Sun Tracks - Böcker

Opening July 4, 1969, on the Pine Ridge Reservation, The Red Bird All-Indian Traveling Band begins with a raucous Fourth of July gig that abruptly ends with the Red Birds ducking out of the performance in a hilarious hail of beer bottles. By the end of the evening, community member Buffalo Ames is dead, presumed to be murdered, just outside the bar. Sissy Roberts, the band's singer and the ""best female guitar picker on the rez,"" is reluctantly drawn into the ensuing investigation by an FBI agent who discovers Sissy's knack for hearing other people's secrets.The Red Bird All-Indian Traveling Band is part mystery, part community chronicle. Shaped by a cast of skillfully drawn characters, all of whom at one time or another are potential suspects, at the core of the story is smart and compassionate Sissy. Four years past high school, Sissy's wry humour punctuates descriptions of reservation life as she learns more about Ames's potential killer, and as she embarks on a personal search for ways to buck expectations and leave rural South Dakota to attend college.Ames's death is just an example of the undercurrents of violence and passions that run through this fast-moving novel of singing, loving, and fighting. Following Sissy as she unravels the mystery of both Buffalo Ames's death and her own future, The Red Bird All-Indian Traveling Band is the story of Indian Country on the verge of historic change and a woman unwilling to let change pass her by

In Tributaries, poet Laura Da' lyrically surveys Shawnee history alongside personal identity and memory. With the eye of a storyteller, Da' creates an arc that flows from the personal to the historical and back again. In her first book-length collection, Da' employs interwoven narratives and perspectives, examines cultural archetypes and historical documents, and weaves rich images to create a shifting vision of the past and present.Precise images open to piercing meditations of Shawnee history. In the present, a woman watches the approximation of a scalping at a theatrical presentation. Da' writes, “Soak a toupee with cherry Kool-Aid and mineral oil. / Crack the egg onto the actor's head. / Red matter will slide down the crown / and egg shell will mimic shards of skull.” This vivid image is paired with a description of the traditional removal path of her own Shawnee ancestors through small towns in Ohio.These poems range from the Midwestern landscapes of Ohio and Oklahoma to the Pacific Northwest, and the importance of place is apparent. Tributaries simultaneously offers us an extended narrative rumination on the impact of Indian policy and speaks to the contemporary experiences of parenthood and the role of education in passing knowledge from one generation to the next. This collection is composed of four sections that come together to create an important new telling of Shawnee past and present.

As the seas rise, the fight intensifies to save the Pacific Ocean’s Marshall Islands from being devoured by the waters around them. At the same time, activists are raising their poetic voices against decades of colonialism, environmental destruction, and social injustice.Marshallese poet and activist Kathy Jetn¯il-Kijiner’s writing highlights the traumas of colonialism, racism, forced migration, the legacy of American nuclear testing, and the impending threats of climate change. Bearing witness at the front lines of various activist movements inspires her work and has propelled her poetry onto international stages, where she has performed in front of audiences ranging from elementary school students to more than a hundred world leaders at the United Nations Climate Summit.The poet connects us to Marshallese daily life and tradition, likening her poetry to a basket and its essential materials. Her cultural roots and her family provides the thick fiber, the structure of the basket. Her diasporic upbringing is the material which wraps around the fiber, an essential layer to the structure of her experiences. And her passion for justice and change, the passion which brings her to the front lines of activist movements—is the stitching that binds these two experiences together.Iep Jaltok will make history as the first published book of poetry written by a Marshallese author, and it ushers in an important new voice for justice.

One of our generation’s most important literary voices, Esther G. Belin was raised in the Los Angeles area as part of the legacy following the federally run Indian relocation policy. Her parents completed the Special Navajo Five-Year Program that operated from 1946 to 1961 at Sherman Institute in Riverside, California. Drawing from this experience, her poetry, activism, and multimedia work speaks to larger issues of urban Indian identity, acceptance, adaptation, and cultural estrangement.In this long-anticipated collection, Belin daringly maps the poetics of womanhood, the body, institution, family, and love. Depicting the personal and the political, Of Cartography is an exploration of identity through language. With poems ranging from prose to typographic and linguistic illustrations, this distinctive collection pushes the boundaries of traditional poetic form.Marking territory and position according to the Diné cardinal points, Of Cartography demands much from the reader, gives meaning to abstraction, and demonstrates the challenges of identity politics.

In her dazzling new book, Jennifer Elise Foerster announces a frightening new truth: “the continent is dismantling.” Bright Raft in the Afterweather travels the spheres of the past, present, future, and eternal time, exploring the fault lines that signal the break of humanity’s consciousness from the earth.Featuring recurring characters, settings, and motifs from her previous book, Leaving Tulsa, Foerster takes the reader on a solitary journey to the edges of the continents of mind and time to discover what makes us human. Along the way, the author surveys the intersection between natural landscapes and the urban world, baring parallels to the conflicts between Native American peoples and Western colonizers, and considering how imagination and representation can both destroy and remake our worlds.Foerster’s captivating language and evocative imagery immerse the reader in a narrative of disorientation and reintegration. Each poem blends Foerster’s refined use of language with a mythic and environmental lyricism as she explores themes of destruction, spirituality, loss, and remembrance.In a world wrought with ecological imbalance and grief, Foerster shows how from the devastated land of our alienation there is potential to reconnect to our origins and redefine the terms by which we inhabit humanity and the earth.

Instruments of the True Measure charts the coordinates and intersections of land, history, and culture. Lyrical passages map the parallel lives of ancestral figures and connect dispossessions of the past to lived experiences of the present. Shawnee history informs the collection, and Da's fascination with uncovering and recovering brings the reader deeper into the narrative of Shawnee homeland. Images of forced removal and frontier violence reveal the wrenching loss and reconfiguration of the Shawnee as a people. The body and history become lands that are measured and plotted with precise instruments. Surveying and geography underpin the collection, but even as Da' investigates these signifiers of measurement, she pushes the reader to interrogate their function within the stark atrocities of American history. Da' laments this harsh dichotomy, observing that America's mathematical point of beginning is located in the heart of her tribe's homeland: ""I do not have the Shawnee words to describe this place; the notation that is available to me is 40°38'32.61'' N 80°31'9.76'' W.''

Speaking to both a personal and collective loss, in Brother Bullet Casandra López confronts her relationships with violence, grief, guilt, and ultimately, endurance. Revisiting the memory and lasting consequences of her brother's murder, López traces the course of the bullet—its trajectory, impact, wreckage—in lyrical narrative poems that are haunting and raw with emotion, yet tender and alive in revelations of light.Drawing on migratory experiences, López transports the reader to the Inland Empire, Baja California, New Mexico, and Arizona to create a frame for memory, filled with imagery, through the cyclical but changing essence of sorrow. This is paralleled with surrounding environments, our sense of belonging—on her family's porch, or in her grandfather's orange grove, or in the darkest desert. López's landscapes are geographical markers and borders, connecting shared experiences and memories.Brother Bullet tugs and pulls, drawing us into a consciousness—a story—we all bear.

When it was first released in 1982, When It Rains was one of the earliest published literary works in the O'odham language. Speakers from across generations shared poems that showcased the aesthetic of the written word and aimed to spread interest in reading and writing in O'odham.The poems capture brief moments of beauty, the loving bond between family members, and a deep appreciation of Tohono O'odham culture and traditions, as well as reverent feelings about the landscape and wildlife native to the Southwest. A motif of rain and water is woven throughout the poetry in When It Rains, tying in the collection's title to the importance of this life-giving and sustaining resource to the Tohono O'odham people. With the poems in both O'odham and English, the volume serves as an important reminder of the beauty and changeability of the O'odham language.The themes and experiences expressed by the language educators in this volume capture still-rural community life: children are still bussed for miles to school, and parents still have hours-long daily commutes to work. The Sonoran Desert also remains an important part of daily life—seasons, rain on desert plants, and sacred mountains serve as important markers.In a new foreword to the volume, Sun Tracks editor Ofelia Zepeda reflects on how meaningful this volume was when it was first published and its continued importance. ""Things have changed but many things remain the same,"" writes Zepeda. ""The pieces in this collection will be meaningful to many still.

Unflinching and magnetic, the language and structure of Aurum never strays from its dedication to revealing the prominent reality of Native people being marginalized and discarded in the wake of industrial progress. While uncovering different forms of oppression that estrange Native Americans from their own land, these poems explore the raw and disturbing aspects of living in the wastelands of contemporary America.Aurum does not attempt to provide answers or solutions. Instead, it splits the belly of North America and lays it bare into powerful words and unconventional structures. Brutally honest and incredibly fine tuned, this collection digs up 'the grit where teeth once rooted' to show the objectification of Native peoples and cultures for the grotesque erasure it really is.With images that taunt, disturb, and fascinate, Aurum captures the vibrantly original language in Santee Frazier's first collection, Dark Thirty, while taking on a completely new voice and rhythm. Each poem is vivid and memorable, beckoning to be read again and again as the words lend an enhanced experience each time. Frazier has crafted a wrought-iron collection of poetry that never shies away from a truth that America often attempts to ignore.

Our Bearings is a collection of narrative poetry that examines and celebrates Anishinaabe life in modern Minneapolis. Crafted around the four elements - earth, air, water, and fire - the poems are a beautifully layered discourse between landscapes, stories, and the people who inhabit them. Throughout the collection, McGlennen weaves the natural elements of Minnesota with rich historical commentary and current images of urban Native life. Reverence for wildlife and foliage is pierced by the sharp man-made skylines of Minneapolis while McGlennen reckons with the heavy impact of industrial progress on the souls and everyday lives of individuals.While working with both traditional and contemporary form, McGlennen's unique use of space and rhythm creates poetry that is both captivating and accessible. Our Bearings does not attempt to speak for a population; rather it offers vibrant stories and moments that give voice to pieces of a large and complex tapestry of experiences. Through keen observation and a deep understanding of Native life in Minneapolis, McGlennen has created a timely collection that contributes beautifully to the important conversation about contemporary urban Native life in North America and globally.

Horsefly Dress is a meditation on the experience and beauty of suffering, questioning its triggers and ultimate purpose through the lens of historical and contemporary interactions and complications of SÉliŠ, QĺispÉ, and Christian beliefs. Heather Cahoon's collection explores dark truths about the world through first-person experiences, as well as the experiences of her family and larger tribal community. As a member of the Confederated Salish and Kootenai Tribes, Cahoon crafts poems that recount traditional stories and confront Coyote's transformation of the world, including his decision to leave certain evils present, such as cruelty, greed, hunger, and death.By weaving together stories of Cahoon's family and tribal community with the those of Coyote and his family, especially Coyote's daughter, Horsefly Dress, the interactions and shared experiences show the continued relevance of traditional SÉliŠ and QĺispÉculture to contemporary life. Rich in the imagery of autumnal foliage, migrating birds, and frozen landscapes, Horsefly Dress calls forth the sensory experience of grief and transformation. As the stories and poems reveal, the transformative powers associated with the human experience of loss belong to the past, present, and future, as do the traditional Salish-Pend d'Oreille stories that create the backbone of this intricate collection.

After a security guard is found dead and another wounded at the Children's Museum of Science and History in Norman, Oklahoma, Detective Monique Blue Hawk and her partner Chris Pierson are summoned to investigate. They find no fingerprints, no footprints, and no obvious means to enter the locked building.Monique discovers that a portion of an ancient and deformed skeleton had also been stolen from the neglected museum archives. Her uncle, the spiritual leader Leroy Bear Red Ears, concludes that the stolen remains are those of Hatak haksi, a witch and the matriarch of the Crow family, a group of shape-shifting Choctaws who plan to reestablish themselves as the powerful creatures they were when the tribe lived in Mississippi. Monique, Leroy, and Chris must stop the Crows, but to their dread, the entities have retreated to the dark and treacherous hollow in the center of Chalakwa Ranch. The murderous shape-shifters believe the enormous wild hogs, poisonous snakes, and other creatures of the hollow might form an adequate defense for Hatak haksi.But what no one counts on is the unexpected appearance and power of the Old Ones who guard the lands of the Choctaw afterlife. Blending tribal beliefs and myths into a modern context, The Hatak Witches continues the storyline of Choctaw cosmology and cultural survival that are prominent in Devon A. Mihesuah's award-winning novel, The Roads of My Relations.

Trickster Academy is a collection of poems that explore being Native in Academia—from land acknowledgement statements, to mascots, to the histories of using Native American remains in anthropology. Jenny L. Davis’ collection brings humor and uncomfortable realities together in order to challenge the academy and discuss the experience of being Indigenous in university classrooms and campuses. Organized around the premise of the Trickster Academy— a university space run by, and meant for training, Tricksters— this collection moves between the personal dynamics of a Two-Spirit/queer Indigenous woman in spaces where there are few, if any, others and a Trickster’s critique of those same spaces.Trickster Academy is playful at times, yet more complicated and salient issues are at the heart of these poems. Davis’ Trickster Academy deeply challenges the institutions that still hold Indigenous remains in their archives and storage rooms, and the insincerities of the academy when it comes to acknowledging Indigenous peoples. The realities that the poems in Trickster Academy address are not only relevant to people in academic positions. From leaving home, to being the only Indian in the room, to having to deal with the constant pressures to being a ‘real Indian’, these poems illuminate the shared experiences of Indians across many regions, and all of us who live amongst Tricksters.

In Raven’s Echo, Tlingit artist and poet Robert Davis Hoffmann calls on readers to nurture material as well as spiritual life, asking beautiful and brutal questions about our individual positions within the universe and within history. The poems in this collection are brimming with an imaginative array of characters, including the playful yet sometimes disturbing trickster Raven, and offer insights into both traditional and contemporary Native life in southeast Alaska.Raven’s Echo is divided into two books, “SoulCatcher” and “Reconstruction.” “SoulCatcher” artfully explores human alienation and spiritual longing through poems that describe the speaker’s enduring struggle to find a place in Tlingit tribal history and contemporary experience. It takes up topics like colonialism, government subordination, painful acculturation, assimilation, and an array of other challenges, while it also addresses human loneliness in a world of spirits who often elude rather than nurture. The poems in “Reconstruction” present ways of integrating traditional Tlingit culture into contemporary life by honoring the significance of the land, subsistence fishing, warrior identity, and the role of elders. The two books are woven together by the constant thread of finding a way to live humanely in a world that is historically fractured yet spiritually inviting.Hoffmann’s poetry is acutely aware of economic, political, and social tensions, while still highlighting the joy of traditions and the beauty of Alaskan nature throughout the collection. The destructiveness of colonialism brings a profound darkness to some of the poems in Raven’s Echo, but the collection also explores the possibility of finding spiritual healing in the face of historical and contemporary traumas. As Hoffman’s poetry grapples with reconstructing a life within Tlingit tradition and history, the speaker urges that the importance of honoring and remembering traditions through art is ever present: “Listen, I’m trying to say something— / always our stories have lived through paintings, / always our stories stayed alive through retelling.” Raven’s Echo may tell stories about living in a world of guns and horsepower, global warming, cops, and drunks—but Raven always lurks in the background.

The disappearance of a young Choctaw leads Detective Monique Blue Hawk to investigate a little-known ceremonial dance. As she traces the steps of the missing man, she discovers that the seemingly innocuous Renewal Dance is not what it appears to be. After Monique embarks on a journey that she never thought possible, she learns that the past and future can converge to offer endless possibilities for the present. She must also accept her own destiny of violence and peacekeeping.

‘Āina Hānau / Birth Land is a powerful collection of new poems by Kanaka ʻŌiwi (Native Hawaiian) poet Brandy Nālani McDougall. ‘Āina hānau—or the land of one’s birth—signifies identity through intimate and familial connections to place and creates a profound bond between the people in a community. McDougall’s poems flow seamlessly between ‘Ōlelo Hawai‘i and English, forming rhythms and patterns that impress on the reader a deep understanding of the land. Tracing flows from the mountains to the ocean, from the sky to the earth, and from ancestor to mother to child, these poems are rooted in the rich ancestral and contemporary literature of Hawaiʻi —moʻolelo, moʻokūʻauhau, and mele —honoring Hawaiian ʻāina, culture, language, histories, aesthetics, and futures.The poems in Āina Hānau / Birth Land cycle through sacred and personal narratives while exposing and fighting ongoing American imperialism, settler colonialism, militarism, and social and environmental injustice to protect the ʻāina and its people. The ongoing environmental crisis in Hawaiʻi, inextricably linked to colonialism and tourism, is captured with stark intensity as McDougall writes, Violence is what we settle for / because we’ve been led to believe / green paper can feed us / more than green land. The experiences of birth, motherhood, miscarriage, and the power of Native Hawaiian traditions and self-advocacy in an often dismissive medical system is powerfully narrated by the speaker of the titular poem, written for McDougall’s daughters.‘Āina Hānau reflects on what it means to be from and belong to an ʻāina hānau, as well as what it means to be an ‘āina hānau, as all mothers serve as the first birth lands for their children.

Light As Light is acclaimed poet Simon J. Ortiz’s first collection in twenty years. The poems in this volume celebrate the wonders and joy of love in the present while also looking back with both humorous and serious reflections on youth and the stories, scenes, people, and places that shape a person’s life. Light As Light brims with giddy, wistful long-distance love poems that offer a dialogue between the speaker and his beloved. Written in Ortiz’s signature conversational style, this volume claims poetry for everyday life as the poems find the speaker on a morning run, burnt out from academic responsibilities, missing his beloved, reflecting on sobriety, walking the dog, and pondering the act of poem making. The collection also includes prayer poems written for the speaker’s son; poems that retell traditional Acoma stories and history; and poems that engage environmental, political, and social justice issues--making for a well-rounded collection that blends the playful and the profound.The poems in Light As Light travel far across both space and memory, landing everywhere from the New Mexico of the speaker’s childhood, to California, Tucson, and present-day Beijing, and many airports, highways, and way stations in between. The central concern uniting this collection is language itself: the weight and significance of English and Keres, as well as the nature and power of poetry as a way of life. No collection of Indigenous literature is complete without the work of Simon Ortiz, and this book is a powerful journey through the poet’s life--both a love letter to the future, and a sentimental, authentic celebration of the past.

Light As Light is acclaimed poet Simon J. Ortiz’s first collection in twenty years. The poems in this volume celebrate the wonders and joy of love in the present while also looking back with both humorous and serious reflections on youth and the stories, scenes, people, and places that shape a person’s life. Light As Light brims with giddy, wistful long-distance love poems that offer a dialogue between the speaker and his beloved. Written in Ortiz’s signature conversational style, this volume claims poetry for everyday life as the poems find the speaker on a morning run, burnt out from academic responsibilities, missing his beloved, reflecting on sobriety, walking the dog, and pondering the act of poem making. The collection also includes prayer poems written for the speaker’s son; poems that retell traditional Acoma stories and history; and poems that engage environmental, political, and social justice issues--making for a well-rounded collection that blends the playful and the profound.The poems in Light As Light travel far across both space and memory, landing everywhere from the New Mexico of the speaker’s childhood, to California, Tucson, and present-day Beijing, and many airports, highways, and way stations in between. The central concern uniting this collection is language itself: the weight and significance of English and Keres, as well as the nature and power of poetry as a way of life. No collection of Indigenous literature is complete without the work of Simon Ortiz, and this book is a powerful journey through the poet’s life--both a love letter to the future, and a sentimental, authentic celebration of the past.

Elegiac and powerful, Ancient Light uses lyric, narrative, and concrete poems to give voice to some of the most pressing ecological and social issues of our time.With vision and resilience, Kimberly Blaeser’s poetry layers together past, present, and futures. Against a backdrop of pandemic loss and injustice, MMIW (Missing and Murdered Indigenous Women), hidden graves at Native American boarding schools, and destructive environmental practices, Blaeser’s innovative poems trace pathways of kinship, healing, and renewal. They celebrate the solace of natural spaces through sense-laden geo-poetry and picto-poems. With an Anishinaabe sensibility, her words and images invoke an ancient belonging and voice the deep relatedness she experiences in her familiar watery regions of Minnesota.The collection invites readers to see with a new intimacy the worlds they inhabit. Blaeser brings readers to the brink, immerses them in the darkest regions of the Anthropocene, in the dangerous fallacies of capitalism, and then seeds hope. Ultimately, as the poems enact survivance, they reclaim Indigenous stories and lifeways.

Intertwining a lyrical voice with historical texts, poet Denise Low brings fresh urgency to the Gnadenhutten Massacre. In 1782, a renegade Pennsylvania militia killed ninety-six pacificist Christian Delawares (Lenapes) in Ohio. Those who escaped, including Indigenous eyewitnesses, relayed their accounts of the atrocity. Like Layli Longsoldier’s Whereas and Simon Ortiz’s from Sand Creek, Low delves into a critical incident of Indigenous peoples’ experiences. Readers will explore with the poet how trauma persists through hundreds of years, and how these peoples have survived and flourished in the subsequent generations.In a personal poetic treatment of documents, oral tradition, and images, the author, who has “blood ties to both killers and those killed,” embodies the contradictions she unravels. From a haunting first-person perspective, Low’s formally inventive archival poetry combines prose and lyric, interweaving verse with historical voices in a dialogue with the source material. Each poem builds into a larger narrative on American genocide, the ways in which human loss corresponds to ecological destruction, and how intimate knowledge of the past can enact healing.Ultimately, these poems not only reconstruct an important historical event, but they also put pressure on the gaps, silences, and violence of the archive. Low asks readers to question not only what is remembered, but how history is remembered—and who is forgotten from it. Reflecting on the injustice of the massacre, the Shawnee leader Tecumseh lamented that though “the Americans murdered all the men, women, and children, even as they prayed to Jesus . . . no American ever was punished, not one.” These poems challenge this attempted erasure.

ShÍ: First-person singular possessive pronoun my, mineexamples: shÍ heart, shÍ squeeze, shÍ hunny  In a voice that is jubilant, irreverent, sometimes scouring, sometimes heartfelt, and always unmistakably her own, Amber McCrary remaps the deserts of Arizona through the blue corn story of a young DinÉ woman figuring out love and life with an O’odham man. Reflecting experiences of Indigenous joy, pain, and family, these shapeshifting poems celebrate the love between two Native partners, a love that flourishes alongside the traumas they face in the present and the past. From her ethereal connection with her saguaro muse, Hosh, to the intricate tapestry of her relationships with DinÉ relatives and her awakening to the complex world of toxic masculinity, McCrary brings together DIY zine aesthetics, life forms of juniper and mountains, and the beauty of DinÉ Bizaad to tell of the enduring bonds between people and place.Journeying from the Colorado Plateau to the Sonoran Desert and back again, Blue Corn Tongue invokes the places, plants, and people of DinÉ BikÉyah and O’odham jeweḍ in a deeply honest exploration of love, memory, and intimacy confronting the legacy of land violence in these desert homelands.

Severalty begins in a garden and moves through ancestral and contemporary hometowns that shimmer between wholeness and severing. In these poems, river currents tick with the intrusion of the clock’s lavish precincts. From powerfully compressed lyrical fragments to pulsing narrative sequences, Severalty shifts perspectives to examine devastation and healing, transience and seasonality, loss and resurrection.With clear roots in her first two books of poetry, Tributaries and Instruments of the True Measure, this volume joins the author’s poetic trilogy with a deeply personal accounting of history, community, and selfhood.Weaving the past and present into a stunning tapestry, this collection is a powerful testament to Indigenous endurance and creativity, offering readers a deeply insightful and necessary work.