poems, Diaz chooses love.
A Snake in Her Mouth by
This collection, including poems from her early chapbooks as well as later writing, was first announced in 1994. The title poem, she says, is not only sexually suggestive, but alludes to the idea of a forked tongue liar or a gossip from which many of the other pieces derive.
Tekonwatonti: Molly Brant by
Tekonwatonti/Molly Brant was the sister of famed warrior Chief Joseph Brant and wife of legendary Sir William Johnson. In a remarkable sequence of voices that span centuries, Kenny eloquently addresses the power of belief and the importance of memory, and grants Molly her rightful place as one of the most powerful figures in Native American history.
This Wound Is a World by
The new edition of a prize-winning memoir-in-poems, a meditation on life as a queer Indigenous man--available for the first time in the United States "i am one of those hopeless romantics who wants every blowjob to be transformative." Billy-Ray Belcourt's debut poetry collection, This Wound Is a World, is "a prayer against breaking," writes trans Anishinaabe and Métis poet Gwen Benaway. "By way of an expansive poetic grace, Belcourt merges a soft beauty with the hardness of colonization to shape a love song that dances Indigenous bodies back into being. This book is what we've been waiting for." Part manifesto, part memoir, This Wound Is a World is an invitation to "cut a hole in the sky / to world inside." Belcourt issues a call to turn to love and sex to understand how Indigenous peoples shoulder their sadness and pain without giving up on the future. His poems upset genre and play with form, scavenging for a decolonial kind of heaven where "everyone is at least a little gay." Presented here with several additional poems, this prize-winning collection pursues fresh directions for queer and decolonial theory as it opens uncharted paths for Indigenous poetry in North America. It is theory that sings, poetry that marshals experience in the service of a larger critique of the coloniality of the present and the tyranny of sexual and racial norms.
Whereas by
Finalist for the National Book Award for Poetry WHEREAS her birth signaled the responsibility as mother to teach what it is to be Lakota therein the question: What did I know about being Lakota? Signaled panic, blood rush my embarrassment. What did I know of our language but pieces? Would I teach her to be pieces? Until a friend comforted, Don't worry, you and your daughter will learn together. Today she stood sunlight on her shoulders lean and straight to share a song in Diné, her father's language. To sing she motions simultaneously with her hands; I watch her be in multiple musics. --from "WHEREAS Statements" WHEREAS confronts the coercive language of the United States government in its responses, treaties, and apologies to Native American peoples and tribes, and reflects that language in its officiousness and duplicity back on its perpetrators. Through a virtuosic array of short lyrics, prose poems, longer narrative sequences, resolutions, and disclaimers, Layli Long Soldier has created a brilliantly innovative text to examine histories, landscapes, her own writing, and her predicament inside national affiliations. "I am," she writes, "a citizen of the United States and an enrolled member of the Oglala Sioux Tribe, meaning I am a citizen of the Oglala Lakota Nation--and in this dual citizenship I must work, I must eat, I must art, I must mother, I must friend, I must listen, I must observe, constantly I must live." This strident, plaintive book introduces a major new voice in contemporary literature.
Living Nations, Living Words by
A powerful, moving anthology that celebrates the breadth of Native poets writing today. Joy Harjo, the first Native poet to serve as U.S. Poet Laureate, has championed the voices of Native peoples past and present. Her signature laureate project gathers the work of contemporary Native poets into a national, fully digital map of story, sound, and space, celebrating their vital and unequivocal contributions to American poetry. This companion anthology features each poem and poet from the project--including Natalie Diaz, Ray Young Bear, Craig Santos Perez, Sherwin Bitsui, and Layli Long Soldier, among others--to offer readers a chance to hold the wealth of poems in their hands. The chosen poems reflect on the theme of place and displacement and circle the touchpoints of visibility, persistence, resistance, and acknowledgment. Each poem showcases, as Joy Harjo writes in her stirring introduction, "that heritage is a living thing, and there can be no heritage without land and the relationships that outline our kinship." In this country, poetry is rooted in the more than five hundred living indigenous nations. Living Nations, Living Words is a representative offering.
New Poets of Native Nations by
A landmark anthology celebrating twenty-one Native poets first published in the twenty-first century New Poets of Native Nations gathers poets of diverse ages, styles, languages, and tribal affiliations to present the extraordinary range and power of new Native poetry. Heid E. Erdrich has selected twenty-one poets whose first books were published after the year 2000 to highlight the exciting works coming up after Joy Harjo and Sherman Alexie. Collected here are poems of great breadth--long narratives, political outcries, experimental works, and traditional lyrics--and the result is an essential anthology of some ofthe best poets writing now. Poets included are Tacey M. Atsitty, Trevino L. Brings Plenty, Julian Talamantez Brolaski, Laura Da', Natalie Diaz, Jennifer Elise Foerster, Eric Gansworth, Gordon Henry, Jr., Sy Hoahwah, LeAnne Howe, Layli Long Soldier, Janet McAdams, Brandy Nalani McDougall, Margaret Noodin, dg okpik, Craig Santos Perez, Tommy Pico, Cedar Sigo, M. L. Smoker, Gwen Westerman, and Karenne Wood.
Voices of the Rainbow by
Kenneth Rosen’s haunting volume of poetry proves that the powerful and moving voice of Native Americans must be heard. More than two hundred poems embrace anguish, pride, and hope, representing twenty-four tribal affiliations, including, Sioux, Pawnee, Choctaw, Seminole, Laguna Pueblo, Cherokee, Anishinabe, Mohawk, Seneca, and Seminole.
When the Light of the World Was Subdued, Our Songs Came Through by
Selected as one of Oprah Winfrey's "Books That Help Me Through" United States Poet Laureate Joy Harjo gathers the work of more than 160 poets, representing nearly 100 indigenous nations, into the first historically comprehensive Native poetry anthology. This landmark anthology celebrates the indigenous peoples of North America, the first poets of this country, whose literary traditions stretch back centuries. Opening with a blessing from Pulitzer Prize-winner N. Scott Momaday, the book contains powerful introductions from contributing editors who represent the five geographically organized sections. Each section begins with a poem from traditional oral literatures and closes with emerging poets, ranging from Eleazar, a seventeenth-century Native student at Harvard, to Jake Skeets, a young Diné poet born in 1991, and including renowned writers such as Luci Tapahanso, Natalie Diaz, Layli Long Soldier, and Ray Young Bear. When the Light of the World Was Subdued, Our Songs Came Through offers the extraordinary sweep of Native literature, without which no study of American poetry is complete.
Harper's Anthology of Twentieth Century Native American Poetry by
Representing the work of thirty-one poets since the turn of the century, this is the definitive anthology of Native American poetry.
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