Allison Adelle Hedge Coke – författare

Rock, Ghost, Willow, Deer is Allison Adelle Hedge Coke's searching account of her life as a mixed-blood woman coming of age off reservation, yet deeply immersed in her Huron, Metis, and Cherokee heritage. In a style at once elliptical and achingly clear, Hedge Coke details her mother's schizophrenia; the domestic and community abuse overshadowing her childhood; and torments both visited upon her—(rape and violence) and inflicted on herself (alcohol and drug abuse during her youth). Yet she managed to survive with her dreams and her will, her sense of wonder and promise undiminished.The title Rock, Ghost, Willow, Deer refers to life-revelations guiding the award-winning poet and writer through her many trials, as well as her labors in tobacco fields, factories, construction, and fishing; her motherhood; her involvement with music and performance; and the melding of language and experience that brought order to her life. Hedge Coke shares insights gathered along the way, insights touching on broader Native issues such as modern life in the diaspora; lack of a national eco-ethos; the threat of alcohol, drug abuse, and violence; and the ongoing onslaught on self amid a complex, mixed heritage.

Rock, Ghost, Willow, Deer is Allison Adelle Hedge Coke's searching account of her life as a mixed-blood woman coming of age off reservation, yet deeply immersed in her Huron, Metis, and Cherokee heritage. In a style at once elliptical and achingly clear, Hedge Coke details her mother's schizophrenia; the domestic and community abuse overshadowing her childhood; and torments both visited upon her—(rape and violence) and inflicted on herself (alcohol and drug abuse during her youth). Yet she managed to survive with her dreams and her will, her sense of wonder and promise undiminished.The title Rock, Ghost, Willow, Deer refers to life-revelations guiding the award-winning poet and writer through her many trials, as well as her labors in tobacco fields, factories, construction, and fishing; her motherhood; her involvement with music and performance; and the melding of language and experience that brought order to her life. Hedge Coke shares insights gathered along the way, insights touching on broader Native issues such as modern life in the diaspora; lack of a national eco-ethos; the threat of alcohol, drug abuse, and violence; and the ongoing onslaught on self amid a complex, mixed heritage.

Split This Rock Recommended Poetry Books of 2014 Praise for Allison Adelle Hedge Coke: "These are the songs of righteous anger and utter beauty."--Joy Harjo From "Carcass": Split skin stretched over marrowless cage, encased dry tomb, like those strewn through this loess reach, cradling past ever present here, and now you come walking riverside, bringing sensory thrill into daylight much like this cervidae culled morning each waking before demise. We move this way, catching life until death captures us, where we rot into the same dust holding multitudes before us, and welcoming those beyond. Allison Adelle Hedge Coke is a poet, writer, performer, editor, and activist.

Interweaving elegy, indictment, and hope into a love letter to California, Look at This Blue examines America’s genocidal past and present to warn of a future threatened by mass extinction and climate peril.Truths about what we have lost and have yet to lose permeate this book-length poem by American Book Award winner and Fulbright scholar Allison Adelle Hedge Coke. An assemblage of historical record and lyric fragments, these poems form a taxonomy of threatened lives—human, plant, and animal—in a century marked by climate emergency. Look at This Blue insists upon a reckoning with and redress of America’s continuing violence toward Earth and its peoples, as Hedge Coke’s cataloguing of loss crescendos into resistance.

The Effigies series has woven a vibrant tapestry of indigenous poets from Native North America and the Pacific. As the third in this series, this anthology continues this weaving with the work of four emerging Pacific islander women poets from Guam, Hawai’i, and Fiji. Despite their distant origins, all these writers explore culture, history, politics, genealogy, feminism, and the environment. They each have their own unique style, ranging from the lyric to the avant-garde. Overall, they represent the next resurgent wave of empowered and decolonial Pacific writers.No‘u Revilla (Kanaka ‘Ōiwi), Jamaica Heolimeleikalani Osorio (Kanaka ‘Ōiwi), Kisha Borja-Quichocho-Calvo (Chamoru), and Tagi Quolouvaki (Fijian, Tongan) take readers into the vast Pacific ocean to swim beyond the reef in high tide, out to where the water meets the sky, only to circle back to the islands to taste the tears and sweat in coconut and guava, the smell of frangipani on the wind. Amidst such beauty, these poets also carry us into darkness with tremendous power and vulnerability, laying bare the ravages of colonialism—the brutal occupation of country, the violence waged against Native women and girls, the erosion of language and ancestral memory, and the forced disconnections from land, ocean, and other healing lifeways. Effigies III features four debut books that fearlessly journey through these home-islands in ways that will transform and empower.

Blood Run was once a great mound city. About eighty remnants of its original four-hundred mounds still stand in testament to the 10,000 people who made their home here time ago and prove a terrific tribute of world history for their descendants living just down the road today. Yet, Blood Run is still in great danger of being forever destroyed by looters, developers, and the plow. This volume stands to persuade others to protect her and the sacred remains she guards in mounded tombs. The verse play of persona poems herein emanate its character of architectural accomplishment designed in accordance with the sun and moon and multitudes of stars above.Previous to European colonization and conquest efforts, trade flourished between Indigenous peoples of the Americas for perhaps as long as time earmarked humankind. Evidence of continual vast trade throughout the Western Hemisphere, including art, symbolic items, and practical tools, was well cached in the multitude of mound cities puckering vast portions of the continent, some still incredibly existing after decades of continual and intentional desecration, disfigurement, and dismantling by grave robbers and Manifest Destiny driven anti-eco agriculturalists. Though surely there were times of dilemma for Indigenous Americans, these long-developed relations ensured survival during eras of doubt. Thus the likelihood of peace prevailed and most nations enjoyed the security of blanket protection, aid, and assistance from related tribes; whether by blood or adoption. In so much, tribes that enjoyed helping one another sustain themselves engaged in trade relationships with numerous additional nations outside these pacts; building cities of ceremonial, burial, effigy, and civic mounds, wherein which they flourished.

It is a rare pleasure to unleash beauty upon the ever-tragic world, an exception to the plagued misfortune of greed, despair, and injury. Though elements of colonization do present certain challenges and malady to a natural world inhabited for tens of thousands of years by peoples steeped in ideologies, practical and philosophic systems, they do not overcome the lingual sensibilities and prowess of the poets representing the areas of the planet present in this text. Instead the poets overcome the intrusion.From baleen row, razor clam edge, rabid willow ptarmigan plume, to white buds of plumeria, gardenia, lei, shaded grave of dried lauhala and graying niu, fertile Pacific essence swells these poems into hummock ice knolls, into layers and layers of white sea laps rolling, into mindfulness, consideration, climate care--belonging.From ulu, to cane knife, where aurora’s green vein bleeds blue and tangles into indigo or green-robed mauna combs t? stalks, palms, kukui, and pines. From Barrow to Waihe’e, tethered and hammered through wild among dark branches and snared by voices, these poems harbor whale and seal oil burning to bring sustenance to a reader’s search for light and with them carry us into a seafaring world of rich embrace. Spectacular, immediate, these beaches and beeches along the shores provide a tactile relationship made immense in their stream-crafted images.

These five first books join to represent a freshly emerging 21st Century Indigenous Mainland poetry. This collection releases a reader into parallel spaces of Native culture as diverse as the US-occupied landscapes they embody; the desert Southwest, the Pacific Northwest, Eastern Woodlands, Great Lakes Region, Kansas and Oklahoma, bringing a bit of urban and rural symphony by resisting folds into Americana with courageous unfolding imagery in a serious range of departure. Five debut books present a fistful of furious nature, supple with beauty and brilliance and packing the punch intentional poetry delivers. This is a fearless collection of evocative and challenging verse. Effigies II is a road trip through Indian Country with five American Indian women poets who bring it all back home.“The Tecumseh Motel traces a parallel path of Shawnee culture and personal history. Spanning from the period of Indian Removal to the present, this text lyrically examines identity, generational memory, and the importance of place.” – LAURA DA“This book explores the images of the American West. From the neon light of honky tonk barrooms to the Southwestern landscape to the railroad, dirt roads and grandmothers’ living rooms.” – UNGILBAH DAVILA“A narrative through wrenching spaces in the life of one descendant wrestling with post apocalyptic identity, grounded by persistently supportive ancestors and helpers determined to see their blood survive and resist colonial assimilation through disembodiment” – KRISTI LEORA