Long before it came to be known as Duluth, the land at the western tip of Lake Superior was known to the Ojibwe as Onigamiising, "the place of the small portage." There the Ojibwe lived in keeping with the seasons, moving among different camps for hunting and fishing, for cultivating and gathering, for harvesting wild rice and maple sugar. In Onigamiising Linda LeGarde Grover accompanies us through this cycle of the seasons, one year in a lifelong journey on the path to Mino Bimaadiziwin, the living of a good life.
In fifty short essays, Grover reflects on the spiritual beliefs and everyday practices that carry the Ojibwe through the year and connect them to this northern land of rugged splendor. As the four seasons unfold--from Ziigwan (Spring) through Niibin and Dagwaagin to the silent, snowy promise of Biboon--the award-winning author writes eloquently of the landscape and the weather, work and play, ceremony and tradition and family ways, from the homey moments shared over meals to the celebrations that mark life's great events. Now a grandmother, a Nokomis, beginning the fourth season of her life, Grover draws on a wealth of stories and knowledge accumulated over the years to evoke the Ojibwe experience of Onigamiising, past and present, for all time.
Sometimes things come to people out of the blue and seemingly for a reason. The Anishinaabe word for this is nigika. The stories contained in this collection reached Howard Webkamigad nearly eighty years after they were recorded, after first being kept in their original copper wire format by the American Philosophical Society and later being converted onto cassettes and held by Dr. James McClurken of Michigan State University. These rich tales, recorded by Anishinaabe people in the Harbor Springs area of Michigan, draw on the legends, fables, trickster stories, parables, and humor of Anishinaabe culture. Reaching back to the distant past but also delving into more recent events, this book contains a broad swath of the history of the Ojibwe/Chippewa, Ottawa, Pottawatomi, Algonkian, Abenaki, Saulteau, Mashkiigowok/Cree, and other groups that make up the broad range of the Anishinaabe-speaking peoples. Provided here are original stories transcribed from Anishinaabe-language recordings alongside Howard Webkamigad's English translations. These stories not only provide a textured portrait of a complex people but also will help Anishinaabe-language learners see patterns in the language and get a sense of how it flows. Featuring side-by-side Anishinaabe/English translations.
Indigenous History Is American History
Our Way: A Parallel History dispels the myths, stereotypes, and absence of information about American Indian, Native Alaskan, and Native Hawaiian people in the master narrative of US history. For most of American history, stories of the country's Indigenous Peoples were either ignored or told by outsiders. This book corrects these errors, exploring the ways in which Indigenous cultures from every corner of the nation have influenced American society from the past into the present, reminding the reader that they have both shaped the US and continue to play a vital role in its story. Significantly, Our Way: A Parallel History is a collaboration of Native scholars representing more than ten Indigenous nations, sharing their histories and their cultures. Each contributor, either an affiliate of an institution of higher education or a prominent Native leader, provides the reader with an inside account of tribal culture and heritage. The result is a comprehensive resource restoring the histories of Indigenous Peoples and their nations to their rightful place in the story of America. The book covers topics such as:
-The Doctrine of Discovery
-Alaska Native Claims Settlement Act
-US American Indian Policy and Civil rights
-Blood Quantum
-Selling Hawaii
-Lots More As Julie Cajune (Salish) notes in the preface, "I believe this collection of history, story, and reflection provokes and invites us to think and feel deeply about what it means for all of us to be human in our communities, nations, and beyond. After all, that is what a good story does.
Our Way: A Parallel History dispels the myths, stereotypes, and absence of information about American Indian, Native Alaskan, and Native Hawaiian people in the master narrative of US history. For most of American history, stories of the country's Indigenous Peoples were either ignored or told by outsiders. This book corrects these errors, exploring the ways in which Indigenous cultures from every corner of the nation have influenced American society from the past into the present, reminding the reader that they have both shaped the US and continue to play a vital role in its story. Significantly, Our Way: A Parallel History is a collaboration of Native scholars representing more than ten Indigenous nations, sharing their histories and their cultures. Each contributor, either an affiliate of an institution of higher education or a prominent Native leader, provides the reader with an inside account of tribal culture and heritage. The result is a comprehensive resource restoring the histories of Indigenous Peoples and their nations to their rightful place in the story of America. The book covers topics such as:
-The Doctrine of Discovery
-Alaska Native Claims Settlement Act
-US American Indian Policy and Civil rights
-Blood Quantum
-Selling Hawaii
-Lots More As Julie Cajune (Salish) notes in the preface, "I believe this collection of history, story, and reflection provokes and invites us to think and feel deeply about what it means for all of us to be human in our communities, nations, and beyond. After all, that is what a good story does.
Jim Terry (Ho-Chunk) is a Chicago comic book artist whose memoir Come Home, Indio was a finalist for the LA Times Book Prize. Jim recently was an artist-in-residence at the Newberry, and his new graphic novel, Paper Cuts, commissioned for Indigenous Chicago, reflects his personal journey through the library’s collections and its vast holdings in American Indian and Indigenous Studies.
A NEW YORK TIMES BEST POETRY BOOK OF THE YEAR
In the beginning, the world is spoken into existence with one word: "Earth." There are no inhabitants, and no sun--only the broad sky, silent sea, and sovereign Framer and Shaper. Then come the twin heroes Hunahpu and Xbalanque. Wielding blowguns, they begin a journey to hell and back, ready to confront the folly of false deities as well as death itself, in service to the world and to humanity.
This is the story of the Mayan Popol Vuh, "the book of the woven mat," one of the only epics indigenous to the Americas. Originally sung and chanted, before being translated into prose--and now, for the first time, translated back into verse by Michael Bazzett--this is a story of the generative power of language. A story that asks not only Where did you come from? but How might you live again? A story that, for the first time in English, lives fully as "the phonetic rendering of a living pulse."
By turns poetic and lucid, sinuous and accessible, this striking new translation of The Popol Vuh--the first in the Seedbank series of world literature--breathes new life into an essential tale.
Mayan civilization once flourished in what is today Guatemala and the Yucatan. The Mayan sacred book the Popol Vuh tells of the creation of the universe, the world of gods and demi-gods and the creation of mankind.
The Mayans have long fascinated modern readers with their complex written language, sophisticated mathematics, and advanced astronomy. In Guatemala in 1558, a young Mayan K’iche’ man transcribed what he called a sacred book that “we can no longer see.” This was the Popul Vuh, the Mayans' written account of the creation of the universe, the gods and demi-gods who occupied that universe, and the story of how man was created by them. Furthermore, it traced, generation by generation, the lineage of the Mayan lords down to their imprisonment and torture by the Spanish invaders. Considered the Mayan bible, the Popol Vuh appears here in an authoritative, gorgeously illustrated version by noted Maya anthropologist Victor Montejo, who has captured all the drama and excitement of one of the world’s great creation stories.
The Popol Vuh is an acnient manuscript and one of the most important ones for the Mayan culture. Through magical stories and creatures, it explains how the Mayans thought the universe was created and how their amazing culture was fomred.
This version, written by Guatemalan writer Irina Rohrmoser Moreno, is made especially for preschoolers with beautiful illustrations and verses that captivate young readers.
One book, two languages, just flip it for either Spanish or English.
Discovered in a church in Chichicastenango in 1701, the "Popol Vuj" is one of the few Mayan documents to survive the Spanish conquest. Stories that describe the creation of the Maya universe and humans are presented in vivid images and captivating text in this first authoritative children's version of the ancient and sacred text.
The Popol Vuh is the most important example of Maya literature to have survived the Spanish conquest. It is also one of the world's great creation accounts, comparable to the beauty and power of Genesis.
Most previous translations have relied on Spanish versions rather than the original K'iche'-Maya text. Based on ten years of research by a leading scholar of Maya literature, this translation with extensive notes is uniquely faithful to the original language. Retaining the poetic style of the original text, the translation is also remarkably accessible to English readers.
Illustrated with more than eighty drawings, photographs, and maps, Allen J. Christenson's authoritative version brings out the richness and elegance of this sublime work of literature, comparable to such epic masterpieces as the Ramayana and Mahabharata of India or the Iliad and Odyssey of Greece.
Acts of remembering offer a path to decolonization for Indigenous peoples forcibly dislocated from their culture, knowledge, and land. Susy J. Zepeda highlights the often overlooked yet intertwined legacies of Chicana feminisms and queer decolonial theory through the work of select queer Indígena cultural producers and thinkers. By tracing the ancestries and silences of gender-nonconforming people of color, she addresses colonial forms of epistemic violence and methods of transformation, in particular spirit research. Zepeda also uses archival materials, raised ceremonial altars, and analysis of decolonial artwork in conjunction with oral histories to explore the matriarchal roots of Chicana/x and Latina/x feminisms. As she shows, these feminisms are forms of knowledge that people can remember through Indigenous-centered visual narratives, cultural wisdom, and spirit practices.
A fascinating exploration of hidden Indígena histories and silences, Queering Mesoamerican Diasporas blends scholarship with spirit practices to reimagine the root work, dis/connection to land, and the political decolonization of Xicana/x peoples.