Chinnubbie And The Owl

Though he died at the age of thirty-four, the Muscogee (Creek) poet, journalist, and humorist Alexander Posey (1873-1908) was one of the most prolific and influential American Indian writers of his time. This volume of nine stories, five orations, and nine works of oral tradition is the first to collect these entertaining and important works of Muscogee literature. Many of Posey's stories reflect trickster themes; his orations demonstrate both his rhetorical prowess and his political stance as a "Progressive" Muscogee; and his works of oral tradition reveal his deep cultural roots. Most of these pieces, which first appeared between 1892 and 1907 in Indian Territory newspapers and magazines, have since become rarities, many of the original pieces surviving only as single clippings in a few archives.

American Gothic remains an enduringly fascinating genre, retaining its chilling hold on the imagination. This revised and expanded anthology brings together texts from the colonial era to the twentieth century including recently discovered material, canonical literary contributions from Poe and Wharton among many others, and literature from sub-genres such as feminist and ‘wilderness’ Gothic. Revised and expanded to incorporate suggestions from twelve years of use in many countries An important text for students of the expanding field of Gothic studies Strong representation of female Gothic, wilderness Gothic, the Gothic of race, and the legacy of Salem witchcraft Edited by a founding member of the International Gothic Association

Most of Alexander Posey's short and remarkable life was devoted to literary pursuits. Through a widely circulated satirical column published under the pseudonym Fus Fixico, he did much to document and draw attention to conditions in Indian Territory. He rose to prominence among the Creeks and played a leading role as spokesman on a number of serious political issues. Daniel F. Littlefield Jr. has written the first full biography of Alexander Posey, a pioneer of American Indian literature and a shaper of public opinion. Daniel F. Littlefield Jr. is a professor of English at the University of Arkansas at Little Rock and director of the American Native Press Archives. He is the editor, with Carol A. Petty Hunter, of Alexander Posey's Fus Fixico Letters (Nebraska 1993).

At the turn of the century, Muscogee (Creek) journalist, poet, and political humorist Alexander Posey (1873-1908) was widely read in Oklahoma and throughout the nation. His most enduring literary legacy is the persona of Fus Fixico (sometimes translated as "Heartless Bird"), whose "conversations" with other fictional characters brilliantly satirized local and national politics and politicians at the turn of the century, especially the government's Indian policy. This richly annotated edition features a foreword by A. LaVonne Brown Ruoff, which is a tribute to Carol A. Petty Hunter, long a champion of Posey's writings. Hunter had begun editing this project when her life was cut short in 1987.

Pick up a work of typical literary criticism and you know what to expect: prose that is dry, pedantic, well-meaning but tedious—slow-going and essentially humorless. But why should that be so? Why can’t more literary criticism have a political edge and be engaging and fast-paced? Why can’t it include drama, personal narrative, and even humor? Why can’t criticism become an artistic performance, rather than just a discussion of art? Art as Performance, Story as Criticism is Craig Womack’s answer to these questions. Inventive and often outrageous, the book turns traditional literary criticism on its head, rejecting distanced, purely theoretical argumentation for intimate engagement with literary works. Focusing on Native American literature, Womack mixes forms and styles. He is unafraid to combine meticulous research and carefully considered historical perspectives with personal reactions and reflections. The book opens with a short story, “The Song of Roe Náld,” in which a Native filmmaker loses control of his movie project, in part because of his homoerotic attraction to its star. The following chapters, or “mus(e)ings,” include original dramas, while others more closely resemble traditional literary criticism, such as essays discussing the lesser-known plays of Lynn Riggs and the stories of Durango Mendoza. Still other chapters defy easy categorization, such as the piece “Caught in the Current, Clinging to a Twig,” in which Womack interweaves historical analysis of the state of the Creek Nation in 1908 with a vivid recreation of the last day on earth of Creek poet Alexander Posey. Throughout the book, the author offers his take on such controversial issues as the Cherokee freedmen issue and the ban on gay marriage. In being different, Womack seeks to breathe new life into literary analysis and in-troduce criticism to a wider audience. Radical, groundbreaking, and refreshing, Art as Performance, Story as Criticism reinvents literary criticism for the twenty-first century.

Muscogee (Creek) writer and humorist Alexander Posey (1873 1908) lived most of his short but productive life in the Muscogee Nation, in what is now Oklahoma. He was an influential political spokesperson, an advocate for improving conditions in Indian Territory, and one of the most prominent American Indian literary figures of his era. One of Posey s dearest subjects was the Oktahutche River, which he so loved that he gave it voice in his poem, Song of the Oktahutche. His poetry, drawing from Romantic European and Euro-American influences such as Robert Burns and John Greenleaf Whittier, became a sort of Indian Territory pastoral in which the Greek nymph Echo shares a river with Stechupco, the Tall Man spirit of the Muscogees. Song of the Oktahutche collects for the first time all of Posey s poetry, which has until now been scattered in various rare volumes, either unpublished or replete with textual errors. His highly regarded poems constitute the largest body of Native poetry from the turn of the twentieth century. Matthew Wynn Sivils draws on extensive archival research to produce a complete, accurate, and meticulously annotated edition of Posey s poetry that will further enrich and personalize the legacy of this remarkable Native author.

Who was Acorn Whistler, and why did he have to die? A deeply researched analysis of a bloody eighteenth-century conflict and its tangled aftermath, The Four Deaths of Acorn Whistler unearths competing accounts of the events surrounding the death of this Creek Indian. Told from the perspectives of a colonial governor, a Creek Nation military leader, local Native Americans, and British colonists, each story speaks to issues that transcend the condemned man’s fate: the collision of European and Native American cultures, the struggle of Indians to preserve traditional ways of life, and tensions within the British Empire as the American Revolution approached. At the hand of his own nephew, Acorn Whistler was executed in the summer of 1752 for the crime of murdering five Cherokee men. War had just broken out between the Creeks and the Cherokees to the north. To the east, colonists in South Carolina and Georgia watched the growing conflict with alarm, while British imperial officials kept an eye on both the Indians’ war and the volatile politics of the colonists themselves. They all interpreted the single calamitous event of Acorn Whistler’s death through their own uncertainty about the future. Joshua Piker uses their diverging accounts to uncover the larger truth of an early America rife with violence and insecurity but also transformative possibility.