"Old meets New" - Brent Learned. ©Brent Learned, reproduced with artist's permission.
Cathy Coevell Waegner leads us through an intense and welcome consumption of selected works of Vizenor and Stephen Graham Jones, a post-Halloween pre-Thanksgiving discussion of incarceration and interstates, complete with cannibals, clowns, and wiindigoo.In anticipation of the upcoming season, here read “blockbuster releases,” we offer Olena McLaughlin’s essay that looks at the influence of Star Warsin the works of a variety of artists from Susan Folwell to Ryan Singer and Andy Everson, among others, and focuses in particular on the Pop Art and insights of Bunky Echo-Hawk and Steven Paul Judd. Karen Poremski gifts us a careful consideration of a Trevino Brings Plenty poem from his collection Wakpá Wanáǧi. “Little, Cultural, Teapot Curio Exposes People” isa poem of woven creation and other containers, stained with blood and history and the theft of culture and celebration of conquest. Within a basket though, Brings Plenty reminds us is a weaving of links and DNA in other kinds of captivity, the ones no NAGPRA act can loosen. Moving from notions of history to imagining ourselves into the future, Deborah Madsen provides an analysis of “Indigenously-determined” gaming and “the mechanics of survivance,” eloquently building on what she sees as an oft-overlooked nuance of survivance, reminding us that is “not a static object or method but a dynamic, active condition of historical and cultural survival and also of political resistance.” For a contribution to and as a community of scholars, we provide in this issue “Red Pens, White Paper: Wider Implications of Coulthard’s Call to Sovereignty,” a roundtable discussion of Glen S. Coulthard’s Red Skin, White Masks: Rejecting the Colonial Politics of Recognition, which descends from a plenary session at the Native American Literature Symposium in 2016.