Enduring Critical Poses

A celebration of Anishinaabe intellectual tradition. Enduring Critical Poses examines the stories, poems, plays, and histories centered in the Great Lakes region of North America, where the Anishinaabeg live in a space Basil Johnston referred to as "Maazikamikwe," a maternal earth. The Anishinaabeg are a confederacy of many communities, including the Odawa, Saulteaux, Ojibwe, Potawatomi, Oji-Cree, and Algonquin peoples, who share cultural practices and related languages. Bringing together senior scholars and new voices on the Anishinaabe intellectual landscape, this volume specifically explores Ojibwe, Odawa, and Potawatomi culture, language, and literary heritage. Through a tribal-centric framework, the contributors connect various branches of Native American literary studies and celebrate Anishinaabe narrative diversity to offer a single, overarching story of Anishinaabe survival and endurance. Gordon Henry Jr. is an enrolled member of the White Earth Anishinaabe Nation in Minnesota and Professor of American Indian Literature, Creative Writing, and American Indian Studies at Michigan State University. His books include Afterlives of Indigenous Archives: Essays in Honor of the Occom Circle (coedited with Ivy Schweitzer) and The Light People. Margaret Noodin is Professor of English and American Indian Studies and Director of the Electa Quinney Institute for American Indian Education at the University of Wisconsin–Milwaukee. Her books include Bawaajimo: A Dialect of Dreams in Anishinaabe Language and Literature. David Stirrup is Professor of American Literature and Indigenous Studies at the University of Kent, United Kingdom. His books include Picturing Worlds: Visuality and Visual Sovereignty in Contemporary Anishinaabe Literature.

The children of an influential Ojibwe-Anglo family, Jane Johnston and her brother George were already accomplished writers when the Indian agent Henry Rowe Schoolcraft arrived in Sault Ste. Marie in 1822. Charged by Michigan's territorial governor with collecting information on Anishinaabe people, he soon married Jane, "discovered" the family's writings, and began soliciting them for traditional Anishinaabe stories. But what began as literary play became the setting for political struggle. Jane and her family wrote with attention to the beauty of Anishinaabe narratives and to their expression of an Anishinaabe world that continued to coexist with the American republic. But Schoolcraft appropriated the stories and published them as his own writing, seeking to control their meaning and to destroy their impact in service to the "civilizing" interests of the United States. In this dramatic story, Maureen Konkle helps recover the literary achievements of Jane Johnston Schoolcraft and her kin, revealing as never before how their lives and work shed light on nineteenth-century struggles over the future of Indigenous people in the United States.

The Routledge Companion to Native American Literature engages the multiple scenes of tension — historical, political, cultural, and aesthetic — that constitutes a problematic legacy in terms of community identity, ethnicity, gender and sexuality, language, and sovereignty in the study of Native American literature. This important and timely addition to the field provides context for issues that enter into Native American literary texts through allusions, references, and language use. The volume presents over forty essays by leading and emerging international scholars and analyses: regional, cultural, racial and sexual identities in Native American literature key historical moments from the earliest period of colonial contact to the present worldviews in relation to issues such as health, spirituality, animals, and physical environments traditions of cultural creation that are key to understanding the styles, allusions, and language of Native American Literature the impact of differing literary forms of Native American literature. This collection provides a map of the critical issues central to the discipline, as well as uncovering new perspectives and new directions for the development of the field. It supports academic study and also assists general readers who require a comprehensive yet manageable introduction to the contexts essential to approaching Native American Literature. It is essential reading for anyone interested in the past, present and future of this literary culture. Contributors: Joseph Bauerkemper, Susan Bernardin, Susan Berry Brill de Ramírez, Kirby Brown, David J. Carlson, Cari M. Carpenter, Eric Cheyfitz, Tova Cooper, Alicia Cox, Birgit Däwes, Janet Fiskio, Earl E. Fitz, John Gamber, Kathryn N. Gray, Sarah Henzi, Susannah Hopson, Hsinya Huang, Brian K. Hudson, Bruce E. Johansen, Judit Ágnes Kádár, Amelia V. Katanski, Susan Kollin, Chris LaLonde, A. Robert Lee, Iping Liang, Drew Lopenzina, Brandy Nālani McDougall, Deborah Madsen, Diveena Seshetta Marcus, Sabine N. Meyer, Carol Miller, David L. Moore, Birgit Brander Rasmussen, Mark Rifkin, Kenneth M. Roemer, Oliver Scheiding, Lee Schweninger, Stephanie A. Sellers, Kathryn W. Shanley, Leah Sneider, David Stirrup, Theodore C. Van Alst, Jr., Tammy Wahpeconiah

The outpouring of Native American literature that followed the publication of N. Scott Momaday’s Pulitzer Prize–winning House Made of Dawn in 1968 continues unabated. Fiction and poetry, autobiography and discursive writing from such writers as James Welch, Gerald Vizenor, and Leslie Marmon Silko constitute what critic Kenneth Lincoln in 1983 termed the Native American Renaissance. This collection of essays takes the measure of that efflorescence. The contributors scrutinize writers from Momaday to Sherman Alexie, analyzing works by Native women, First Nations Canadian writers, postmodernists, and such theorists as Robert Warrior, Jace Weaver, and Craig Womack. Weaver’s own examination of the development of Native literary criticism since 1968 focuses on Native American literary nationalism. Alan R. Velie turns to the achievement of Momaday to examine the ways Native novelists have influenced one another. Post-renaissance and postmodern writers are discussed in company with newer writers such as Gordon Henry, Jr., and D. L. Birchfield. Critical essays discuss the poetry of Simon Ortiz, Kimberly Blaeser, Diane Glancy, Luci Tapahonso, and Ray A. Young Bear, as well as the life writings of Janet Campbell Hale, Carter Revard, and Jim Barnes. An essay on Native drama examines the work of Hanay Geiogamah, the Native American Theater Ensemble, and Spider Woman Theatre. In the volume’s concluding essay, Kenneth Lincoln reflects on the history of the Native American Renaissance up to and beyond his seminal work, and discusses Native literature’s legacy and future. The essays collected here underscore the vitality of Native American literature and the need for debate on theory and ideology.

This transnational collection discusses the use of Native American imagery in twentieth and twenty-first-century European culture. With examples ranging from Irish oral myth, through the pop image of Indians promulgated in pornography, to the philosophical appropriations of Ernst Bloch or the European far right, contributors illustrate the legend of "the Indian." Drawing on American Indian literary nationalism, postcolonialism, and transnational theories, essays demonstrate a complex nexus of power relations that seemingly allows European culture to build its own Native images, and ask what effect this has on the current treatment of indigenous peoples.

Is the REAL you getting lost because the FAKE you is just so annoyingly impressive? “Stepping onto the platform to preach that morning, I admitted to myself that I was not a pastor first, but a regular, scared, insecure, everyday guy whose life had been changed by Jesus. And if Jesus really loved me as I was (I knew He did), then why should I go on trying to be someone I wasn’t?” Why DO we fake it so much? Why do we spend so much time trying to please everyone else and make so little effort trying to please God? When Craig Groeschel asked himself those questions, he couldn’t come up with a good answer. So one day he decided to drop the act and start getting real. With that one choice, his life began to change in a big way. And yours can, too. Craig’s passionate, funny, warts-and-all confessions and the lessons he learned will help you find you own path to authentic living and a deeper relationship with God. Includes study guide for personal or group use.

What’s the Point of International Relations casts a critical eye on what it is that we think we are doing when we study and teach international relations (IR). It brings together many of IR’s leading thinkers to challenge conventional understandings of the discipline’s origins, history, and composition. It sees IR as a discipline that has much to learn from others, which has not yet lived up to its ambitions or potential, and where much work remains to be done. At the same time, it finds much that is worth celebrating in the discipline’s growing pluralism and views IR as a deeply political, critical, and normative pursuit. The volume is divided into five parts: • What is the point of IR? • The origins of a discipline • Policing the boundaries • Engaging the world • Imagining the future Although each chapter alludes to and/or discusses central aspects of all of these components, each part is designed to capture the central thrust of the concerns of the contributors. Moving beyond western debate, orthodox perspectives, and uncritical histories this volume is essential reading for all scholars and advanced level students concerned with the history, development, and future of international relations.

The essays collected in iParallel Encounters The field of border studies has hitherto neglected the Canada–US border as a site of cultural interest, tending to examine only its role in transnational policy, economic cycles, and legal and political frameworks. Border studies has long been rooted in the US–Mexico divide; shifting the locus of that discussion north to the 49th parallel, the contributors ask what added complications a site-specific analysis of culture at the Canada–US border can bring to the conversation. In so doing, this collection responds to the demands of Hemispheric American Studies to broaden considerations of the significance of American culture to the Americas as a whole—bringing Canadian Studies into dialogue with the dominantly US-centric critical theory in questions of citizenship, globalization, Indigenous mobilization, hemispheric exchange, and transnationalism.