An ethnography of urban Native Americans in the Silicon Valley that looks at the creation of social networks and community events that support tribal identities.

Just as a basket’s purpose determines its materials, weave, and shape, so too is the purpose of the essay related to its material, weave, and shape. Editors Elissa Washuta and Theresa Warburton ground this anthology of essays by Native writers in the formal art of basket weaving. Using weaving techniques such as coiling and plaiting as organizing themes, the editors have curated an exciting collection of imaginative, world-making lyric essays by twenty-seven contemporary Native writers from tribal nations across Turtle Island into a well-crafted basket. Shapes of Native Nonfiction features a dynamic combination of established and emerging Native writers, including Stephen Graham Jones, Deborah Miranda, Terese Marie Mailhot, Billy-Ray Belcourt, Eden Robinson, and Kim TallBear. Their ambitious, creative, and visionary work with genre and form demonstrate the slippery, shape-changing possibilities of Native stories. Considered together, they offer responses to broader questions of materiality, orality, spatiality, and temporality that continue to animate the study and practice of distinct Native literary traditions in North America.

In Diabetes in Native Chicago Margaret Pollak explores experiences, understandings, and care of diabetes in a Native American community made up of individuals representing more than one hundred tribes from across the United States and Canada. Today Indigenous Americans have some of the highest rates of diabetes worldwide. While rates of diabetes climbed in reservation areas, they also grew in cities, where the majority of Native people live today. Pollak’s central argument is that the relationship between human culture and human biology is a reciprocal one: colonial history has greatly contributed to the diabetes epidemic in Native populations, and the diabetes epidemic is being incorporated into contemporary discussions of ethnic identity in Native Chicago, where a vulnerability to the development of diabetes is described as a distinctly Native trait. This work is based upon ethnographic research in Native Chicago conducted between 2007 and 2017, with ethnographic and oral history interviews, observations, surveys, and archival research. Diabetes in Native Chicago illustrates how local understandings of diabetes are shaped by what community members observe in cases of the disease among family and friends. Pollak shows that in the face of this epidemic, care for disease is woven into the everyday lives of community members. Diabetes is not merely a physical disease but a social one, perpetuated by social policies and practices, and can only be thwarted by changing society.

Who was Ann Plato? Apart from circumstantial evidence, there's little information about the author of Essays; Including Biographies and Miscellaneous Pieces, in Prose and Poetry, published in 1841. Plato lived in a milieu of colored Hartford, Connecticut, in the early nineteenth century. Although long believed to have been African American herself, she may also, Ron Welburn argues, have been American Indian, like the father in her poem "The Natives of America." Combining literary criticism, ethnohistory, and social history, Welburn uses Plato as an example of how Indians in the Long Island Sound region adapted and prevailed despite the contemporary rhetoric of Indian disappearance. This study seeks to raise Plato's profile as an author as well as to highlight the dynamics of Indian resistance and isolation that have contributed to her enigmatic status as a literary figure.

Many indigenous Hawaiian men have felt profoundly disempowered by the legacies of colonization and by the tourist industry, which, in addition to occupying a great deal of land, promotes a feminized image of Native Hawaiians (evident in the ubiquitous figure of the dancing hula girl). In the 1990s a group of Native men on the island of Maui responded by refashioning and reasserting their masculine identities in a group called the Hale Mua (the “Men’s House”). As a member and an ethnographer, Ty P. Kāwika Tengan analyzes how the group’s mostly middle-aged, middle-class, and mixed-race members assert a warrior masculinity through practices including martial arts, woodcarving, and cultural ceremonies. Some of their practices are heavily influenced by or borrowed from other indigenous Polynesian traditions, including those of the Māori. The men of the Hale Mua enact their refashioned identities as they participate in temple rites, protest marches, public lectures, and cultural fairs. The sharing of personal stories is an integral part of Hale Mua fellowship, and Tengan’s account is filled with members’ first-person narratives. At the same time, Tengan explains how Hale Mua rituals and practices connect to broader projects of cultural revitalization and Hawaiian nationalism. He brings to light the tensions that mark the group’s efforts to reclaim indigenous masculinity as they arise in debates over nineteenth-century historical source materials and during political and cultural gatherings held in spaces designated as tourist sites. He explores class status anxieties expressed through the sharing of individual life stories, critiques of the Hale Mua registered by Hawaiian women, and challenges the group received in dialogues with other indigenous Polynesians. Native Men Remade is the fascinating story of how gender, culture, class, and personality intersect as a group of indigenous Hawaiian men work to overcome the dislocations of colonial history.

This updated edition of Native Seattle brings the indigenous story to the present day and puts the movement of recognizing Seattle's Native past into a broader context. Native Seattle focuses on the experiences of local indigenous communities on whose land Seattle grew, accounts of Native migrants to the city and the development of a multi-tribal urban community, as well as the role Native Americans have played in the narrative of Seattle.

“What roles do literary and community texts and social media play in the memory, politics, and lived experience of those dispossessed?” Fitzgerald asks this question in her introduction and sets out to answer it in her study of literature and social media by (primarily) Native women who are writing about and often actively protesting against displacement caused both by forced relocation and environmental disaster. By examining a range of diverse materials, including the writings of canonical Native American writers such as Louise Erdrich, Linda Hogan, and Elizabeth Cook-Lynn, and social media sites such as YouTube and Facebook, this work brings new focus to analyzing how indigenous communities and authors relate to land, while also exploring broader connections to literary criticism, environmental history and justice, ecocriticism, feminist studies, and new media studies.

Native Studies Keywords explores selected concepts in Native studies and the words commonly used to describe them, words whose meanings have been insufficiently examined. This edited volume focuses on the following eight concepts: sovereignty, land, indigeneity, nation, blood, tradition, colonialism, and indigenous knowledge. Each section includes three or four essays and provides definitions, meanings, and significance to the concept, lending a historical, social, and political context. Take sovereignty, for example. The word has served as the battle cry for social justice in Indian Country. But what is the meaning of sovereignty? Native peoples with diverse political beliefs all might say they support sovereignty—without understanding fully the meaning and implications packed in the word. The field of Native studies is filled with many such words whose meanings are presumed, rather than articulated or debated. Consequently, the foundational terms within Native studies always have multiple and conflicting meanings. These terms carry the colonial baggage that has accrued from centuries of contested words. Native Studies Keywords is a genealogical project that looks at the history of words that claim to have no history. It is the first book to examine the foundational concepts of Native American studies, offering multiple perspectives and opening a critical new conversation.

Tribal histories suggest that Indigenous peoples from many different nations continually allied themselves for purposes of fortitude, mental and physical health, and creative affiliations. Such alliance building, Molly McGlennen tells us, continues in the poetry of Indigenous women, who use the genre to transcend national and colonial boundaries and to fashion global dialogues across a spectrum of experiences and ideas. One of the first books to focus exclusively on Indigenous women’s poetry, Creative Alliances fills a critical gap in the study of Native American literature. McGlennen, herself an Indigenous poet-critic, traces the meanings of gender and genre as they resonate beyond nationalist paradigms to forge transnational forms of both resistance and alliance among Indigenous women in the twenty-first century. McGlennen considers celebrated Native poets such as Kimberly Blaeser, Ester Belin, Diane Glancy, and Luci Tapahonso, but she also takes up lesser-known poets who circulate their work through social media, spoken-word events, and other “nonliterary” forums. Through this work McGlennen reveals how poetry becomes a tool for navigating through the dislocations of urban life, disenrollment, diaspora, migration, and queer identities. McGlennen’s Native American Studies approach is inherently interdisciplinary. Combining creative and critical language, she demonstrates the way in which women use poetry not only to preserve and transfer Indigenous knowledge but also to speak to one another across colonial and tribal divisions. In the literary spaces of anthologies and collections and across social media and spoken-word events, Indigenous women poets are mapping cooperative alliances. In doing so, they are actively determining their relationship to their nations and to other Indigenous peoples in uncompromised and uncompromising ways.