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Trans-Indigenous: Acknowledgments

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“Acknowledgments” in “Trans-Indigenous”

Acknowledgments

Support for this project was generously provided by a grant-in-aid from the Division of Arts and Humanities at The Ohio State University; a Lannan Summer Institute in American Indian Studies at the Newberry Library in Chicago; an NEH Summer Seminar on “Re-imagining Indigenous Cultures: The Pacific Islands” at the East-West Center at the University of Hawaii–Manoa; a CIES Senior Fulbright Research Scholarship to the Alexander Turnbull Library in Wellington, Aotearoa New Zealand; and the Moore Distinguished Visiting Professorship in ethnic literatures in the Department of English at the University of Oregon. While at Oregon I had the immense pleasure of hosting an event directly related to my research, Indigenous Literatures and Other Arts: A Symposium and Workshop, which received additional support from several departments and programs, the Many Nations Longhouse, and the Office of Institutional Equity and Diversity.

Individual chapters and the book as a whole have benefited greatly from the advice of colleagues and friends who read drafts; from the comments and questions of those who listened to early versions in the form of presentations; and to scholars, writers, and artists willing to engage in sustained conversation. I am especially grateful to Maria Bargh, Susan Bernardin, Lisa Brooks, Alex Calder, Jo Diamond, Allison Hedge Coke, Craig Howe, LeAnne Howe, Shari Huhndorf, Robert Jahnke, David Kukutai Jones, Hugh Karena, Brian Klopotek, Deborah Madsen, Sydney Moko Mead, Beth Piatote, Michelle Raheja, Nigel Reading, Te Ahukaramu Charles Royal, Paul Tapsell, Lisa Tatonetti, Alice Te Punga Somerville, Gail Tremblay, Robert Warrior, and Lydia Wevers. I am also grateful to the editors and anonymous readers at American Literature, American Studies, the Journal of New Zealand Literature, the Journal of Transnational American Studies, Studies in American Indian Literatures, and Western American Literature for their comments on essays that became parts of the manuscript, and to Jason Weidemann at the University of Minnesota Press for making the book a reality.

Special gratitude is owed to my support team at The Ohio State University, Marti Chaatsmith, Shannon Gonzales-Miller, and Christine Ballengee-Morris; my family in Oklahoma; and Joel Tobin, whose unfailing support makes all of this possible.

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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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