More than one million copies sold 2017 One Book One Nebraska selection “An American classic.�—Western Historical Quarterly Black Elk Speaks, the story of the Oglala Lakota visionary and healer Nicholas Black Elk (1863–1950) and his people during momentous twilight years of the nineteenth century, offers readers much more than a precious glimpse of a vanished time. Black Elk’s searing visions of the unity of humanity and Earth, conveyed by John G. Neihardt, have made this book a classic that crosses multiple genres. Whether appreciated as the poignant tale of a Lakota life, as a history of a Native nation, or as an enduring spiritual testament, Black Elk Speaks is unforgettable. Black Elk met the distinguished poet, writer, and critic John G. Neihardt in 1930 on the Pine Ridge Reservation in South Dakota and asked Neihardt to share his story with the world. Neihardt understood and conveyed Black Elk’s experiences in this powerful and inspirational message for all humankind. This complete edition features a new introduction by historian Philip J. Deloria and annotations of Black Elk’s story by renowned Lakota scholar Raymond J. DeMallie. Three essays by John G. Neihardt provide background on this landmark work along with pieces by Vine Deloria Jr., Raymond J. DeMallie, Alexis Petri, and Lori Utecht. Maps, original illustrations by Standing Bear, and a set of appendixes rounds out the edition.

American Studies has long been a home for adventurous students seeking to understand the culture and politics of the United States. Despite being taught in universities around the world, American Studies has resisted developing a coherent methodology for fear of losing the flexibility and freedom to imagine new avenues of thought. But what if these fears are misplaced? Through a fresh look at the origins of the field, this book contends that a shared set of "rules" can offer a springboard to creativity. American Studies: A User's Guide offers readers a critical introduction to the history and methods of the field, useful strategies for interpretation, curation, analysis, and theory, and case studies of American Studies in practice.

Despite the passage of time, our vision of Native Americans remains locked up within powerful stereotypes. That's why some images of Indians can be so unexpected and disorienting: What is Geronimo doing sitting in a Cadillac? Why is an Indian woman in beaded buckskin sitting under a salon hairdryer? Such images startle and challenge our outdated visions, even as the latter continue to dominate relations between Native and non-Native Americans.

Philip Deloria explores this cultural discordance to show how stereotypes and Indian experiences have competed for ascendancy in the wake of the military conquest of Native America and the nation's subsequent embrace of Native "authenticity." Rewriting the story of the national encounter with modernity, Deloria provides revealing accounts of Indians doing unexpected things-singing opera, driving cars, acting in Hollywood--in ways that suggest new directions for American Indian history.

Focusing on the late nineteenth and early twentieth centuries--a time when, according to most standard American narratives, Indian people almost dropped out of history itself--Deloria argues that a great many Indians engaged the very same forces of modernization that were leading non-Indians to reevaluate their own understandings of themselves and their society. He examines longstanding stereotypes of Indians as invariably violent, suggesting that even as such views continued in American popular culture, they were also transformed by the violence at Wounded Knee. He tells how Indians came to represent themselves in Wild West shows and Hollywood films and also examines sports, music, and even Indian people's use of the automobile--an ironic counterpoint to today's highways teeming with Dakota pick-ups and Cherokee sport utility vehicles.

Throughout, Deloria shows us anomalies that resist pigeonholing and force us to rethink familiar expectations. Whether considering the Hollywood films of James Young Deer or the Hall of Fame baseball career of pitcher Charles Albert Bender, he persuasively demonstrates that a significant number of Indian people engaged in modernity--and helped shape its anxieties and its textures--at the very moment they were being defined as "primitive."

These "secret histories," Deloria suggests, compel us to reconsider our own current expectations about what Indian people should be, how they should act, and even what they should look like. More important, he shows how such seemingly harmless (even if unconscious) expectations contribute to the racism and injustice that still haunt the experience of many Native American people today.

"If the moral issues raised by the Sioux people in the federal courtroom that cold month of December 1974 spark a recognition among the readers of a common destiny of humanity over and above the rules and regulations, the codes and statutes, and the power of the establishment to enforce its will, then the sacrifice of the Sioux people will not have been in vain."-Vine Deloria Jr. The Great Sioux Nation: Sitting in Judgment on America is the story of the Sioux Nation's fight to regain its land and sovereignty, highlighting the events of 1973-74, including the protest at Wounded Knee. It features pieces by some of the most prominent scholars and Indian activists of the twentieth century, including Vine Deloria Jr., Simon Ortiz, Dennis Banks, Father Peter J. Powell, Russell Means, Raymond DeMallie, and Henry Crow Dog. It also features primary documents and firsthand accounts of the activists' work and of the trial. New to this Bison Books edition is a foreword by Philip J. Deloria and an introduction by Roxanne Dunbar Ortiz.

“[A] brilliant book. . . . This book reminds us that at least one question about America has been settled. Contrary to the conventional wisdom that prevailed throughout most of our history, the Indians will remain.�—Peter Iverson, American Historical Review   This provocative book, now reissued with a new preface, explores how white Americans have used their ideas about Native Americans to shape national identity in different eras—and how Indian people have reacted to these imitations of their native dress, language, and ritual.   “Not since I first read Michel Foucault, Fredric Jameson, or bell hooks has a text crackled with so much theoretical frisson. Its historical insights are rich and political repercussions profound. American culture will never look the same.�—Joel Martin, author of Sacred Revolt and Native American Religion   Winner of the 1999 Outstanding Book Award given by the Gustavus Myers Center for the Study of Bigotry and Human Rights in North America

American Studies has long been a home for adventurous students seeking to understand the culture and politics of the United States. Despite being taught in universities around the world, American Studies has resisted developing a coherent methodology for fear of losing the flexibility and freedom to imagine new avenues of thought. But what if these fears are misplaced? Through a fresh look at the origins of the field, this book contends that a shared set of "rules" can offer a springboard to creativity. American Studies: A User's Guide offers readers a critical introduction to the history and methods of the field, useful strategies for interpretation, curation, analysis, and theory, and case studies of American Studies in practice.

Designed for teachers and students of the United States history survey course who prefer a larger measure of social history content, along with all the vital materials in political, diplomatic, legal, and economic history.
This four-color text is written by four major American historians. Its dramatic, clear prose, aimed at beginning college students, tells the nation's story in a way they will both feel and reflect on. It is a full length, standard-sized textbook that provides a coherent narrative rich in relating history, accomplishing its goals in slightly under a thousand pages (both volumes) of highly readable text, not including the appendices and comprehensive index.
Accompanied by abundant ancillary materials: maps, charts, tables, and separate student workbook.

Dakota Sioux artist Mary Sully was the great-granddaughter of respected nineteenth-century portraitist Thomas Sully, who captured the personalities of America's first generation of celebrities (including the figure of Andrew Jackson immortalized on the twenty-dollar bill). Born on the Standing Rock reservation in South Dakota in 1896, she was largely self-taught. Steeped in the visual traditions of beadwork, quilling, and hide painting, she also engaged with the experiments in time, space, symbolism, and representation characteristic of early twentieth-century modernist art. And like her great-grandfather Sully was fascinated by celebrity: over two decades, she produced hundreds of colorful and dynamic abstract triptychs, a series of "personality prints" of American public figures like Amelia Earhart, Babe Ruth, and Gertrude Stein. Sully's position on the margins of the art world meant that her work was exhibited only a handful of times during her life. In Becoming Mary Sully, Philip J. Deloria reclaims that work from obscurity, exploring her stunning portfolio through the lenses of modernism, industrial design, Dakota women's aesthetics, mental health, ethnography and anthropology, primitivism, and the American Indian politics of the 1930s. Working in a complex territory oscillating between representation, symbolism, and abstraction, Sully evoked multiple and simultaneous perspectives of time and space. With an intimate yet sweeping style, Deloria recovers in Sully's work a move toward an anti-colonial aesthetic that claimed a critical role for Indigenous women in American Indian futures-within and distinct from American modernity and modernism.

Simon Pokagon, the son of tribal patriarch Leopold Pokagon, was a talented writer, advocate for the Pokagon Potawatomi community, and tireless self-promoter.
In 1899, shorty after his death, Pokagon's novel "Ogimawkwe Mitigwaki "("Queen of the Woods")--- only the second ever published by an American Indian---appeared. It was intended to be a testimonial to the traditions, stability, and continuity of the Potawatomi in a rapidly changing world. Read today, " Queen of the Woods "is evidence of the author's desire to mark the cultural, political, and social landscapes with a memorial to the pas and a monument to a future that included the Pokagon Potawatomi as distinct and honored people.
This new edition offers a reprint of the original 1899 novel with the author's introduction to the language and culture of his people. In addition, new accompanying materials add context through a cultural biography, literary historical analysis, and linguistic considerations of the unusual text.