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A significant and innovative contribution to Austin studies. How did an Illinois Methodist homesteader in the West come to create one of the most significant cosmological syntheses in American literature? In this study, Hoyer draws on his own knowledge of biblical religion and Native American cultures to explore Austin's creation of the "mythology of the American continent" she so valued. Austin lived in and wrote about "the land of little rain," semiarid and arid parts of California and Nevada that were home to the Northern Paiute, Shoshone, Interior Chumash, and Yokut peoples. Hoyer makes new and provocative connections between Austin and spiritual figures like Wovoka, the prophet of the Ghost Dance religion, and writers like Zitkala-sa and Mourning Dove, and he provides a particularly fine reading of Cogowea.

Many people living far away from Indian reservations express sympathy for the poverty and misery experienced by Native Americans, yet, Thomas Biolsi argues, the problems faced by Native Americans are the results of white privilege.

In Deadliest Enemies, Biolsi connects the origins of racial tension between Indians and non-Indians on the Rosebud Reservation in South Dakota to federal laws, showing how the courts have created opposing political interests along race lines. Biolsi demonstrates that the court’s definitions of legal rights—both constitutional and treaty rights—make solutions to racial tensions intractable.

This powerful work sheds much-needed light on racial conflicts in South Dakota and in the rest of the United States, and holds white people accountable for the benefits of their racial privilege that come at the expense of Native Americans.

Thomas Biolsi is professor of Native American studies at the University of California at Berkeley.

Deadly Landscapes presents a series of cases that advance the rigorous examination of war in the archaeological record. The studies encompass examples from the Hohokam, Sinagua, Mogollon, and Anasazi regions, plus a pan-regional study of iconography covering the Colorado Plateau and the Rio Grande Valley. All of the cases focus on the narrow time frame from AD 1200 to the early-1400s, during which evidence for warfare is most pervasive.

Contributors to this volume present varying definitions of warfare and use differing types of data to test for the presence of warfare. These detailed case studies give clear demonstration of a pattern of significant warfare in the late prehistoric period that will alter our understanding of ancient Southwestern cultures.

Decolonizing Indigenous Histories makes a vital contribution to the decolonization of archaeology by recasting colonialism within long-term indigenous histories. Showcasing case studies from Africa, Australia, Mesoamerica, and North and South America, this edited volume highlights the work of archaeologists who study indigenous peoples and histories at multiple scales.

The contributors explore how the inclusion of indigenous histories, and collaboration with contemporary communities and scholars across the subfields of anthropology, can reframe archaeologies of colonialism. The cross-cultural case studies employ a broad range of methodological strategies—archaeology, ethnohistory, archival research, oral histories, and descendant perspectives—to better appreciate processes of colonialism. The authors argue that these more complicated histories of colonialism contribute not only to understandings of past contexts but also to contemporary social justice projects.

In each chapter, authors move beyond an academic artifice of “prehistoric” and “colonial” and instead focus on longer sequences of indigenous histories to better understand colonial contexts. Throughout, each author explores and clarifies the complexities of indigenous daily practices that shape, and are shaped by, long-term indigenous and local histories by employing an array of theoretical tools, including theories of practice, agency, materiality, and temporality.

Included are larger integrative chapters by Kent Lightfoot and Patricia Rubertone, foremost North American colonialism scholars who argue that an expanded global perspective is essential to understanding processes of indigenous-colonial interactions and transitions.

From the high plains of Canada to caves in the southeastern United States, images etched into and painted on stone by ancient Native Americans have aroused in observers the desire to understand their origins and meanings. Rock paintings and engravings can be found in nearly every state and province, and each region has its own distinctive story of discovery and evolving investigation of the rock art record. Rock art in the twenty-first century enjoys a large and growing popularity fueled by scholarly research and public interest alike. This book explores the history of rock art research in North America and is the only volume in the past twenty-five years to provide coverage of the subject on a continental scale. Written by contributors active in rock art research, it examines sites that provide a cross-section of regions and topics and complements existing books on rock art by offering new information, insights, and approaches to research. The first part of the volume explores different regional approaches to the study of rock art, including a set of varied responses to a single site as well as an overview of broader regional research investigations. It tells how Writing-on-Stone in southern Alberta, Canada, reflects changing thought about rock art from the 1870s to today; it describes the role of avocational archaeologists in the Mississippi Valley, where rock art styles differ on each side of the river; it explores discoveries in southwestern mountains and southeastern caves; and it integrates the investigation of cupules along Georgia’s Yellow River into a full study of a site and its context. The book also compares the differences between rock art research in the United States and France: from the outset, rock art was of only marginal interest to most U.S. archaeologists, while French prehistorians considered cave art an integral part of archaeological research. The book’s second part is concerned with working with the images today and includes coverage of gender interests, government sponsorship, the role of amateurs in research, and chronometric studies. Much has changed in our understanding of rock art since Cotton Mather first wrote in 1714 of a strange inscription on a Massachusetts boulder, and the cutting-edge contributions in this volume tell us much about both the ancient place of these enduring images and their modern meanings. Discovering North American Rock Art distills today’s most authoritative knowledge of the field and is an essential volume for both specialists and hobbyists.

Colonial discourse in the United States has tended to criminalize, pathologize, and depict as savage not only Native Americans but Mexican immigrants, indigenous peoples in Mexico, and Chicanas/os as well. While postcolonial studies of the past few decades have focused on how these ethnicities have been constructed by others, Disrupting Savagism reveals how each group, in turn, has actively attempted to create for itself a social and textual space in which certain negative prevailing discourses are neutralized and rendered ineffective.
Arturo J. Aldama begins by presenting a genealogy of the term “savage,” looking in particular at the work of American ethnologist Lewis Henry Morgan and a sixteenth-century debate between Juan Ginés de Sepúlveda and Bartolomé de las Casas. Aldama then turns to more contemporary narratives, examining ethnography, fiction, autobiography, and film to illuminate the historical ideologies and ethnic perspectives that contributed to identity formation over the centuries. These works include anthropologist Manuel Gamio’s The Mexican Immigrant: His Life Story, Leslie Marmon Silko’s Ceremony, Gloria Anzaldúa’s Borderlands/La Frontera, and Miguel Arteta’s film Star Maps. By using these varied genres to investigate the complex politics of racialized, subaltern, feminist, and diasporic identities, Aldama reveals the unique epistemic logic of hybrid and mestiza/o cultural productions.
The transcultural perspective of Disrupting Savagism will interest scholars of feminist postcolonial processes in the United States, as well as students of Latin American, Native American, and literary studies.

The border region of the Sonoran Desert, which spans southern Arizona in the United States and northern Sonora, Mexico, has attracted national and international attention. But what is less discussed in national discourses is the impact of current border policies on the Native peoples of the region. There are twenty-six tribal nations recognized by the U.S. federal government in the southern border region and approximately eight groups of Indigenous peoples in the United States with historical ties to Mexico—the Yaqui, the O’odham, the Cocopah, the Kumeyaay, the Pai, the Apaches, the Tiwa (Tigua), and the Kickapoo.

Divided Peoples addresses the impact border policies have on traditional lands and the peoples who live there—whether environmental degradation, border patrol harassment, or the disruption of traditional ceremonies. Anthropologist Christina Leza shows how such policies affect the traditional cultural survival of Indigenous peoples along the border. The author examines local interpretations and uses of international rights tools by Native activists, counterdiscourse on the U.S.-Mexico border, and challenges faced by Indigenous border activists when communicating their issues to a broader public.

Through ethnographic research with grassroots Indigenous activists in the region, the author reveals several layers of division—the division of Indigenous peoples by the physical U.S.-Mexico border, the divisions that exist between Indigenous perspectives and mainstream U.S. perspectives regarding the border, and the traditionalist/nontraditionalist split among Indigenous nations within the United States. Divided Peoples asks us to consider the possibilities for challenging settler colonialism both in sociopolitical movements and in scholarship about Indigenous peoples and lands.

When Hopi/White Mountain Apache anthropologist Tony M. Smokerise is found murdered in his office at Central Highlands University, the task of solving the crime falls to jaded Choctaw detective Monique Blue Hawk and her partner Charles T. Clarke. A seemingly tolerant and amicable office of higher education, the university, Monique soon learns, harbors parties determined to destroy the careers of Tony and his best friend, the volatile Oglala anthropologist Roxanne Badger. In the course of her investigation, Monique discovers that the scholars who control Tony’s department are also overseeing the excavation of a centuries-old tribal burial site that was uncovered during the construction of a freeway. Tony’s role in the project, she realizes, might be the key to identifying his murderer. This virtuosic mystery novel explores, in engrossing detail, the complex motives for a killing within the sometimes furtive and hermetic setting of academia.

Recounting her own field experiences in Japanese-American relocation centers during World War II and later in American Indian communities, Rosalie H. Wax offers advice to help the beginning field worker anticipate and confront the exigencies and accidents of fieldwork with good nature, fortitude, and common sense. Doing Fieldwork is a useful book in many respects: as a guide to participant observation and ethnographic fieldwork; as an analysis of the theoretical presuppositions and history of fieldwork; as a discussion of contemporary issues in social science research; and simply as an entertaining and dramatic story.

Doubters and Dreamers opens with a question from a young girl faced with the spectacle of Indian effigies lynched and burned “in jest” before UC Berkeley’s annual Big Game against Stanford: “What’s a debacle, Mom?” This innocent but telling question marks the girl’s entrée into the complicated knowledge of her heritage as a mixed-blood Native American of Koyangk’auwi (Concow) Maidu descent. The girl is a young Janice Gould, and the poems and narrations that follow constitute a remarkable work of sustained and courageous self-revelation, retracing the precarious emotional terrain of an adolescence shaped by a mother’s tough love and a growing consciousness of an ancestral and familial past.

In the first half of the book, “Tribal History,” Gould ingeniously repurposes the sonnet form to preserve the stories of her mother and aunt, who grew up when “muleback was the customary mode / of transport” and the “spirit world was present”—stories of “old ways” and places claimed in memory but lost in time. Elsewhere, she remembers her mother’s “ferocious, upright anger” and her unexpected tenderness (“Like a miracle, I was still her child”), culminating in the profound expression of loss that is the poem “Our Mother’s Death.”

In the second half of the book, “It Was Raining,” Gould tells of the years of lonely self-making and “unfulfilled dreams” as she comes to terms with what she has been told are her “crazy longings” as a lesbian: “It’s been hammered into me / that I’ll be spurned / by a ‘real woman,’ / the only kind I like.” The writing here commemorates old loves and relationships in language that mingles hope and despair, doubt and devotion, veering at times into dreamlike moments of consciousness. One poem and vignette at a time, Doubters and Dreamers explores what it means to be a mixed-blood Native American who grew up urban, lesbian, and middle class in the West.

For thousands of years, Native Americans throughout the Eastern Woodlands and Great Plains used the physical act and visual language of tattooing to construct and reinforce the identity of individuals and their place within society and the cosmos. The act of tattooing served as a rite of passage and supplication, while the composition and use of ancestral tattoo bundles was intimately related to group identity. The resulting symbols and imagery inscribed on the body held important social, civil, military, and ritual connotations within Native American society. Yet despite the cultural importance that tattooing held for prehistoric and early historic Native Americans, modern scholars have only recently begun to consider the implications of ancient Native American tattooing and assign tattooed symbols the same significance as imagery inscribed on pottery, shell, copper, and stone.

Drawing with Great Needles is the first book-length scholarly examination into the antiquity, meaning, and significance of Native American tattooing in the Eastern Woodlands and Great Plains. The contributors use a variety of approaches, including ethnohistorical and ethnographic accounts, ancient art, evidence of tattooing in the archaeological record, historic portraiture, tattoo tools and toolkits, gender roles, and the meanings that specific tattoos held for Dhegiha Sioux and other Native speakers, to examine Native American tattoo traditions. Their findings add an important new dimension to our understanding of ancient and early historic Native American society in the Eastern Woodlands and Great Plains.

Emerging from a School of American Research, this work reviews the general status of archaeological knowledge in 9 key regions of the Southwest to examine broader questions of cultural development, which affected the Southwest as a whole, and to consider an overall conceptual model of the prehistoric Southwest after the advent of sedentism.