When the Light of the World Was Subdued, Our Songs Came Through

Edited by Joy Harjo; Published in 2020 Publisher: W. W. Norton and Company

Tending the Fire: Native Voices and Portraits

University of New Mexico Press

Tending the Fire by photographer Christopher Felver with an Introduction by Linda Hogan and a foreword by Simon J. Ortiz, celebrates the poets and writers who represent the wide range of Native American voices in literature today. In these commanding portraits, Felver’s distinctive visual signature and unobtrusive presence capture each artist’s strength, integrity, and character. Accompanying each portrait is a handwritten poem or prose piece that helps reveal the origin of the poet’s language and legends.

As the individuals share their unique voices, Tending the Fire introduces us to the diversity and complexity of Native culture through the authors’ generous and passionate stories, reminding us that “Native Americans today are as modern as the Space Age, and each in their own way carries forth the cultural heritage ‘from whence they came.’ Their abiding legacy as the first people of this continent has found its voice in the hard-won wisdom of their art and activism.


Featured Authors: Francisco X. Alarcón; Sherman Alexie; Indira Allegra; Paula Gunn Allen; Crisosto Apache; Annette Arkeketa; Jimmy Santiago Baca; Dennis Banks; Jim Barnes; Kimberly L. Becker; Duane Big Eagle; Sherwin Bitsui; Julian Talamantez Brolaski; Lauralee Brown; Joseph Bruchac; Annette Saunooke Clapsaddle; Elizabeth Cook-Lynn; Jonny Cournoyer; Alice Crow; Lucille Lang Day; Susan Deer Cloud; Ramona Emerson; Heid E. Erdrich; Louise Erdrich ; Pura Fé; Jennifer Elise Foerster; Eric Gansworth; Diane Glancy; Jewelle Gomez; Rain Gomez; Sequoyah Guess; Q.R. Hand, Jr.; Joy Harjo; Allison Hedge Coke; Travis Hedge Coke; Lance Henson; Trace Lara Hentz; Inés Hernández-Avila; Charlie Hill; Roberta Hill; Geary Hobson; Linda Hogan; LeAnne Howe; Andrew Jolivétte; em jollie; Joan Naviyuk Kane; Maurice Kenny; Bruce King; Sharmagne Leland-St.John; Chip Livingston; Charly Lowry; James Luna; Lee Marmon; Molly McGlennen; Russell Means; Deborah Miranda; Gail Mitchell; N. Scott Momaday; Catherine Nelson-Rodriguez; Linda Noel; dg nanouk okpik; Simon J. Ortiz; Laura Ortman; A. Kay Oxendine; Juanita Pahdopony; Evan Pritchard; Mary Grace Pewewardy; Ishmael Reed; Martha Redbone; Bobby J. Richardson; Ladonna Evans Richardson; Barbara Robidoux; Linda Rodriguez; Wendy Rose; Kurt Schweigman; Kim Shuck; Cedar Sigo; Leslie Marmon Silko; Arigon Starr; James Thomas Stevens; Inés Talamantez; Luci Tapahanso; Nazbah Tom; Cecil Taylor; Rebecca Hatcher Travis; David Treuer; Terra Trevor; Quincy Troupe; John Trudell; Gerald Vizenor; Elissa Washuta; Floyd Redcrow Westerman; Orlando White; Kim Wieser; Diane Wilson; Elizabeth A. Woody

Sing Poetry from the Indigenous Americas

The University of Arizona Press

Editor and poet Allison Adelle Hedge Coke assembles this multilingual collection of Indigenous American poetry, joining voices old and new in songs of witness and reclamation. Unprecedented in scope, Sing Poetry from the Indigenous Americas gathers more than eighty poets from across the Americas, covering territory that stretches from Alaska to Chile, and features familiar names like Sherwin Bitsui, Louise Erdrich, Joy Harjo, Lee Maracle, and Simon Ortiz alongside international poets—both emerging and acclaimed—from regions underrepresented in anthologies. 

 

They write from disparate zones and parallel experience, from lands of mounded earthwork long-since paved, from lands of ancient ball courts and the first great cities on the continents, from places of cold, from places of volcanic loam, from zones of erased history and ongoing armed conflict, where “postcolonial” is not an academic concept but a lived reality. As befits a volume of such geographical inclusivity, many poems here appear in multiple languages, translated by fellow poets and writers like Juan Felipe Herrera and Cristina Eisenberg. 

 

Hedge Coke’s thematic organization of the poems gives them an added resonance and continuity, and readers will appreciate the story of the genesis of this project related in Hedge Coke’s deeply felt introduction, which details her experiences as an invited performer at several international poetry festivals. Sing is a journey compelled by the exploration of kinship and the desire for songs that open “pathways of return.”

Children of the Dragonfly: Native American Voices on Child Custody and Education

The University of Arizona Press

Native American children have long been subject to removal from their homes for placement in residential schools and, more recently, in foster or adoptive homes. The governments of both the United States and Canada, having reduced Native nations to the legal status of dependent children, historically have asserted a surrogate parentalism over Native children themselves.

Children of the Dragonfly, edited by Robert Bensen, is the first anthology to document this struggle for cultural survival on both sides of the U.S.-Canadian border. Through autobiography and interviews, fiction and traditional tales, official transcripts and poetry, these voices— Seneca, Cherokee, Mohawk, Navajo, and many others— weave powerful accounts of struggle and loss into a moving testimony to perseverance and survival. 

Invoking the dragonfly spirit of Zuni legend who helps children restore a way of life that has been taken from them, the anthology explores the breadth of the conflict about Native childhood.

Included are works of contemporary authors Joy Harjo, Luci Tapahonso, and others; classic writers Zitkala-Sa and E. Pauline Johnson; and contributions from twenty important new writers as well. They take readers from the boarding school movement of the 1870s to the Sixties Scoop in Canada and the Indian Child Welfare Act of 1978 in the United States. They also spotlight the tragic consequences of racist practices such as the suppression of Indian identity in government schools and the campaign against Indian childbearing through involuntary sterilization.

CONTENTS
Part 1. Traditional Stories and Lives
Severt Young Bear (Lakota) and R. D. Theisz, To Say "Child"
Zitkala-Sa (Yankton Sioux), The Toad and the Boy
Delia Oshogay (Chippewa), Oshkikwe's Baby
Michele Dean Stock (Seneca), The Seven Dancers
Mary Ulmer Chiltoskey (Cherokee), Goldilocks Thereafter
Marietta Brady (Navajo), Two Stories

Part 2. Boarding and Residential Schools
Embe (Marianna Burgess), from Stiya: or, a Carlisle Indian Girl at Home
Black Bear (Blackfeet), Who Am I?
E. Pauline Johnson (Mohawk), As It Was in the Beginning
Lee Maracle (Stoh:lo), Black Robes
Gordon D. Henry, Jr. (White Earth Chippewa), The Prisoner of Haiku
Luci Tapahonso (Navajo), The Snakeman
Joy Harjo (Muskogee), The Woman Who Fell from the Sky

Part 3. Child Welfare and Health Services
Problems That American Indian Families Face in Raising Their Children, United States Senate, April 8 and 9, 1974
Mary TallMountain (Athabaskan), Five Poems
Virginia Woolfclan, Missing Sister
Lela Northcross Wakely (Potawatomi/Kickapoo), Indian Health
Sherman Alexie (Spokane/Coeur d'Alene), from Indian Killer
Milton Lee (Cheyenne River Sioux) and Jamie Lee, The Search for Indian

Part 4. Children of the Dragonfly
Peter Cuch (Ute), I Wonder What the Car Looked Like
S. L. Wilde (Anishnaabe), A Letter to My Grandmother
Eric Gansworth (Onondaga), It Goes Something Like This
Kimberly Roppolo (Cherokee/Choctaw/Creek), Breeds and Outlaws
Phil Young (Cherokee) and Robert Bensen, Wetumka
Lawrence Sampson (Delaware/Eastern Band Cherokee), The Long Road Home
Beverley McKiver (Ojibway), When the Heron Speaks
Joyce carlEtta Mandrake (White Earth Chippewa), Memory Lane Is the Next Street Over
Alan Michelson (Mohawk), Lost Tribe
Patricia Aqiimuk Paul (Inupiaq), The Connection
Terra Trevor (Cherokee/Delaware/Seneca), Pushing up the Sky
Annalee Lucia Bensen (Mohegan/Cherokee), Two Dragonfly Dream Songs

The People Who Stayed: Southeastern Indian Writing After Removal

 University of Oklahoma Press

Native literature, composed of western literary tradition is packed into the hyphens of the oral tradition. It is termed a “renaissance” but contemporary Native writing is both something old emerging in new forms and something that has never been asleep. The two-hundred-year-old myth of the vanishing American Indian still holds some credence in the American Southeast, the region from which tens of thousands of Indians were relocated after passage of the Indian Removal Act in 1830. Yet, a significant Indian population remained behind after those massive relocations.

This volume represents every state and every genre, including short stories, excerpts from novels, poetry, essays and plays. Although most works are contemporary, the collection covers the entire post-Removal era. While many speak to the prospects and perils of acculturation, all the writers bear witness to the ways, oblique or straightforward, that they and their families are connected and honor their Indian identities despite the legacy of removal. 

The People Who Stayed: Southeastern Indian Writing After Removal 
edited by Geary Hobson, Janet McAdams, and Kathryn Walkiewicz.

Golden Eagles over Franklin Mountain

by Robert Bensen

On Oct. 25, 2018, we counted 128 Golden Eagles, a single-day record for eastern North America. The previous single-day high was 71 (Nov. 11, 2015) so the magnitude of this big day cannot be overstated. The reason for this Golden Eagle push two weeks before the traditional migration peak, is unknown.  

                                                            —Andy Mason, Franklin Mountain Hawkwatch 2018 Report

The scaffold bristled with digital Yashicas clamped on scopes

and monopods strutting in khaki and camouflage, as a flock

of hawk-watchers scanned quadrants of sky from Otego 

to the peaks where the Susquehanna swerves into the valley, and east.

I stood by, naked eye aswarm with floaters the one,

the other useless that magnifies and smears every human face.

Peter, half-felled by flu, and Becky tallied the count 

and helped the dozen-some visitors identify specks 

that could be buzzard, or goshawk, or harrier, or sharp-shinned

or rough-legged or Cooper’s or red-tailed hawks, or merlin, falcon,

kite or kestrel, among twenty-nine listed, including Unknown Raptors, 

hoping for Goldens riding the polar stream from Canada, or, better, one

gliding low and hungry on a hunt.  I couldn’t see diddle.

And it seemed weird to me to have the drum, but to my hand ungloved 

the skin felt warm and taut.  So I slipped away and up the path,

deer-silent for the spring of thatch underfoot.

I dug my heels in and labored up the grade, paused

to catch a breath at the hill’s brow, midway through the field                           

walled in by limb-laced fir and hardwood, when a shape or shadow rose—no, 

an enormous bird rose above the brim and—Wait! I yelled and I swear

                                                                                                                        

it gave pause mid-air while bone-chilled I fumbled the drum,

and out of a cloud of sage-smoke started a roll of thunder

that closed in, closed fast and passed, then the song brought

a line of thunders helping the verse find drafts and currents 

to ride and sign God-knows-what to the bird, white flame-tongued

wings that skimmed the tree-rim, gliding so slowly with the song

that so tethered the two of us it seemed the wall of trees revolved

the way between the potter’s thumb and fingers the new bowl turns.

We shared the easy slip of air around the bowl of circled trees.

Once around, his flight feathers splayed, trimmed then splayed,

eyes holding steady gaze, with each lift of song a fresh wind.  A quick

turn of his head and he vanished.  Who’d not be at first forlorn? 

But filled with that glory who’d mourn or sorrow for long

or deny he’d gone to let the others of his kind know,

ready for passage through this valley to the Catskills, that here,

here someone had kept the song the eagles gave so long ago: 

Wanbli gleska, naha anunca, heya a uh chun kay.

Mea trocha heya anpetu wawakeay:  

“Golden eagles, Spotted eagles, the first to fly with the dawn,

come see this one trying to become a human being, come see.”

So they did and were counted: one-hundred twenty-eight strong. 

© Robert Bensen. All rights. Reserved.

www.robertbensen.com

Robert Bensen has published six collections of poetry, including Orenoque, Wetumka and; Other Poems, and Before. His work has earned an NEA poetry fellowship, the Robert Penn Warren Award, the Harvard Summer Poetry Prize, and Illinois Arts Council and NY State Council on the Arts awards. His scholarship in the Caribbean and Native America has produced essays, studies, and editions, won fellowships from the NEH and Newberry Library, and led to teaching in St. Lucia, Trinidad and Tobago, and Venezuela. He is the editor of Children of the Dragonfly: Native American Voices on Child Custody and Education. He is Emeritus Professor of English at Hartwick College (1978-2017).  He teaches at SUNY-Oneonta, and conducts a poetry workshop at Bright Hill Literary Center, Treadwell.

Marching orders

by Deborah Jang

Sometimes pre-dawn I pretend

I’m hiding from the Nazis

I slo mo breathe in semi-darkness
inches from light sleeper 

Each inhalation rising smooth
drawn deep from belly

ballooning lungs, up open throat,
a u-turn at the larynx

Then straight out rounded lips
suspended in a gentle O

All of the above of course —
silent, slow, steady.

If we were in Krakow
a frosty puff would linger.

Here, into a world of hurt,
this one bare breath alights.

I make myself a secret, a refugee
from sight. A figment of creation.

Arm waves softly through dark air.
No creak. No chafe. No bristle.

No cough. No smacking of dry lips.
No errant bump or sniffle.

With focused grace the body knows
the margins of its bearing.

A patch of air is all that lies
between liberty and terror. 

Trampling boots kick hard against
the mind’s hard won freedom.

Flesh winces at the thought
of quick, steel toed precision, 

of the pounding at the door,
the stench of human danger.

History guts presence
with shards of hate and fear. 

Renders mute our sorrow.
sends us to our caves

where in sacred silence
each breath softly quickens.

We make way through harrow
in dusky daring measure.

Mind’s eye searches escape routes
past the brink of dire.

If we were in Krakow we’d pile
in the cellar, shush the baby sister,

lock eyes with the neighbors.
cringe into harsh light.

Would I not go gentle
without hiss or fight?

Would I link arms with others
and march into harm’s way?

Would I face tall gallows
with head held up high? 

Would I offer comfort
on the train to chambers?

Not look away or wither
from the cruel of might?

Moon and sun trade places.
I breathe in morning skies. 

I pray with extra fervor.
I note the warning signs.

Practice silence in the air
Walk with care, stare down demise.

Ease each out-breath into flow.
Let each find its way to brave

whole and holy into the fray.
Breath by breath by breath, unhide.

Marching orders is included in Float True by Deborah Jang.

© Deborah Jang. All Rights Reserved.

 

Deborah Jang writes her way through the mysteries, perplexities, and joys of being human — on this planet, at this moment, in this skin. She is also a visual artist, engaging connection through forms and objects. She wanders between Denver, CO and Oceanside, CA; between mind and heart; between land and sea. She is the author of Float True. 
deborahjang.com

Read Native Authors. Hear Native Storytellers.

To ensure the voices of Native American and Indigenous writers and storytellers – past, present, and future – are heard throughout the world. 

—Lee Francis III, Wordcraft Circle of Native Writers and Storytellers

Writing is a legitimate way, an important way, to participate in the empowerment of the community that names me. —Toni Cade Bambara