The years between Oklahoma statehood in 1907 and the 1971 reemergence of the Cherokee Nation are often seen as an intellectual, political, and literary ""dark age"" in Cherokee history. In Stoking the Fire, Kirby Brown brings to light a rich array of writing that counters this view. A critical reading of the work of several twentieth-century Cherokee writers, this book reveals the complicated ways their writings reimagined, enacted, and bore witness to Cherokee nationhood in the absence of a functioning Cherokee state. Historian Rachel Caroline Eaton (1869-1938), novelist John Milton Oskison (1874-1947), educator Ruth Muskrat Bronson (1897-1982), and playwright Rollie Lynn Riggs (1899-1954) are among the writers Brown considers within the Cherokee national and transnational contexts that informed their lives and work. Facing the devastating effects on Cherokee communities of allotment and assimilation policies that ultimately dissolved the Cherokee government, these writers turned to tribal histories and biographies, novels and plays, and editorials and public addresses as alternative sites for resistance, critique, and the ongoing cultivation of Cherokee nationhood. Stoking the Fire shows how these writers - through fiction, drama, historiography, or Cherokee diplomacy - inscribed a Cherokee national presence in the twentieth century within popular and academic discourses that have often understood the ""Indian nation"" as a contradiction in terms. Avoiding the pitfalls of both assimilationist resignation and accommodationist ambivalence, Stoking the Fire recovers this period as a rich archive of Cherokee national memory. More broadly, the book expands how we think today about Indigenous nationhood and identity, our relationships with writers and texts from previous eras, and the paradigms that shape the fields of American Indian and Indigenous studies.

The Routledge Handbook of North American Indigenous Modernisms provides a powerful suite of innovative contributions by both leading thinkers and emerging scholars in the field. Incorporating an international scope of essays, this volume reaches beyond traditional national or euroamerican boundaries to locate North American Indigenous modernities and modernisms in a hemispheric context. Covering key theoretical approaches and topics, this volume includes: Diverse explorations of Indigenous cultural and intellectual production in treatments of dance, poetry, vaudeville, autobiography, radio, cinema, and more Investigation of how we think about Indigenous lives, literatures, and cultural productions in North America from the late nineteenth and early twentieth centuries Surveys of critical geographies of Indigenous literary and cultural studies, including refocused and reframed exploration of the diverse cultures, knowledges, traditions, geographies, experiences, and formal innovations that inform Indigenous literary, intellectual, and cultural productions The Routledge Handbook of North American Indigenous Modernisms presents fresh insight to modernist studies, acknowledging and reconciling the occluded histories of Indigenous erasure, and inviting both students and scholars to expand their understanding of the field.

The Selected Works of Ora Eddleman Reed collects the writings of Ora Eddleman Reed with an introduction that contextualizes her as an author, a publishing pioneer, a New Woman, and a person with a complicated lineage. “Little Writer� Ora V. Eddleman (pseudonym Mignon Schrieber) was only eighteen when she published her first work in the Indian Territory newspaper Twin Territories, which she edited for much of its brief run. This publication promoted the literary works of Muskogee Creek poet Chinnubbie Harjo (Alexander Posey), Cherokee historian Joshua Ross, and Muskogee Creek chief Pleasant Porter. In the advice column “What the Curious Want to Know,� Eddleman Reed answered readers from around the country who had ignorant impressions of Indian Territory (and whose questions, notably, she did not include). Such columns were accompanied by pieces that amount to some of the earliest Native historiography by an American woman claiming Indigenous heritage. Twin Territories was directed at both Natives and non-Natives and had a national readership. The heterogeneous form of the newspaper gave room for healthy internal debate on controversial ideas like Indigenous sovereignty and assimilation, affirming Native Americans as a significant, diverse collective. In this first book of Eddleman Reed’s work, Cari M. Carpenter and Karen L. Kilcup revive the writings of an important author, publisher, and activist for Cherokee rights.