Delegation is the first comprehensive monograph by Apsaalooke/Crow artist Wendy Red Star, whose photography recasts historical narratives with wit, candor, and a feminist, Indigenous perspective. Red Star centers Native American life and material culture through imaginative self-portraiture, vivid collages, archival interventions, and site-specific installations. Whether referencing nineteenth-century Crow leaders or 1980s pulp fiction, museum collections or family pictures, she constantly questions the role of the photographer in shaping Indigenous representation. Including a dynamic array of Red Star's lens-based works from 2006 to the present, and a range of essays, stories, and poems, Delegation is a spirited testament to an influential artist's singular vision. Copublished by Aperture and Documentary Arts

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.

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.  

Winner of the Kenyon Review Earthworks Prize for Indigenous Poetry, Midge deftly weaves Plains Indian myths into the present day and seeks to define love, the nature of desire, and identity in the twenty-first century. The book includes a series of poems, each titled "Considering Wakatanka," that weave together the themes throughout the book. The Woman Who Married a Bear showcases the wholly individual voice of a talented poet.