The Cherokee Kid

Early in the twentieth century, the political humorist Will Rogers was arguably the most famous cowboy in America. And though most in his vast audience didn't know it, he was also the most famous Indian of his time. Those who know of Rogers's Cherokee heritage and upbringing tend to minimize its importance, or to imagine that Rogers himself did so—notwithstanding his avowal in interviews: "I'm a Cherokee and they're the finest Indians in the World." The truth is, throughout his adult life and his work the Oklahoma cowboy made much of his American Indian background. And in doing so, as Amy Ware suggests in this book, he made Cherokee artistry a fundamental part of American popular culture. Rogers, whose father was a prominent and wealthy Cherokee politician and former Confederate slaveholder, was born into the Paint Clan in the town of Oolagah in 1879 and raised in the Cooweescoowee District of the Cherokee Nation. Ware maps out this milieu, illuminating the familial and social networks, as well as the Cherokee ranching practices, educational institutions, popular publications and heated political debates that so firmly grounded Rogers in the culture of the Cherokee. Through his early career, from Wild West and vaudeville performer to Ziegfeld Follies headliner in the late 1910s, she reveals how Rogers embodied the seemingly conflicting roles of cowboy and Indian, in effect enacting the blending of these identities in his art. Rogers's work in the film industry also reflected complex notions of American Indian identity and history, as Ware demonstrates in her reading of the clearest examples, including Laughing Billy Hyde, in which Rogers, an Indian, portrayed a white prospector married to an Indian woman—who was played by a white actress. In his work as a columnist for the New York Times, and in his radio performances, Ware continues to trace the Cherokee influence on Rogers's material—and in turn its impact on his audiences. It is in these largely uncensored performances that we see another side of Rogers's Cherokee persona—a tribal elitism that elevated the Cherokee above other Indian nations. Ware's exploration of this distinction exposes still-common assumptions regarding Native authenticity in the history of American culture, even as her in-depth look at Will Rogers's heritage and legacy reshapes our perspective on the Native presence in that history, and in the life and work of a true American icon.

On the run from a posse and bounty-hunters, The Cherokee Kid is drawn into the problems of a widow with two small children and if forced to protect them from a greedy cattle baron. Only his lightning draw and nerves of steel can protect the small family from the forces massed against them. This is western action on the cutting edge.

Many Anglo-Americans in the nineteenth century regarded Indian tribes as little more than illiterate bands of savages in need of “civilizing.” Few were willing to recognize that one of the major Southeastern tribes targeted for removal west of the Mississippi already had an advanced civilization with its own system of writing and rich literary tradition. In Literacy and Intellectual Life in the Cherokee Nation, 1820–1906, James W. Parins traces the rise of bilingual literacy and intellectual life in the Cherokee Nation during the nineteenth century—a time of intense social and political turmoil for the tribe. By the 1820s, Cherokees had perfected a system for writing their language—the syllabary created by Sequoyah—and in a short time taught it to virtually all their citizens. Recognizing the need to master the language of the dominant society, the Cherokee Nation also developed a superior public school system that taught students in English. The result was a literate population, most of whom could read the Cherokee Phoenix, the tribal newspaper founded in 1828 and published in both Cherokee and English. English literacy allowed Cherokee leaders to deal with the white power structure on their own terms: Cherokees wrote legal briefs, challenged members of Congress and the executive branch, and bargained for their tribe as white interests sought to take their land and end their autonomy. In addition, many Cherokee poets, fiction writers, essayists, and journalists published extensively after 1850, paving the way for the rich literary tradition that the nation preserves and fosters today. Literary and Intellectual Life in the Cherokee Nation, 1820–1906 takes a fascinating look at how literacy served to unite Cherokees during a critical moment in their national history, and advances our understanding of how literacy has functioned as a tool of sovereignty among Native peoples, both historically and today.

The years between Oklahoma statehood in 1907 and the 1971 reemergence of the Cherokee Nation are often seen as an intellectual, political, and literary “dark age” in Cherokee history. In Stoking the Fire, Kirby Brown brings to light a rich array of writing that counters this view. A critical reading of the work of several twentieth-century Cherokee writers, this book reveals the complicated ways their writings reimagined, enacted, and bore witness to Cherokee nationhood in the absence of a functioning Cherokee state. Historian Rachel Caroline Eaton (1869–1938), novelist John Milton Oskison (1874–1947), educator Ruth Muskrat Bronson (1897–1982), and playwright Rollie Lynn Riggs (1899–1954) are among the writers Brown considers within the Cherokee national and transnational contexts that informed their lives and work. Facing the devastating effects on Cherokee communities of allotment and assimilation policies that ultimately dissolved the Cherokee government, these writers turned to tribal histories and biographies, novels and plays, and editorials and public addresses as alternative sites for resistance, critique, and the ongoing cultivation of Cherokee nationhood. Stoking the Fire shows how these writers—through fiction, drama, historiography, or Cherokee diplomacy—inscribed a Cherokee national presence in the twentieth century within popular and academic discourses that have often understood the “Indian nation” as a contradiction in terms. Avoiding the pitfalls of both assimilationist resignation and accommodationist ambivalence, Stoking the Fire recovers this period as a rich archive of Cherokee national memory. More broadly, the book expands how we think today about Indigenous nationhood and identity, our relationships with writers and texts from previous eras, and the paradigms that shape the fields of American Indian and Indigenous studies.

"From renowned comedy journalist and historian Kliph Nesteroff comes the underappreciated story of Native Americans and comedy"--

In Across the Great Divide, some of our leading historians look to both the history of masculinity in the West and to the ways that this experience has been represented in movies, popular music, dimestore novels, and folklore.

Three western romance titles by Nan Ryan about an outlaw, a cowgirl, and a determined European princess finding their fortunes in the American West In Outlaw’s Kiss, a young woman joins a gang of rough-riding outlaws. As she begins her career as a renegade, the son of a soldier killed in a long-ago raid searches Mexico for justice. His fevered quest could destroy Cordell’s band of outlaws, but only if he can resist the charms of the sultry young woman who rides like a man. In Written in the Stars, the beautiful star of a Wild West show sets off with the traveling spectacle’s most recent addition: a captured man, raised by the Shoshoni. Together, they embark on a passionate adventure that will change both of their lives forever. And in The Princess Goes West, the heiress of a bankrupt kingdom travels to the New World in search of a fortune. The princess decides to find investors among the gold-rush millionaires of the American West. Instead she finds misery, danger, and a handsome stranger with a temper rough enough to match her own. To make it home, Europe’s toughest princess will have to find her inner cowgirl.