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table of contents
  1. Cover
  2. Half Title Page
  3. Series List
  4. Title Page
  5. Copyright Page
  6. Contents
  7. Prologue: (Re)Turning
  8. Introduction: Researching
  9. Part 1. Ancestor
    1. 1. The California Indian Bone Game
    2. 2. The Postapocalyptic Imaginary
    3. 3. Refusing Genocide
  10. Interlude: How Death Came into This World
  11. Part 2. The Destruction
    1. 4. Bad Indians and the Destruction of Writing
    2. 5. Atlas for a Destroyed World
  12. Conclusion: Bad Writing, Bad Art
  13. Acknowledgments
  14. Notes
  15. Index
  16. Series List — Continued (2 of 2)
  17. Author Biography

Index

  • abundance, xxxii–xxxiii, 46, 90, 178–79, 181–83, 257, 259. See also scarcity
  • Aguilar, Dugan, 111–13
  • American Genocide, An (Madley), 150–54
  • anamnesis, 214–17. See also Day, Frank
  • ancestors, 60–61, 65–66, 203–11
  • Ancient One, the, 40
  • angle of perception, xviii–xix, xxxi, 113
  • anthropology, 2, 64, 75, 220–23, 225, 263–64; culture, 3, 37, 48–50, 80–87, 104, 147; salvage ethnography, xxxiii, 87, 92–94, 95–96, 214; violence of form, 3, 38–39, 91–94, 145–47. See also de Castro, Eduardo Viveiros; image; photography; violence
  • anticoloniality. See bad Indians; California Indian Studies; Ghost Dance; refusal; research
  • Antíkoni (Piatote), 69–71, 72–73
  • apocalypse, xiv, 88, 91, 100, 102, 103, 120; imaginary, 88–91. See also Destruction, the
  • apology, xxxiv, 123, 136, 137–38; by Gavin Newsom, 129, 137–38. See also Truth and Healing investigation
  • archaeology, 31–33, 62–63; forensic, 33. See also repatriation
  • archives, xxxiii, 91–92, 104, 106–8, 110–11, 154, 191; colonial, 19–21, 22–23, 60, 86, 103, 120, 123–26, 165–66, 220–23; and genocide, 123, 125–28, 143, 144–45, 149–50, 152–54; siloing, 20–21, 61. See also Day, Frank; Miranda, Deborah
  • art, 218–19, 258, 259–64
  • atlas, 217, 252–53. See also petroglyph
  • bad Indians, xvii–xxii, 202–3, 259–61; bad feelings in common, xviii–xix, xxii, 161–64, 169, 177–78, 199, 203, 256; despair, xviii–xix, 164–65, 166–68, 260–62; endurance, xiv–xv, 111–12, 173–74, 201–2, 253; failure, xxii–xxviii, 60, 62, 65–66, 219–20. See also Ghost Dance methodology; sociality
  • Bartow, Rick, 117–18
  • Black studies, 14–19, 165–66
  • Blanchot, Maurice, xix, 21
  • Boas, Franz, 83–84, 86, 108–10
  • bone court. See under Vizenor, Gerald
  • bone game, 47, 50, 53
  • California: as fiction, 24–26; real, 114–19
  • California Indians: and Black people, 19–21; epistemologies, 214–17, 230, 235–36, 244; theory of violence, 255–57, 262–63
  • California Indian Studies, xvi–xvii, xxxvi–xxxvii, 9, 14, 21–22, 24, 45, 46, 129, 145. See also orientation
  • CalNAGPRA, 34, 59
  • Captain Jack, 1
  • case, the, 40–41, 151–52
  • Césaire, Aimé, 130, 133–34
  • Churchill, Ward, 140–42
  • collectivity, viii, xii, xxiii–xxiv, xxix, xxv–xxvi, 113, 156–57, 169–71
  • coloniality. See anthropology; Destruction, the; disciplinarity; human, the; humanism; law, the; ontology; settler colonialism; vitalism. See also anticoloniality
  • coloniality of politics, 187, 189, 190–91, 198
  • counterhegemony, xxvi. See also bad Indians
  • Coyote, 155–58
  • coyote man, 75–76, 255
  • critique, xv, xxv–xxvi, 5–6, 97–101, 131, 183–84, 263. See also refusal
  • culture. See under anthropology
  • Curtis, Edward, 95–96
  • Day, Frank, 213–17, 228–31, 237–41; Deer Protecting Her Fawn, 237–38; E-nom-oe/Dancing Girl and Whirling Snake, 242–46; The Mushroom Picker, 231–34; painting, 217–19, 226–28, 231–38, 241–53; Petroglyphs, 250–51; Playful Creatures, 248–50; Toto Dance at Bloomer Hill, 244; Untitled, 226–27
  • dead, the, xxviii–xxxi, 1–2, 22–23, 69, 154, 257; return of, vii–viii, xi, xii, xiii, xxviii, xxxi, xxxvii, 100–101; turn toward, vii–xii, xxxvi–xxxviii, 89. See also sociality; voice
  • Dead Pioneers, xvii–xviii, 264–65
  • death, 9, 33, 65–67, 117, 155–58, 233; postapocalyptic relation to, 119–21
  • de Castro, Eduardo Viveiros, 12–13, 84–86
  • de las Casas, Bartolomé, 187–89
  • Deloria, Vine, xx, 9–10, 64, 199–200, 235
  • despair. See bad Indians
  • Destruction, the, xii–xiii, xvi, 21, 27–28, 88, 91, 120, 160–61; positivist representation of, 126, 128–29, 148–54; representation, 128, 139–40, 143, 146–48, 149, 154. See also apocalypse; History
  • Destruction of the People, The, 255–56
  • disciplinarity, 80, 104, 133, 140, 142, 145, 184, 216. See also entries for specific disciplines
  • disorientation. See under orientation
  • display of ancestors’ remains. See under visuality
  • double bind, xxxv, 70, 141, 163, 256
  • dreaming, x–xi, xxix–xxxi; intense dreaming, xxx, 146, 223. See also prophecy
  • End of the World, The, 23, 171. See also Miranda, Deborah
  • failure. See under bad Indians
  • family form, 110–12
  • Fanon, Franz, xx, xxxv–xxxvi
  • felt theory, xxv–xxvii, xxxi, 169–70. See also story
  • First Families (Frank), 113–16
  • forensic, the, 67–68. See also witness
  • fourth person. See under Vizenor, Gerald
  • fourth world, 61
  • Frank, L., First Families, 113–16
  • Galton, Francis, 78–79
  • Gaza, 123–25, 126, 143
  • gendercide. See Joyas
  • genocide: and coloniality, 123–24, 127, 130–31, 133–36; genocidal will, 139, 142; limitations of discourse of, 126–37, 140–43, 151–54; and place, 19; by state, 21, 45–47, 123–24, 128, 137–38, 221–22; studies, 126–28, 130, 139
  • Ghost Dance, vii–xi, xxvi, xxviii–xxxiii, xxxiv–xxxviii
  • Ghost Dance methodology, xii–xiii, xviii–xix, 9, 24
  • Glidden, Ralph, 38–39
  • good Indians, xviii, 162–63; hope, xviii–xix, xxii, 134, 170; success, xxii–xxiii, xxvii
  • Gould, Janice, 173–82, 184–85, 203–11. See also Miranda, Deborah
  • governance of the prior, xxxiii–xxxiv, 33, 188–89
  • grounded normativity, xxviii–xxix, 104. See also sociality
  • Harney, Stephen. See under Moten, Fred
  • Harrington, J. P., 195, 198–99
  • Hartman, Saidiya, 22–23, 34, 154
  • History, 126–27, 130, 131–32, 137–40, 148–49, 222–23; historiography, 23, 130, 133, 138–45, 150–51. See also disciplinarity
  • Hogeland, Kim, 113–16
  • Holocaust, 127–28, 134. See also genocide
  • human, the, 45–46, 86, 223–24, 256; humanization, xiii, 46–47, 56, 62–63, 92, 104, 166–67, 262–64; inhuman, 9–16, 49–50, 60–61, 223–24; juridical, 34–37, 47–50, 54–55; other-than-human, 234. See also anthropology; archaeology; Native, the; writing
  • humanism: aesthetics, xvi, 258–60, 262–63; critique of, 9–11, 19, 255–56; inhumanism, 27, 63; posthumanism, 12–14, 17–19, 234–35
  • humanities, 187. See also disciplinarity; and entries for various disciplines
  • human rights, 6, 26, 33–36, 47–48, 49, 55–61, 66–67, 74–75, 136–37, 188–89. See also human, the; NAGPRA; repatriation
  • image: composite, 77–80, 87, 91–92, 116, 118; indexicality, 116, 217, 219, 220, 245–46; interrelational indexicality, 246–47, 250; technomediation, 101–3. See also photography
  • Indianness, 141–42
  • Indigeneity, 25–27, 88, 131. See also Native, the; savage, the
  • Indigenous Archeology Collective, 32–33
  • Indigenous studies, xxvi–xxvii, 9–19
  • intense dreaming. See under dreaming
  • IRL. See Pico, Tommy
  • Ishi, 99–100, 262
  • Israel, 56, 67, 124–25, 127–28, 137
  • Joyas, 196–98
  • Junta de Valladolid, 187–89. See also human, the
  • Kazanjian, David, 12
  • Kennewick Man, 40
  • Kintpuash, 1
  • Kóyo⦁mkàwi Maidu, 213, 228
  • LaPena, Frank, 227, 231, 244, 249–50
  • law, the, xxxiv, 20, 53–58, 68, 129–31, 150–54. See also Antíkoni; genocide; human rights; NAGPRA; violence
  • lesbian intertextuality, 176–82. See also Gould, Janice; Miranda, Deborah; poetics
  • literature, 16–17, 23–24, 190–96, 199–201, 260–63
  • Lloyd, David, 63, 170–71, 200–201, 262, 263
  • luck, 73, 217, 236. See also under California Indians
  • Luna, James, 260–63
  • Madley, Benjamin, American Genocide, An, 150–54
  • Maidu language, 224, 236–38, 253, 257–58; as archive, 236–40, 241. See also Day, Frank
  • Meadows, Isabel, 195–96
  • Miranda, Deborah, 14, 24, 26, 203–11, 260; Bad Indians, xx–xxi, 172–74, 183–87, 190–98, 200–203; use of archives, 171–74, 186, 191–97, 198–99, 201–3. See also Gould, Janice
  • mis/identification, 37, 43–44, 48–49
  • Modoc War, xi, 1
  • Moten, Fred, xvi, xxxi, xxxv, xxxvi, 19, 22; with Stephen Harney, xxv, xxvi, 5–6, 184, 272n34
  • mourning, x, 69–70, 120, 264
  • museums, 38, 52–53, 55, 69, 282n62
  • NAGPRA (Native American Graves Protection and Repatriation Act), 33, 34–38, 40–43, 49–50, 54, 58–60, 74–75
  • Native, the, 11, 96–100, 131, 223. See also human, the; savage, the
  • Native American studies, 25
  • nature, xxiv, 3, 53, 60, 106, 131–32, 187, 262–63. See also human, the; savage, the
  • No Dakota Access Pipeline (NoDAPL), xxx
  • nonway, 171–72, 185–86, 190. See also void
  • ontology: anticolonial, xxxiv–xxxvi, 9–10, 235–36; colonial, xxiv, 11–12, 13–14, 37, 45, 143. See also vitalism
  • orientation, 184–85, 226–27, 242; disorientation as method, xii, xxv, 21, 33, 66, 168–69, 182; disorientation as response, ix, xx–xxi, xxviii, xxxi, 24, 66, 90. See also image; nonway
  • painting. See image. See also Day, Frank
  • Palestinians, 56, 123–26; Nakba, 126, 137. See also Gaza
  • perception from nowhere, xxxvi. See also Fanon, Franz; Moten, Fred
  • petroglyph, 217, 241–43, 249–52. See also Day, Frank
  • Phoebe Apperson Hearst Museum, 37–38, 41–44, 47, 49, 105. See also under University of California
  • photography, 93–94, 102, 105, 116–17, 249; anthropometric, 107–11, 115–16, 118; family, 110–16, 119–20; field photographs, 87; Native, 94–95; salvage snapshot, 87, 91–94, 95–97. See also anthropology; image
  • Piatote, Beth, 69–71, 72–73
  • Pico, Tommy: IRL, 36, 88–91, 257–59, 260
  • poetics, 172, 174–77, 208–11
  • positivism, 50, 52–55, 86, 144
  • poststructuralism, 12
  • primitive accumulation, xxxv, 2, 7–8, 38–39, 43–44
  • property, 45–46, 109. See also governance of the prior; law, the
  • prophecy, xxviii–xxx, 7, 71, 146, 223, 247, 255–56; as response to violence, xxxvii–xxxviii. See also dreaming; Ghost Dance
  • recognition, 4–5, 56–57, 139–40, 154. See also good Indians
  • reconciliation, 9, 70, 161–62, 170. See also good Indians
  • refusal, 4–7, 154, 163, 171, 202, 226–27, 261–62
  • repatriation, 31–34, 40–44, 47, 58–60. See also archaeology; museums; NAGPRA; Vizenor, Gerald
  • representation, 3, 51, 60, 80, 103–5, 247–49; crisis of, 138–40, 142–45, 219–20. See also image; photography
  • research, xv–xvi, 1–4; ethnographic refusal, 2–7; failure, 22–23. See also representation
  • rhetoric, 35, 258–59, 279n6
  • salvage ethnography. See under anthropology; photography
  • savage, the, xxvii, xxxiii–xxxiv, 10–14, 83–84, 131, 223, 225–26, 263. See also Native, the
  • scarcity, xxvi, xxxii, 46, 198–99. See also abundance
  • School of American Research/School for Advanced Research, 61–63
  • Sepúlveda, Juan Ginés de, 187–89
  • settler colonialism, xxiv, xxxii–xxxiv, 19–21, 44–47, 56–58, 138, 258, 260–62; dependence on Indigenous, xiv, xvi, xxii, xxvii, 3, 78–84, 92, 132, 234. See also genocide; good Indians; governance of the prior; humanism; law, the; vitalism
  • silence, 53–54, 58, 68–69, 75
  • Silliman, Benjamin, 46–47
  • Snake War, 1
  • sociality, xx–xxii, xxxv–xxxvii, 163–64, 166–67, 170, 189; genocide (antisociality), 167–77, 201–3, 255–56; Ghost Dance antisociality, xxviii–xxxiii; more-than-human, 61, 73–74, 157. See also bad Indians; dead, the; dreaming; refusal
  • Society for American Archeology, 32–33
  • song-story, 238–41
  • spaces of death, 167–69
  • story, 7–8, 23–24, 51–53, 72–73, 148, 186–87, 194, 198, 260–61; as history, 146–48. See also research; silence
  • tear of the visible, 226–27. See also under visuality
  • temporality, viii, 87, 189–90, 199–200; of the apocalypse, 91; ethnographic present, 87; postapocalyptic, xii, xxviii–xxx, 118–20, 240–41; settler futurity, vii, viii, xi, 1, 187; suspended, 114–15, 116
  • testimony, 136
  • Trinh T. Minh-ha, vii, 5, 233, 258, 260
  • Truth and Healing investigation, xxxiv, 123–24, 128–29
  • UN Convention on the Prevention and Punishment of the Crime of Genocide, 129, 133, 150
  • UNDRIP, 56–57, 59. See also human rights
  • universities, xv–xvi, xxv–xxvi, 131; crisis consensus, xv; as settler colonial tools, xv, 2, 15, 45, 55
  • University of California, 32, 44–47; Berkeley, 33, 42–43, 51–52, 92, 99, 106
  • violence: colonial, 127, 133–38, 167, 221–22; enigmatic, xvi, 8, 217, 220, 256; erasure of colonial violence, 80–83, 87, 90–91, 123–54; legal, 4–5, 135–36; man’s, 183; meaning-making, 138–45; nonviolence, xxviii, xxxii–xxxiii, xxxiv–xxxv, xxxvii, 56
  • visibility, 87, 184, 219, 221–22, 225; invisibility, 222–23; suspension, 219–20, 253. See also Day, Frank; image; photography
  • visuality, 39–40, 52, 132, 219; avisuality, 88, 90–91, 117–19, 225–27, 246; display of ancestors’ remains, 37–40, 65; subterranean, 231–34
  • vitalism, 99, 235–36; nonvitalism, 217, 218, 234, 242, 245
  • Vizenor, Gerald, 34, 35, 47, 77, 242–43; bone courts, 61, 63–67, 69–74; fourth person, 71–73; photography, 94–95, 97–100
  • voice, 2, 33–34, 44, 54–55, 57–58, 60–61; of the inhuman, 69–74, 152–53, 171
  • void, 24, 66, 131, 209. See also savage, the
  • weak power, xvi, xviii, xxvii–xxviii, 7–8, 183–84, 201. See also bad Indians; nonway; story
  • Weiss, Elizabeth. See repatriation
  • witness, 22–23, 67, 68, 145, 261. See also forensic, the
  • worklessness, 256
  • Wovoka, xxix, xxxii–xxxiii, 25
  • writing, 2–3, 34, 74, 202–3; bad writing, 258–60; writing of destruction, 164–67, 170–72, 183; writing of disaster, 9, 19, 21–24; Young, Lucy, 146–47

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The University of Minnesota Press gratefully acknowledges support for the open-access edition of this book from the University of California, Riverside.

Excerpt from Dead Pioneers, “Bad Indian,” copyright 2023 Dead Pioneers; permission courtesy of Gregg Deal. Excerpts from Deborah Miranda’s “Correspondence,” in Indian Cartography, copyright 1999; “Old Territory. New Maps,” in Zen of La Llorona, copyright 2005; “San Francisco Bulletin, May 12, 1859” and “Los Pájaros,” in Bad Indians: A Tribal Memoir; copyright 2013; used with permission from Deborah Miranda. Excerpts from Janice M. Gould’s “Blood Sisters,” in Earthquake Weather, copyright The University of Arizona Press, 1996; “Six Sonnets: Crossing the West,” in Doubters and Dreamers, copyright The University of Arizona Press, 2011; “Ancestors,” in This Music: A Poetic Prose Memoir (forthcoming); used with permission from the Literary Estate of Janice M. Gould.

Portions of chapter 5 are adapted from “Atlas for a Destroyed World: Frank Day’s Painting as Work of Nonvital Revitalization,” in Native American and Indigenous Studies Journal 8, no. 1 (Spring 2021).

Copyright 2025 by the Regents of the University of Minnesota

Indigenous Inhumanities: California Indian Studies after the Apocalypse is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License (CC BY-NC-ND 4.0): https://creativecommons.org/licenses/by-nc-nd/4.0/.
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