Contemporary American Indian Poetry

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 Course Map

    1. Access-the-Course-Map for Students New to Coursera online and SloPo Courses
    2. Course Overview with Sample Poems and Sample Discussion Thread
    3. The Library
    4. Week One and Two Materials: Ethnopoetics & Shaking the Pumpkin
    5. Jerome Rothenberg Assemblage of Materials: From Ethnopoetics to his own poetry and his work on A Big Jewish Book — texts, audio, video. 
    6. The Q&A with Jerome Rothenberg
    7. Week Three Materials: Contemporary American Indian Poetry
    8. Week Four Materials: Pacific Islander Poetry 
    9. Week Four Materials: Contemporary Caribbean Anglophone Poetry
    10. Week Five Materials: Contemporary African-American Poetry
    11. Week Six Materials: Contemporary Latinx-American Poetry and Performance
    12. Week Seven Materials: Contemporary Asian-American Poetry
    13. Week Eight Materials:  The Ghazal, Contemporary Middle-Eastern and South-Asian Poetry

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nicholas_galanin_i-think----minAbove image: Nicholas Galanin (Tlingit-Unangax) I Think It Goes Like This, 2016 | Courtesy of Eiteljorg Museum of American Indians and Western Art

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Leslie Marmon Silko


Here’s are essay, video and three poems, along with some material on Silko’s 1977 novel Ceremony.

*****LESLIE MARMON SILKO Language and Literature from a Pueblo Indian Perspective (1979)

*****The Invention of White People by Leslie Marmon Silko (poem originally from the novel CEREMONY) (1977)

Watch: An Evening with Leslie Marmon Silko 51:44 

Internationally acclaimed author Leslie Marmon Silko, Laguna Pueblo, delivers the fall Simon Ortiz and Labriola Center Lecture on Indigenous Land, Culture, and Community, at Phoenix’s Heard Museum. This semi-annual lecture series is held through a partnership between the Heard Museum and Arizona State University. Silko delivers a relaxed, informal presentation as she reads from her forthcoming memoir, Turquoise Ledge. Silko has won prizes, fellowships, and grants from such sources as the National Endowment for the Arts and The Boston Globe. She was the youngest writer to be included in The Norton Anthology of Women’s Literature for her short story “Lullaby.” In 1981 she won a John D. and Catherine T. MacArthur Foundation “Genius” Grant. Silko has continued to be a force in American Indian literature in both the fiction and non-fiction genres. The lecture series is sponsored by the Heard Museum and Arizona State University’s American Indian Studies Program, Department of English, Full video available for download from the Internet Archive… Introduction: Fred McIlvain (Library Channel) Frank Goodyear (Heard Museum) Simon Ortiz (ASU) Speaker: Leslie Marmon Silko Episode 102 Running time: 51:44

Watch: Leslie Marmon Silko, How to Connect to Nature, Even in the City 5:09

two additional poems


Ts’ its’ tsi’ nako, Thought-Woman,

is sitting in her room

and what ever she thinks about


She thought of her sisters,

Nau’ ts’ ity’ i and I’ tcs’ i,

and together they created the Universe

this world

and the four worlds below.

Thought-Woman, the spider,

named things and

as she named them

they appeared.

She is sitting in her room

thinking of a story now

I’m telling you the story

she is thinking.

—-Leslie Marmon Silko

6. Lullaby 

The earth is your mother,

she holds you.

The sky is your father,

he protects you.



Rainbow is your sister,

she loves you.

The winds are your brothers,

they sing to you.



We are together always

We are together always

There never was a time

when this

was not so.

—-Leslie Marmon Silko

on Ceremony On goodreads it has 16,820 ratings · 1,309 reviews.

Leslie Silko’s Ceremony- the Spiderweb as Text by Diane Cousineau

Leslie Marmon Silko’s Ceremony and the Effects of White Contact on Pueblo Myth and Ritual Suzanne M. Austgen

Leslie Marmon Silko and Nuclear Dissent in the American Southwest by Kyoko Matsunaga

The Origins of Leslie Marmon Silko’s Ceremony Author(s)- Allan Chavkin and Nancy Feyl Chavkin

Police Zones- Territory and Identity in Leslie Marmon Silko’s Ceremony Author(s)- Karen Piper

How and What to Recollect- Political and Curative Storytelling in Silko’s Ceremony Author(s)- JIN MAN JEONG

Ceremony as Ritual Author(s)- Carol Mitchell

Witchery, Indigenous Resistance, and Urban Space in Leslie Marmon Silko’s Ceremony Author(s)- DAVID A. RICE

Leslie Marmon Silko’s Ceremony- Healing Ethnic Hatred by Mixed-Breed Laughter Author(s)- Elizabeth N. Evasdaughter

Landscape Imagery and Memory in the Narrative of Trauma- A Closer Look at Leslie Marmon Silko’s Ceremony

The Lie of the Land- Native Sovereignty, Indian Literary Nationalism, and Early Indigenism in Leslie Marmon Silko’s Ceremony

The Psychological Landscape of Ceremony Author(s)- Paula Gunn Allen

Towards a Decolonization of the Mind and Text 1- Leslie Marmon Silko’s Ceremony Author(s)- Gloria Bird

Keeping the Native on the Reservation- The Struggle for Leslie Marmon Silko’s Ceremony JEFF KAREM

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Simon Ortiz 

****Who Likes Indians, and- Long Time Ago Simon J. Ortiz

*****Telling About Coyote Acoma Pueblo by Simon Ortiz

****“Culture and Universe” poem

****Towards a National Indian Literature- Cultural Authenticity in Nationalism Simon J. Ortiz

Writing Mother Earth- Red Power Newspapers, Environmental Justice, and Simon J. Ortiz’s Poetry Seonghoon Kim

Translating Oral Performance into Written Narrative: Inter-textual Audience in the Coyote Stories of Simon Ortiz’s A Good Journey

Listen: Simon Ortiz reads poems and sings songs from several books and manuscripts,including his books From Sand Creek, Going for the Rain, and Big Mountain: The People and Land Are Sacred. This is a substatial page with various videos and audio options — as well as detailed accounts of all of Ortiz’s works. I found this excerpt compelling:

Fight Back

In 1980 Ortiz published Fight Back: For the Sake of the People, for the Sake of the Land . This spirited book commemorates “the Pueblo Revolt of 1680 and our warrior Grandmothers and Grandfathers.” Fight Back consists of poems and story narratives that tell both a panoramic and a personal history of the region where Ortiz grew up. Spanning the time from before the arrival of the Spanish in the Southwest in 1539-1540 to the 1980s, the book emotionally chronicles the history of encounters in the troubled region now known as New Mexico. It primarily concerns Pueblo interaction with the Spanish and later with the Anglos, but others, such as the Navajos and Chicanos, have their places in the story, too. Ortiz makes it clear that the underlying assumptions of the conquerors were that land was a commodity to be stolen, sold, or bartered for and that indigenous claims to place, based on continual habitation and sacred obligation, could be dismissed..Out of this struggle over the land base arose, over time, an uncomfortable and wary accommodation of each culture with the values and ways of life of the other. (This story is also told, from a Pueblo perspective, in the videotape Surviving Columbus: The Story of the Pueblo People [1992], written by Ortiz and narrated by his nephew Conroy Chino, a well-known newscaster who is also from Acoma Pueblo.)

Watch Surviving Columbus here:

The main theme of Fight Back is that in spite of their domination by foreign powers for five hundred years, the Pueblo people continue to survive and to maintain their old ways. Pueblos are noted for their resiliency, which is, in part, because of their remaining rooted in their ancestral lands. Whereas other tribes, such as the Cherokees and Creeks, were forcibly relocated by the government in the early 1800s, the relative isolation of the Southwestern tribes allowed them to remain at home. Just as the hand-carved wooden Zuni war gods must all reside in Zuni Pueblo country to ensure abundant rainfall worldwide, so, too, must there be a genuine spirit of cooperation among the Pueblos if they are to continue. Fight Back continues with a recent economic history of the Grants, New Mexico, area, to the north of Acoma. When he was a boy the atomic bomb was tested at White Sands missile range in southeastern New Mexico. Elders among the Pueblos still remember “the false dawn” of that day in 1945 and have lived to cry alarm. Ironically, the radioactive materials employed in the detonation of that prototype bomb, and in the subsequent bombs used by theUnited States government against the Japanese, came from the Laguna-Acoma area, home to people with essentially peaceful agrarian values that promote life. The world’s largest open-pit uranium mine — the Anaconda Jackpile — was located on Laguna Pueblo land adjacent to Acoma; this source of employment was also a source of grave illness and death. Before the health hazards were well known, Ortiz had worked as a uranium miner. The Grants, New Mexico, farming belt that used to call itself “The Carrot Capitol of the World” has contaminated its own soil.

Note: this same uranium mine plays a pivotal role in Leslie Marmon Silko’s novel CEREMONY.


Recommended related title:

Colonial violence is a sticky phenomenon, gumming up the associational matrices of our daily lives and dreamscapes. Edgar Garcia intervenes with a poetic experiment: Every night of the three months of Columbus’s first voyage to the Americas, Garcia read his corresponding journal entry before sleep. Asleep, his mind sutures displacements, migrations, and restorations into an assemblage of hemispheric becoming.

Edgar Garcia is part of an exciting new cohort of Greater American poets (those who cast a revealing light on the hemisphere from Alaska to the tip of Patagonia) who are working towards decoding & re-coding multi-metrical conceptions of historical space-time with the intent of reinvigorating political agencies. Skins of Columbus is a virtuosic exfoliation of nested chronicles that give voice to the heterogeneous temporalities that make for “the people.” —Rodrigo Toscano

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dg nanouk okpik

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Bio: Inupiaq-Inuit poet dg nanouk okpik was raised in an adoptive Irish German family in Anchorage, Alaska. She earned a BFA at the Institute of American Indian Arts and an MFA at the University of Southern Maine’s Stonecoast College.

Okpik’s lyric pastoral poems are set in her native Alaskan landscape and concerned with movement and sensory precision; she often incorporates elements of mapmaking and mythology.

Arthur Sze’s Introduction to Corpse Whale

Corpse_Whale_—-_(Agaviksiuvika_Tatqiq_April)   includes poems “Agaviksiuvika Tatqiq: April,” “The Fate of Inupiaq-like Kingfisher,” “Drying Magma Near Illiamna,” “Days of Next Yesterday”

Corpse_Whale_—-_(Nippivik_Tatqiq_November) includes poems “Nippivik Tatqiq: November,” “Whalebone Wolf Hunters Dance,” “Tonrat the Watchmaker Bestows His Wishes on Her/Me,” “Tulunigraq Something Like a Raven,” She Sang to Me Once at a Place for Hunting Owls,” “In Wainwright’s Musk Oil Spermary,” “Her/My Seabird Sinnatkquq Dream”

Imieauraq’a Ceremony of the Dead by dg nanouk okpik

Addled by dg nanouk okpik

untitled by dg nanouk okpik

Warming by dg nanouk okpik (broadside of “Warming” available)

Her/my Arctic (Corpse Whale by dg nanouk okpik

Loose Inuit Glossary by dg nanouk okpik

Little Brother and Serpent Samna by dg nanouk okpik 

The Pact With Samna by dg nanouk okpik

“Her/My Seabird Sinnakquq Dream”

For the Spirits-Who-Have-Not-Yet-Rounded-the-Bend by dg nanouk okpik

If Oil is Drilled in Bristol Bay (for Sarah Palin) by dg nanouk okpik “The library also offers author talks and workshops thanks to a wide variety of local resources. An interlibrary cooperation grant from the Alaska State Library provided funding to bring poets to the communities of Barrow, Nome, and Kotzebue to present and teach. Joan Naviyuk Kane (Iñupiaq), Ishmael Angaluuk Hope (Tlingit/Iñupiaq), and dg nanouk okpik (Iñupiaq) all traveled to Barrow to share and teach. The poets took the time to visit the classrooms, perform readings, teach workshops, and just listen.”

{ JZ: You do not have to agree with anything in the reviews! Do not read any supplementary materials until you have experienced the poems on their own. At the moment, dg nanouk okpik is my favorite poet — so, I’m sorry to give you so much. I cannot more highly recommend her book Corpse Whale — unlike any other poetry book I’ve experienced.}

Dorine Jennette Reviews Corpse Whale, Poems by dg nanouk okpik

corpse whale review by Jasmine Johnston

Eleni Sikelianos on dg nanouk okpik

Sally McCallum on Corpse Whale (just read down a little…there’s a bit more about dg nanouk okpik’s life)


Native Literatures of Alaska by James Ruppert


The Sovereign Obscurity of Inuit Literature by Keavy Martin

Mapping Resilience Pathways of Indigenous Youth in Five Circumpolar Communities


Radical Presence Author(s)- Jürgen W. Kremer

Finding Fault- Indigenous Seismology, Colonial Science, and the Rediscovery of Earthquakes and Tsunamis in Cascadia Author(s)- Coll Thrush with Ruth S. Ludwin

Settler society’s scientists may not be ready to see earthquakes as moral events, as
indigenous people (and others) did and sometimes still do, but social relations of power
and knowledge have inherently moral dimensions, from which scientific inquiry cannot
easily or ethically be divorced. The rediscovery of indigenous seismology in Cascadia
attests to the power of interdisciplinary inquiry and of the relationship between different
forms of knowledge and their social contexts. That we may all benefit, indigenous and
newcomer alike, should be the goal.”

Newtonian View of Universe is lonely- Atoms in the vast empty space-time is a reflection of the way the modern men feel of their existence Author(s)- Dr. Shigeru Kounosu

Iñupiat Eskimo dictionary (1970) (images from this dictionary below)

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Nuvuk Point Barrow, ALASKA: The Thule Cemetery and Ipiutak Occupation by Anne M. Jensen

Ipiutak_Remains_Mysterious:_A_Focal_Place by Owen K. Mason

The_Ipiutak_Cult_of_Shamans_and_Its_Warriors by Owen K. Mason

Animals as Agents: Hunting Ritual and Relational Ontologies in Prehistoric Alaska and Chukotka by Erica Hill


1) While we’re here, why not check out what’s going on at the Anchorage Museum of Art?

“The Anchorage Museum sits on the traditional homeland of the Eklutna Dena’ina. The Museum is committed to recognizing and honoring the land, culture and language of the Dena’ina people. We recognize and respect the continuing connection, by Alaska Native people and all Indigenous people, to the land, waters and communities. The Anchorage Museum connects people, expands perspectives, and encourages global dialogue about the North and its distinct environment.”

2) The following is an art project recommended only AFTER YOU HAVE ENTIRELY FINISHED YOUR IMMERSION IN OKPIK’S WORDS. IT IS NOT REQUIRED. It Is not for the faint of heart. WARNING _ IT COULD ALTER YOUR feeling of IMMERSION IN OKPIK’S PARTICULAR Linguistic poetics, her text-based creation of a unique TEMPORALITY AND TIMELANDSCAPE. a photography project by Jonathan Harris The Whale Hunt is an experiment in human storytelling.

In May 2007, I spent nine days living with a family of Inupiat Eskimos in Barrow, Alaska, the northernmost settlement in the United States. The first several days were spent in the village of Barrow, exploring ramshackle structures, buying gear, and otherwise helping the whaling crew to prepare for the hunt. We then traveled by snowmobile out onto the frozen Arctic Ocean, where we camped three miles from shore on thick pack ice, pitching our tents about ten feet from the open water. Boats were readied, harpoons prepared, whaling guns loaded, white tunics donned, a snow fence constructed, and then we sat silently in the -22 °F air, in constant daylight, waiting for whales to appear.

A thousand-year-old tradition, the Inupiat whale hunt provides the community’s annual food supply, currently limited by international law to 22 whales a year. Each spring as the ocean thaws, ice breaks away from the mainland as a single massive chunk, which then floats out to sea, creating a canal of open water called the “lead”. It is through this lead that Bowhead whales migrate north to the Arctic Circle, where they spend summers, surfacing for air every 30-45 minutes en route. We saw hundreds of whales on the horizon, but most were too far away to attack. Finally on the fourth day two whales (each 36 feet long and weighing around 40 tons) were harpooned, hauled up onto the ice using a block and tackle system that resembles a giant tug of war between man and sea, and summarily butchered, the meat and blubber then distributed to the Barrow community. I documented the entire experience with a plodding sequence of 3,214 photographs, beginning with the taxi ride to Newark airport, and ending with the butchering of the second whale, seven days later.

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Layli Long Soldier

Bio: Long Soldier earned a BFA from the Institute of American Indian Arts and an MFA with honors from Bard College. She is the author of the chapbook Chromosomory (2010) and the full-length collection Whereas (2017), which won the National Books Critics Circle award and was a finalist for the National Book AwardShe has been a contributing editor to Drunken Boat and poetry editor at Kore Press; in 2012, her participatory installation, Whereas We Respond, was featured on the Pine Ridge Reservation. In 2015, Long Soldier was awarded a National Artist Fellowship from the Native Arts and Cultures Foundation and a Lannan Literary Fellowship for Poetry. She was awarded a Whiting Writer’s Award in 2016. Long Soldier is a citizen of the Oglala Lakota Nation and lives in Santa Fe, New Mexico.

****WHEREAS by Layli Long Soldier


****(watch) (15 min)

****Talent by Layli Long Soldier

****38 by Layli Long Soldier

****An_Occupied_Language layli long soldier

(listen) Layli Long Soldier: The Sovereign Poet. on the sacred and the useful. (35:12)


Interrogation and Transmigration_ On Layli Long Soldier’s “Whereas” and Mai Der Vang’s “Afterland” – Los Angeles Review of Books

Mandana Chaffa’s comment:

Love that you’re offering us Whereas; Layli Long Soldier was on my initial master list of contemporary female poets, but I just couldn’t get to her in the time we had (next time for sure!)

“WHEREAS the word whereas means it being the case that, or considering that, or while on the contrary; is a qualifying or introductory statement, a conjunction, a connector. Whereas sets the table. The cloth. The saltshakers and plates. Whereas calls me to the table because Whereas precedes and invites. I have come now. I’m seated across from a Whereas smile. Under pressure of formalities, I fidget I shake my legs. I’m not one for these smiles, Whereas I have spent my life in unholding. What do you mean by unholding? Whereas asks and since Whereas rarely asks, I am moved to respond, Whereas, I have learned to exist and exist without your formality, saltshakers, plates, cloth. Without the slightest conjunctions to connect me. Without an exchange of questions, without the courtesy of answers. This has become mine, this unholding. Whereas, with or without the setup, I can see the dish being served. Whereas let us bow our heads in prayer now, just enough to eat;

Even before the content discussion, I’m thinking about how the word Whereas (in repetition) feels in my mouth…

Then the word itself, formal, legal, factual, the way the “law” can supersede the laws of humanity, of nature. How the law can tear asunder what was. How legal language distances us from emotions and experiences.

“This has become mine, this unholding. Whereas, with or without the setup, I can see the dish being served. “

This “unholding,” a word we typically don’t use, which brings to mind “holding”…grasping…having, or “holdings” which has me thinking of properties. Also the freedom of the unholding, seeing things for what they really are. Seeing through all the whereas’s to seeing what, or who, is being served.

And this is too long already, but oh, that last semi-colon! The parts of this document, not yet completed. The implication that there are more whereases to come.

All right. I’m done 😀

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Tommy Pico

Bio: Tommy “Teebs” Pico is author of the books IRL (Birds, LLC, 2016), winner of the 2017 Brooklyn Library Literary Prize and a finalist for the 2018 Kate Tufts Discovery Award, Nature Poem (Tin House Books, 2017), winner of a 2018 American Book Award and finalist for the 2018 Lambda Literary Award, Junk (Tin House Books, 2018) finalist for the 2019 Lambda Literary Award, Feed (forthcoming 2019 from Tin House Books), and the zine series Hey, Teebs. He was the founder and editor in chief of birdsong, an antiracist/queer-positive collective, small press, and zine that published art and writing from 2008-2013. He was a Queer/Art/Mentors inaugural fellow, 2013 Lambda Literary fellow in poetry, a 2017 NYSCA/NYFA Fellow in Poetry from the New York Foundation for the Arts, was awarded the 2017 Friends of Literature prize from the Poetry Foundation, won a 2018 Whiting Award. Originally from the Viejas Indian reservation of the Kumeyaay nation, he now splits his time between Los Angles and Brooklyn. He co-curates the reading series Poets With Attitude (PWA) with Morgan Parker at the Ace Hotel, co-hosts the podcasts Food 4 Thot and Scream, Queen! and is a contributing editor at Literary Hub. @heyteebs

More excerpts from Tommy Pico’s work here:

Nature Poem by Tommy Pico123  (the entirety of what is in the forums)

from Nature Poem

from Nature Poem

from Nature Poem

from Nature Poem

Two from Nature Poem

Two from Nature Poem

Three from Nature Poem

From Tommy Pico’s Book-Length Poem, IRL


*****What’s Lost When a Language Disappears: A third of the Indigenous languages used in America two decades ago have gone extinct, and Congress isn’t doing enough to preserve what remains. By NICK MARTIN December 12, 2019

Listen: “Fire, Vengeance and Grandma”. Two days after poet Tommy Pico’s Grandma Rita passed away, one of the largest wildfires in California’s history engulfed San Diego County. A true tale of love, betrayal and supernatural vengeance from the Kumeyaay nation. 6:13.

Listen: 1/26/2020 – Episode 4: Tommy Pico in the Deep End Friends podcast

Listen: 1/6/2020 – Tommy Pico Filibusters Mortality with Poetry in the New Yorker

******Listen: (We will be reading Morgan Parker soon too!)

Listen: The Deep End Friends Podcast Episode 4: Tommy Pico 01:00:51



The Banal and the Profane by Tommy Pico

The Year in Tension BY Tommy Pico

Tommy Pico’s IRL Is Better Than the Internet – Slog – The Stranger

We’re still here’: Sacred Breath event highlights the resilience of Native American communities: The UW Intellectual House series aims to help preserve Indigenous culture and celebrate Native stories. By Ali Heitmann Contributing writer Nov 25, 2019

How to Pass the Time on a Holiday Commemorating the Destruction of Your Ancestors: A Kumeyaay Poet Makes Plans for Thanksgiving By Tommy Pico

TOMMY PICO FILIBUSTERS MORTALITY WITH POETRY “Feed” is personal history, literary history, American history, and breakup art. By Dan Chiasson

Not Waiting for Inspiration’: An Interview with Tommy Pico by Joseph Osmundson in New York Review of Books

Brooklyn is a Broken Land: on Tommy Pico’s Nature Poem By Lou Cornum -May 11, 2017

Tommy Pico’s Connective Queer Poems by Charles Theonia April 9, 2019 Lambda Literary Review

The Kumeyaay poet who’s disrupting nature poetry: Tommy Pico merges natural and personal history of the arid West from Brooklyn, New York. by Eric Siegel Nov. 13, 2017

THE ‘NATURE POEM’ BUCKING STEREOTYPES ABOUT NATIVE AMERICANS: In his new book-length poem, Tommy Pico sends up Hollywood and literary archetypes with a protagonist who begrudges the great outdoors.ARIANNA REBOLINIJUN 2, 2017 Pico was raised on the Viejas Indian reservation in San Diego County. On the one hand, the land of his native people can be described with great reverence, desert nights that “chill and sparkle and swoon with metal/ lighting up the dark universe.” On the other, that same landscape carries and extends legacies of racism and genocide that Pico is determined not to forget. (“NDN,” in the fourth stanza, is contemporary shorthand for “Indian.”)

BSG #36: All Poets On Deck / Nature Poem Book Squad Goals Listen on Apple Podcasts. Explore the meaning of “nature” with the Squad as we discuss “Nature Poem” by Tommy Pico. TOC 1:04 – What’s your favorite “natural thing?” 12:08 – Book Intro 15:10 – Kelli’s publishing corner 16:48 – what is a nature poem? Is this a nature poem? 35:35 – language and meaning 54:04 – being known and being famous / poetry references 1:07:03 – ratings and Todd’s five things 1:16:03 – the power feedback1:17:23 – what’s on the blog? What’s up next? (music playlist of all songs in NATURE POEM)

Mandana Chaffa’s comment:

I’m a big fan of Tommy Pico’s work, and both the content and form in the first excerpt work so powerfully for me.

Let alone this:

“it’s horrible how their culture was destroyed

as if in some reckless storm

but thank god we were able to save some of these artifacts—history is soimportant. Will you look at this metalwork? I could cry—

Look, I’m sure you really do just want to wear those dream catcherearrings. They’re beautiful. I’m sure you don’t mean any harm, I’m sureyou don’t really think abt us at all. I’m sure you don’t understand theconcept of off-limits. But what if by not wearing a headdress in yr musicvideo or changing yr damn mascot and perhaps adding .05% of personalannoyance to yr life for the twenty minutes it lasts, the 103 young pplwho tried to kill themselves on the Pine Ridge Indian reservation overthe past four months wanted to live 50% more”

The work that the abbreviations do here; shortening the word (shortening the culture). Using the colonizer’s language!

The use of pronouns: how “I” and “we” work here. The conflicts and juxtapositions…

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Articles and Histories

**Couple in The Cage_ Two Undiscovered Amerindians Visit the West – Wikipedia



**Native American Youth and Education on the Reservation – The Atlantic

**Dawes Act – Wikipedia

**American Indian boarding schools – Wikipedia

**Cultural assimilation – Wikipedia

**Detribalization – Wikipedia

**American Indian Religious Freedom Act – Wikipedia

**Indian Child Welfare Act – Wikipedia

**Indian Self-Determination and Education Assistance Act of 1975 – Wikipedia

**Native American Languages Act of 1990 – Wikipedia

**TheHeartbeatofWoundedKneeAmIndHistory1960s-70s, 2016standingrock

Native Literatures of Alaska James Ruppert


**The Sovereign Obscurity of Inuit Literature Keavy Martin

**A Copy Editor’s Education in Indigenous Style: Journalists’ word choices are shaped by colonialism. Here’s how The Tyee is changing that. Tara Campbell 17 Jan 2020

Posttraumatic Stress Disorder and Symptoms among American Indians and Alaska Natives- A Review of the Literature


Teaching Native Literature Responsibly in a Multiethnic Course Channette Romero

Freedom, law, and prophecy- a brief history of Native American religious resistance Author-Lee Irwin

Christianity, civilization, colonialism, and other diseases | Jacket2






Writing Deeper Maps- Mapmaking, Local Indigenous Knowledges, and Literary Nationalism in Native Women’s Writing Johnson, Kelli Lyon


How to mourn-touch | Jacket2 rachel du Plessis

American Indians without Tribes in the 21st Century


Facing the Collective Shadow lilrgen W Kremer and Donald Rothberg


Healing the Impact of Colonization, Genocide, Missionization, and Racism on Indigenous Populations Betty Bastien, Jürgen W. Kremer, Rauna Kuokkanen, and Patricia Vickers

Inowendiwin Peace and Honor Going Back and Forth Between Us Pamela Colorado

Radical Presence Beyond pernicious identity politics and racialism Jürgen W. Kremer

Shamanic Initiations and Their Loss — Decolonization as Initiation and Healing Jürgen W. Kremer

The Genocide of Native Americans- Denial, Shadow, and Recovery A Conversation with Betty Bastien, Jürgen W. Kremer, Jack Norton, Jana Rivers-Norton, Patricia Vickers

Inuit Qaujimajatuqangit: Shamanism and Reintegrating Wrongdoers into the Community Mariano Aupilaarjuk, Peter Suvaksiuq, Felix Pisuk, Pujuat Tapaqti, Levi Iluittuq, Luke Nuliajuk, Ollie Itinnuaq, Jose Angutinngurniq Edited by Jarich Oosten & Frédéric Laugrand


Recommended Books:

Gift of Power- Archie Lame Deer

The Book of Hopi – Frank Waters

Giving Voice to Bear- David Rockwell

Black Elk Speaks

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 Course Map

    1. Access-the-Course-Map for Students New to Coursera online and SloPo Courses
    2. Course Overview with Sample Poems and Sample Discussion Thread
    3. The Library
    4. Week One and Two Materials: Ethnopoetics & Shaking the Pumpkin
    5. Jerome Rothenberg Assemblage of Materials: From Ethnopoetics to his own poetry and his work on A Big Jewish Book — texts, audio, video. 
    6. The Q&A with Jerome Rothenberg
    7. Week Three Materials: Contemporary American Indian Poetry
    8. Week Four Materials: Pacific Islander Poetry 
    9. Week Four Materials: Contemporary Caribbean Anglophone Poetry
    10. Week Five Materials: Contemporary African-American Poetry
    11. Week Six Materials: Contemporary Latinx-American Poetry and Performance
    12. Week Seven Materials: Contemporary Asian-American Poetry
    13. Week Eight Materials:  The Ghazal, Contemporary Middle-Eastern and South-Asian Poetry

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The art on this page is by Nicholas Galanin and will be removed upon request to

“Nicholas Galanin’s work offers perspective rooted in connection to the land and intentionally broad engagement with contemporary culture. For over a decade, Galanin has been embedding incisive observation into his work, investigating and expanding intersections of culture and concept in form, image, and sound. Galanin’s works embody critical thought. They are vessels of knowledge, culture, and technology – inherently political, generous, unflinching, and poetic.

“Galanin’s concepts determine his materials and processes. His practice is expansive and includes numerous collaborations with visual and recording artists, including an ongoing collaboration with his brother and fellow artist Jerrod Galanin, under the moniker Leonard Getinthecar. He is a member of two artist collectives: Black Constellation and Winter Count.

“The substance and execution of his work engage past, present, and future. Through two- and three-dimensional works, and time-based media, Galanin encourages reflection on cultural amnesia that actively obscures collective memory and acquisition of knowledge. Galanin creates sounds moving in time and animals fixed in space. Splintering apart replica carvings, he destroys the outputs of commodified culture, rearranging the pieces to reflect its nefarious effects. He creates petroglyphs in sidewalks and coastal rock, masks cut from books, ceramic arrows in flight, and repurposes handcuffs, which he engraves, formerly used to remove Indigenous children from their families, naming them children’s bracelets.

“Galanin has apprenticed with master carvers and jewelers. He earned his BFA at London Guildhall University in Jewelry Design, and his MFA in Indigenous Visual Arts at Massey University in New Zealand. Nicholas Galanin lives and works in Sitka, Alaska.”



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