LMU Library Staff Picks

Sewing new understandings Indigenous beadwork has taken the art world by storm, but it is still sometimes misunderstood as static, anthropological artifact. Today's prairie artists defy this categorization, demonstrating how beads tell stories and reclaim cultural identity. Whether artists seek out and share techniques through YouTube videos or in-person gatherings, beading fosters traditional methods of teaching and learning and enables intergenerational transmissions of pattern and skill.  In Bead Talk, editors Carmen Robertson, Judy Anderson, and Katherine Boyer gather conversations, interviews, essays, and full-colour reproductions of beadwork from expert and emerging artists, academics, and curators to illustrate the importance of beading in contemporary Indigenous arts. Taken together, the book poses and responds to philosophical questions about beading on the prairies: How do the practices and processes of beading embody reciprocity, respect, and storytelling? How is beading related to Indigenous ways of knowing? How does beading help individuals reconnect with the land? Why do we bead?  Showcasing beaded tumplines, text, masks, regalia, and more, Bead Talk emphasizes that there is no one way to engage with this art. The contributors to this collection invite us all into the beading circle as they reshape how beads are understood and stitch together generations of artists. 

From the earliest stories recorded among the Choctaw in the 1700s to the most recent stories being told today, Choctaw Tales: Stories from the Firekeepers amasses the most comprehensive collection of oral traditions of the Mississippi Band of Choctaw Indians ever published. Originally published in 2004, Choctaw Tales was a celebration of the art of storytelling, including myths, legends, supernatural tales, prophecies, historical anecdotes, tall tales, and animal stories. Through these stories, which include fifty new stories in this edition, Choctaw narrators create, express, and negotiate their beliefs, values, humor, and life experiences, as well as those of their ancestors before them. Their stories display the intelligence, artistry, and creativity of storytellers past and present. Choctaw Tales includes new and expanded materials to keep this valued resource current. Nestled in the middle of Mississippi woodlands, the Choctaw have long been an elusive community to outsiders. Racial prejudice and historical mistreatment made the Choctaw wary of their neighbors. Many of their stories address this tension, both subtly and boldly. Virtually all the stories tackle either cosmological, historical, relational, or personal questions about the world and its inhabitants, offering complex responses in the guise of seemingly simple stories. For the Choctaw audience, the stories often need little explanation. However, a series of essays on Choctaw storytelling, coupled with careful annotation of each story and short biographies of each storyteller, help make this vibrant oral tradition understandable to today's general audiences.

A digital bibliography of published and archival resources on the Gabrielino-Tongva people of the Los Angeles basin. This version builds on previous versions, published first in 1980 and then again in 2002. The new edition includes chapters on governance and tribal membership status as well as protests, activism, and political movements and contains over 1,000 entries, including resources at several Los Angeles-area libraries and museums.

Contributions by Katrin Althans, Jayson Althofer, Naomi Simone Borwein, Persephone Braham, Krista Collier-Jarvis, Shane Hawk, Jade Jenkinson, June Scudeler, and Sabrina Zacharias Global Indigenous Horror is a collection of essays that positions Indigenous Horror as more than just a genre, but as a narrative space where the spectral and social converge, where the uncanny becomes a critique, and the monstrous mirrors the human. While contentions swirl around the genre category, this exploratory anthology is the first critical edited collection dedicated solely to ways of theorizing and analyzing Indigenous Horror literature. The essays, curated by scholar Naomi Simone Borwein, ask readers to consider what Global Indigenous Horror is--and to whom. The volume opens with a preface by international bestselling horror writer Shane Hawk (enrolled Cheyenne-Arapaho, Hidatsa, and Potawatomi descent), followed by an overview of Global Indigenous Horror trends, aesthetics, and approaches. The carefully selected contributions explore Indigenous Horror literature and mixed-media narratives worldwide, unraveling the intricate dynamics between the local and global, traditional and contemporary, and human and monstrous. Contributor chapters are grouped not by geographical or cultural variation, but along a spectrum, from a strong emphasis on ways of knowing to a critical inspection of Horror through Indigenous Gothic aesthetics across cultural boundaries and against and beyond nation states.

Beloved Houma/Choctaw storyteller Grayhawk Perkins shares age-old wisdom in an unforgettable collection of folktales Grayhawk's Native American Folktales is the eagerly awaited collection of stories by Grayhawk Perkins, a noted Houma storyteller from Louisiana. Drawing on traditional Indigenous tales, Grayhawk transforms these narratives into stories that captivate contemporary readers and audiences. The collection features universal animal characters such as Deer, Rabbit, Bobcat, Turtle, and Snake that embody a variety of traits. Their adventures and challenges in the natural world reveal human behavior and lessons about how to treat others. Creation stories explain how the world and its inhabitants came to be, including the diligent Crawfish, the origin of skunk stripes, and why opossums are white. Although written for children ages 7 to 12 and their families, all will be charmed by Grayhawk's contributions to Indigenous literature.

Between 1769 and 1823, the Franciscans established twenty-one missions in California, colonizing the ancestral territories of many Native communities between present-day Sonoma and San Diego. In Indigenizing California Mission Art and Architecture, Gabrieleno Tongva scholar Yve Chavez highlights how these communities preserved their cultural practices amid colonial oppression. Rooted in Chavez's ancestral homeland and the neighboring Chumash region in coastal Southern California, her book focuses on Mission San Gabriel, Mission San Buenaventura, and Mission Santa Barbara. Recasting these sites as spaces of Native cultural heritage, Yve Chavez examines how Indigenous artists resisted assimilation while accommodating foreign ideas into their established practices. Drawing on Indigenous knowledge and art historical research of performance and regalia, basketry, sculpture, and architecture, Chavez demonstrates how Native artists navigated colonial power structures, ensuring the survival of their customs during the mission era and beyond. Rather than replacing Indigenous identity, the missions became spaces through which Native people asserted their connection to the landscape and its resources. This analysis not only recasts mission art and architecture within an Indigenizing framework but also serves as a resource for understanding the ongoing significance of these sites for the descendants of mission survivors.

In the last few years, there have been myriad media reports regarding Federal Indian boarding schools and their grisly history of violence and cultural erasure against Native people in the United States. The US government recently acknowledged its role for the first time with the Department of the Interior's publication of the Federal Indian Boarding School Initiative Investigative Report. In this book, Alicia Carroll tells the history of one form of literary Native resistance to this violence, that of the collaboratively written autobiography. Focusing on work by Hopi boarding school residents, Carroll shows readers that collaborative autobiographical authorship is a practice of Indigenous intellectual sovereignty, using a method they dub indiscipline: a strategy of defying, refusing, or purposefully failing to follow mandates to conform to settler colonial sex and gender norms, including heteronormativity, the binary construct of sex and gender, and the idea of personhood itself. Through collaboratively written autobiography, Carroll argues that Native authors not only resisted colonial attempts to use sex and gender to alienate them from their homelands and bodies, they created an important Indigenous literary genre that informs our understanding of Native life and art today.

An essential look at the ways California's Native nations are resisting colonialism today, from education reform to protests against environmental injustice and beyond. Collecting over twenty-five essays written by more than twenty California Indian authors, Know We Are Here surveys many of the ways California's Indigenous communities are resisting the legacies of genocide. Focusing on the particular histories, challenges, and dynamics of life in Native California--which are often very different from elsewhere in the United States--the book collects essays from writers across the state. It encompasses the perspectives of both elders and the rising generation, and the contributors include activists, academics, students, memoirists, and tribal leaders. The collection examines histories of resistance to colonialism in California, the reclaiming of cultures and languages, the connection of place and nature to wellness in tribal communities, efforts to overhaul the racist presentation of California Indians in classrooms and popular culture, and the meanings of solidarity in Native California.

How outdoor industry marketing promotes an image of "the wilderness" as an unpeopled haven Marketing the Wilderness analyzes the relationship between the outdoor recreation industry, public lands in the United States, and Indigenous sovereignty and representation in recreational spaces. Combining social media analysis, digital ethnography, and historical research, Joseph Whitson offers nuanced insights into more than a century of the outdoor recreation industry's marketing strategies, unraveling its complicity in settler colonialism. Complicating the narrative of outdoor recreation as a universal good, Whitson introduces the concept of "wildernessing" to describe the physical, legal, and rhetorical production of pristine, empty lands that undergirds the outdoor recreation industry, a process that further disenfranchises Indigenous people from whom these lands were stolen. He demonstrates how companies such as Patagonia and REI align with the mining and drilling industries in their need to remove Indigenous peoples and histories from valuable lands. And he describes the ways Indigenous and decolonial activists are subverting and resisting corporate marketing strategies to introduce new narratives of place. Through the lens of environmental justice activism, Marketing the Wilderness reconsiders the ethics of recreational land use, advocating for engagement with issues of cultural representation and appropriation informed by Indigenous perspectives. As he discusses contemporary public land advocacy around places such as Bears Ears National Monument, Whitson focuses on the deeply fraught relationship between the outdoor recreation industry and Indigenous communities. Emphasizing the power of the corporate system and its treatment of land as a commodity under capitalism, he shows how these tensions shape the American idea of "wilderness" and what it means to fight for its preservation. Retail e-book files for this title are screen-reader friendly with images accompanied by short alt text and/or extended descriptions.

Regarding peyote use among Native Americans, an ethnologist noted in 1891: "The ceremonial eating of the plant has become the great religious rite of all tribes of the southern plains." But, as Lisa D. Barnett observes in Peyote Politics: The Making of the Native American Church, 1880-1937, Peyotism quickly came under scrutiny, with opponents, both non-Native and Native, seeking to prohibit the religious practice by transforming peyote into a narcotic, thereby drawing Indigenous people into the emerging racialized campaign against drugs. A history of the rise of Peyotism and the Native American Church from the 1880s to the 1930s, Barnett's work details the ensuing struggle and its significance in reshaping Peyotists' identity as "Native" and "American" and establishing their place in the American political and legal systems. Barnett describes the strategies of resistance that Peyotists employed against opponents of their religious practice, including incorporating in 1918 as the Native American Church. In doing so, they secured their religious freedom but also formed a new, hybrid cultural sense of "Native American" that emphasized the reality of honoring both Native identity and American identity on the path to citizenship status. Placing the story of Peyotism within the broader historical context of federal Indian policy and Progressive Era politics, Peyote Politics shows how, despite their minority status in the American religious landscape, Peyotists were determined to secure constitutional protections for their religion and its rituals. Through their tireless efforts to protect their religion within the legal and political system, these Native Americans, many of whom were not yet American citizens, proved to be the true proponents of the constitutional idea of religious freedom.  

In 2012, Matika Wilbur sold everything in her Seattle apartment and set out on a Kickstarter-funded pursuit to visit, engage, and photograph people from what were then the 562 federally recognized Native American Tribal Nations. Over the next decade, she traveled six hundred thousand miles across fifty states--from Seminole country (now known as the Everglades) to Inuit territory (now known as the Bering Sea)--to meet, interview, and photograph hundreds of Indigenous people. The body of work Wilbur created serves to counteract the one-dimensional and archaic stereotypes of Native people in mainstream media and offers justice to the richness, diversity, and lived experiences of Indian Country. The culmination of this decade-long art and storytelling endeavor, Project 562 is a peerless, sweeping, and moving love letter to Indigenous Americans, containing hundreds of stunning portraits and compelling personal narratives of contemporary Native people-all photographed in clothing, poses, and locations of their choosing. Their narratives touch on personal and cultural identity as well as issues of media representation, sovereignty, faith, family, the protection of sacred sites, subsistence living, traditional knowledge-keeping, land stewardship, language preservation, advocacy, education, the arts, and more. A vital contribution from an incomparable artist, Project 562 inspires, educates, and truly changes the way we see Native America.

In the early twentieth century, the Bay Area Outing Program coercively recruited over a thousand Native girls and women from boarding schools to labor as live-in domestic workers across the San Francisco Bay Area. Outing removed Native people from their communities and transferred them to white homes, farms, and businesses to work as menial laborers. In exchange for room, board, and meager pay, Native women and girls as young as twelve cooked, cleaned, and lived in the homes of their employers. Despite oppressive living and working conditions, they strategically resisted the worst aspects of outing, including Indian child removal, sexual surveillance, criminalization, and exploitation. Throughout, they forged social connections and navigated relationships to refuse domestication and assert their agency. In this groundbreaking work, historian Caitlin Keliiaa examines Native women?s lived experiences of federal policy and connects outing to the region?s longer history of coerced Native labor. Refusing Settler Domesticity explores the unexpected story of Native women in the Bay Area, decades before Indian Relocation, illuminating the women who helped shape the Bay Area Indian community as we know it today. This book, as indictment, expands the existing work on Indian boarding schools, urban Indians, and the history of California and the West.

Today there are roughly two hundred first-language Cherokee speakers among the seventeen thousand citizens of the Eastern Band of Cherokee Indians in North Carolina. In 2019 the United Keetoowah Band, the Cherokee Nation, and the Eastern Band of Cherokee Indians declared a state of emergency for the Cherokee language. In Rising Above Eastern Band Cherokee citizen Benjamin E. Frey chronicles his odyssey of being introduced to the Cherokee language with trepidation as a young adult and his eventual work revitalizing the Cherokee language in a Cherokee way. In the first book to examine the process of language shift and revitalization among this band, Frey explores the institutional, economic, and social factors that drove the language shift from Cherokee to English, interpreted through the lens of a member of the Eastern Band Cherokee community in conversation with other community members. Rising Above navigates Frey's upbringing, the intricacies of language and relationships, the impact of trauma, and the quest for joy and healing within the community. In addition to language documentation and preservation, Rising Above explores how to breathe new life into the language and community, using storytelling to discuss the Cherokee language, its grammatical components, and its embedded cultural ideologies alongside its interactions with broader American society.  

I stand in the midst of creation's wheel And watch in wonder the quiet majesty of its turning. We are in the care of a love without limit or definition Under the protection of a love that never looks away. When the Spirit speaks to him in his daily prayers, Choctaw elder and spiritual explorer Steven Charleston takes a pen and writes down the messages. He then shares these thoughts with thousands on social media. In these musings, Charleston taps into the universal questions that draw us to prayer, no matter our spiritual background: Why am I here? Where do I belong? Where am I going? This stunning collection of more than two hundred meditations introduces us to the Spirit Wheel and the four directions that ground Native spirituality: tradition, kinship, vision, and balance. The life we inhabit together has been called many things by Indigenous people: the Spirit Wheel, the hoop of the nations, the great circle of existence, the medicine wheel. We are all on that ever-turning wheel, Charleston says--all of creation, people and animals, rocks and trees, the whole universe. Together we can turn toward the wisdom of our ancestors, kinship with all of Mother Earth's creatures, the vision of the Spirit, and mindful balance of life. We are all searching for belonging and a vision of the world that makes sense. We can meet those longings as we ponder the blessings of Spirit Wheel, in the breathtaking moments when insight becomes an invitation to wonder.

When did the federal government's self-appointed, essentially limitless authority over Native America become constitutional? The story they have chosen to tell is wrong. It is time to tell a better story. Thus begins Keith Richotte's playful, unconventional look at Native American and Supreme Court history. At the center of his account is the mystery of a massive federal authority called plenary power. When the Supreme Court first embraced plenary power in the 1880s it did not bother to seek any legal justification for the decision - it was simply rooted in racist ideas about tribal nations. By the 21st century, however, the Supreme Court was telling a different story, with opinions crediting the U.S. Constitution as the explicit source of federal plenary power. So, when did the Supreme Court change its story? Just as importantly, why did it change its story? And what does this change mean for Native America, the Supreme Court, and the rule of law? In a unique twist on legal and Native history, Richotte uses the genre of trickster stories to uncover the answers to these questions and offer an alternative understanding. The Worst Trickster Story Ever Told provides an irreverent, entertaining synthesis of Native American legal history across more than 100 years, reflecting on race, power, and sovereignty along the way. By embracing the subtle, winking wisdom of trickster stories, and centering the Indigenous perspective, Richotte opens up new avenues for understanding this history. We are able, then, to imagine a future that is more just, equitable, and that better fulfills the text and the spirit of the Constitution.