Native American Literature, A
39. ALEXIE, Sherman. The Business Of Fancydancing. NY: Hanging Loose (1992). The first book of stories and prose poems by this Native American writer of Spokane/Coeur d'Alene descent. This collection received high praise in a New York Times Book Review article presenting an overview of contemporary American Indian literature, presaging a literary career that has continued to more than live up to the advance billing: Alexie was chosen as one of The New Yorker's 20 best American novelists under 40 and has become, in effect, the first Native American writer to be a cultural superstar. He wrote the screenplay for the award-winning film Smoke Signals, based on stories in his collection The Lone Ranger and Tonto Fistfight in Heaven. His 2002 film based on Fancydancing also won numerous awards, and Alexie has been in great demand as a speaker on college campuses and elsewhere. This title was issued simultaneously in hardcover and softcover; the hardcover was reported to have been issued in an edition of 100 copies. This is a review copy of the issue in wrappers. An uncommon book, especially as an advance copy. Near fine in wrappers.
40. ALEXIE, Sherman. Old Shirts And New Skins. Los Angeles: American Indian Studies Center (1993). His third collection of poems and prose poems, with illustrations by Elizabeth Woody. Inscribed by the author in the year of publication: "for ____ -- Thanks for all./ I hope all shines in your life./ Friends,/ Sherman/ 4/1/93." Near fine in wrappers.
41. -. Another copy. Signed by the author in 1994 with an additional drawing and notation: "Ancient symbols thought to be ancient Indian runes are actually remnants of very first bowl of Lucky Charms." Near fine in wrappers. A humorous inscription, characteristic of the wry humor in Alexie's writings.
42. ALEXIE, Sherman. First Indian On The Moon. NY: (Hanging Loose Press) (1993). His fourth collection of stories, poems and prose poems. This is the hardcover issue, reportedly done in an edition of only 500 copies. Signed by the author. Fine, without dust jacket, as issued.
43. -. Another copy. Signed by the author and dated in 1994. Fine without jacket, as issued.
44. -. Same title. The uncorrected proof copy. Fine in wrappers with two pages of publisher's publicity information laid in.
45. ALEXIE, Sherman. The Lone Ranger and Tonto Fistfight In Heaven. NY: Atlantic Monthly Press (1993). His first collection of stories to be published by a major trade publisher. Winner of a special citation for the PEN/Hemingway Award as well as the winner of the 1994 Lila Wallace Reader's Digest Writers' Award. On the strength of this collection, Alexie was chosen as one of Granta magazine's 20 Best Young American Authors; he was also selected to The New Yorker 20. Stories from this collection were the basis of the film Smoke Signals, which won an award at the Sundance Festival, among many others. Signed by the author. Fine in a fine dust jacket.
46. -. Another copy. A review copy, with the publisher's publicity material laid in. Signed by the author. Fine in a fine dust jacket.
47. -. Same title. The advance reading copy. Inscribed by Alexie to another Granta 20 author. A nice association. Fine in wrappers.
48. ALEXIE, Sherman. Reservation Blues. NY: Atlantic Monthly Press (1995). A review copy of his first novel. Inscribed by the author in the month after publication. Fine in a fine dust jacket, with author photo and reading group guide laid in.
49. -. Another copy. Inscribed by the author to Joe [Bruchac] in the month after publication. A nice association copy. Fine in a very near fine dust jacket.
50. -. Same title, the advance reading copy, which was sent to a well-known Chicano/Native American author for review. Signed by the author. Again, a good association copy. Fine in wrappers, with a letter of transmittal from the publisher's publicity rep.
51. -. Same title, the soundtrack. Inchelium: Thunderwolf Productions (1995). A CD of Alexie readings and songs by singer-songwriter Jim Boyd, of the Colville tribe, all based on Alexie's novel. Signed by Alexie on the verso of the cover art. Fine.
52. ALEXIE, Sherman. Indian Killer. NY: Atlantic Monthly Press (1996). A review copy of Alexie's second novel. Inscribed by Alexie to another Granta 20 author. Fine in a fine dust jacket, with publisher's sheet laid in.
53. -. Same title. The advance reading copy. Signed by the author. Fine in wrappers.
54. ALEXIE, Sherman. The Summer of Black Widows. Brooklyn: Hanging Loose Press (1996). A collection of poems and prose poems. This is the trade edition, bound in black cloth. Inscribed by the author "in friendship." Fine in a fine dust jacket.
55. -. Same title, the limited edition. One of 50 numbered copies signed by the author, with the additional handwritten quotation, "The elders knew the spiders carried stories in their stomachs" -- two lines from the title poem. Bound in white cloth; fine in a fine dust jacket.
56. ALEXIE, Sherman. The Toughest Indian in the World. NY: Atlantic Monthly (2000). A review copy of this collection of stories. Signed by the author. Fine in a fine dust jacket with the New Yorker 20 label affixed to the front panel, and the publisher's "comp copies" invoice laid in.
57. -. Same title. The limited edition. One of 250 numbered copies signed by the author. Fine in a fine slipcase.
58. -. Same title. The advance reading copy, marked "uncorrected proof" by the publisher. Fine in wrappers.
59. -. Another copy. Signed by the author. Fine in wrappers.
60. ALEXIE, Sherman. My Architect. [Eugene]: Sandy Tilcock/Knight Library Press, 2004. A broadside poem, attractively designed and printed by Sandy Tilcock at Knight Library Press of the University of Oregon. 8 1/2" x 20". One of 115 numbered copies signed by the author. Uncommon; a very nice production by one of the most highly praised contemporary authors and one of the most highly praised and collected contemporary printers. Fine.
61. ALEXIE, Sherman. Paternity Test. (n.p.): Wood Works, 2004. One of 310 numbered copies of this broadside poem by Alexie, printed together with "Ebbets Field" by Dick Lourie, both poems meditations on the father-son relationship. 11" x 8 1/2". Fine.
62. ALEXIE, Sherman. Grandmother. [Santa Fe]: The Press of the Palace of Governors . A broadside poem. Limitation not stated, but issued in an edition of 30 copies (also issued in an edition of 45 numbered copies as part of the portfolio "Word Hart"). 12" x 18". An attractive and scarce edition. Fine.
63. (ALEXIE, Sherman). NRG 31. (n.p.): (n.p.) [c. 1989]. An "experimental" literary magazine from Portland, Oregon, published by Dan Raphael, a well-known local poet, and printing work by a wide range of poets and other writers, many of them relatively unknown. Alexie contributes the prose poem "Breakaway Bar (#7)," a short piece that has a number of the characteristic touches that have graced his work since -- a sly sense of humor, and an unexpected, transcendent twist. Precedes his first book by three years. Printed on newsprint, in tabloid format. Edge-sunned pages and folded in vertical thirds beyond the natural horizontal newspaper fold; still near fine.
64. (ALEXIE, Sherman). NRG 33 1/3. (n.p.): (n.p.) [c. 1990]. The final issue of this experimental literary magazine -- given number 33 1/3 for "one last spin" for the magazine, which was started in 1975. Alexie contributes the poem "Pow Wow" and the prose poem "Hospital Food." Pages a bit edge-sunned; near fine.
65. ALLEN, Paula Gunn. The Blind Lion. (Berkeley): Thorp Springs Press (1974). Paula Gunn Allen is a Professor of Native American Studies at the University of California, Berkeley, and one of the foremost scholars of Native American literature in the country. In addition, she is a poet and novelist, and has edited award-winning collections of Native American women's writing. This is her scarce first book, a poetry collection. Fine in stapled wrappers.
66. ALLEN, Paula Gunn. Coyote's Daylight Trip. Albuquerque: La Confluencia, 1978. Her second book, a collection of poems published by a small New Mexico publisher. Fine in wrappers.
67. -. Another copy. Inscribed by the author in 1985 to Laura Coltelli, a well-known critic of Native American literature and the author of Winged Words, a collection of interviews with Native American writers: a nice association copy. Creasing near the spine folds; near fine in wrappers.
68. -. Another copy. Warmly inscribed by the author to another writer. Near fine in wrappers.
69. ALLEN, Paula Gunn. Star Child. Marvin: Blue Cloud, 1981. A poetry collection in the series published by the Blue Cloud Monastery in Marvin, South Dakota: an important publisher of writings, especially poetry, by Native American authors over a period of more than a decade. Fine in stapled wrappers.
70. -. Another copy. Warmly inscribed by the author "with respect and admiration" in the year of publication. Fine in stapled wrappers.
71. -. Same title. Issued as Vol. 27, No. 2 of the Blue Cloud Quarterly. Mailing address of Joseph Bruchac. Fine in stapled wrappers.
72. ALLEN, Paula Gunn. A Cannon Between My Knees. (NY): Strawberry Press, (1981). A collection of poems published by poet Maurice Kenny's Strawberry Press, with a cover illustration by Wendy Rose. Trace crown bump; else fine in stapled wrappers.
73. ALLEN, Paula Gunn. Wyrds. (San Francisco): Taurean Horn Press (1987). A collection of poetry. Fine in wrappers.
74. ALLEN, Paula Gunn. Skins and Bones. (Albuquerque): West End Press (1988). Poems, 1979-1987. Fine in wrappers.
75. ALLEN, Paula Gunn and SMITH, Patricia Clark. As Long as the River Flows. NY: Scholastic Press (1996). The stories of nine Native Americans: Weetamoo, Geronimo, Will Rogers, Jim Thorpe, Maria Tallchief, Ben Nighthorse Campbell, Wilma Mankiller, Michael Naranjo and Louise Erdrich; short biographies, written for young adults. Inscribed to Joe [Bruchac] by Patricia Clark Smith. Near fine in a near fine dust jacket.
76. ALLERY, Ginny. Corn Songs. Robbinsdale: Guild Press (1983). Poetry by a writer of mixed Chippewa/Cree/French Canadian descent. Only issued in wrappers. Fine.
77. (American Indian Day). Program for the Sixth Annual American Indian Day. (San Leandro): American Indian Council, 1962. Mimeographed educational booklet, with a schedule for the day, some news, and informational pieces on Indians, including maps of tribal distribution, etc.; five pages folded to make ten; unbound. Near fine.
78. ANFUSO, Linda. Stolen Daughter. Wilton: (Coyote Dreams), 1992. A collection of poems by this Mohawk writer who was removed from her family at a young age and placed in a non-Native adoptive home. Signed by the author, who is also a well-known artist and craftsperson. Fine in stapled wrappers.
79. -. Another copy. Inscribed by the author in the year of publication: "To ___, may you always walk in peace and beauty." Tiny spot front cover; else fine in stapled wrappers.
80. -. Same title. (Wilton): Interset Press (1996). Third printing. Signed by the author. Fine in stapled wrappers.
81. ANNHARTE. (BAKER, Marie Annharte). Being on the Moon. (Winlaw, B.C.): Polestar (1990). A collection of poetry by an Anishinabe writer and activist, her first book. Inscribed by the author to Joseph Bruchac with the message "Nokomis blessing us all." Fine in wrappers.
82. ANNHARTE. (BAKER, Marie Annharte). Coyote Columbus Cafe. (Winnipeg): Moonprint Press (1994). Her second book, humorous and political poetry, with illustrations of Coyote throughout. Fine in wrappers.
83. -. Another copy. Small label shadows to front and rear wrappers; near fine.
The First Native American Autobiography
84. APES, William. A Son of the Forest. The Experience of William Apes, A Native of the Forest. NY: Published by the author, 1829. The Pequot writer's first book, an autobiography, and apparently the first published autobiography of an American Indian, published when he was 30 years old. Apes was born of Pequot parents and raised by whites. He became a Methodist minister, serving as a missionary to, and a leader of, the Mashpee Indians of Cape Cod. Text foxed; a very good copy rebound in brown linen with title in gold on spine.
85. -. Same title. NY: Published by the author, 1831. The second edition, revised and expanded. Front cover detached and covers worn; front free endpaper missing; pages heavily foxed, with outer pages dampstained. The frontispiece portrait is present. Only a fair copy -- a candidate for rebinding -- but an important volume in the history of Native American literature.
86. APES, William. Indian Nullification of the Unconstitutional Laws of Massachusetts, Relative to the Marshpee Tribe: Or, the Pretended Riot Explained. Boston: Jonathan Howe, 1835. The author's fourth book, a testimonial on behalf of the Marshpees (now Mashpees), to whom he was a missionary and an appointed leader, and who had clashed with whites on a number of occasions. Dampstained pages have been rebound in marbled paper boards approximating the original design. The text block is in good condition only, but housed in a fine re-binding. A scarce early book by a Native American author, published four years before he died.
87. AMRSTRONG, Jeannette. Enwhisteetkwa. Walk in Water. (Penticton): (Okanagan Tribal Council) (1982). A children's book, the author's first book. Quarto, illustrated with drawings. Fine in wrappers.
88. -. Same title. Signed by the author. Faint crease on front cover, otherwise fine in wrappers.
89. ARMSTRONG, Jeannette. Breath Tracks. Stratford/Vancouver: Williams-Wallace/Theytus (1991). Poetry by an important Canadian writer and activist, of the Okanagan tribe. Fine in wrappers.
90. ARMSTRONG, Jeannette and CARDINAL, Douglas. The Native Creative Process. Penticton: Theytus Books (1991). "A collaborative discourse" between Cardinal and Armstrong, heavily illustrated with photographs by Greg Young-Ing. Fine in wrappers.
91. ARNETT, Carroll. Then. New Rochelle: Elizabeth Press (1965). Poetry by a writer of Cherokee-French descent, also known as Gogisgi. His first book. Fine in stapled wrappers. Scarce.
92. -. Another copy. Inscribed by the author to Joe and Carol Bruchac in 1982, "your warmness keeps me." Small spot to front edge of front panel; else fine in stapled wrappers. An excellent association copy.
93. ARNETT, Carroll. Like a Wall. New Rochelle: Elizabeth Press (1969). His third book, poetry. Near fine in a rubbed, near fine dust jacket.
94. ARNETT, Carroll. Earlier. New Rochelle: Elizabeth Press (1972). One of an unspecified number of hardcover copies, of a total edition of 400 copies. Inscribed by the author to Joseph and Carol Bruchac in 1982, a nice association copy. Fine in publisher's cardboard slipcase, which is near fine.
95. ARNETT, Caroll. Come. New Rochelle: Elizabeth Press (1973). The hardcover issue of this collection of verse. Issued in an edition of 400 copies total, only 200 of which were hardcover. Fine without dust jacket, as issued, lacking the publisher's plain card stock slipcase.
96. ARNETT, Carroll. Tsalagi. New Rochelle: Elizabeth Press (1976). Poetry, one of 300 copies. Very near fine in self-wrappers.
97. ARNETT, Carroll. South Line. (New Rochelle): Elizabeth Press (1979). Of a total edition of 250 copies, this is one of 100 bound in boards, printed in Italy on Magnani rag paper. This copy is warmly inscribed by the author to Joseph Bruchac in the year of publication, "in deep admiration/ a warm sky always, brother -- ." Fine in publisher's card stock slipcase.
98. -. Same title. One of 150 copies in wrappers. Initials "JB" (Joseph Bruchac) front flyleaf; fine in wrappers.
99. ARNETT, Carroll. Rounds. Merrick: Cross-Cultural Communications, 1982. Cross-Cultural Review Chapbook #20. Illustrated by Mohawk artist Kahiones (John Fadden) and compiled by Joseph Bruchac. Fine in stapled wrappers.
100. -. Another copy. Initials "JB" (Joseph Bruchac) front flyleaf, and fingerprint lower rear cover; else fine in stapled wrappers.
101. (Arrow). Arrow I-IV. (n.p.): Bureau Of Indian Affairs/Pacific Grove Press, 1969-1972. Edited by T.D. Allen. The first four volumes (of six, total) in this series of small volumes collecting Indian high school students' works. The project was funded by the Bureau of Indian Affairs, with foundation support, to stimulate creative writing among Indian high school students. Each volume is issued without dust jacket and with a print of a painting tipped to the front cover: Volume III bears a detail from an R.C. Gorman painting. Volume IV has a preface by N. Scott Momaday and a short note by the poet William Stafford. The cover painting has come loose on Volume II but is present. All volumes bear tape or tape shadows on the pastedowns from where acetate jackets were fastened; else fine.
102. (Art). PETERSEN, Karen Daniels. Howling Wolf. A Cheyenne Warrior's Graphic Interpretation of His People. Palo Alto: American West Publishing (1968). Artwork created by a Cheyenne captured during the Plains Indian wars of the 1870's, together with historical text putting the artwork in context. Quarto, illustrated with black and white and color plates. Fine in a very good dust jacket sharply rubbed along the rear flap fold and with several short edge tears, one internally tape mended.
103. (Art). HOLM, Bill. Crooked Beak of Heaven. Seattle: University of Washington Press (1972). Published as Index of Art in the Pacific Northwest, No. 3. This volume focuses on masks and other ceremonial art of the Northwest coast. Heavily illustrated with black and white photographs, focusing on traditional, historical artworks as well as more recent works. This is the simultaneous issue in wrappers. Near fine.
104. (Art). ADAMS, Clinton. Fritz Scholder. Lithographs. Boston: New York Graphic Society (1975). Lithographs of American Indian subject matter by an artist who is one quarter Indian, and whose work strives to transcend the "visual and psychological cliché" of the romantic notion of Indians created by generations of non-Indian artists. Fine in a near fine dust jacket with one tear on the front panel. Heavily illustrated with color plates. Signed by Scholder on a tipped-in bookplate, and with an autograph noted signed by the artist on his stationery laid in.
105. (Art). KABOTIE, Fred and BELKNAP, Bill. Fred Kabotie: Hopi Indian Artist. Flagstaff: Museum of Northern Arizona and Northland Press (1977). Oblong quarto. An autobiography of the Hopi artist, along with numerous photographs and color reproductions of his artwork. Inscribed by the author in 1980: "To ____/ You will be welcomed at/ any time to visit us at Shongopavi/ Village..." Kabotie has also annotated one of the photographs, pointing out the tribal chief and his own father and uncle. Pages foxed; very good in a near fine dust jacket.
106. -. Another copy. Fine in a fine dust jacket with one tiny edge tear at the spine crown. A very nice copy.
107. (Art). PETERSON, Susan. The Living Tradition of Maria Martinez. Tokyo/NY: Kodansha (1977). The first and only monograph on the Martinez family of potters, who were responsible for reinvigorating the San Ildefonso style of Pueblo pottery, beginning in the early 1900s and now one of the most sought after and heavily collected styles of southwestern ceramics. Minor cloth mottling; near fine in a fine dust jacket.
108. (Art). Kiowa Indian Art. Santa Fe: Bell (1979). Reissue of a 1929 portfolio of art by contemporary Kiowa Indians, including four of the "Kiowa Five," as they were called: Monroe Tsatoke, Stephen Mopope, Jack Hokeah, Spencer Asah, along with Louise Bou-Ge-Tah Smokey. Contains 30 color lithographs of their work, along with the original introduction by Oscar Brousse Jacobson and a lengthy introduction to the reissue by Jamake Highwater, who provides more background and some analysis of the artists' influence on American Indian artists to come. The text is in a saddle-stitched folio in wrappers, and the prints are laid into a folding chemise. This is one of 750 numbered copies signed by Jamake Highwater. An elaborate production of a group of historically significant artworks. Fine.
109. (Art). TSONAKWA and YOLAIKIA. Welcome the Caribou Man. (San Diego): (San Diego Museum of Man) (1992). A catalog of the work of these Abenaki artists, a husband and wife who work in traditional media of the Abenaki, including stone, wood and deer antler. Signed by Tsonakwa. Small oblong quarto; fine in wrappers. Heavily illustrated with photographs in color and black and white.
110. (Art). Native American Lives. (n.p.): National Museum of the American Indian, 1994. One of 1500 numbered copies prepared for the Gala Celebration commemorating the opening of the George Gustav Heye Center of the National Museum of the American Indian and reproducing photographs from the permanent collection. With a message from the Director of the Museum, W. Richard West, a Cheyenne, and an introduction by N. Scott Momaday, the Kiowa novelist and artist. Inscribed by West in 1997: To Jean Erdman Campbell [choreographer and wife of Joseph Campbell]/ An inspiration to us all!/ From your friends at/ the National Museum/ of the American Indian./ With our deepest gratitude/ Rick West/ John Colonghi/ Lon Saavedra." The inscription is written in one hand, presumably West's. A significant association copy. Fine, without dust jacket, as issued.
In Dust Jacket, and Inscribed by the Author
111. "ATALIE, Princess" aka Iva J. Rider. The Earth Speaks. NY: Fleming H. Revell (1940). A collection of inspirational, nature-centered tales adapted from Cherokee legends, by a writer of Cherokee descent. Rider was the daughter of Thomas Rider, aka Domgeske Unkalunt, a member of the Oklahoma legislature and part of a large Cherokee family. She was a singer, musician and artist as well as a writer, and an important advocate and promoter of Native American culture. She founded the First Sons and Daughters of America, and also performed in an opera based on Indian themes, and which was created for her. Much of this book recounts tribal tales, including many that deal with the origins of particular flowers and plants, and she recounts the tales with a poetic sensibility rather than in a strictly historical manner. Illustrated with numerous full-page drawings by Rider and warmly inscribed by the author and signed "Atalie Unkalunt." Interestingly, the recipient was Alice Stickney Kafka, a woman related by marriage to the writer Franz Kafka (her father-in-law was the brother of Franz's father). A fine copy in a good, edge-chipped dust jacket with a vertical crease to the spine. An uncommon book in dust jacket, and especially scarce in jacket and signed.
112. -. Another copy. Inscribed by the author and signed "Atalie, Princess of the Cherokees." Fine in a very good dust jacket with one small chip at the crown and another at the upper edge of the rear panel.