In this collection of more than 200 stunning and storied photographs, ranging from daguerreotypes to studio portraits to snapshots, historian Bruce White explores historical images taken of Ojibwe people through 1950 and considers the negotiation that went on between the photographers and the photographed-and what power the latter wielded. Ultimately, this book tells more about the people in the pictures-what they were doing on a particular day, how they came to be photographed, how they made use of costumes and props-than about the photographers who documented, and in some cases doctored, views of Ojibwe life.

Based on memory, court testimony, and other sources, this narrative recounts the experiences of the Chippewa as they met missionaries, capitalists, bureaucrats, and anthropologists.

Tells the story of a group of tribal pilgrims who journey south toward freedo after the government invades their reservation to claim their sacred trees f fuel.

Native puppeteers from the White Earth Reservation travel to the 1962 World's Fair. In the summer of 1962, a group of young Native American puppeteers travel in a converted school bus from the White Earth Reservation to the Century 21 Exposition, World's Fair in Seattle, Washington. The five Natives, three young men and two young women, have endured abandonment, abuse, poverty, and find solace, humor, and courage with a mute puppeteer—a Native woman in her seventies who writes original dream songs, and creates hand puppets and ironic parleys that mock the ghosts of authority. Dummy Trout, the mute puppeteer, also figured in Native Tributes and Satie on the Seine. The troupe attends a performance of Waiting for Godot by Samuel Beckett and they create a puppet parley for Wovoka, the inspiration of the Native American Ghost Dance Religion.

Gerald Vizenor's Native Provenance challenges readers to consider the subtle ironies at the heart of Native American culture and oral traditions such as creation and trickster stories and dream songs. A respected authority in the study of Native American literature and intellectual history, Vizenor believes that the protean nature of many creation stories, with their tease and weave of ironic gestures, was lost or obfuscated in inferior translations by scholars and cultural connoisseurs, and as a result the underlying theories and presuppositions of these renditions persist in popular literature and culture. Native Provenance explores more than two centuries of such betrayal of native creativity. With erudite and sweeping virtuosity, Vizenor examines how ethnographers and others converted the inherent confidence of native stories into uneasy sentiments of victimry. He explores the connection between Native Americans and Jews through gossip theory and strategies of cultural survivance, and between natural motion and ordinary practices of survivance. Other topics include the unique element of native liberty inherent in artistic milieus; the genre of visionary narratives of resistance; and the notions of historical absence, cultural nihilism, and victimry. Native Provenance is a tour de force of Native American cultural criticism ranging widely across the terrains of the artistic, literary, philosophical, linguistic, historical, ethnographic, and sociological aspects of interpreting native stories. Native Provenance is rife with poignant and original observations and is essential reading for anyone interested in Native American cultures and literature.

Centered on the volatile issue of the repatriation of Native American skeletal remains, "Chancers" follows a group of student Solar Dancers who set out to resurrect native remains housed in the Phoebe Hearst Museum of Anthropology at the University of California, Berkeley.

Possessed by the demonic wiindigoo, a mythic monster, the Solar Dancers, in a gruesome ritual, sacrifice faculty and administrators associated with the collection and storage of native remains. The Dancers replace stored native skulls with those of the academics, and the resurrected natives become the Chancers.

The Round Dancers, humane and erotic trickster figures, are natural opponents of the morbid Solar Dancers. The war between the two groups comes to a comic conclusion at a graduation ceremony attended by Pocahontas; Phoebe Hearst; Alfred Kroeber, the anthropologist; Ishi, the native who actually lived and worked in the university museum; and many Chancers.

"Hiroshima Bugi" is an ingenious kabuki novel that begins in the ruins of the Atomic Bomb Dome, a new Rashomon Gate. Ronin Browne, the humane peace contender, is the hafu orphan son of Okichi, a Japanese boogie-woogie dancer, and Nightbreaker, an Anishinaabe from the White Earth Reservation who served as an interpreter for General Douglas MacArthur during the first year of the American occupation in Japan. Ronin draws on samurai and native traditions to confront the moral burdens and passive notions of nuclear peace celebrated at the Peace Memorial Museum in Hiroshima. He creates a new calendar that starts with the first use of atomic weapons, Atomu One. Ronin accosts the spirits of the war dead at Yasukuni Jinga. He then marches into the national shrine and shouts to Tojo Hideki and other war criminals to come out and face the spirits of thousands of devoted children who were sacrificed at Hiroshima. In "Hiroshima Bugi: Atomu 57" acclaimed Anishinaabe writer Gerald Vizenor has created a dynamic meditation on nuclear devastation and our inability to grasp fully its presence or its legacy

Inventive, provocative, and ultimately affirmative, "The Trickster of Liberty" has become a classic in the repertoire of celebrated author Gerald Vizenor. A series of related stories, the novel follows the lives of seven mixedblood trickster siblings who began their lives on a reservation in northern Minnesota. Behaving in unpredictable ways, these siblings defy any attempt to fit them within stereotypical notions of the Indian.

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With wry humor and imaginative acuity, noted writer Gerald Vizenor offers compelling glimpses of modern Native American life and the different ways that Native Americans and whites interact, fight, and resolve their conflicts. The elusive borderland between white and Native American cultures is further complicated by exchanges of money, services, language, and skills that make up what Vizenor calls the "new fur trade." When Native Americans resist dominance, they fight back incisively and creatively with humor in the strategic word wars of survivance over victimry. Vizenor illuminates the troubling encounters and distant reaches of this modernist fur trade through his creative narratives. Especially memorable is the reincarnation of General George Custer as the head of Native American programs and the mystifying play of words between charity agencies and Native Americans. Several of Vizenor's stories focus on a so-called urban reservation, Franklin Avenue in Minneapolis. In the last section Vizenor recalls his experiences and observations while reporting on the murder trial of a young Native American student, Thomas White Hawk, in South Dakota.

Gerald Vizenor gives life to traditional tribal stories by presenting them in a new perspective: he challenges the idyllic perception of rural life, offering in its stead an unusual vision of survival in the cities-the sanctuaries for humans and animals. It is a tribal vision, a quest for liberation from forces that would deny the full realization of human possibilities. In this modern world his characters insist upon survival through an imaginative affirmation of the self.

In Dead Voices Vizenor, using tales drawn from traditional tribal stories, illuminates the centuries of conflict between American Indians and Europeans, or "wordies." Bagese, a tribal woman transformed into a bear, has discovered a new urban world, and in a cycle of tales she describes this world from the perspective of animals-fleas, squirrels, mantis, crows, beavers, and finally Trickster, Vizenor's central and unifying figure. The stories reveal unpleasant aspects of the dominate culture and American Indian culture such as the fur trade, the educational system, tribal gambling, reservation life, and in each the animals, who represent crossbloods, connect with their tribal traditions, often in comic fashion.

As in his other fiction, Vizenor upsets our ideas of what fiction should be. His plot is fantastic; his story line is a roller-coaster ride requiring that we accept the idea of transformation, a key element in all his work. Unlike other Indian novelists, who use the novel as a means of cultural recovery, Vizenor finds the crossblood a cause for celebration.

Focusing on published works by novelists N. Scott Momaday, Leslie Marmon Silko, D'Arcy McNickle, Louise Erdrich, Gerald Vizenor, and other Native American authors, the critical essays in this collection examine translation and representation in tribal literatures, comic and tragic world views, and trickster discourse.

The Anishinaabe, otherwise named the Ojibwe or Chippewa, are famous for their lyric songs and stories, particularly because of their compassionate trickster, naanabozbo, and the healing rituals still practiced today in the society of the Midewiwin. The poems and tales, interpreted and reexpressed here by the distinguished Anishinaabe author Gerald Vizenor, were first transcribed more than a century ago by pioneering ethnographer Frances Densmore and Theodore Hudson Beaulieu, a newspaper editor on the White Earth Reservation in northern Minnesota.

This superb anthology, illustrated with tribal pictomyths and helpfully annotated, includes translations and a glossary of the Anishinaabe words in which the poems and stories originally were spoken.

The concept and idea of survivance has revolutionized our understanding of the lives, creative impulses, literary practices, and histories of the Native peoples of North America. Engendered and articulated by the Anishinaabe critic and writer Gerald Vizenor, survivance throws into relief the dynamic, inventive, and enduring heart of Native cultures well beyond the colonialist trappings of absence, tragedy, and powerlessness. Vizenor argues that many people in the world are enamored with and obsessed by the concocted images of the Indian--the simulations of indigenous character and cultures as essential victims. Native survivance, on the other hand, is an active sense of presence over historical absence, deracination, and oblivion. The nature of survivance is unmistakable in Native stories, natural reason, active traditions, customs, and narrative resistance and is clearly observable in personal attributes such as humor, spirit, cast of mind, and moral courage in literature. In this anthology, eighteen scholars discuss the themes and practices of survivance in literature, examining the legacy of Vizenor's original insights and exploring the manifestations of survivance in a variety of contexts. Contributors interpret and compare the original writings of William Apess, Eric Gansworth, Louis Owens, Carter Revard, Gerald Vizenor, and Velma Wallis, among others.

Native peoples today are best known through their fugitive poses: textual and graphic depictions steeped in a modernist aesthetic of romantic victimry, tragedy, and nostalgia. In "Fugitive Poses" Gerald Vizenor argues that such representations celebrate the absence rather than the presence of the Native.

Native puppeteers from the White Earth Reservation travel to the 1962 World's Fair. In the summer of 1962, a group of young Native American puppeteers travel in a converted school bus from the White Earth Reservation to the Century 21 Exposition, World's Fair in Seattle, Washington. The five Natives, three young men and two young women, have endured abandonment, abuse, poverty, and find solace, humor, and courage with a mute puppeteer—a Native woman in her seventies who writes original dream songs, and creates hand puppets and ironic parleys that mock the ghosts of authority. Dummy Trout, the mute puppeteer, also figured in Native Tributes and Satie on the Seine. The troupe attends a performance of Waiting for Godot by Samuel Beckett and they create a puppet parley for Wovoka, the inspiration of the Native American Ghost Dance Religion.

Gerald Vizenor counters the cultural notions of dominance, false representations, and simulations of absence, and, by documents, experience, and theories, secures a narrative presence of Native Americans.

The White Earth Nation of Anishinaabeg Natives ratified in 2009 a new constitution, the first indigenous democratic constitution, on a reservation in Minnesota. Many Native constitutions were written by the federal government, and with little knowledge of the people and cultures. The White Earth Nation set out to create a constitution that reflected its own culture. The resulting document provides a clear Native perspective on sovereignty, independent governance, traditional leadership values, and the importance of individual and human rights.

This volume includes the text of the Constitution of the White Earth Nation; an introduction by David E. Wilkins, a legal and political scholar who was a special consultant to the White Earth Constitutional Convention; an essay by Gerald Vizenor, the delegate and principal writer of the Constitution of the White Earth Nation; and articles first published in "Anishinaabeg Today" by Jill Doerfler, who coordinated and participated in the deliberations and ratification of the Constitution. Together these essays and the text of the Constitution provide direct insight into the process of the delegate deliberations, the writing and ratification of this groundbreaking document, and the current constitutional, legal, and political debates about new constitutions.

Postindian Conversations is the first collection of in-depth interviews with Gerald Vizenor, one of the most powerful and provocative voices in the Native world today. These lively conversations with the preeminent novelist and cultural critic reveal much about the man, his literary creations, and his critical perspectives on important issues affecting Native peoples at the beginning of the twenty-first century. The book also casts new light on his sometimes controversial ideas about contemporary Native identity, politics, economics, scholarship, and literature. Gerald Vizenor is a professor of American Studies and Native American literature at the University of California, Berkeley. He is the author of more than twenty books, including the American Book Award-winner Griever: An American Monkey King in China. A. Robert Lee is a professor of American literature at Nihon University in Tokyo. His books include Designs of Blackness: Mappings in the Literature and Culture of Afro-America. His edited works include Shadow Distance: A Gerald Vizenor Reader.

The best stories create traditions, and this novel by celebrated Native American writer Gerald Vizenor is a marvelous conjunction of trickster stories and literary ingenuity. Chair of Tears is funny, fierce, ironic, and deadly serious, a sendup of sacred poses, cultural pretensions, and familiar places from reservations to universities. The novel begins with generous stories about Captain Eighty, his young wife, the poker-playing genius named Quiver, and their children and grandchildren who live on a rustic houseboat. Captain Shammer, an extraordinary grandson reared on the houseboat and with no formal education, is appointed the chairman of a troubled Department of Native American Indian Studies at a prominent university. Shammer is a natural enterpriser and ironic showman in the tradition of trickster stories. He arrives at the first faculty meeting dressed in the uniform of Gen. George Armstrong Custer. Native students celebrate his conversion of the department into an academic poker parlor and casino, and a panic radio station. The most sensational enterprise is the training of service mongrels to detect the absence of irony. An irresistible novel of original ideas, Chair of Tears gets to the heart of questions about identity politics, multiculturalism, pedantry, and timely virtues.

Gerald Vizenor was a journalist for the "Minneapolis Tribune" when he discovered that his direct ancestors were the editor and publisher of "The Progress," the first Native newspaper on the White Earth Reservation in Minnesota. Vizenor, inspired by the kinship of nineteenth century Native journalists, has pursued a similar sense of resistance in his reportage, editorial essays, and literary art. Vizenor reveals in "Native Liberty" the political, poetic, visionary, and ironic insights of personal identity and narratives of cultural sovereignty. He examines singular acts of resistance, natural reason, literary practices, and other strategies of survivance that evade and subvert the terminal notions of tragedy and victimry. "Native Liberty" nurtures survivance and creates a sense of cultural and historical presence. Vizenor, a renowned Anishinaabe literary scholar and artist, writes in a direct narrative style that integrates personal experiences with original presentations, comparative interpretations, and critiques of legal issues and historical situations.

Gerald Vizenor presents in this anthology some of the best contemporary Native American Indian authors writing today. The five books from which these excerpts are drawn are published in the University of Nebraska Press's Native Storiers series. This series introduces innovative, emergent, avant-garde Native literary artists and promotes a sense of survivance over the conventional themes of victimry, historical absence, cultural tragedy, and separation that often accompany Native characters in popular commercial fiction. These original narratives demonstrate a new and distinctive aesthetic in the literature of Native American Indians. The five Native authors in this anthology, drawing from the practices of traditional oral storiers, create an active sense of presence, both in the literary world, and the wider world of cultural studies.
"Native Storiers" includes selections from "Mending Skins" by Eric Gansworth, "Designs of the Night Sky" by Diane Glancy, "Bleed into Me" by Stephen Graham Jones, "Hiroshima Bugi: Atomu 57" by Gerald Vizenor, and "Elsie's Business" by Frances Washburn.

Drawing on the traditional ways of Anishinaabe storytelling, acclaimed poet Gerald Vizenor illuminates the 1898 battle at Sugar Point in Minnesota in this epic poem. Fought between the Pillagers of the Leech Lake Reservation (one of the original five clans of the Anishinaabe tribe) and U.S. soldiers, the battle marked a turning point in relations between the government and Native Americans. Although out-numbered by more than three to one, the Pillager fighters won convincingly.
Weaving together strands of myth, memory, legend, and history, "Bear Island" lyrically conveys a historical event that has been forgotten not only by the majority culture but also by some Anishinaabe people--bringing back to light a key moment in Minnesota's history with clarity of vision and emotional resonance.
Gerald Vizenor is professor of American studies at the University of New Mexico. He is a member of the Minnesota Chippewa Tribe, White Earth Reservation. His previous books include "The People Named the Chippewa" and "Griever," for which he won an American Book Award.
Jace Weaver is professor and director of the Institute of Native American Studies at the University of Georgia.