Long Wars
Kirkus Review called this "a concise, moving history of American Indian military service." The book opens with a burning, difficult question that both enlivens and haunts the pages that follow: "Why have American Indians served, and why do they continue to serve, a government that has betrayed and broken promises to native peoples for multiple generations?" Robinson & Lucas let their question breathe, all allow the actions of this story's heroes-from Geronimo and Chief Joseph to the late Lori Ann Piestewa, a Hopi soldier killed in Iraq in 2003-speak for themselves. These narratives form an amazing record of self-discovery and political courage, one in which people forcibly divested of their land and traditions continue to look for their place in the sometimes violent, sometimes hopeful history of the United States. The book's authors initially intended for their project to be a television documentary, and it is easy to imaging the work as a smart hour of public television. Robinson and Lucas are not academically trained, and military historians and scholars won't find much here that is new (although the authors do provide an extensive bibliography). Interested readers, however, will find a wonderful and compendious account of American Indian military service from the colonial period to the present. The book is a nice, engaging read. Recommended reading for anyone curious about American military and Native American history.
FINALIST FOR THE 2019 NATIONAL BOOK AWARD LONGLISTED FOR THE 2020 ANDREW CARNEGIE MEDAL FOR EXCELLENCE A NEW YORK TIMES BESTSELLER Named a best book of 2019 by The New York Times, TIME, The Washington Post, NPR, Hudson Booksellers, The New York Public Library, The Dallas Morning News, and Library Journal. "Chapter after chapter, it's like one shattered myth after another." - NPR "An informed, moving and kaleidoscopic portrait... Treuer's powerful book suggests the need for soul-searching about the meanings of American history and the stories we tell ourselves about this nation's past.." - New York Times Book Review, front page A sweeping history--and counter-narrative--of Native American life from the Wounded Knee massacre to the present. The received idea of Native American history--as promulgated by books like Dee Brown's mega-bestselling 1970 Bury My Heart at Wounded Knee--has been that American Indian history essentially ended with the 1890 massacre at Wounded Knee. Not only did one hundred fifty Sioux die at the hands of the U. S. Cavalry, the sense was, but Native civilization did as well. Growing up Ojibwe on a reservation in Minnesota, training as an anthropologist, and researching Native life past and present for his nonfiction and novels, David Treuer has uncovered a different narrative. Because they did not disappear--and not despite but rather because of their intense struggles to preserve their language, their traditions, their families, and their very existence--the story of American Indians since the end of the nineteenth century to the present is one of unprecedented resourcefulness and reinvention. In The Heartbeat of Wounded Knee, Treuer melds history with reportage and memoir. Tracing the tribes' distinctive cultures from first contact, he explores how the depredations of each era spawned new modes of survival. The devastating seizures of land gave rise to increasingly sophisticated legal and political maneuvering that put the lie to the myth that Indians don't know or care about property. The forced assimilation of their children at government-run boarding schools incubated a unifying Native identity. Conscription in the US military and the pull of urban life brought Indians into the mainstream and modern times, even as it steered the emerging shape of self-rule and spawned a new generation of resistance. The Heartbeat of Wounded Knee is the essential, intimate story of a resilient people in a transformative era.
Today's hottest Native American and Indigenous talent make their mark with stories that explore the rich heritage of Marvel's incredible cast of Indigenous characters! Alien invaders discover that Echo hits back! Dani Moonstar undertakes a personal mutant rescue mission -- but expect the unexpected when she fights alongside Forge, Warpath and more of Krakoa's finest Native heroes! Discover the greatest hopes and fears of the Champions' Snowguard! And find out why it ain't easy being a super hero, along with American Eagle! Plus: Tales featuring the new Werewolf by Night, the Captain America of the Kickapoo Tribe, the mysterious River and more! COLLECTING: Marvel's Voices: Indigenous Voices (2020) 1, Marvel's Voices: Heritage (2021) 1, Champions Annual (2018) 1, Marvel Comics (2019) 1000 (Jeffrey Veregge page), Werewolf by Night (2020) 1, United States of Captain America (2021) 3 (Captain America of the Kickapoo Tribe story), Phoenix Song: Echo (2021) 1, Native American Heritage Month variants
Stunning views of the National Native Veterans Memorial, the newest monument on the National Mall and the first in DC to celebrate Native military service The National Native American Veterans Memorial marks the first national commemoration of Native American military service. National Native American Veterans Memorial: A Souvenir Book pays tribute to the powerful monument and the American Indians who have served in every major US military conflict since the Revolutionary War, often participating at an extraordinary rate. It pays homage to Indigenous peoples who have made so many contributions and sacrifices for their country. Located on the quiet and reflective grounds of the Smithsonian's National Museum of the American Indian, the memorial raises public consciousness of the significant contributions of American Indian, Alaska Native, and Native Hawaiian members of the military who have served in and out of combat for centuries. Native American artist and veteran Harvey Pratt (Cheyenne and Arapaho) designed the Warriors' Circle of Honor, selected for its simplicity and timelessness. The book celebrates the memorial's beauty while providing historical context and exploring the symbolism of its stainless-steel circle, the intimate and interactive space, and striking design elements that convey traditional Native perspectives and beliefs. Capturing the inclusive, healing, and dynamic design and space, National Native American Veterans Memorial: A Souvenir Book gives readers a richer and deeper appreciation of a one-of-a-kind monument.
A 2021 Kansas Notable Book Northern Cheyenne Ledger Art by Fort Robinson Breakout Survivors presents the images of Native warriors--Wild Hog, Porcupine, and Left Hand, as well as possibly Noisy Walker (or Old Man), Old Crow, Blacksmith, and Tangled Hair--as they awaited probable execution in the Dodge City jail in 1879. When Sheriff Bat Masterson provided drawing materials, the men created war books that were coded to avoid confrontation with white authorities and to narrate survival from a Northern Cheyenne point of view. The prisoners used the ledger-art notebooks to maintain their cultural practices during incarceration and as gifts and for barter with whites in the prison where they struggled to survive. The ledger-art notebooks present evidence of spiritual practice and include images of contemporaneous animals of the region, hunting, courtship, dance, social groupings, and a few war-related scenes. Denise Low and Ramon Powers include biographical materials from the imprisonment and subsequent release, which extend the historical arc of Northern Cheyenne heroes of the Plains Indian Wars into reservation times. Sources include selected ledger drawings, army reports, letters, newspapers, and interviews with some of the Northern Cheyenne men and their descendants. Accounts from a firsthand witness of the drawings and composition of the ledgers themselves give further information about Native perspectives on the conflicted history of the North American West in the nineteenth century and beyond. This group of artists jailed after the tragedy of the Fort Robinson Breakout have left a legacy of courage and powerful art.
How the rhetoric of terrorism has been used against high-profile movements to justify the oppression and suppression of Indigenous activists. New Indigenous movements are gaining traction in North America: the Missing and Murdered Women and Idle No More movements in Canada, and the Native Lives Matter and NoDAPL movements in the United States. These do not represent new demands for social justice and treaty rights, which Indigenous groups have sought for centuries. But owing to the extraordinary visibility of contemporary activism, Indigenous people have been newly cast as terrorists--a designation that justifies severe measures of policing, exploitation, and violence. Red Scare investigates the intersectional scope of these four movements and the broader context of the treatment of Indigenous social justice movements as threats to neoliberal and imperialist social orders. In Red Scare, Joanne Barker shows how US and Canadian leaders leverage the fear-driven discourses of terrorism to allow for extreme responses to Indigenous activists, framing them as threats to social stability and national security. The alignment of Indigenous movements with broader struggles against sexual, police, and environmental violence puts them at the forefront of new intersectional solidarities in prominent ways. The activist-as-terrorist framing is cropping up everywhere, but the historical and political complexities of Indigenous movements and state responses are unique. Indigenous criticisms of state policy, resource extraction and contamination, intense surveillance, and neoliberal values are met with outsized and shocking measures of militarized policing, environmental harm, and sexual violence. Red Scare provides students and readers with a concise and thorough survey of these movements and their links to broader organizing; the common threads of historical violence against Indigenous people; and the relevant alternatives we can find in Indigenous forms of governance and relationality.
In Unsettled Borders Felicity Amaya Schaeffer examines the ongoing settler colonial war over the US-Mexico border from the perspective of Apache, Tohono O'odham, and Maya who fight to protect their sacred land. Schaeffer traces the scientific and technological development of militarized border surveillance across time and space from Spanish colonial lookout points in Arizona and Mexico to the Indian wars, when the US cavalry hired Native scouts to track Apache fleeing into Mexico, to the occupation of the Tohono O'odham reservation and the recent launch of robotic bee swarms. Labeled "Optics Valley," Arizona builds on a global history of violent dispossession and containment of Native peoples and migrants by branding itself as a profitable hub for surveillance. Schaeffer reverses the logic of borders by turning to Indigenous sacredsciences: ancestral land-based practices that are critical to reversing the ecological and social violence of surveillance, extraction, and occupation.
The first book to feature Dwayne Wilcox's incredible ledger drawings of Native life.
FOREWORD REVIEW'S 2021 INDIES HONORABLE MENTION for Best Book in Popular Culture
Plains Indian ledger art grew out of the Native tradition of recording and chronicling through art important exploits by warriors and chiefs, among them images of war and hunting, that would adorn tipis and animal hides. These were seen as historical markers. But Native life on the Great Plains underwent tremendous change following the American Civil War, when the American conquest of the West was in full gear. In just a few decades, access to the hides of diminishing herds of bison, deer, antelope, and elk became more difficult and eventually impossible with reservation life. Native people creatively turned to the easily available ledger books of settlers, traders, and military men as their new canvases.
The ledger art drawings of the late nineteenth and early twentieth centuries are revered today for their depiction of Native life during the difficult transition to life on the reservation. The ledger drawings thus became a singularly important way for Native artists to preserve tribal history and to serve as a new kind of personal socio-political expression.
Dwayne Wilcox, who grew up on the Pine Ridge Reservation and is a member of the Oglala Lakota Nation, became interested in ledger art at an early age. He was influenced by the work of Lakota ledger artists such as Amos Bad Heart Bull (1869-1913), but he always sought to defy stereotypical notions of Native life and history and create his own artistic vision. Dwayne eventually focused on humor as his way to comment on the objectification of Native Americans. Skilled as an artist beyond measure, Dwayne's ledger art drawings win major prizes and are sought by museums and collectors who see in him a true artist.
Visual/Language is Dwayne's first book, and it was created as a collaborative effort with curator Karen Miller Nearburg, who provides an enlightening introduction to his work. This book will surely penetrate the heart and soul and mind of all who read it.
FOREWORD REVIEW'S 2021 INDIES HONORABLE MENTION for Best Book in Popular Culture
Plains Indian ledger art grew out of the Native tradition of recording and chronicling through art important exploits by warriors and chiefs, among them images of war and hunting, that would adorn tipis and animal hides. These were seen as historical markers. But Native life on the Great Plains underwent tremendous change following the American Civil War, when the American conquest of the West was in full gear. In just a few decades, access to the hides of diminishing herds of bison, deer, antelope, and elk became more difficult and eventually impossible with reservation life. Native people creatively turned to the easily available ledger books of settlers, traders, and military men as their new canvases.
The ledger art drawings of the late nineteenth and early twentieth centuries are revered today for their depiction of Native life during the difficult transition to life on the reservation. The ledger drawings thus became a singularly important way for Native artists to preserve tribal history and to serve as a new kind of personal socio-political expression.
Dwayne Wilcox, who grew up on the Pine Ridge Reservation and is a member of the Oglala Lakota Nation, became interested in ledger art at an early age. He was influenced by the work of Lakota ledger artists such as Amos Bad Heart Bull (1869-1913), but he always sought to defy stereotypical notions of Native life and history and create his own artistic vision. Dwayne eventually focused on humor as his way to comment on the objectification of Native Americans. Skilled as an artist beyond measure, Dwayne's ledger art drawings win major prizes and are sought by museums and collectors who see in him a true artist.
Visual/Language is Dwayne's first book, and it was created as a collaborative effort with curator Karen Miller Nearburg, who provides an enlightening introduction to his work. This book will surely penetrate the heart and soul and mind of all who read it.
Rare stories from more than 250 years of Native Americans' service in the military Why We Serve commemorates the 2020 opening of the National Native American Veterans Memorial at the Smithsonian National Museum of the American Indian, the first landmark in Washington, DC, to recognize the bravery and sacrifice of Native veterans. American Indians' history of military service dates to colonial times, and today, they serve at one of the highest rates of any ethnic group. Why We Serve explores the range of reasons why, from love of their home to an expression of their warrior traditions. The book brings fascinating history to life with historical photographs, sketches, paintings, and maps. Incredible contributions from important voices in the field offer a complex examination of the history of Native American service. Why We Serve celebrates the unsung legacy of Native military service and what it means to their community and country.
On the night of Feb. 27, 1973, beat-up cars carrying dozens of angry young men sped into Wounded Knee village. Members of the American Indian Movement (AIM) and local Lakotas had come to occupy the symbolic site on the Pine Ridge Reservation, where the army had massacred Chief Big Foot and his people in 1890. They would hold out against the firepower of the U.S. government for 71 days. By the time the occupiers left, the village had been destroyed, two were dead, one activist went missing, and a U.S. marshal was left paralyzed. Thirty-nine years later, key figures from the movement, Russell Means, Clyde Bellecourt and Dennis Banks arrived at the Dakota Conference at Augustana College, Sioux Falls, S.D., where the events and the meaning of the Wounded Knee Occupation would be discussed. There to greet them were former FBI Special Agent in Charge Joseph Trimbach and his son John, ardent, life-long critics of AIM. Never before had so many key occupation figures from the movement and the government been under the same roof at the same time. Accusations of murders and cover-ups began to fly from both sides, and organizers had to beef up security. This would be no ordinary academic conference. The vitriolic speeches and angry reactions from both the pro- and anti-AIM participants exposed the still festering wounds that have wracked Pine Ridge Reservation as a result of the occupation for four decades. Wounded Knee 1973: Still Bleeding gives readers an account of the major issues presented at the conference, along with a summary of the occupation itself, the Banks and Means leadership trial in St. Paul, Minn., and the bloody years on Pine Ridge that followed. It also addresses the enduring unsolved mystery of civil rights activist Ray Robinson, who entered the occupied village, and was never seen alive again.