Bury My Heart at Chuck E. Cheese's is a powerful and compelling collection of Tiffany Midge's musings on life, politics, and identity as a Native woman in America. Artfully blending sly humor, social commentary, and meditations on love and loss, Midge weaves short, standalone musings into a memoir that stares down colonialism while chastising hipsters for abusing pumpkin spice. She explains why she doesn't like pussy hats, mercilessly dismantles pretendians, and confesses her own struggles with white-bread privilege. Midge ponders Standing Rock, feminism, and a tweeting president, all while exploring her own complex identity and the loss of her mother. Employing humor as an act of resistance, these slices of life and matchless takes on urban-indigenous identity disrupt the colonial narrative and provide commentary on popular culture, media, feminism, and the complications of identity, race, and politics.

The two-hundred-year-old myth of the "vanishing" American Indian still holds some credence in the American Southeast, the region from which tens of thousands of Indians were relocated after passage of the Indian Removal Act in 1830. Yet, as the editors of this volume amply demonstrate, a significant Indian population remained behind after those massive relocations.

The first anthology to focus on the literary work of Native Americans who trace their ancestry to "people who stayed" in southeastern states after 1830, this volume represents every state and every genre, including short stories, excerpts from novels, poetry, essays, plays, and even Web postings. Although most works are contemporary, the collection covers the entire post-Removal era. Some of the contributors are well known, while others have only recently emerged as important literary voices.

All of the writers in "The People Who Stayed" affirm their Indian ancestry, though many live outside the Southeast today. As this anthology demonstrates, indigenous Southeastern writing engages the local and the global, the traditional and the modern. While many speak to the prospects and perils of acculturation, all the writers bear witness to the ways, oblique or straightforward, that they and their families continue to honor their Indian identities despite the legacy of removal.

In an introduction to the volume and in headnotes on each contributor, the editors provide historical context and literary insight on the diversity of writing and lived experiences found in these pages. All readers, from students to scholars, will gain newfound understanding of the literature -- and the human experience -- of Native people of the American Southeast.

This collection of poetry by Joe Dale Nevaquaya has come in its own time, exactly when we need it. These poems range from star messages tapped out on silver cords ascending from the death dreams of a dying country, to tribute poems in the form of shields, giving protection to those whom they are addressed, to reports from the edge of brokenness. It is time to celebrate the arrival of these poems, acknowledge the visions and give them their place in the circle.-Joy Harjo Mvskoke poet, musician, performer and playwright

"This curious and wonderful tall tale contributes to the apocalyptic revision of American history that began with Little Big Man and Bury My Heart at Wounded Knee. It's the tale of Hannali Innominee, a 'Mingo' or natural lord of the 19th-century Choctaw Indian [and] a capacious, indomitable giant of the ilk of Paul Bunyan....Lafferty tells it straight: how the Choctaw nation, once removed, reconstituted itself and thrived in Indian territory...., how there came a schism between the rich, part-white, slave-owning, moneylending Choctaws and the 'feudal, compassionate, chauvinistic' full-blooded freeholders like Hannali; and how, during the Civil War, the Indians were manipulated divide-and-conquer fashion in helping destroy each other."-"Kirkus Reviews."

Bury My Heart at Chuck E. Cheese’s is a powerful and compelling collection of Tiffany Midge’s musings on life, politics, and identity as a Native woman in America. Artfully blending sly humor, social commentary, and meditations on love and loss, Midge weaves short, standalone musings into a memoir that stares down colonialism while chastising hipsters for abusing pumpkin spice. She explains why she doesn’t like pussy hats, mercilessly dismantles pretendians, and confesses her own struggles with white-bread privilege. Midge ponders Standing Rock, feminism, and a tweeting president, all while exploring her own complex identity and the loss of her mother. Employing humor as an act of resistance, these slices of life and matchless takes on urban-indigenous identity disrupt the colonial narrative and provide commentary on popular culture, media, feminism, and the complications of identity, race, and politics.  

So what does it mean to be a Cherokee?"" asks Cherokee author Robert J. Conley at the start of this delightful collection of his writings. Throughout his prolific career, Conley used his art to explore Cherokee identity and experience. With his passing in 2014, Native American literature - and American literature in general - lost a major voice. Fortunately, this posthumous publication, edited by the author's wife, Evelyn L. Conley, offers readers the opportunity to appreciate anew the blend of humor, candor, and creativity that makes his work so exceptional. Best known as a novelist, especially for his beloved Real People series, Conley was also a masterful writer of short stories, essays, plays, and speeches. The breadth of his talents is on full display in this wide-ranging collection, which begins with his very last public address, delivered in North Carolina in 2013. Following that speech, the reader is treated to what may be Conley's most famous short story, ""Plastic Indian,"" the hilarious tale of three Cherokee youths who try to take down a giant plastic Indian located along Highway 51 between Tahlequah and Tulsa. Like many of Conley's works, ""Plastic Indian"" is set in contemporary times, but as we discover through the stories that follow, the author drew inspiration from traditional Cherokee folktales and oral storytelling. His delight in the spoken word is evident in the single play featured in this volume, based on the writings of ethnographer James Mooney and originally performed for radio. Conley is also celebrated for his accurate depictions of the Old West (it is no accident that he was the first American Indian president of the distinguished Western Writers of America association), so the collection would not be complete without two of his cowboy stories, namely ""The Execution"" and ""Nate's Revenge."" The volume concludes with four of the author's speeches. Laced with the author's typical dry humor, these personal testimonies serve as a moving coda to the author's extensive and illustrious career.