Native Literatures of the Americas and Indigenous World Literatures – serie

The rich storytelling traditions of Salish-speaking peoples in the Pacific Northwest of North America are showcased in this anthology of story, legend, song, and oratory. From the Bitterroot Mountains to the Pacific Ocean, Salish-speaking communities such as the Bella Coola, Shuswap, Tillamook, Quinault, Colville-Okanagan, Coeur d'Alene, and Flathead have always been guided and inspired by the stories of previous generations. Many of the most influential and powerful of those tales appear in this volume. Salish Myths and Legends features an array of Trickster stories centered on Coyote, Mink, and other memorable characters, as well as stories of the frightening Basket Ogress, accounts of otherworldly journeys, classic epic cycles such as South Wind's Journeys and the Bluejay Cycle, tales of such legendary animals as Beaver and Lady Louse from the beginning of time, and stories that explain why things are the way they are. The anthology also includes humorous traditional tales, speeches, and fascinating stories of encounters with whites, including "Circling Raven and the Jesuits."  Translated by leading scholars working in close collaboration with Salish storytellers, these stories are certain to entertain and provoke, vividly testifying to the enduring power of storytelling in Native communities.

Inside Dazzling Mountains provides fresh new translations of Native oral literatures of the Southwest, a region of vital and varied cultures and languages. The collection features songs, stories, chants, and orations from the four major language groups of the Southwest: Yuman, Nadíne (Apachean), Uto-Aztecan, and Kiowa-Tanoan. It combines translations of recordings made in the late nineteenth and early twentieth centuries with a rich array of newly recorded and produced materials, attesting to the continued vitality and creativity of contemporary Native languages in the Southwest.For southwestern linguistic and cultural traditions to be more widely recognized and appreciated, retranslations of older works have been sorely needed. Original translations were often flawed and culturally biased and made use of literary conventions that were familiar to Anglo-Americans but foreign to the Native tribes themselves. Inside Dazzling Mountains corrects these flaws and celebrates the diversity of Native languages spoken in the Southwest today.Skillfully edited and translated by David L. Kozak, who offers a wealth of editorial tools for interpreting songs, song sets, myths, stories, and chants of the Southwest, past and present, this volume contributes to the continued vitality and cultural complexity of the region.

The rich oral traditions of the Athabaskan Indians from southwestern Oregon are showcased in these pages for the first time. This volume features vivid and humorous tales of familiar Tricksters: Coyote, known for his unusual sexual prowess and escapades that often go awry; the vain and gullible Grizzly Bear; and Raccoon, often greedy and ever elusive. The collection also includes the less familiar but all-too-human stories of Pitch Woman, Little Man, the unicorn-like Hollering-Like-a-Person, and other local figures, all of which add to the wealth of Native oral literature in the Pacific Northwest. In 1935 Elizabeth D. Jacobs conducted ethnographic fieldwork with survivors of several Athabaskan cultures living on the Siletz Reservation. Her work preserves the forty-seven stories recorded here as recounted by Upper Coquille consultant Coquelle Thompson Sr., an accomplished storyteller who lived through the Rogue River Wars of 1855–56. His tribal community was evicted from its homeland and resettled with other Athabaskan groups on the Siletz Reservation, where he lived for ninety years. This volume offers a behind-the-scenes look at the collection of oral accounts, a sketch of Upper Coquille Athabaskan culture, an examination of Thompson's storytelling, and extended analyses of four stories, including "Pitch Woman." The reader is encouraged to "listen" to the stories with an ear attuned both to the storyteller himself and to the stories' own cultural context.

Sky Loom offers a dazzling introduction to Native American myths, stories, and songs drawn from previous collections by acclaimed translator and poet Brian Swann. With a general introduction by Swann, Sky Loom is a stunning collection that provides a glimpse into the intricacies and beauties of story and myth, placing them in their cultural, historical, and linguistic contexts.Each of the twenty-six selections is translated and introduced by a well-known expert on Native oral literatures and offers entry into the cultures and traditions of several different tribes and bands, including the Yupiit and the Tlingits of the polar North; the Coast Salish and the Kwakwaka’wakw of the Pacific Northwest; the Navajos, the Pimas, and the Yaquis of the Southwest; the Lakota Sioux and the Plains Crees of the Great Plains; the Ojibwes of the Great Lakes; the Naskapis and the Eastern Crees of the Hudson Bay area in Canada; and the Munsees of the Northeast. Sky Loom takes the reader on a wide-ranging journey through literary traditions older than the “discovery” of the New World.

A Listening Wind, a collection of translated original texts and commentary edited by Marcia Haag, highlights the large array of Indigenous linguistic and cultural groups of the U.S. Southeast. A whole range of genres and selected texts represent language groups of the Choctaw, Creek, Chickasaw, Yuchi, Cherokee, Koasati, Houma, Catawba, and Atakapa.  The traditional and modern Native literature genres showcased in A Listening Wind include stories that speakers perceive to be in the past (or “fixed”), genres that have developed alongside these stories, and modern story types that have sometimes supplanted traditional tales and are now enjoying trajectories of their own. These texts have been selected to demonstrate particular literary themes and the cultural perspectives that inform them. Introductory essays illuminate how they fit into Native American religious and philosophical systems. Overall this collection discloses the sometimes hidden connections among genres as well as their importance to language groups of the Southeast.

Since Europeans first encountered Native Americans, problems relating to language and text translation have been an issue. Translators needed to create the tools for translation, such as dictionaries, still a difficult undertaking today. Although the fact that many Native languages do not share even the same structures or classes of words as European languages has always made translation difficult, translating cultural values and perceptions into the idiom of another culture renders the process even more difficult. In Born in the Blood, noted translator and writer Brian Swann gathers some of the foremost scholars in the field of Native American translation to address the many and varied problems and concerns surrounding the process of translating Native American languages and texts. The essays in this collection address such important questions as, what should be translated? how should it be translated? who should do translation? and even, should the translation of Native literature be done at all? This volume also includes translations of songs and stories.

Xurt’an (the end of the world) showcases the rich storytelling traditions of the northern Lacandones of Naha’ through a collection of traditional narratives, songs, and ritual speech. Formerly isolated in the dense, tropical rainforest of Chiapas, Mexico, the Lacandon Maya constitute one of the smallest language groups in the world. Although their language remains active and alive, their traditional culture was abandoned after the death of their religious and civic leader in 1996. Lacking the traditional contexts in which the culture was transmitted, the oral traditions are quickly being forgotten.This collection includes creation myths that describe the cycle of destruction and renewal of the world, the structure of the universe, the realms of the gods and their intercessions in the affairs of their mortals, and the journey of the souls after death. Other traditional stories are non-mythic and fictive accounts involving talking animals, supernatural beings, and malevolent beings that stalk and devour hapless victims. In addition to traditional narratives, Xurt’an presents many songs that are claimed to have been received from the Lord of Maize, magical charms that invoke the forces of the natural world, invocations to the gods to heal and protect, and work songs of Lacandon women, whose contribution to Lacandon culture has been hitherto overlooked by scholars. Women’s songs offer a rare glimpse into the other half of Lacandon society and the arduous distaff work that sustained the religion. The compilation concludes with descriptions of rainbows, the Milky Way as “the white road of Our Lord,” and an account of the solstices.Transcribed and translated by a foremost linguist of the northern Lacandon language, the literary traditions of the Lacandones are finally accessible to English readers. The result is a masterful and authoritative collection of oral literature that will both entertain and provoke, while vividly testifying to the power of Lacandon Maya aesthetic expression.

Peter J. Seymour was a Salish storyteller. He carried forward earlier tales of elders along with his own experiences as fewer and fewer native speakers were sharing the Colville-Okanagan language and oral literature. To thwart the demise of this language, over the course of a decade he passed along Salish stories not only to his family but also to linguist Anthony Mattina. The Complete Seymour: Colville Storyteller includes Seymour's tales collected in the late 1960s and early 1970s, before his death. It documents Seymour's rich storytelling and includes detailed morphological analyses and translations of this endangered language. This collection is an important addition to the canon of Native American narratives and literature and an essential volume for anyone studying Salish languages and linguistics.

Although the canon of nineteenth-century Native American writers represents rich literary expression, it derives generally from a New England perspective. Equally rich and rare poetry, songs, and storytelling were produced farther west by Indians residing on the Southern Plains. When Dream Bear Sings is a multidisciplinary, diversified, multicultural anthology that includes English translations accompanied by analytic and interpretive text outlines by leading scholars of eight major language groups of the Southern Plains: Iroquoian, Uto-Aztecan, Caddoan, Siouan, Algonquian, Kiowa-Tanoan, Athabaskan, and Tonkawa.These indigenous language families represent Indian nations and tribal groups across the Southern Plains of the United States, many of whom were exiled from their homelands east of the Mississippi River to settlements in Kansas and Oklahoma by the Indian Removal Act of the 1830s. Although indigenous culture groups on the Southern Plains are complex and diverse, their character traits are easily identifiable in the stories of their oral traditions, and some of the most creative and unique expressions of the human experience in the Americas appear in this book. Gus Palmer Jr. brings together a volume that not only updates old narratives but also enhances knowledge of indigenous culture through a modern generation’s familiarity with new, evolving theories and methodologies regarding verbal art performance.

Storytelling and singing continue to be a vital part of community life for Native peoples today. Voices from Four Directions gathers stories and songs from thirty-one Native groups in North America—including the Iñupiaqs in the frigid North, the Lushootseeds along the forested coastline of the far West, the Catawbas in the humid South, and the Maliseets of the rugged woods of the East. Vivid stories of cosmological origins and transformation, historical events remembered and retold, as well as legendary fables can be found in these pages. Well-known Trickster figures like Raven, Rabbit, and Coyote figure prominently in several tales as do heroes of local fame such as Tom Laporte of the Maliseets. The stories and songs entertain, instruct, and recall rich legacies as well as obligations. Many are retellings and reinventions of classic narratives, while others are more recent creations. Award-winning poet and critic Brian Swann has gathered some of the richest and most diverse literatures of Native North America and provides an introduction to the volume. In addition, each story is introduced and newly translated.

When Europeans first arrived on this continent, Algonquian languages were spoken from the northeastern seaboard through the Great Lakes region, across much of Canada, and even in scattered communities of the American West. The rich and varied oral tradition of this Native language family, one of the farthest-flung in North America, comes brilliantly to life in this remarkably broad sampling of Algonquian songs and stories from across the centuries. Ranging from the speech of an early unknown Algonquian to the famous Walam Olum hoax, from retranslations of "classic" stories to texts appearing here for the first time, these are tales written or told by Native storytellers, today as in the past, as well as oratory, oral history, and songs sung to this day. An essential introduction and captivating guide to Native literary traditions still thriving in many parts of North America, Algonquian Spirit contains vital background information and new translations of songs and stories reaching back to the seventeenth century. Drawing from Arapaho, Blackfeet, Cheyenne, Cree, Delaware, Maliseet, Menominee, Meskwaki, Miami-Illinois, Mi'kmaq, Naskapi, Ojibwe, Passamaquoddy, Potawatomi, and Shawnee, the collection gathers a host of respected and talented singers, storytellers, historians, anthropologists, linguists, and tribal educators, both Native and non-Native, from the United States and Canada—all working together to orchestrate a single, complex performance of the Algonquian languages.