Set against the tragic events of the Cherokees' removal from their traditional lands in North Carolina to Indian Territory between 1835-1838, Mountain Windsong is a love story that brings to life the suffering and endurance of the Cherokee people. It is the moving tale of Waguli (Whippoorwill") and Oconeechee, a young Cherokee man and woman separated by the Trail of Tears. Just as they are about to be married, Waguli is captured be federal soldiers and, along with thousands of other Cherokees, taken west, on foot and then by steamboat, to what is now eastern Oklahoma. Though many die along the way, Waguli survives, drowning his shame and sorrow in alcohol. Oconeechee, among the few Cherokees who remain behind, hidden in the mountains, embarks on a courageous search for Waguli. Robert J. Conley makes use of song, legend, and historical documents to weave the rich texture of the story, which is told through several, sometimes contradictory, voices. The traditional narrative of the Trail of Tears is told to a young contemporary Cherokee boy by his grandfather, presented in bits and pieces as they go about their everyday chores in rural North Carolina. The telling is neiter bitter nor hostile; it is sympathetic by unsentimental. An ironic third point of view, detached and often adversarial, is provided by the historical documents interspersed through the novel, from the text of the removal treaty to Ralph Waldo Emerson's letter to the president of the United States in protest of the removal. In this layering of contradictory elements, Conley implies questions about the relationships between history and legend, storytelling and myth-making. Inspired by the lyrics of Don Grooms's song "Whippoorwill," which open many chapters in the text, Conley has written a novel both meticulously accurate and deeply moving.

Set against the tragic events of the Cherokees' removal from their traditional lands in North Carolina to Indian Territory between 1835-1838, Mountain Windsong is a love story that brings to life the suffering and endurance of the Cherokee people. It is the moving tale of Waguli (Whippoorwill") and Oconeechee, a young Cherokee man and woman separated by the Trail of Tears. Just as they are about to be married, Waguli is captured be federal soldiers and, along with thousands of other Cherokees, taken west, on foot and then by steamboat, to what is now eastern Oklahoma. Though many die along the way, Waguli survives, drowning his shame and sorrow in alcohol. Oconeechee, among the few Cherokees who remain behind, hidden in the mountains, embarks on a courageous search for Waguli. Robert J. Conley makes use of song, legend, and historical documents to weave the rich texture of the story, which is told through several, sometimes contradictory, voices. The traditional narrative of the Trail of Tears is told to a young contemporary Cherokee boy by his grandfather, presented in bits and pieces as they go about their everyday chores in rural North Carolina. The telling is neiter bitter nor hostile; it is sympathetic by unsentimental. An ironic third point of view, detached and often adversarial, is provided by the historical documents interspersed through the novel, from the text of the removal treaty to Ralph Waldo Emerson's letter to the president of the United States in protest of the removal. In this layering of contradictory elements, Conley implies questions about the relationships between history and legend, storytelling and myth-making. Inspired by the lyrics of Don Grooms's song "Whippoorwill," which open many chapters in the text, Conley has written a novel both meticulously accurate and deeply moving.

This practical volume addresses teachers' most immediate and constant wish to engage students in meaningful learning. Written by teachers affiliated with the National Writing Project, this engrossing collection presents examples of classroom-based community studies projects that showcase teachers' reflective practice in action, models for professional growth, collaborative staff development programs, and much more. It features: replicable projects emphasizing approaches to doing research and writing that are both engaging for students and academically rigorous; comprehensive curricular models for building energetic, public connections between the classroom and the larger community; chapters that connect the standards-based classroom work to teacher professional development and to emerging trends in American Studies and literacy instruction.

Established by the Cherokee Nation in 1851 in present-day eastern Oklahoma, the nondenominational Cherokee Female Seminary was one of the most important schools in the history of American Indian education. Devon Mihesuah explores its curriculum, faculty, administration, and educational philosophy. Recipient of a 1995 Critics' Choice Award of the American Educational Studies Association. 24 photos.

During the Standing Rock Sioux protest against the Dakota Access Pipeline, an activist observed, “Forced removal isn’t just in the history books.” Sabine N. Meyer concurs, noting the prominence of Indian Removal, the nineteenth-century policy of expelling Native peoples from their land, in Native American aesthetic and political praxis across the centuries. Removal has functioned both as a specific set of historical events and a synecdoche for settler colonial dispossession of Indigenous communities across hemispheres and generations. It has generated a plethora of Native American writings that negotiate forms of belonging—the identities of Native collectives, their proprietary relationships, and their most intimate relations among one another. By analyzing these writings in light of domestic settler colonial, international, and tribal law, Meyer reveals their coherence as a distinct genre of Native literature that has played a significant role in negotiating Indigenous identity. Critically engaging with Native Removal writings across the centuries, Meyer’s work shows how these texts need to be viewed as articulations of Native identity that respond to immediate political concerns and that take up the question of how Native peoples can define and assert their own social, cultural, and legal-political forms of living, being, and belonging within the settler colonial order. Placing novels in conversation with nonfiction writings, Native Removal Writing ranges from texts produced in response to the legal and political struggle over Cherokee Removal in the late 1820s and 1830s, to works written by African-Native writers dealing with the freedmen disenrollment crisis, to contemporary speculative fiction that links the appropriation of Native intangible property (culture) with the earlier dispossession of their real property (land). In close, contextualized readings of John Rollin Ridge, John Milton Oskison, Robert J. Conley, Diane Glancy, Sharon Ewell Foster, Zelda Lockhart, and Gerald Vizenor, as well as politicians and scholars such as John Ross, Elias Boudinot, and Rachel Caroline Eaton, Meyer identifies the links these writers create between historical past, narrated present, and political future. Native Removal Writing thus testifies to both the ongoing power of Native Removal writing and its significance as a critical practice of resistance.

Once the most powerful indigenous nation in the southeastern United States, the Cherokees survive and thrive as a people nearly two centuries after the Trail of Tears and a hundred years after the allotment of Indian Territory. In Our Fire Survives the Storm, Daniel Heath Justice traces the expression of Cherokee identity in that nation’s literary tradition. Through cycles of war and peace, resistance and assimilation, trauma and regeneration, Cherokees have long debated what it means to be Cherokee through protest writings, memoirs, fiction, and retellings of traditional stories. Justice employs the Chickamauga consciousness of resistance and Beloved Path of engagement—theoretical approaches that have emerged out of Cherokee social history—to interpret diverse texts composed in English, a language embraced by many as a tool of both access and defiance. Justice’s analysis ultimately locates the Cherokees as a people of many perspectives, many bloods, mingled into a collective sense of nationhood. Just as the oral traditions of the Cherokee people reflect the living realities and concerns of those who share them, Justice concludes, so too is their literary tradition a textual testament to Cherokee endurance and vitality. Daniel Heath Justice is assistant professor of aboriginal literatures at the University of Toronto.

The Oxford Handbook of the Literature of the U.S. South brings together contemporary views of the literature of the region in a series of chapters employing critical tools not traditionally used in approaching Southern literature. It assumes ideas of the South--global, multicultural, plural: more Souths than South--that would not have been embraced two or three decades ago, and it similarly expands the idea of literature itself. Representative of the current range of activity in the field of Southern literary studies, it challenges earlier views of antebellum Southern literature, as well as, in its discussions of twentieth-century writing, questions the assumption that the Southern Renaissance of the 1920s, 1930s, and 1940s was the supreme epoch of Southern expression, that writing to which all that had come before had led and by which all that came afterward was judged. As well as canonical Southern writers, it examines Native American literature, Latina/o literature, Asian American as well as African American literatures, Caribbean studies, sexuality studies, the relationship of literature to film, and a number of other topics which are relatively new to the field.

How do you select the best recent works of fiction, oral tradition, and poetry about African-American, Asian-American, Hispanic-American, and Native-American Indian experiences and traditions from the profusion of titles being published today? This annotated bibliography of titles for children and young adults published from 1985 through the end of 1993--with 60% published since 1990--provides a one-stop selection tool. Appraisals of 559 titles, as well as information about an additional 188 recent books and 90 earlier ones of importance, are provided. Each entry features a plot summary incorporating themes, critical comments with a judgment of the book's value as an example of its genre, suggestions of other books by that writer, and related books of importance. The authors, who are recognized authorities in children's literature, and an advistory board of librarians and teachers, each of whom specializes in the literature of a particular ethnic group, have provided insightful critical appraisals and expertise and guidance in the selection of titles. Helpful subject, grade-level, author, title, and illustrator indexes are organized for ease of use. Titles in the grade-level and subject indexes are also identified by ethnic group.

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

A modern medicine man portrayed through the words of the people he has helped Robert J. Conley did not set out to chronicle the life of Cherokee medicine man John Little Bear. Instead, the medicine man came to him. Little Bear asked Conley to write down his story, to reveal to the world “what Indian medicine is really about.” For Little Bear, as for the Cherokee ancestors who brought their traditions over the Trail of Tears to Indian Territory, the medicine is about helping people. Visitors from neighboring states and Mexico come to him, each one seeking help for a different kind of problem. Each seeker’s story is presented here exactly as it was told to Conley. Little Bear has cured problems involving health, relationships, and money by uncovering the source of the problem rather than simply treating the symptoms. Whereas mainstream medicine and counseling have failed his patients, Little Bear’s healing practices have proven beneficial time and again.