Anthologies

Stories of oppression and survival, of heritage denied and reclaimed -- twenty-two American writers recall childhood in their native land.

A selection of stories, articles, and poems about the Southwest, by D.H. Lawrence, Carl Jung, Sam Shepard and others

The Ecocriticism Reader is the first collection of its kind, an anthology of classic and cutting-edge writings in the rapidly emerging field of literary ecology. Exploring the relationship between literature and the physical environment, literary ecology is the study of the ways that writing both reflects and influences our interactions with the natural world. An introduction to the field as well as a source book, The Ecocriticism Reader defines ecological literary discourse and sketches its development over the past quarter-century. The twenty-five selections in this volume, a mixture of reprinted and original essays, look backward to origins and forward to trends and provide generally appealing and lucidly written examples of the range of ecological approaches to literature. Lists of recommended readings, relevant periodicals, and professional organizations offer direction for further study. The Ecocriticism Reader is an illuminating entree into a field of study fully engaged with our most pressing contemporary problem―the global environmental crisis.

A colorful anthology captures the Pueblo culture through an array of stories, poems, and paintings depicting the Pueblo way of life as well as their celebrations, beliefs, symbols, and more.

In this first-ever anthology of Indigenous science fiction Grace Dillon collects some of the finest examples of the craft with contributions by Native American, First Nations, Aboriginal Australian, and New Zealand Maori authors. The collection includes seminal authors such as Gerald Vizenor, historically important contributions often categorized as "magical realism" by authors like Leslie Marmon Silko and Sherman Alexie, and authors more recognizable to science fiction fans like William Sanders and Stephen Graham Jones. Dillon's engaging introduction situates the pieces in the larger context of science fiction and its conventions. Organized by sub-genre, the book starts with Native slipstream, stories infused with time travel, alternate realities and alternative history like Vizenor's "Custer on the Slipstream." Next up are stories about contact with other beings featuring, among others, an excerpt from Gerry William's The Black Ship . Dillon includes stories that highlight Indigenous science like a piece from Archie Weller's Land of the Golden Clouds , asserting that one of the roles of Native science fiction is to disentangle that science from notions of "primitive" knowledge and myth. The fourth section calls out stories of apocalypse like William Sanders' "When This World Is All on Fire" and a piece from Zainab Amadahy's The Moons of Palmares . The anthology closes with examples of biskaabiiyang, or "returning to ourselves," bringing together stories like Eden Robinson's "Terminal Avenue" and a piece from Robert Sullivan's Star Waka . An essential book for readers and students of both Native literature and science fiction, Walking the Clouds is an invaluable collection. It brings together not only great examples of Native science fiction from an internationally-known cast of authors, but Dillon's insightful scholarship sheds new light on the traditions of imagining an Indigenous future.

A conceptual "course packet" of readings around and inspired by the work of Trinh T. Minh-ha. Driven by the central question "What are we learning from artists today?" the second volume of A Series of Open Questions is informed by themes found in the work of Trinh T. Minh-ha, such as cultural hybridization and fluidity of identity, digital and migratory aesthetics, memory and landscape, decentered realities, feminist approaches to storytelling, meditations on death and myth, post-coloniality and decolonization, and women's work as related to cultural politics. The contributions to Why Are They So Afraid of the Lotus? embody Trinh's own weariness around categorization and investigate the ways production can come from and be based in positions of unknowing.