In 1664, French Jesuit Louis Nicolas arrived in Quebec. Upon first hearing Ojibwe, Nicolas observed that he had encountered the most barbaric language in the world--but after listening to and studying approximately fifteen Algonquian languages over a ten-year period, he wrote that he had "discovered all of the secrets of the most beautiful languages in the universe." Unscripted America is a study of how colonists in North America struggled to understand, translate, and interpret Native American languages, and the significance of these languages for theological and cosmological issues such as the origins of Amerindian populations, their relationship to Eurasian and Biblical peoples, and the origins of language itself. Through a close analysis of previously overlooked texts, Unscripted America places American Indian languages within transatlantic intellectual history, while also demonstrating how American letters emerged in the 1810s through 1830s via a complex and hitherto unexplored engagement with the legacies and aesthetic possibilities of indigenous words. Unscripted America contends that what scholars have more traditionally understood through the Romantic ideology of the noble savage, a vessel of antiquity among dying populations, was in fact a palimpsest of still-living indigenous populations whose presence in American literature remains traceable through words. By examining the foundation of the literary nation through language, writing, and literacy, Unscripted America revisits common conceptions regarding "early america" and its origins to demonstrate how the understanding of America developed out of a steadfast connection to American Indians, both past and present.

This comprehensive survey of indigenous languages of the New World introduces students and general readers to the mosaic of American Indian languages and cultures and offers an approach to grasping their subtleties. Authors Silver and Miller demonstrate the complexity and diversity of these languages while dispelling popular misconceptions. Their text reveals the linguistic richness of languages found throughout the Americas, emphasizing those located in the western United States and Mexico, while drawing on a wide range of other examples found from Canada to the Andes. It introduces readers to such varied aspects of communicating as directionals and counting systems, storytelling, expressive speech, Mexican Kickapoo whistle speech, and Plains sign language. The authors have included basics of grammar and historical linguistics, while emphasizing such issues as speech genres and other sociolinguistic issues and the relation between language and worldview. They have incorporated a variety of data that have rarely or never received attention in nontechnical literature in order to underscore the linguistic diversity of the Americas, and have provided more extensive language classification lists than are found in most other texts. American Indian Languages: Cultural and Social Contexts is a comprehensive resource that will serve as a text in undergraduate and lower-level graduate courses on Native American languages and provide a useful reference for students of American Indian literature or general linguistics. It also introduces general readers interested in Native Americans to the amazing diversity and richness of indigenous American languages. Coverage includes: Achumawi, Acoma, Algonquin, Apache, Araucanian, Arawakan, Athapascan, Atsugewi, Ayamara, Bacairi, Bella Coola, Beothuk, Biloxi, Blackfoot, Caddoan, Cahto, Cahuilla, Cakchiquel, Carib, Cayuga, Chemehuevi, Cherokee, Chibchan, Chichimec, Chimakuan, Chimariko, Chinook, Chipewyan, Choctaw-Chickasaw, Chol, Cocopa, Coeur d'Alene, Comanche, Coos, Cora, Cree, Creek, Crow, Cubeo, Cupeño, Dakota, Delaware, Diegueño, Eskimo-Aleut, Esselen, Eyak, Fox, Gros Ventre, Guaraní, Guarijío, Haida, Havasupai, Hill Patwin, Hopi, Huastec, Huave, Hupa, Inuit-Inupiaq, Iroquois, Jaqaru, Je, Jicaque, Kalapuyan, Kamia, Karankawas, Karuk, Kashaya, Keres, Kickapoo, Kiliwa, Kiowa-Tanoan, Koasati, Konkow, Kuna, Kwakiutl, Kwalhioqua-Tlatskanai, Lakota, Lenca, Luiseño, Maidu, Mapuche, Markoosie, Mayan, Mazahua, Mazatec, Métis, Mexica, Micmac, Misumalpan, Mitchif, Miwok, Mixe-Zoquean, Mixtec, Mobilian, Mohave, Mohawk, Muskogean, Nahuatl, Natchez, Navajo, Nez Perce, Nheengatú, Nicola, Nomlaki, Nootka, Ojibwa, Oneida, O'odham, Otomí, Paiute, Palaihnihan, Panamint, Panoan, Paya, Pima, Pipil, Pomo, Poplocan, Pueblo, Puquina, Purpecha, Quechua, Quiché, Quileute, Sahaptian, Salish, Seneca, Sequoyah, Seri, Serrano, Shasta, Shoshoni, Sioux, Sirenikski, Slavey, Subtiaba-Tlapanec, Taíno, Takelma, Tanaina, Tarahumara, Tequistlatecan, Tewa, Tlingit, Toba, Toltec, Totonac, Tsimshian, Tubatulabal, Tukano, Tunica, Tupí, Ute, Uto-Aztecan, Vaupés, Venture¤o, Wakashan, Walapai, Wappo, Washo, Wintu, Wiyot, Xinca, Yahi, Yana, Yokuts, Yucatec, Yuchi, Yuki, Yuma, Yurok, Zapotec, Zoquean, and Zuni.

Presents an encyclopedia of American Indian literature in an alphabetical format listing authors and their works.

Native American literature has always been uniquely embattled. It is marked by divergent opinions about what constitutes authenticity, sovereignty, and even literature. It announces a culture beset by paradox: simultaneously primordial and postmodern; oral and inscribed; outmoded and novel. Its texts are a site of political struggle, shifting to meet external and internal expectations. This Cambridge History endeavors to capture and question the contested character of Indigenous texts and the way they are evaluated. It delineates significant periods of literary and cultural development in four sections: “Traces & Removals” (pre-1870s); “Assimilation and Modernity” (1879-1967); “Native American Renaissance” (post-1960s); and “Visions & Revisions” (21st century). These rubrics highlight how Native literatures have evolved alongside major transitions in federal policy toward the Indian, and via contact with broader cultural phenomena such, as the American Civil Rights movement. There is a balance between a history of canonical authors and traditions, introducing less-studied works and themes, and foregrounding critical discussions, approaches, and controversies.

Eloh’, a Cherokee word, is usually translated by anthropologists as "religion," but it also simultaneously encompasses history, culture, knowledge, law, and land. In this provocative work, Jace Weaver interlaces these seemingly disparate meanings to form a coherent approach to Native American Studies. In nineteen interrelated chapters, Weaver presents a range of experiences shared by native peoples in the Americas, from the distant past to the uncertain future. He examines Indian creative output, from oral tradition to the postmodern wordplay of Gerald Vizenor, and brings to light previously overlooked texts. Weaver also tackles up-to-the-minute issues, including environmental crises, Native American spirituality, repatriation of Indian remains and cultural artifacts, and international human rights.

In an original, widely researched, and accessibly written book, Robert Dale Parker helps redefine the study of Native American literature by focusing on issues of gender and literary form. Among the writers Parker highlights are Thomas King, John Joseph Mathews, D'Arcy McNickle, Leslie Marmon Silko, and Ray A. Young Bear, some of whom have previously received little scholarly attention.Parker proposes a new history of Native American literature by reinterpreting its concerns with poetry, orality, and Indian notions of authority. He also addresses representations of Indian masculinity, uncovering Native literature's recurring fascination with restless young men who have nothing to do, or who suspect or feel pressured to believe that they have nothing to do. The Invention of Native American Literature reads Native writing through a wide variety of shifting historical contexts. In its commitment to historicizing Native writing and identity, Parker's work parallels developments in scholarship on other minority literatures and is sure to provoke controversy.

"This book explores Indigenous American literature and the development of an inter- and trans-Indigenous orientation in Native American and Indigenous literary studies. Drawing on the perspectives of scholars in the field, it seeks to reconcile tribal nation specificity, Indigenous literary nationalism, and trans-Indigenous methodologies as necessary components of post-Renaissance Native American and Indigenous literary studies. It looks at the work of Renaissance writers, including Louise Erdrich's Tracks (1988) and Leslie Marmon Silko's Sacred Water (1993), along with novels by S. Alice Callahan and John Milton Oskison. It also discusses Indigenous poetics and Salt Publishing's Earthworks series, focusing on poets of the Renaissance in conversation with emerging writers. Furthermore, it introduces contemporary readers to many American Indian writers from the seventeenth to the first half of the nineteenth century, from Captain Joseph Johnson and Ben Uncas to Samson Occom, Samuel Ashpo, Henry Quaquaquid, Joseph Brant, Hendrick Aupaumut, Sarah Simon, Mary Occom, and Elijah Wimpey. The book examines Inuit literature in Inuktitut, bilingual Mexicanoh and Spanish poetry, and literature in Indian Territory, Nunavut, the Huasteca, Yucatán, and the Great Lakes region. It considers Indigenous literatures north of the Medicine Line, particularly francophone writing by Indigenous authors in Quebec. Other issues tackled by the book include racial and blood identities that continue to divide Indigenous nations and communities, as well as the role of colleges and universities in the development of Indigenous literary studies".

Native American fiction writers have confronted Euro-American narratives about Indians and the colonial world those narratives help create. These Native authors offer stories in which Indians remake this colonial world by resisting conquest and assimilation, sustaining their cultures and communities, and surviving. In Muting White Noise, James H. Cox considers how Native authors have liberated our imaginations from colonial narratives. Cox takes his title from Sherman Alexie, for whom the white noise of a television set represents the white mass-produced culture that mutes American Indian voices. Cox foregrounds the work of Native intellectuals in his readings of the American Indian novel tradition. He thereby develops a critical perspective from which to re-see the role played by the Euro-American novel tradition in justifying and enabling colonialism. By examining novels by Native authors—especially Thomas King, Gerald Vizenor, and Alexie—Cox shows how these writers challenge and revise colonizers’ tales about Indians. He then offers “red readings” of some revered Euro-American novels, including Herman Melville’s Moby-Dick, and shows that until quite recently, even those non-Native storytellers who sympathized with Indians could imagine only their vanishing by story’s end. Muting White Noise breaks new ground in literary criticism. It stands with Native authors in their struggle to reclaim their own narrative space and tell stories that empower and nurture, rather than undermine and erase, American Indians and their communities.