Historian Frederick E. Hoxie presents the story of two hundred years of Native American political activism. Highlighting the activists -- some famous and some unknown beyond their own communities -- who have sought to bridge the distance between indigenous cultures and the U.S. republic through legal and political campaigns, Hoxie weaves a narrative connecting the individual to the tribe, the tribe to the nation, and the nation to broader historical processes and progressive movements.

Awards: One Book South Dakota Common Read, South Dakota Humanities Council, 2022. PEN Oakland/Josephine Miles Literary Award, PEN America, 2020. One Book One Tribe Book Award, First Nations Development Institute, 2020. Finalist, Stubbendieck Great Plains Distinguished Book Prize, 2019. Shortlist, Brooklyn Public Library Literary Prize, 2019. Our History Is the Future is at once a work of history, a personal story, and a manifesto. Now available in paperback on the fifth anniversary of its original publication, Our History Is the Future features a new afterword by Nick Estes about the rising indigenous campaigns to protect our environment from extractive industries and to shape new ways of relating to one another and the world. In this award-winning book, Estes traces traditions of Indigenous resistance leading to the present campaigns against fossil fuel pipelines, such as the Dakota Access Pipeline Protests, from the days of the Missouri River trading forts through the Indian Wars, the Pick-Sloan dams, the American Indian Movement, and the campaign for Indigenous rights at the United Nations. In 2016, a small protest encampment at the Standing Rock reservation in North Dakota, initially established to block construction of the Dakota Access oil pipeline, grew to be the largest Indigenous protest movement in the twenty-first century, attracting tens of thousands of Indigenous and non-Native allies from around the world. Its slogan “Mni Wiconi”—Water Is Life—was about more than just a pipeline. Water Protectors knew this battle for Native sovereignty had already been fought many times before, and that, even with the encampment gone, their anti-colonial struggle would continue. While a historian by trade, Estes draws on observations from the encampments and from growing up as a citizen of the Oceti Sakowin (the Nation of the Seven Council Fires) and his own family’s rich history of struggle.

The United States grew rapidly from the time of the Louisiana Purchase to the building of the Transcontinental Railroad. All of this expansion came at the expense of Native American populations that had either lived in the region for centuries or been forced there from ancestral homes in the East. Tribes memorably fought on their own and together in an doomed effort to retain the land and a lifestyle that had long sustained their families. This book outlines some of the major conflicts of the Westward Expansion, and of the treaties and were signed, and often broken, by representatives of the tribes and the government of the United States.

Landmark work illustrates the history of North American indigenous resistance and the struggle for land rights.

Winner: Native American and Indigenous Studies Association's Best Subsequent Book 2017 Honorable Mention: Labriola Center American Indian National Book Award 2017 Across North America, Indigenous acts of resistance have in recent years opposed the removal of federal protections for forests and waterways in Indigenous lands, halted the expansion of tar sands extraction and the pipeline construction at Standing Rock, and demanded justice for murdered and missing Indigenous women. In As We Have Always Done, Leanne Betasamosake Simpson locates Indigenous political resurgence as a practice rooted in uniquely Indigenous theorizing, writing, organizing, and thinking. Indigenous resistance is a radical rejection of contemporary colonialism focused around the refusal of the dispossession of both Indigenous bodies and land. Simpson makes clear that its goal can no longer be cultural resurgence as a mechanism for inclusion in a multicultural mosaic. Instead, she calls for unapologetic, place-based Indigenous alternatives to the destructive logics of the settler colonial state, including heteropatriarchy, white supremacy, and capitalist exploitation.

Native peoples of North America still face an uncertain future due to their unstable political, legal, and economic positions. Views of their predicament continue to be dominated by non-Indian writers. In response, a dozen Native American writers here reclaim their rightful role as influential "voices" in debates about Native communities. These scholars examine crucial issues of politics, law, and religion in the context of ongoing Native American resistance to the dominant culture. They particularly show how the writings of Vine Deloria, Jr., have shaped and challenged American Indian scholarship in these areas since 1960s. They provide key insights into Deloria's thought, while introducing some critical issues confronting Native nations. Collectively, these essays take up four important themes: indigenous societies as the embodiment of cultures of resistance, legal resistance to western oppression against indigenous nations, contemporary Native religious practices, and Native intellectual challenges to academia. Essays address indigenous perspectives on topics usually treated by non-Indians, such as role of women in Indian society, the importance of sacred sites to American Indian religious identity, and relationship of native language to indigenous autonomy. A closing essay by Deloria, in vintage form, reminds Native Americans of their responsibilities and obligations to one another and to past and future generations. This book argues for renewed cultivation of a Native American Studies that is more Indian-centered.

An alternative and unorthodox view of the colonization of the Americas by Europeans is offered in this concise history. Eurocentric studies of the conquest of the Americas present colonization as a civilizing force for good, and the native populations as primitive or worse. Colonization is seen as a mutually beneficial process, in which ''civilization'' was brought to the natives who in return shared their land and cultures. The opposing historical camp views colonization as a form of genocide in which the native populations were passive victims overwhelmed by European military power. In this fresh examination, an activist and historian of native descent argues that the colonial powers met resistance from the indigenous inhabitants and that these confrontations shaped the forms and extent of colonialism. This account encompasses North and South America, the development of nation-states, and the resurgence of indigenous resistance in the post-World War II era.

Essays by Native American authors and activity on contemporary Native issues, including the quincentenary.

From Sherman Alexie's films to the poetry and fiction of Louise Erdrich and Leslie Marmon Silko to the paintings of Jaune Quick-To-See Smith and the sculpture of Edgar Heap of Birds, Native American movies, literature, and art have become increasingly influential, garnering critical praise and enjoying mainstream popularity. Recognizing that the time has come for a critical assessment of this exceptional artistic output and its significance to American Indian and American issues, Dean Rader offers the first interdisciplinary examination of how American Indian artists, filmmakers, and writers tell their own stories. Beginning with rarely seen photographs, documents, and paintings from the Alcatraz Occupation in 1969 and closing with an innovative reading of the National Museum of the American Indian, Rader initiates a conversation about how Native Americans have turned to artistic expression as a means of articulating cultural sovereignty, autonomy, and survival. Focusing on figures such as author/director Sherman Alexie (Flight, Face, and Smoke Signals), artist Jaune Quick-To-See Smith, director Chris Eyre (Skins), author Louise Erdrich (Jacklight, The Last Report on the Miracles at Little No Horse), sculptor Edgar Heap of Birds, novelist Leslie Marmon Silko, sculptor Allen Houser, filmmaker and actress Valerie Red Horse, and other writers including Joy Harjo, LeAnne Howe, and David Treuer, Rader shows how these artists use aesthetic expression as a means of both engagement with and resistance to the dominant U.S. culture. Raising a constellation of new questions about Native cultural production, Rader greatly increases our understanding of what aesthetic modes of resistance can accomplish that legal or political actions cannot, as well as why Native peoples are turning to creative forms of resistance to assert deeply held ethical values.