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Trans-Indigenous: Interpretation / Recovery

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Interpretation / Recovery
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table of contents
  1. Cover
  2. Half Title Page
  3. Series List
  4. Title Page
  5. Copyright
  6. Dedication
  7. Contents
  8. Acknowledgments
  9. Introduction: Ands turn Comparative turn Trans-
  10. Part I. Recovery / Interpretation
    1. 1. “Being” Indigenous “Now”: Resettling “The Indian Today” within and beyond the U.S. 1960s
    2. 2. Unsettling the Spirit of ’76: American Indians Anticipate the U.S. Bicentennial
  11. Part II. Interpretation / Recovery
    1. 3. Pictographic, Woven, Carved: Engaging N. Scott Momaday’s “Carnegie, Oklahoma, 1919” through Multiple Indigenous Aesthetics
    2. 4. Indigenous Languaging: Empathy and Translation across Alphabetic, Aural, and Visual Texts
    3. 5. Siting Earthworks, Navigating Waka: Patterns of Indigenous Settlement in Allison Hedge Coke’s Blood Run and Robert Sullivan’s Star Waka
  12. Notes
  13. Bibliography
  14. Author Biography

PART II

Interpretation / Recovery

interpretation. n. 1. The act, process, or result of interpreting; explanation. 2. A representation of the meaning of a work of art as expressed esp. in representation or performance.

recovery. n. 1. An act, instance, process, or duration of recovering. 2. A return to a normal condition. 3. Something gained or restored in recovering. 4. The act of obtaining usable substances from unusable sources, as waste material.

—American Heritage Dictionary, Second College Edition

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A section of the Introduction originally appeared in “A Transnational Native American Studies? Why Not Studies That Are Trans-Indigenous?,” Journal of Transnational American Studies 4, no. 1 (2012). An earlier version of chapter 1 originally appeared as “Unspeaking the Settler: ‘The Indian Today’ in International Perspective,” American Studies 46, no. 3–4 (Fall–Winter 2005), and in Indigenous Studies Today 1 (Fall 2005–Spring 2006): 39–57. An earlier version of chapter 3 originally appeared as “Engaging the Politics and Pleasures of Indigenous Aesthetics,” Western American Literature 41, no. 2 (Summer 2006): 146–75. An earlier version of chapter 4 originally appeared as “Rere Kē/Moving Differently: Indigenizing Methodologies for Comparative Indigenous Literary Studies,” Studies in American Indian Literatures 19, no. 4 (Winter 2007): 1–26, and in Journal of New Zealand Literature 24, no. 2 (2007): 44–72. A section of chapter 5 originally appeared as “Serpentine Figures, Sinuous Relations: Thematic Geometry in Allison Hedge Coke’s Blood Run,” American Literature 82, no. 4 (December 2010): 807–34.

“Burial Mound” by Allison Hedge Coke is reproduced courtesy of the poet and Salt Publishing. “Sad Joke on a Marae” by Apirana Taylor is reproduced courtesy of the poet. “Blood Quantum” by Naomi Losch is reproduced courtesy of the poet. “Comparatively Speaking, There Is No Struggle” by Jacq Carter is reproduced courtesy of the poet. “Celebrators ’88” by Kevin Gilbert is reproduced courtesy of his estate. “Carnegie, Oklahoma, 1919” by N. Scott Momaday is reproduced courtesy of the poet. “When I of Fish Eat” by Rowley Habib, with illustrations by Ralph Hotere, is reproduced courtesy of the Maori Purposes Fund Board. “Waka 29: waka taua,” “51,” and “53” by Robert Sullivan are reproduced courtesy of Auckland University Press. “The buffalo grass is still” from Indians’ Summer by Nasnaga reprinted by permission of HarperCollins Publishers; copyright 1975 by Nasnaga.

Every effort was made to obtain permission to reproduce material in this book. If any proper acknowledgment has not been included here, we encourage copyright holders to notify the publisher.

Copyright 2012 by the Regents of the University of Minnesota
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