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House Of Grace, House Of Blood Volume 96 - Poems

by Denise Low

~~18,92€~~ 17,03€ 10% OFF

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 Intertwining a lyrical voice with historical texts, poet Denise Low brings fresh urgency to the Gnadenhutten Massacre. In 1782, a renegade Pennsylvania militia killed ninety-six pacificist Christian Delawares (Lenapes) in Ohio. Those who escaped, including Indigenous eyewitnesses, relayed their accounts of the atrocity.
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Ancient Light - Poems

by Kimberly Blaeser

~~23,85€~~ 21,47€ 10% OFF

 Elegiac and powerful, Ancient Light uses lyric, narrative, and concrete poems to give voice to some of the most pressing ecological and social issues of our time. With vision and resilience, Kimberly Blaeserâ€™s poetry layers together past, present, and futures.
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Light As Light - Poems

by Simon J. Ortiz

~~23,85€~~ 21,47€ 10% OFF

 Acclaimed poet Simon J. Ortizâ€™s first collection in twenty years. The poems in this volume celebrate the wonders and joy of love in the present while also looking back with both humorous and serious reflections on youth and the stories, scenes, people, and places that shape a personâ€™s life.
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Light As Light Volume 93 - Poems

by Simon J. Ortiz

~~39,14€~~ 35,23€ 10% OFF

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 Acclaimed poet Simon J. Ortizâ€™s first collection in twenty years. The poems in this volume celebrate the wonders and joy of love in the present while also looking back with both humorous and serious reflections on youth and the stories, scenes, people, and places that shape a personâ€™s life.
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Aina Hanau / Birth Land

by Brandy Nalani Mcdougall

23,85€ + 10% CARD

 Tracing flows from the mountains to the ocean, from the sky to the earth, and from ancestor to mother to child, these poems are rooted in the rich ancestral and contemporary literature of Hawaiâ€™i.
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Yaqui Deer Songs/Maso Bwikam - A Native American Poetry

by Felipe S. Molina e Larry Evers

35,71€ + 10% CARD

 Winner of the American Folklore Society's Chicago Folklore Prize, Yaqui Deer Songs/Maso Bwikam offers a fascinating discussion of the Deer Song tradition in Yaqui culture, with authentic ceremonial songs transcribed in both Yaqui and English.
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Out There Somewhere

by Simon J. Ortiz

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 <div> <div><b>He has been out there somewhere</b> for a while now, a poet at large in America.<br> <br> Simon Ortiz, one of our finest living poets, has been a witness, participant, and observer of interactions between the Euro-American cultural world and that of his Native American people for many years. In this collection of haunting new work, he confronts moments and instances of his personal past—and finds redemption in the wellspring of his culture.<br> <br> A writer known for deeply personal poetry, Ortiz has produced perhaps his most personal work to date. In a collage of journal entries, free-verse poems, and renderings of poems in the Acoma language, he draws on life experiences over the past ten years—recalling time spent in academic conferences and writers'' colonies, jails and detox centers—to convey something of the personal and cultural history of dislocation. As an American Indian artist living at times on the margins of mainstream culture, Ortiz has much to tell about the trials of alcoholism, poverty, displacement. But in the telling he affirms the strength of Native culture even under the most adverse conditions and confirms the sustaining power of Native beliefs and connections: "With our hands, we know the sacred earth. / With our spirits, we know the sacred sky."<br> <br> Like many of his fellow Native Americans, Ortiz has been "out there somewhere"—Portland and San Francisco, Freiburg, Germany, and Martinique—away from his original homeland, culture, and community. Yet, as these works show, he continues to be absolutely connected socially and culturally to Native identity: "We insist that we as human cultural beings must always have this connection," he writes, "because it is the way we maintain a Native sense of existence." Drawing on this storehouse of places, times, and events, <i>Out There Somewhere</i> is a rich fusion taking readers into the heart and soul of one of today''s most exciting and original American poets.</div> </div>
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After And Before The Lightning

by Simon J. Ortiz

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 <div><b>Highway 18 between Mission and Okreek, South Dakota,</b> is a stretch of no more than eighteen miles, but late at night or in a blizzard it seems endless. "It feels like being somewhere between South Dakota and ''there,''" says Simon Ortiz, "perhaps at the farthest reaches of the galaxy."<br> <br> Acoma Pueblo poet Ortiz spent a winter in South Dakota, teaching at Sinte Gleska College on the Rosebud Lakota Sioux Reservation. The bitter cold and driving snow of a prairie winter were a reality commanding his attention through its absolute challenge to survival and the meaning of survival.<br> <br> Ortiz''s way of dealing with the hard elements of winter was to write <i>After and Before the Lightning</i>, prose and verse poems that were his response to that long season between the thunderstorms of autumn and spring. "I needed a map of where I was and what I was doing in the cosmos," he writes. In these poems, which he regards as a book-length poetic work, he charts the vast spaces of prairie and time that often seem indistinguishable. As he faces the reality of winter on the South Dakota reservation, he also confronts the harsh political reality for its Native community and culture and for Indian people everywhere.<br> <br> "Writing this poetry reconnected me to the wonder and awe of life," Ortiz states emphatically. Readers will feel the reality of that wonder and awe—and the cold of that South Dakota winter—through the gentle ferocity of his words.</div>
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Woven Stone

by Simon J. Ortiz

35,71€ + 10% CARD

 <div> <div><b>"What I do as a writer, teacher, and storyteller</b> is to demystify language," says Simon Ortiz. Widely regarded as one of the country''s most important Native American poets, Ortiz has led a thirty-year career marked by a fascination with language—and by a love of his people. This omnibus of three previous works offers old and new readers an appreciation of the fruits of his dedication.<br> <br> <i>Going for the Rain</i> (1976) expresses closeness to a specific Native American way of life and its philosophy and is structured in the narrative form of a journey on the road of life. <i>A Good Journey</i> (1977), an evocation of Ortiz''s constant awareness of his heritage, draws on the oral tradition of his Pueblo culture. <i>Fight Back: For the Sake of the People, For the Sake of the Land</i> (1980)—revised for this volume—has its origins in his work as a laborer in the uranium industry and is intended as a political observation and statement about that industry''s effects on Native American lands and lives.<br> <br> In an introduction written for this volume, Ortiz tells of his boyhood in Acoma Pueblo, his early love for language, his education, and his exposure to the wider world. He traces his development as a writer, recalling his attraction to the Beats and his growing political awareness, especially a consciousness of his and other people''s social struggle.<br> <br> "Native American writers must have an individual and communally unified commitment to their art and its relationship to their indigenous culture and people," writes Ortiz. "Through our poetry, prose, and other written works that evoke love, respect, and responsibility, Native Americans may be able to help the United States of America to go beyond survival."</div> </div>
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Shapeshift

by Sherwin Bitsui

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 <div><b>"Fourteen ninety-something, / <i>something</i> happened / and no one can pick it out of the lineup . . . "</b><br> <br> In words drawn from urban and Navajo perspectives, Sherwin Bitsui articulates the challenge a Native American person faces in reconciling his or her inherited history of lore and spirit with the coldness of postmodern civilization.<br> <br> <i>Shapeshift</i> is a collection of startling new poetry that explores the tensions between the worlds of nature and man. Through brief, imagistic poems interspersed with evocative longer narratives, it offers powerful perceptions of American culture and politics and their lack of spiritual grounding. Linking story, history, and voice, <i>Shapeshift</i> is laced with interweaving images—the gravitational pull of a fishbowl, the scent of burning hair, the trickle of motor oil from a harpooned log—that speak to the rich diversity of contemporary Diné writing.<br> <br> <i>"Tonight, I draw a raven''s wing inside a circle<br> measured a half second<br> before it expands into a hand.<br> I wrap its worn grip over our feet<br> As we thrash against pine needles inside the earthen pot."</i><br> <br> With complexities of tone that shift between disconnectedness and wholeness, irony and sincerity, Bitsui demonstrates a balance of excitement and intellect rarely found in a debut volume. As deft as it is daring, <i>Shapeshift</i> teases the mind and stirs the imagination.</div>
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Radiant Curve - Poems And Stories

by Luci Tapahonso

30,41€ + 10% CARD

 <div>In this sixth collection of stories and verse, award-winning writer Luci Tapahonso finds sacredness in everyday life. Viewing a sunset in a desert sky, listening to her granddaughter recount how she spent her day, or visiting her mother after her father''s passing, she finds traces of her own memories, along with echoes of the voices of her Navajo ancestors. The collection also includes an audio CD of the author reading aloud and her voice is warm and inviting, like the "simmering soup and blue corn meal" of her childhood.<br> <br> These engaging words draw us into a workaday world that, magically but never surprisingly, has room for the Diyin Dine’é (the Holy People), Old Salt Woman, and Dawn Boy. When she describes her grandson’s First Laugh Ceremony—explaining that it was originally performed for White Shell Girl, who grew up to be Changing Woman—her account enriches us and we long to hear more. Tapahonso weaves the Navajo language into her work like she weaves "the first four rows of black yarn" into a rug she is making "for my little grandson, who inherited my father’s name: Hastiin Tsétah Naaki Bísóí."<br> <br> As readers, we find that we too are surrounded by silent comfort, held lovingly in the confident hands of an accomplished writer who has a great deal to tell us about life.</div>
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Speaking For The Generations - Native Writers On Writing

29,08€ + 10% CARD

 Now it is my turn to stand. At Acoma Pueblo meetings, members rise and announce their intention to speak. In that moment they are recognized and heard. In Speaking for the Generations, Acoma Pueblo poet Simon Ortiz brings together contemporary Native American writers to take their turn. Each offers an evocation of herself or himself, describing the personal, social, and cultural influences on her or his development as a writer. Although each writer's viewpoint is personal and unique, together they reflect the rich tapestry of today's Native literature. Of varied backgrounds, the writers represent Indian heritages and cultures from the Pacific Northwest to the northern plains, from Canada to Guatemala. They are poets, novelists, and playwrights. And although their backgrounds are different and their statements intensely personal, they share common themes of their relationship to the land, to their ancestors, and to future generations of their people. From Gloria Bird's powerful recounting of personal and family history to Esther Belin's vibrant tale of her urban Native homeland in Los Angeles, these writers reveal the importance of place and politics in their lives. Leslie Marmon Silko calls upon the ancient tradition of Native American storytelling and its role in connecting the people to the land. Roberta J. Hill and Elizabeth Woody ponder some of the absurdities of contemporary Native life, while Guatemalan Victor Montejo takes readers to the Mayan world, where a native culture had writing and books long before Europeans came. Together these pieces offer an inspiring portrait of what it means to be a Native writer in the twentieth century. With passion and urgency, these writers are speaking for themselves, for their land, and for the generations.
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Throwing Fire At The Sun, Water At The Moon

by Anita Endrezze

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 <div> <div><b>Perhaps you know them for their deer dances</b> or for their rich Easter ceremonies, or perhaps only from the writings of anthropologists or of Carlos Castaneda. But now you can come to know the Yaqui Indians in a whole new way. Anita Endrezze, born in California of a Yaqui father and a European mother, has written a multilayered work that interweaves personal, mythical, and historical views of the Yaqui people.<br> <br> <i>Throwing Fire at the Sun, Water at the Moon</i> is a blend of ancient myths, poetry, journal extracts, short stories, and essays that tell her people''s story from the early 1500s to the present, and her family''s story over the past five generations. Reproductions of Endrezze''s paintings add an additional dimension to her story and illuminate it with striking visual imagery. Endrezze has combed history and legend to gather stories of her immediate family and her mythical ancient family, the two converging in the spirit of storytelling. She tells Aztec and Yaqui creation stories, tales of witches and seductresses, with recurring motifs from both Yaqui and Chicano culture. She shows how Christianity has deeply infused Yaqui beliefs, sharing poems about the Flood and stories of a Yaqui Jesus. She re-creates the coming of the Spaniards through the works of such historical personages as Andrés Pérez de Ribas. And finally she tells of those individuals who carry the Yaqui spirit into the present day. People like the Esperanza sisters, her grandmothers, and others balance characters like Coyote Woman and the Virgin of Guadalupe to show that Yaqui women are especially important as carriers of their culture.<br> <br> Greater than the sum of its parts, Endrezze''s work is a new kind of family history that features a startling use of language to invoke a people and their past--a time capsule with a female soul. Written to enable her to understand more about her ancestors and to pass this understanding on to her own children, <i>Throwing Fire at the Sun, Water at the Moon</i> helps us gain insight not only into Yaqui culture but into ourselves as well.</div> </div>
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Hawk Is Hungry And Other Stories

by D'Arcy Mcnickle

29,08€ + 10% CARD

 <div> <div><b>These sixteen stories</b>—ten of which have not been previously published—represent the work of one of the most influential Native American writers of the twentieth century—held by many to be the most important Native Americans to write fiction before N. Scott Momaday. Birgit Hans''s introductory essay provides a brief biography of McNickle, sets the stories in the context of his better known work, and provides insights into their literary significance. Together, they constitute a collection essential to an adequate understanding of McNickle and of the development of Native American fiction.<br> <br> <b>CONTENTS</b><br> <br> The Reservation<br> Hard Riding<br> En roulant ma boule, roulant...<br> Meat for God<br> Snowfall<br> Train Time<br> Montana<br> The Hawk Is Hungry<br> Debt of Gratitude<br> Newcomers<br> Man''s Work<br> Going to School<br> The City<br> Manhattan Wedlock<br> Let the War Be Fought<br> In the Alien Corn<br> Six Beautiful in Paris<br> The Silver Locket</div> </div>
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Last Of The Ofos

by Geary Hobson

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 <div><b>Thomas Darko is a Mohican for the twentieth century,</b> the last surviving member of the tiny Mosopelea Tribe of the Mississippi Delta, called Ofos by outsiders. Never numbering more than a few hundred people in recorded history, his kinsmen have died away until Thomas comes to think of himself as "a nation of one." Now an old man in the waning years of the century, Thomas tells the story of his rough-and-tumble life--one which saw many of the changes that Indian people have faced in modern America—and he emerges as one of the most endearing characters in contemporary Native American literature.<br> <br> In this subtle but inventive novel, presented as Thomas''s memoirs, Geary Hobson offers us a glimpse into a life filled with simple joys and sorrows. In relating his Louisiana childhood, Thomas recalls not just school-learning but being taught Indian ways by the small Ofo community. He tells of his life as a roustabout in the oil fields, of his courtship of the rambunctious Sally Fachette, and of his career as a bootlegger, which landed him in prison. We share Thomas''s wartime stint with the Marines—where "for the first time in my life I was treated like a equal"—and his life as a farm laborer and a Hollywood extra portraying warbonneted Cheyennes. Then in his later years, when he truly has become the last of his kind, we find Thomas recruited by an anthropologist from the Smithsonian Institution to preserve his people''s culture. In Washington, he is exposed to the vagaries of Indian policy and the emerging Native American movement.<br> <br> Throughout Thomas''s story, readers are introduced to a wide-ranging cast of characters, from the outlaws Bonnie and Clyde to a fellow Marine who is wary of Indians, to an uppity anthropologist who doesn''t consider Thomas "expert" enough to handle an Ofo flute. Always poor in material wealth but rich in heritage, Thomas Darko is a Native American Everyman whose identity is shaped by family and homeland. His "autobiography" paints a realistic portrait of an Indian confronting the obstacles in his life and the dilemmas of his age as his story reveals the painful legacy of being the last of one''s kind.</div>
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Home Places - Contemporary Native American Writing From Sun Tracks

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 <div><b>What has nourished native peoples</b> on this continent since time immemorial, say the editors of this volume, are wellsprings of creativity. "Down at the source," Havasupai singer Dan Hanna assures us, "a spring will always be there." The creative wellspring of American Indian culture is well represented in this anthology, a compilation of stories, songs, poems, and other writings taken from twenty-five years of Sun Tracks: An American Literary Series. Editors Larry Evers and Ofelia Zepeda have gathered the contributions of nineteen Native Americans in compiling this collection.<br> <br> Some are stories from oral traditions, others are autobiographical writings, and some are songs or poems. But all are contemporary, and all have as a unifying element a strong central theme in Native American writing: home places. Some of the contributors define the home place as a center of established values, while others speak of its cultural or physical geography. Healing powers are often found at home places. Home is a place to defend against those who would reduce it to insignificance, a place to reclaim, or a place reclaimed but not yet realized.<br> <br> One writer recalls a home that must be pulled from deep beneath the waters of the Columbia River. By listening to these stories of home places, the reader can gain a new appreciation of the contemporary verbal expressions of Native American communities. <i>Home Places,</i> note the editors, "asks you to listen to Native American signers, storytellers, and writers, and in this way to celebrate the wellsprings of creativity that continue to flow from the home places in Native America."</div>
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From The Belly Of My Beauty

by Esther G. Belin

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 <div> <div><b>If it can be said that Native culture</b> is hidden behind the facade of mainstream America, there is a facet of that culture hidden even to many Native Americans. One of today''s generation of outstanding Native writers, Esther Belin is an urban Indian. Raised in the city, she speaks with an entirely different voice from that of her reservation kindred as she expresses herself on subjects of urban alienation, racism, sexism, substance abuse, and cultural estrangement.<br> <br> In this bold new collection of poems, Belin presents a startling vision of urban California—particularly Los Angeles—contrasted with Navajo life in the Four Corners region. She presents aspects of Diné life and history not normally seen by readers accustomed to accounts written by Navajos brought up on the reservation.<br> <br> Her work reveals a difference in experience but a similarity in outlook. Belin''s poems put familiar cultural forms in a new context, as Coyote "struts down east 14th / feeling good / looking good / feeling the brown." Her character Ruby dramatizes the gritty reality of a Native woman''s life ("I laugh / sit / smoke a Virginia Slim / and talk to the spirits"). Her use of Diné language and poignant descriptions of family life will remind some of Joy Harjo''s work, but with every turn of the page, readers will know that Belin is making her own mark on Native American literature.<br> <br> <i>From the Belly of My Beauty</i> is also a ceremony of affirmation and renewal for those Native Americans affected by the Federal Indian Relocation Program of the 1950s and ''60s, with its attempts to "assimilate" them into the American mainstream. They have survived by remembering who they were and where they came from. And they have survived so that they might bear witness, as Esther Belin so powerfully does. Belin holds American culture accountable for failing to treat its indigenous peoples with respect, but speaks for the ability of Native culture to survive and provide hope, even for mixed-blood or urban Indians. She is living proof that Native culture thrives wherever its people are found.</div> </div>
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Secrets From The Center Of The World

by Joy Harjo

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 "My house is the red earth; it could be the center of the world." This is Navajo country, a land of mysterious and delicate beauty. "Stephen Strom's photographs lead you to that place," writes Joy Harjo. "The camera eye becomes a space you can move through into the powerful landscapes that he photographs. The horizon may shift and change all around you, but underneath it is the heart with which we move." Harjo's prose poems accompany these images, interpreting each photograph as a story that evokes the spirit of the Earth. Images and words harmonize to evoke the mysteries of what the Navajo call the center of the world.
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Dance Of The Returned

by Devon A. Mihesuah

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 The disappearance of a young Choctaw leads Detective Monique Blue Hawk to investigate a little-known ceremonial dance. As she traces the steps of the missing man, she discovers that the seemingly innocuous Renewal Dance is not what it appears to be. After Monique embarks on a journey that she never thought possible, she learns that the past and future can converge to offer endless possibilities for the present. She must also accept her own destiny of violence and peacekeeping.
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Ocean Power - Poems From The Desert

by Ofelia Zepeda

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 <div> <div><b>The annual seasons</b> and rhythms of the desert are a dance of clouds, wind, rain, and flood—water in it roles from bringer of food to destroyer of life. The critical importance of weather and climate to native desert peoples is reflected with grace and power in this personal collection of poems, the first written creative work by an individual in O''odham and a landmark in Native American literature.<br> <br> Poet Ofelia Zepeda centers these poems on her own experiences growing up in a Tohono O''odham family, where desert climate profoundly influenced daily life, and on her perceptions as a contemporary Tohono O''odham woman. One section of poems deals with contemporary life, personal history, and the meeting of old and new ways. Another section deals with winter and human responses to light and air. The final group of poems focuses on the nature of women, the ocean, and the way the past relationship of the O''odham with the ocean may still inform present day experience. These fine poems will give the outside reader a rich insight into the daily life of the Tohono O''odham people.</div> </div>
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Trickster Academy

by Jenny L. Davis

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 <div> <p><i>Trickster Academy</i> is a collection of poems that explore being Native in Academia—from land acknowledgement statements, to mascots, to the histories of using Native American remains in anthropology. Jenny L. Davis’ collection brings humor and uncomfortable realities together in order to challenge the academy and discuss the experience of being Indigenous in university classrooms and campuses. Organized around the premise of the Trickster Academy— a university space run by, and meant for training, Tricksters— this collection moves between the personal dynamics of a Two-Spirit/queer Indigenous woman in spaces where there are few, if any, others and a Trickster’s critique of those same spaces.</p> <i>Trickster Academy</i> is playful at times, yet more complicated and salient issues are at the heart of these poems. Davis’ <i>Trickster Academy</i> deeply challenges the institutions that still hold Indigenous remains in their archives and storage rooms, and the insincerities of the academy when it comes to acknowledging Indigenous peoples. The realities that the poems in <i>Trickster Academy</i> address are not only relevant to people in academic positions. From leaving home, to being the only Indian in the room, to having to deal with the constant pressures to being a ‘real Indian’, these poems illuminate the shared experiences of Indians across many regions, and all of us who live amongst Tricksters.</div>
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Raven'S Echo Volume 91

by Robert Davis Hoffmann

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 Tlingit artist and poet Robert Davis Hoffmann calls on readers to nurture material as well as spiritual life, asking beautiful and brutal questions about our individual positions within the universe and within history.
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When It Rains - Tohono O'Odham And Pima Poetry

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 A motif of rain and water is woven throughout the poetry in When It Rains, tying in the collection's title to the importance of this life-giving and sustaining resource to the Tohono O'odham people. With the poems in both O'odham and English, the volume serves as a reminder of the beauty and changeability of the O'odham language.
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Brother Bullet - Poems

by Casandra Lopez

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 Speaking to both a personal and collective loss, in Brother Bullet Casandra LÃ³pez confronts her relationships with violence, grief, guilt, and ultimately, endurance. Revisiting the memory and lasting consequences of her brother's murder, LÃ³pez traces the course of the bullet in lyrical narrative poems.
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