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Two-Spirit people, identified by many different tribally specific
names and standings within their communities, have been living,
loving, and creating art since time immemorial. It wasn't until the
1970s, however, that contemporary queer Native literature gained
any public notice. Even now, only a handful of books address it
specifically, most notably the 1988 collection "Living the Spirit:
A Gay American Indian Anthology." Since that book's publication
twenty-three years ago, there has not been another collection
published that focuses explicitly on the writing and art of
Indigenous Two-Spirit and Queer people.
Written from a contemporary Cherokee, Queer, and mixed-race experience, Walking with Ghosts: Poems confronts the legacy of land-theft, genocide, and forced removal of Cherokees from their homelands while simultaneously resisting ongoing attacks on both Indigenous and Gay/ Lesbian/ Bisexual /Transgender (GLBT) communities. The debut work of Qwo-Li Driskill, a young Cherokee poet also of African, Irish, Lenape, Lumbee, and Osage ancestries, these poems move across Cherokee history. From the infamous Trail of Tears and the Allotment Act to the Indian boarding school system and contemporary manifestations of racism, these poems reach into Cherokee collective memory asking its readers to not only remember the history of colonization, but also the survival and continuance of Indigenous Nations. With this collection Driskill, who identifies as Queer as well as Two-Spirit (a contemporary term used in North American Indigenous communities to describe diverse sexual and gender identities) becomes one of only a few of American Indian Queer/Two-Spirit male writers in print. Refusing to compromise identities, Driskill also grapples with the impact of hate crimes on GLBT communities, multiracial and multi-tribal identity, the AIDS crisis, psychic trauma, and war. Yet the poems in this collection are rooted in a sense of love and the power of words to heal the legacies of colonization and other forms of violence. Cherokee love poems weave into eulogies to the dead while ghosts draw the living into a place of wholeness. Tender, startling, confrontational and erotic, this book honors the dead and brings the survivors back home.
In Cherokee Asegi udanto refers to people who either fall outside of men's and women's roles or who mix men's and women's roles. Asegi, which translates as ""strange,"" is also used by some Cherokees as a term similar to ""Queer."" For author Qwo-Li Driskill, asegi provides a means by which to reread Cherokee history in order to listen for those stories rendered ""strange"" by colonial heteropatriarchy. As the first full-length work of scholarship to develop a tribally specific Indigenous Queer or Two-Spirit critique, Asegi Stories examines gender and sexuality in Cherokee cultural memory, how they shape the present, and how they can influence the future. The theoretical and methodological underpinnings of Asegi Stories derive from activist, artistic, and intellectual genealogies, referred to as ""dissent lines"" by Maori scholar Linda Tuhiwai Smith. Driskill intertwines Cherokee and other Indigenous traditions, women of color feminisms, grassroots activisms, Queer and Trans studies and politics, rhetoric, Native studies, and decolonial politics. Drawing from oral histories and archival documents in order to articulate Cherokee-centered Two-Spirit critiques, Driskill contributes to the larger intertribal movements for social justice.
"This book is an imagining." So begins this collection examining
critical, Indigenous-centered approaches to understanding gay,
lesbian, bisexual, transgender, queer, and Two-Spirit (GLBTQ2)
lives and communities and the creative implications of queer theory
in Native studies. This book is not so much a manifesto as it is a
dialogue--a "writing in conversation"--among a luminous group of
scholar-activists revisiting the history of gay and lesbian studies
in Indigenous communities while forging a path for
Indigenouscentered theories and methodologies.
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