"Redface is the first book to consider Native American representation in U.S. theatre, how creating a racialized character severely constrains Indigenous nationhood and sovereignty, and what steps could be taken to address the challenges of representing Indigenous people on the stage"--

'Empowering and cathartic' – Dr Tracy Cooper, International Consultant on High Sensitivity 'Deeply moving and informative' – Lily Bailey, author As an adolescent, Russell’s face and neck would turn crimson at the slightest thing. In his twenties he began suffering from an extreme form of blushing (idiopathic craniofacial erythema). It sent out all the wrong signals — to friends, family and to the opposite sex. And it triggered something worse: Social Anxiety Disorder. Up to one in 10 people develop this irrational fear of other human beings. From university to the workplace, Russell desperately tried to hide his secret from everyone. In an attempt to be ‘normal,’ he grabbed every remedy going, from drugs to herbs to bottles of absinthe. Through trial and error, he discovered a way to overcome social anxiety and live a fulfilling and rich life. By turns wry and shocking, dark and optimistic, Redface is the eye-opening true story of how one man found his own way forward in a world built for others. It will fascinate readers who are socially anxious, their friends and family, and anyone who wants to know what it’s like to travel to the edge of human experience and back. Read this memoir and discover how to conquer your social anxiety and learn how to be yourself. Reviews 'Immersive and raw in its emotional intensity, Norris's Redface invites us into his private world of avoidance, compensation and adaptation. Ultimately culminating in a deep awareness of himself and the world he moves through, it's empowering and cathartic for everyone who has experienced SAD.' – Dr Tracy Cooper, International Consultant on High Sensitivity 'Deeply moving and informative. I raced through it. Norris's portrayal of the cyclical struggle of Social Anxiety Disorder is stunning. This book is the perfect response to anyone who's ever said "don't we all get anxious about socialising?"' – Lily Bailey, Because We Are Bad: OCD and a Girl Lost in Thought Extract Chapter 1: Closed Door I’m hovering just in front of a closed door. It’s in the office building where I work. I can see through the window of the door into the room beyond it. I’m listening carefully for approaching voices. As soon as another person comes into view, I’ll have to make a snap decision: commit and go through that door or abort and quickly walk away from it, surreptitiously double back at some point, then try to hold my nerve for a second attempt. I’ve been doing this in secret for my entire career and if I could calculate exactly how much time I’ve lost in this state of limbo, all the seconds, minutes and hours spent holding back in hallways or pacing back and forth just behind closed doors, it might add up to a lifetime. And a waste of one. Because there’s nothing out of the ordinary on the other side of those doors.... meeting rooms, breakout spaces, team and coffee points, just spaces designed to help people work together. But people is the key word. On the other side of every door there will be people. People I know. People who know me. People I’m about to meet. People who’ve yet to meet me. And once I’m on the other side there’s no turning back. ... Social Anxiety Disorder (SAD) is formally classed as a mental disorder, which affects millions of people worldwide – and up to 10% of the UK population. It can manifest itself in many ways. Symptoms often surface as secondary phobias, ranging from a fear of eating or writing in front of others to a fear of being watched in a public bathroom. For me, social anxiety plays out on my skin... Its symptom is called Idiopathic Craniofacial Erythema, which means uncontrollable and unprovoked facial blushing. They are the evil twins who constantly embarrass me. If you have social anxiety, this book is for you. If you’ve never heard of social anxiety, this book is for you. I’ve been quietly avoiding people all my life, hesitating behind a door. But I’m pushing that door wide open now. And I’m coming through it. To talk to you. Order now to continue reading

Story is told by a narrator who is a psychologist working in Indian country. What appears to be a consultation with a patient ends up being a meeting with his teacher, Tarrence. Tarrence proceeds to take the narrator into a dreamtime journey that melts the worldview held by the storyteller. The dream leads the narrator to a place in which the energy generated by ancient dreamers must be balanced. The lack of balance brought on by the power dreamers and their ceremony has resulted in the atomic bomb. New realms also give insights as to why the bomb was dropped on the Japanese. Throughout the story there are conflicts between western and aboriginal ways of knowing, the main protagonist being Carl, who is a psychiatrist.

WINNER OF: Frantz Fanon Outstanding Book from the Caribbean Philosophical Association Canadian Political Science Association’s C.B. MacPherson Prize Studies in Political Economy Book Prize Over the past forty years, recognition has become the dominant mode of negotiation and decolonization between the nation-state and Indigenous nations in North America. The term “recognition” shapes debates over Indigenous cultural distinctiveness, Indigenous rights to land and self-government, and Indigenous peoples’ right to benefit from the development of their lands and resources. In a work of critically engaged political theory, Glen Sean Coulthard challenges recognition as a method of organizing difference and identity in liberal politics, questioning the assumption that contemporary difference and past histories of destructive colonialism between the state and Indigenous peoples can be reconciled through a process of acknowledgment. Beyond this, Coulthard examines an alternative politics—one that seeks to revalue, reconstruct, and redeploy Indigenous cultural practices based on self-recognition rather than on seeking appreciation from the very agents of colonialism. Coulthard demonstrates how a “place-based” modification of Karl Marx’s theory of “primitive accumulation” throws light on Indigenous–state relations in settler-colonial contexts and how Frantz Fanon’s critique of colonial recognition shows that this relationship reproduces itself over time. This framework strengthens his exploration of the ways that the politics of recognition has come to serve the interests of settler-colonial power. In addressing the core tenets of Indigenous resistance movements, like Red Power and Idle No More, Coulthard offers fresh insights into the politics of active decolonization.

In this deeply engaging account Michelle H. Raheja offers the first book-length study of the Indigenous actors, directors, and spectators who helped shape Hollywood’s representation of Indigenous peoples. Since the era of silent films, Hollywood movies and visual culture generally have provided the primary representational field on which Indigenous images have been displayed to non-Native audiences. These films have been highly influential in shaping perceptions of Indigenous peoples as, for example, a dying race or as inherently unable or unwilling to adapt to change. However, films with Indigenous plots and subplots also signify at least some degree of Native presence in a culture that largely defines Native peoples as absent or separate. Native actors, directors, and spectators have had a part in creating these cinematic representations and have thus complicated the dominant, and usually negative, messages about Native peoples that films portray. In Reservation Reelism Raheja examines the history of these Native actors, directors, and spectators, reveals their contributions, and attempts to create positive representations in film that reflect the complex and vibrant experiences of Native peoples and communities.

How did early Americans define themselves? The American exceptionalist perspective tells us that the young republic rejected Europeans, Native Americans, and African Americans in order to isolate a national culture and a white national identity. Imitativeness at this time was often seen as antithetical to self and national creation, but Jason Richards argues that imitation was in fact central to such creation. Imitation Nation shows how whites simultaneously imitated and therefore absorbed the cultures they so readily disavowed, as well as how Indians and blacks emulated the power and privilege of whiteness while they mocked and resisted white authority. By examining the republic’s foundational literature--including works by Washington Irving, James Fenimore Cooper, Harriet Beecher Stowe, Herman Melville, and Martin Delany--Richards argues that the national desire for cultural uniqueness and racial purity was in constant conflict with the national need to imitate the racial and cultural other for self-definition. The book offers a new model for understanding the ways in which the nation’s identity and literature took shape during the early phases of the American republic.

AN INSTANT NEW YORK TIMES BESTSELLER AN NPR CONCIERGE BEST BOOK OF THE YEAR “In her form-shattering and myth-crushing book….Coe examines myths with mirth, and writes history with humor… [You Never Forget Your First] is an accessible look at a president who always finishes in the first ranks of our leaders.” —Boston Globe Alexis Coe takes a closer look at our first--and finds he is not quite the man we remember Young George Washington was raised by a struggling single mother, demanded military promotions, caused an international incident, and never backed down--even when his dysentery got so bad he had to ride with a cushion on his saddle. But after he married Martha, everything changed. Washington became the kind of man who named his dog Sweetlips and hated to leave home. He took up arms against the British only when there was no other way, though he lost more battles than he won. After an unlikely victory in the Revolutionary War cast him as the nation's hero, he was desperate to retire, but the founders pressured him into the presidency--twice. When he retired years later, no one talked him out of it. He left the highest office heartbroken over the partisan nightmare his backstabbing cabinet had created. Back on his plantation, the man who fought for liberty must confront his greatest hypocrisy--what to do with the men, women, and children he owns--before he succumbs to death. With irresistible style and warm humor, You Never Forget Your First combines rigorous research and lively storytelling that will have readers--including those who thought presidential biographies were just for dads--inhaling every page.