What do we know of masculinities in non-patriarchal societies? Indigenous peoples of the Americas and beyond come from traditions of gender equity, complementarity, and the sacred feminine, concepts that were unimaginable and shocking to Euro-western peoples at contact. Indigenous Men and Masculinities, edited by Kim Anderson and Robert Alexander Innes, brings together prominent thinkers to explore the meaning of masculinities and being a man within such traditions, further examining the colonial disruption and imposition of patriarchy on Indigenous men. Building on Indigenous knowledge systems, Indigenous feminism, and queer theory, the sixteen essays by scholars and activists from Canada, the U.S., and New Zealand open pathways for the nascent field of Indigenous masculinities. The authors explore subjects of representation through art and literature, as well as Indigenous masculinities in sport, prisons, and gangs. Indigenous Men and Masculinities highlights voices of Indigenous male writers, traditional knowledge keepers, ex-gang members, war veterans, fathers, youth, two-spirited people, and Indigenous men working to end violence against women. It offers a refreshing vision toward equitable societies that celebrate healthy and diverse masculinities.

Many indigenous Hawaiian men have felt profoundly disempowered by the legacies of colonization and by the tourist industry, which, in addition to occupying a great deal of land, promotes a feminized image of Native Hawaiians (evident in the ubiquitous figure of the dancing hula girl). In the 1990s a group of Native men on the island of Maui responded by refashioning and reasserting their masculine identities in a group called the Hale Mua (the "Men's House"). As a member and an ethnographer, Ty P. Kāwika Tengan analyzes how the group's mostly middle-aged, middle-class, and mixed-race members assert a warrior masculinity through practices including martial arts, woodcarving, and cultural ceremonies. Some of their practices are heavily influenced by or borrowed from other indigenous Polynesian traditions, including those of the Māori. The men of the Hale Mua enact their refashioned identities as they participate in temple rites, protest marches, public lectures, and cultural fairs.

The sharing of personal stories is an integral part of Hale Mua fellowship, and Tengan's account is filled with members' first-person narratives. At the same time, Tengan explains how Hale Mua rituals and practices connect to broader projects of cultural revitalization and Hawaiian nationalism. He brings to light the tensions that mark the group's efforts to reclaim indigenous masculinity as they arise in debates over nineteenth-century historical source materials and during political and cultural gatherings held in spaces designated as tourist sites. He explores class status anxieties expressed through the sharing of individual life stories, critiques of the Hale Mua registered by Hawaiian women, and challenges the group received in dialogues with other indigenous Polynesians. "Native Men Remade" is the fascinating story of how gender, culture, class, and personality intersect as a group of indigenous Hawaiian men work to overcome the dislocations of colonial history.