Our Scene So Fair consists of nine critical essays that seek to clarify the poetic tradition that Filipino poets in English have established over the first half of the last century.

In arresting, but harrowing, prose, James Daschuk examines the roles that Old World diseases, climate, and, most disturbingly, Canadian politics--the politics of ethnocide--played in the deaths and subjugation of thousands of aboriginal people in the realization of Sir John A. Macdonald's "National Dream." It was a dream that came at great expense: the present disparity in health and economic well-being between First Nations and non-Native populations, and the lingering racism and misunderstanding that permeates the national consciousness to this day. " Clearing the Plains is a tour de force that dismantles and destroys the view that Canada has a special claim to humanity in its treatment of indigenous peoples. Daschuk shows how infectious disease and state-supported starvation combined to create a creeping, relentless catastrophe that persists to the present day. The prose is gripping, the analysis is incisive, and the narrative is so chilling that it leaves its reader stunned and disturbed. For days after reading it, I was unable to shake a profound sense of sorrow. This is fearless, evidence-driven history at its finest." -Elizabeth A. Fenn, author of Pox Americana "Required reading for all Canadians." -Candace Savage, author of A Geography of Blood "Clearly written, deeply researched, and properly contextualized history...Essential reading for everyone interested in the history of indigenous North America." -J.R. McNeill, author of Mosquito Empires

"A former police academy classmate and protaegae asks Tracy to help solve a cold case that involves the suspicious suicide of a Native American high school girl forty years earlier. But as Tracy probes one small town's memory and finds dark, well-concealed secrets hidden within the community's fabric, her own life may be endangered"--

First Published in 2002. Routledge is an imprint of Taylor & Francis, an informa company.

This collection draws together the work of authors from Indonesia, Australia, North America, and Europe, in the first comprehensive attempt to relate modern Indonesian literature to the insights and approaches of postcolonial theory and literary criticism. The essays in the collection range over the history of modern Indonesian literature from its beginnings in the late nineteenth century to its diversity and growth in the 1990s. Some offer the fresh readings of well-known texts; others draw attention to aspects of the Indonesian literary tradition that have hitherto escaped the notice of scholars and critics. Grounded in detailed analysis of local contexts, yet enlivened by comparative and theoretical perspectives, the collection places Indonesian literature at the heart of contemporary cultural concerns.

The astonishing, powerful debut by the winner of a 2016 Whiting Writers' Award WHEREAS her birth signaled the responsibility as mother to teach what it is to be Lakota therein the question: What did I know about being Lakota? Signaled panic, blood rush my embarrassment. What did I know of our language but pieces? Would I teach her to be pieces? Until a friend comforted, Don’t worry, you and your daughter will learn together. Today she stood sunlight on her shoulders lean and straight to share a song in Diné, her father’s language. To sing she motions simultaneously with her hands; I watch her be in multiple musics. —from “WHEREAS Statements” WHEREAS confronts the coercive language of the United States government in its responses, treaties, and apologies to Native American peoples and tribes, and reflects that language in its officiousness and duplicity back on its perpetrators. Through a virtuosic array of short lyrics, prose poems, longer narrative sequences, resolutions, and disclaimers, Layli Long Soldier has created a brilliantly innovative text to examine histories, landscapes, her own writing, and her predicament inside national affiliations. “I am,” she writes, “a citizen of the United States and an enrolled member of the Oglala Sioux Tribe, meaning I am a citizen of the Oglala Lakota Nation—and in this dual citizenship I must work, I must eat, I must art, I must mother, I must friend, I must listen, I must observe, constantly I must live.” This strident, plaintive book introduces a major new voice in contemporary literature.