front cover of Bone & Juice
Bone & Juice
Adrian C. Louis
Northwestern University Press, 2001
Adrian C. Louis's largely autobiographical verse is characterized by a bluntness born of self-irony and self-criticism. He attacks his subjects with an emotional engagement that is both tender and honest. Within the context of fallen ideals and lost spirituality among Native Americans, he composes elegies for his mentally disabled wife and describes scenes from "Cowturdville", his name for the town near a reservation where he lived. Mesmerizing the reader with the rhythm of his lively lines, Louis demonstrates a stylistic strength that is both accessible and demanding. His candid portrayals of Native American life and his social and moral critique of American consumerism and conformity are darkly hilarious odes to the cultural boundaries between Americans and Native Americans.
[more]

front cover of Ceremonies Of The Damned
Ceremonies Of The Damned
Poems
Adrian C. Louis
University of Nevada Press, 1997
The world of acclaimed Native American poet Adrian Louis is harsh and full of pain—the blizzard-blasted plains and dusty towns of the northern Midwest, the hopeless barrenness of the Reservation, and a bleak interior world of loss, illness, and despair. Louis’s poems bring us to a place where ghosts hitchhike and the traditional pow-wow becomes an affirmation of bitter survival, where the lives of the young end too often in acts of meaningless self-destruction, and where his own existence becomes a daily battle with his cherished wife’s decline into the dementia of Alzheimer’s disease. Louis is a writer of extraordinary courage and skill, and these powerful, moving poems, wrested from the harsh experience of the Rez and his own lonely struggle with a merciless illness, will awe their readers with their brilliance and desperate humanity.
[more]

front cover of The Ghost Dancers
The Ghost Dancers
A Novel
Adrian C. Louis
University of Nevada Press, 2021
Lyman “Bean” Wilson, a half-breed Nevada Indian and middle-aged professor of journalism at Lakota University in South Dakota, is reassesing his life. The result is a string of family reconnections, sexual adventures, crises at work, pipe and sweat-lodge ceremonies, and—through his membership in the secret Ghost Dancers Society—political activism, culminating in a successful plot to blow the nose off of the George Washington statue on Mt. Rushmore.
[more]

front cover of Logorrhea
Logorrhea
Poems
Adrian C. Louis
Northwestern University Press, 2006
Finalist, 2007 Los Angeles Times Book Prize in Poetry

In a torrent of rage, love, and irony, Adrian C. Louis explodes all the myths and hypocrisy of Middle America in the twenty-first century. This is how Walt Whitman or Allen Ginsburg might have written about our post-9/11 world--where the realities of poverty on Indian reservations and the plight of Hurricane Katrina victims come in second place to the vagaries of Homeland Security. For Louis, both he and our nation face an uncertain future. Like many of us he is trapped in a surreal void of the present, where he is faced with middle age and isolation, the death of loved ones, an unsatisfying job, and the battle against loneliness and self-destruction. He writes as if he has nothing left to lose but then fills the page with bittersweet sorrow for everything that has been lost. Armed with unforgettable images, relentless rhythms, and a dark and scathing humor, Louis takes aim at this American life.
[more]

front cover of Shedding Skins
Shedding Skins
Four Sioux Poets
Adrian C. Louis
Michigan State University Press, 2008

Here's the myth: Native Americans are people of great spiritual depth, in touch with the rhythms of the earth, rhythms that they celebrate through drumming and dancing. They love the great outdoors and are completely in tune with the natural world. They can predict the weather by glancing at the sky, or hearing a crow cry, or somehow. Who knows exactly how? The point of the myth is that Indians are, well, special. Different from white people, but in a good way.
     The four young male Native American poets whose work is brought together in this startling collection would probably raise high their middle fingers in salute to this myth. These guys and "guys" they are—don't buy into the myth. Their poems aren't about hunting and fishing or bonding with animal spirits. Their poems are about urban decay and homelessness, about loneliness and despair, about Payday Loans and 40-ounce beers, about getting enough to eat and too much to drink. And there is nothing romantic about their poetry, either. It is written in the vernacular of mean streets: often raw and coarse and vulgar, just like the lives it describes. Sure, they write about life on the reservation. However, for the Indians in their poems, life on the reservation is a lot like life in the city, but without the traffic. These poets are sick to death of the myth. You can feel it in their poems.
     These poets are bound by a common attitude as well as a common heritage. All four—Joel Waters, Steve Pacheco, Luke Warm Water, and Trevino L. Brings Plenty—are Sioux, and all four identify themselves as "Skins" (as in "Redskins"). In their poems, they grapple with their heritage, wrestling with what it means to be a Sioux and a Skin today. It's a fight to the finish.

[more]

front cover of Skins
Skins
A Novel
Adrian C. Louis
University of Nevada Press, 2022
By the end of the twentieth century, Adrian C. Louis had become one of the most powerful voices in the canon of Native American literature. Skins, his best-known work, is now offered by the University of Nevada Press with a new foreword by David Pichaske.

It’s the early 1990s and Rudy Yellow Shirt and his brother, Mogie, are living on the Pine Ridge Reservation in South Dakota, home of the legendary Oglala Sioux warrior Crazy Horse. Both Vietnam veterans, the men struggle with daily life on the rez. Rudy, a criminal investigator with the Pine Ridge Public Safety Department, must frequently arrest his neighbors and friends, including his brother, who has become a rez wino.

But when Rudy falls and hits his head on a rock while pursuing a suspected murderer, Iktome the trickster enters his brain. Iktome restores Rudy’s youthful sexual vigor—long-lost to years of taking high blood pressure pills—and ignites his desire for political revenge via an alter ego, the “Avenging Warrior.” As the Avenging Warrior, Rudy takes direct action to punish local criminals. In a violent act, he torches the local liquor store, nearly burning Mogie alive while he is hiding on the store’s roof, plotting to steal booze. Although the brothers reconcile before Mogie dies, he leaves the Avenging Warrior with one final mission: go to Mount Rushmore and blow the nose off George Washington’s face.

Louis’s critically acclaimed novel was made into a movie in 2002, directed by Chris Eyre.
[more]

front cover of Vortex of Indian Fevers
Vortex of Indian Fevers
Adrian C. Louis
Northwestern University Press, 1995
"Writing with the rage of a conscience that is simultaneously historical and urgent, Louis stands as one of those rare voices we must carry with us into the future."  —David St. John
[more]

front cover of What Saves Us
What Saves Us
Poems of Empathy and Outrage in the Age of Trump
Edited by Martín Espada
Northwestern University Press, 2019

This is an anthology of poems in the Age of Trump—and much more than Trump. These are poems that either embody or express a sense of empathy or outrage, both prior to and following his election, since it is empathy the president lacks and outrage he provokes.

There is an extraordinary diversity of voices here. The ninety-three poets featured include Elizabeth Alexander, Julia Alvarez, Richard Blanco, Carolyn Forché, Aracelis Girmay, Donald Hall, Juan Felipe Herrera, Yusef Komunyakaa, Naomi Shihab Nye, Marge Piercy, Robert Pinsky, Danez Smith, Patricia Smith, Brian Turner, Ocean Vuong, Bruce Weigl, and Eleanor Wilner. They speak of persecuted and scapegoated immigrants. They bear witness to violence: police brutality against African Americans, mass shootings in a school or synagogue, the rage inflicted on women everywhere. They testify to poverty: the waitress surviving on leftovers at the restaurant, the battles of a teacher in a shelter for homeless mothers, the emergency-room doctor listening to the heartbeats of his patients. There are voices of labor, in the factory and the fields. There are prophetic voices, imploring us to imagine the world we will leave behind in ruins lest we speak and act.

However, this is not merely a collection of grievances. The poets build bridges. One poet steps up to translate in Arabic at the airport; another walks through the city and sees her immigrant past in the immigrant present; another declaims a musical manifesto after the hurricane that devastated his island; another evokes a demonstration in the street, shouting in an ecstasy of defiance. The poets take back the language, resisting the demagogic corruption of words themselves. They assert our common humanity in the face of dehumanization.

[more]

front cover of Wild Indians And Other Creatures
Wild Indians And Other Creatures
Adrian C. Louis
University of Nevada Press, 1997
This stunning book will startle readers who harbor romantic notions about contemporary Native American life. In these ten irreverent and interrelated short stories, Louis interweaves his versions of traditional Trickster tales with human stories to create something new and arresting. Set on and around the Pine Ridge Reservation of South Dakota, these unsettling, often politically incorrect stories function almost as a novel. Many are laugh-out-loud funny, while others are stark and sad, yet grimly human and powerful. In this collection, Louis, one of the leading Native American poets, presents an unblinking look at the social ills of reservation life while at the same time speaking of hope and survival for native peoples.
[more]


Send via email Share on Facebook Share on Twitter