Resources and Services for Iowa Indigenous Peoples

Corwin Clairmont is a member of Confederated Salish and Kootenai Tribes and one of the artists profiled. -- Path Breakers is the third volume'following After the Storm'in a biennial series that brings the work of Native American fine artists to greater public attention. As Lucy Lippard writes in her introduction, the artists honored are "a wildly diverse and inventive lot.' Paintings, prints, photographs, sculpture, and installation pieces of variety, color, and power abound. Even a quick examination demonstrates Lippard's contention that "the infinitely various ways of negotiating cultural space are apparent in contemporary Native art.' The 2003 Eiteljorg Fellowhip for Native American Fine Art honors as distinguished artist Kay WalkingStick (Cherokee) and names five fellows including Corwin "Corky" Clairmont (Salish/Kootenai), Robert Houle (Saulteaux), Nora Naranjo-Morse (Tewa/Santa Clara Pueblo), Nadia Myre (Algonquin), and Hulleah Tsinhnahjinnie (Diné/Seminole/Muscogee). Essays have been contributed by Lucy Lippard, Margaret Archuleta (Pueblo/Hispanic), Gail Tremblay (Onandaga/Micmac), Bonnie Devine (Ojibway), Patricia Deadman, Jennifer C. Vigil, and Veronica Passalacqua.

Includes a chapter, "What we see," written by Confederated Salish and Kootenai Tribes member Debra Magpie Earling. -- For the first time in the two hundred years since Lewis and Clark led their expedition from St. Louis to the Pacific, we hear the other side of the story—as we listen to nine descendants of the Indians whose homelands were traversed. Among those who speak: Newspaper editor Mark Trahant writes of his childhood belief that he was descended from Clark and what his own research uncovers. Award-winning essayist and fiction writer Debra Magpie Earling describes the tribal ways that helped her nineteenth-century Salish ancestors survive, and that still work their magic today. Montana political figure Bill Yellowtail tells of the efficiency of Indian trade networks, explaining how axes that the expedition traded for food in the Mandan and Hidatsa villages of Kansas had already arrived in Nez Perce country by the time Lewis and Clark got there a few months and 1,000 miles later. Umatilla tribal leader Roberta Conner compares Lewis and Clark’s journal entries about her people with what was actually going on, wittily questioning Clark’s notion that the natives believed the white men “came from the clouds”—in other words, they were gods. Writer and artist N. Scott Momaday ends the book with a moving tribute to the “most difficult of journeys,” calling it, in the truest sense, for both the men who entered the unknown and those who watched, “a vision quest,” with the “visions gained being of profound consequence.” Some of the essays are based on family stories, some on tribal or American history, still others on the particular circumstances of a tribe today—but each reflects the expedition’s impact through the prism of the author’s own, or the tribe’s, point of view. Thoughtful, moving, provocative, Lewis and Clark Through Indian Eyes is an exploration of history—and a study of survival—that expands our knowledge of our country’s first inhabitants. It also provides a fascinating and invaluable new perspective on the Lewis and Clark expedition itself and its place in the long history of our continent.

Includes a chapter, "By this we know love," written by Confederated Salish and Kootenai Tribes member Debra Magpie Earling. -- A provocative collection of essays by prominent women writers on the turning points in their own marriages, this title candidly discusses the good times, the bad times, and what makes or breaks a marriage.

Author Terese Marie Maihot is a member of the Confederated Salish and Kootenai Tribes. -- A powerful, poetic memoir of an Indigenous woman's coming of age on the Seabird Island Band in the Pacific Northwest--this New York Times bestseller and Emma Watson Book Club pick is "an illuminating account of grief, abuse and the complex nature of the Native experience . . . at once raw and achingly beautiful (NPR). Having survived a profoundly dysfunctional upbringing only to find herself hospitalized and facing a dual diagnosis of post traumatic stress disorder and bipolar II disorder, Terese Marie Mailhot is given a notebook and begins to write her way out of trauma. The triumphant result is Heart Berries, a memorial for Mailhot's mother, a social worker and activist who had a thing for prisoners; a story of reconciliation with her father―an abusive drunk and a brilliant artist―who was murdered under mysterious circumstances; and an elegy on how difficult it is to love someone while dragging the long shadows of shame. Mailhot trusts the reader to understand that memory isn't exact, but melded to imagination, pain, and what we can bring ourselves to accept. Her unique and at times unsettling voice graphically illustrates her mental state. As she writes, she discovers her own true voice, seizes control of her story, and, in so doing, reestablishes her connection to her family, to her people, and to her place in the world.

Includes two pieces by Confederated Salish and Kootenai Tribes member Terese Marie Mailhot: "I know I'll go" and "Little mountain woman."-- Just as a basket's purpose determines its materials, weave, and shape, so too is the purpose of the essay related to its material, weave, and shape. Editors Elissa Washuta and Theresa Warburton ground this anthology of essays by Native writers in the formal art of basket weaving. Using weaving techniques such as coiling and plaiting as organizing themes, the editors have curated an exciting collection of imaginative, world-making lyric essays by twenty-seven contemporary Native writers from tribal nations across Turtle Island into a well-crafted basket. Shapes of Native Nonfiction features a dynamic combination of established and emerging Native writers, including Stephen Graham Jones, Deborah Miranda, Terese Marie Mailhot, Billy-Ray Belcourt, Eden Robinson, and Kim TallBear. Their ambitious, creative, and visionary work with genre and form demonstrate the slippery, shape-changing possibilities of Native stories. Considered together, they offer responses to broader questions of materiality, orality, spatiality, and temporality that continue to animate the study and practice of distinct Native literary traditions in North America.

Author D'Arcy McNickle is a member of the Confederated Salish and Kootenai Tribes. -- The Hungry Generations is an early, handwritten version of McNickle's groundbreaking and semi-autobiographical novel The Surrounded and consists of three distinct parts. Part one is set in McNickle's native Montana and has the protagonist, Archilde, reconciling with his father. This part corresponds most closely to the The Surrounded. Part two takes place in Paris where Archilde meets Claudia and her family and explores the community of the American expatriate artists. This section was cut out entirely during revisions of the novel. Part three shows Archilde as a farmer on his father's land in Montana and his arrest and trial for the murder of the game warden. The Hungry Generations is a social document providing insight into Indian-White marriages at the turn of the twentieth century, the life of the mixed-blood children of these marriages, and the attempts to assimilate them into mainstream American life. The novel serves as a mirror of McNickle's adolescence on the Flathead Reservation in Montana and his experiences in Europe. Birgit Hans offers an extensive introduction to The Hungry Generations and presents the novel here as it was originally written in the 1930s. This manuscript version of The Hungry Generations is located in the archives of The Newberry Library in Chicago and has never before been published.

Author D'Arcy McNickle is a member of the Confederated Salish and Kootenai Tribes. -- As The Surrounded opens, Archilde León has just returned from the big city to his father's ranch on the Flathead Indian Reservation in Montana. The story that unfolds captures the intense and varied conflict that already characterized reservation life in 1936, when this remarkable novel was first published. Educated at a federal Indian boarding school, Archilde is torn not only between white and Indian cultures but also between love for his Spanish father and his Indian mother, who in her old age is rejecting white culture and religion to return to the ways of her people. Archilde's young contemporaries, meanwhile, are succumbing to the destructive influence of reservation life, growing increasingly uprooted, dissolute, and hopeless. Although Archilde plans to leave the reservation after a brief visit, his entanglements delay his departure until he faces destruction by the white man's law. In an early review of The Surrounded, Oliver La Farge praised it as "simple, clear, direct, devoid of affectations, and fast-moving." He included it in his "small list of creditable modern novels using the first Americans as theme." Several decades later, long out of print but not forgotten, The Surrounded is still considered one of the best works of fiction by or about Native Americans.

Author D'Arcy McNickle is a member of the Confederated Salish and Kootenai Tribes. -- McNickle’s final novel, published posthumously in 1978. The novel follows the tribal members of Little Elk, a fictional Northwestern tribe, as they attempt to navigate encroaching white colonization.

Author D'Arcy McNickle is a member of the Confederated Salish and Kootenai Tribes. -- First published in 1954 and long out of print, this novel of pre-Hispanic Indian life in the Southwest combines the authenticity of an anthropological report with the suspense of a mystery novel. The author, best known as an anthropologist during his lifetime, is now recognized as a major Native American novelist. Hitherto virtually unknown, Runner in the Sun is sure to take its place next to McNickle's The Surrounded, also available from UNM Press, as a classic of Native American fiction.

Author D'Arcy McNickle is a member of the Confederated Salish and Kootenai Tribes. -- These sixteen stories--ten of which have not been previously published--represent the work of one of the most influential Native American writers of the twentieth century--held by many to be the most important Native Americans to write fiction before N. Scott Momaday. Birgit Hans's introductory essay provides a brief biography of McNickle, sets the stories in the context of his better known work, and provides insights into their literary significance. Together, they constitute a collection essential to an adequate understanding of McNickle and of the development of Native American fiction. CONTENTS The Reservation Hard Riding En roulant ma boule, roulant... Meat for God Snowfall Train Time Montana The Hawk Is Hungry Debt of Gratitude Newcomers Man's Work Going to School The City Manhattan Wedlock Let the War Be Fought In the Alien Corn Six Beautiful in Paris The Silver Locket

Author D'Arcy McNickle is a member of the Confederated Salish and Kootenai Tribes. -- Contrary to the white man's early expectations, the Indian tribes of North America neither vanished nor assimilated. Despite almost four hundred years of contact with the dominant--and often domineering--Western civilization, Native Americans have maintained their cultural identity, the size, social organization, and frequently the location of their population, and their unique position before the law. Now brought up to date with a new introduction by Peter Iverson, this classic book reviews the history of contact between whites and Indians, explaining how the aboriginal inhabitants of North America have managed to remain an ethnic and cultural enclave within American and Canadian society from colonial times to the present day. The late D'Arcy McNickle--renowned anthropologist and member of the Flathead Tribe of Montana--shows that while Native Americans have always been eager to adopt the knowledge and technology of white society, they carefully adapt these changes to fit into their own culture. He maintains that by emphasizing tribal self-determination, the federal government can best help Native Americans to modernize and achieve independence even as they preserve their ancient heritage. Iverson's introduction to the new edition discusses McNickle's singular contribution to Native American Studies, and provides an overview of recent events and scholarship in the field. He has also brought up to date the appendix describing the geographical distribution of the principle tribes in the United States and Canada. With its comprehensive coverage and unique perspective, the new edition of Native American Tribalism is essential reading for those who want to understand the past and present of our first Americans.

Artist Jaune Quick-to-See Smith is a member of the Confederated Salish and Kootenai Tribes. -- The first full-length critical analysis of the paintings of Jaune Quick-to-See Smith, this book focuses on Smith's role as a modernist in addition to her status as a wellknown Native American artist. With close readings of Smith's work, Carolyn Kastner shows how Smith simultaneously contributes to and critiques American art and its history. Smith has distinguished herself as a modernist both in her pursuit of abstraction and her expressive technique, but too often her identity as a Native American artist has overshadowed these aspects of her work. Addressing specific themes in Smith's career, Kastner situates Smith within specific historical and cultural moments of American art, comparing her work to the abstractions of Kandinsky and Miró, as well as to the pop art of Rauschenberg and Johns. She discusses Smith's appropriation of pop culture icons like the Barbie doll, reimagined by the artist as Barbie Plenty Horses. As Kastner considers how Smith constructs each new series of artworks within the artistic, social, and political discourse of its time, she defines her contribution to American modernism and its history. Discussing the ways in which Smith draws upon her cultural heritage--both Native and non-Native--Kastner demonstrates how Smith has expanded the definitions of "American" and "modernist" art.

Co-author D'Arcy McNickle is a member of the Confederated Salish and Kootenai Tribes. -- This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.