Native American Literature, A

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29. ADAMS, Richard C. A Delaware Indian Legend and the Story of Their Troubles. Washington, D.C.: (n.p.), 1899. A tribal legend in verse, written by a member of the Delaware tribe, along with a number of treaties, letters and other documents relating to the treatment of the Delaware tribe in their dealings with the U.S. Government. Illustrated with photographs. Also includes three other poems by the author -- including a poem "To the American People" and one "To the Delaware Indians." Rubbing to the cloth, particularly along the spine; still near fine, without dust jacket. Quite scarce.

30. ALEXIE, Sherman. Old Shirts And New Skins. Los Angeles: American Indian Studies Center (1993). His third collection of poems and prose poems, which precedes his collection The Lone Ranger and Tonto Fistfight in Heaven, which earned Alexie a place on Granta magazine's list of the 20 best young American authors. Illustrations by Elizabeth Woody. Blurbs by Linda Hogan and Simon Ortiz. Only issued in wrappers, but in two slightly different sizes. This copy measures 7 1/16" x 10 1/16". Signed by the author. Fine.

31. ALEXIE, Sherman. The Lone Ranger and Tonto Fistfight In Heaven. NY: Atlantic Monthly Press (1993). The advance reading copy of his first collection of stories to be published by a major trade publisher. Winner of a special citation for the PEN/Hemingway Award; winner of the 1994 Lila Wallace Reader's Digest Writers' Award. Stories from this collection were the basis of the film Smoke Signals, which won an award at the Sundance Festival. Trace bump; else fine in wrappers.

32. -. Same title, the first British edition. London: Secker & Warburg (1994). Issued in self-wrappers in the U.K. Signed by the author. Fine. Presumably a very small first printing there.

33. ALEXIE, Sherman. First Indian On The Moon. NY: (Hanging Loose Press) (1993). The uncorrected proof copy of his fifth book, his fourth collection of stories, poems and prose poems. Fine in wrappers, with two pages of publisher's promotional material laid in. In our experience, a very scarce proof, as is usually the case with small press publications.

34. ALEXIE, Sherman. Reservation Blues. NY: Atlantic Monthly Press (1995). His first novel. Fine in a fine dust jacket and signed by the author.

35. ALEXIE, Sherman. Indian Killer. NY: Atlantic Monthly Press (1996). The advance reading copy of this novel. This was the author's "breakthrough" book, in terms of commercial success, with an announced first printing of 75,000 copies. Fine in wrappers.

36. -. Same title, the trade edition. Fine in a very near fine dust jacket with shallow scratching to the rear panel.

37. -. Same title, one of 100 numbered copies of the trade edition signed by the author on a tipped-in colophon. Fine in a very near fine dust jacket with a bit of rubbing to the rear panel. Oversubscribed very soon after publication.

38. 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. Fine in a fine dust jacket. Signed by the author.

39. ALEXIE, Sherman. Autograph Postcard Signed. January, 1997. A brief note agreeing to sign a book. Written on the verso of a Roy Lichtenstein flag print. Signed by the author. Fine.

40. ALEXIE, Sherman. Smoke Signals. NY: Hyperion/Miramax (1998). Alexie's screenplay for the film based on The Lone Ranger and Tonto Fistfight in Heaven. With an introduction and scene notes by Alexie. Only issued in wrappers. Scratched on the rear panel; near fine. Signed by the author.

41. ALEXIE, Sherman. The Man Who Loves Salmon. (Boise): Limberlost Press, 1998. Poetry, a limited edition, attractively printed and bound. One of 100 numbered clothbound copies signed by the author and by the artist Charlene Teters. Fine, without dust jacket, as issued.

42. (ALEXIE, Sherman). The Raven Chronicles, Vol. 2, No. 2. (Seattle): (Raven Chronicles) (1992-1993). A magazine of multicultural art, literature and the spoken word. Alexie contributes the poems, "Tradition" and "The Illustrated Book of Visions." Fine in stapled wrappers.

43. (ALEXIE, Sherman). Forkroads, Vol. 1, No. 1. (Spencertown): (Forkroads Press) (1995). The premier issue of this journal of ethnic-American literature, with four poems by Alexie. Fine.

44. ALFORD, Thomas Wildcat. Civilization. Norman: U. of Oklahoma Press, 1936. A memoir, as told to Florence Drake, of one of the "Absentee Shawnees," a band of the tribe that separated from their tribal brethren and went their own way, never fighting the United States Army and never relying on the annuities given out by the U.S. government to the conquered tribes. An early volume in the University of Oklahoma's important "Civilization of the American Indian" series, probably the longest-running publishing venture addressing American Indian history and issues. A 1937 gift inscription on the front flyleaf; significant chipping to the spine label; otherwise a very good copy, lacking the dust jacket. Illustrated with photographs.

45. 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. Inscribed by the author in 1985 to a well-known critic of Native American literature: a nice association copy. Creasing near the spine folds; near fine in wrappers.

46. -. Another copy. Signed by the author. A couple small spots, some minor edge fading; still about near fine.

47. 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. This issue published as Vol. 27, No. 2 of the Blue Cloud Quarterly. Labeled for mailing; fine in stapled wrappers.

48. ALLEN, Paula Gunn. The Sacred Hoop. Boston: Beacon Press (1986). A collection of essays on "Recovering the Feminine in American Indian Traditions" -- the first book of criticism by a writer who is now noted as one of the foremost scholars of Native American literature, as well as being a poet and a novelist. Signed by the author. Boards very slightly splayed; else fine in a near fine, price-clipped dust jacket.

49. -. Same title, the uncorrected proof copy. Faint scratch to rear cover; near fine in wrappers.

50. (ALLEN, Paula Gunn). Visions of Color: Four Ethnic Women Writers. (n.p.): (Washington State University), 1990. A poetry collection issued, hors commerce, to coincide with a conference featuring Paula Gunn Allen, Lorna Dee Cervantes, Laureen Mar and Jayne Cortez. Signed by Paula Gunn Allen. Fine in stapled wrappers. An uncommon item.

51. (American Indian Movement). Poster. (n.p.): (n.p.) (1973). "The Spirit of the Past Will Rise to Claim the Future. Wounded Knee." A poster created by AIM during the siege at Wounded Knee, one of the pivotal events of recent American Indian history. The poster alludes to the date of the Wounded Knee massacre -- December 28, 1890 -- and the date of the AIM occupation, March, 1973. The letters "aim" in the word "claim" are highlighted, presumably a reference to the contemporary activists involved in the occupation. A striking image. Three color. 19" x 25". Fine. [See illustration.]

52. ANAUTA and WASHBURNE, Heluiz Chandler. Land of the Good Shadows. The Life Story of Anauta, an Eskimo Woman. NY: John Day (1940). Third printing of this memoir, co-written by its subject. Inscribed by Anauta, with an English inscription and her name signed both in English and in her native language. Spine cloth foxed; near fine, lacking the dust jacket.

53. APES, William. A Son of the Forest. The Experience of William Apes, A Native of the Forest. Comprising a Notice of the Pequod Tribe of Indians. Written by Himself. NY: Published by the author, 1829. First edition of the Pequot writer's first book, an autobiography, and apparently the first published autobiography of an American Indian. A revised second edition was done in 1831, and Apes published several other books during the decade of the 1830s. 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. This is a small volume, a 12mo, in contemporary marbled paper boards that are rubbed along the edges. Rebacked in cloth tape; owner signature on flyleaf; foxing to pages. A good copy of a rare and important volume in the history of printed works by Native American writers. Although we have now handled this book several times, it is extremely scarce: only one copy has turned up at auction in this country in the last 45 years. A key volume in the history of published writings by Native American authors.

54. -. Same title, the 1831 revised and expanded edition. Front free endpaper missing; pages heavily foxed, with outer pages dampstained; chipping to the marbled paper covering the boards and rubbing to the board edges and spine lettering. Fair.

55. 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 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.

56. ARNETT, Carol. Come. New Rochelle: Elizabeth Press (1973). First edition of this collection of verse by a writer of French and Cherokee descent, who is also known as Gogisgi. One of 400 copies. Fine in self-wrappers.

57. (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. All volumes bear tape or tape shadows on the pastedowns from where acetate jackets were fastened; else fine. For the set:

58. (Art). RAY, Dorothy Jean. Artists of the Tundra and the Sea. Seattle: U. of Washington Press, 1961. A study of Eskimo carvers, resulting from the author's field work and her study of various important museum collections. Illustrated with photographs. An owner name and a short owner inscription on the flyleaf; else fine in a near fine, price-clipped dust jacket.

59. (Art). New Dimensions in Indian Art. (Scottsdale): (Scottsdale National Indian Arts Council) (1965). A collection of essays and biographical sketches published following the Fourth Annual National Indian Art Exhibition. Includes "As an Artist" by R.C. Gorman and brief biographical sketches of Gorman, Al Momaday, Beatien Yazz, Robert Chee, and many others. One small spot to front cover and first blank; near fine in stapled wrappers. An uncommon, early appreciation of some of the contemporary Indian artists whose work has become widely known and collected in the years since this was published.

60. (Art). Contemporary Sioux Painting. (Rapid City): (Tipi Shop) (1970). The catalogue of an exhibition released through the Sioux Indian Museum and Crafts Center and organized by the Department of the Interior. Profiles a number of noted Sioux artists, with black & white reproductions of their artwork. Quarto. Rubbed; near fine in wrappers.

61. -. Another copy. Dampstaining near spine crown; near fine.

62. -. Another copy. Rear cover dampstained; very good.

63. (Art). Inunnit. The Art of the Canadian Eskimo. (Ottawa): (Information Canada)/Minister of Indian Affairs (1974). Later printing of this study of a number of Canadian Native artists, heavily illustrated with examples of their work. Quarto. The map that serves as endpapers is unglued from the covers, as is typical with this title, although still firmly attached to the text block; overall, very good in wrappers.

64. (Art). Art and Indian Individualists. Flagstaff: Northland Press (1975). "The Art of Seventeen Contemporary Southwestern Artists and Craftsmen." Edited by Guy and Doris Monthan. Profiles a number of Southwestern Indian artists, with numerous examples of their artwork. This is the limited edition: one of 150 numbered copies specially bound and signed by the editors and the artists, including R.C. Gorman, Fritz Scholder and Allan Houser. A beautiful production: large quarto, heavily illustrated with many color reproductions of the artwork. Fine in a fine slipcase.

65. (Art). T.C. Cannon. NY: Aberbach Fine Art (1979). A catalog for a memorial exhibition held after Cannon, "Pai-doung-u-day" -- an influential Kiowa-Caddo artist -- was killed in a car accident. A hardcover book, printed in silver on black paper; heavily illustrated in black & white and color and containing excerpts from Cannon's journals, biographical notes, and remembrances of others. Fine, without dust jacket, as issued.

66. (Art). National American Indian Women's Art Show. Washington: Via Gambaro Studio-Gallery, 1980. Catalogue of an exhibition of works by Native American women. 28 pages, illustrated with photographs of the artworks and the artists, and including biographical text about each of the exhibitors. Creasing to cover and a few page corners; very good in stapled wrappers.

67. (Art). FEDER, Norman. American Indian Art. NY: Harrison House/Harry N. Abrams Inc. (1982). A reissue of a volume that first appeared in the late 1960s. A massive quarto, with 300 illustrations, including 60 full color plates. Text block sagging slightly, which seems inevitable; else fine in a fine, price-clipped dust jacket with a light crimp at the crown.

68. (Art). Art of the Seventh Generation: Iroquois Symbols on Canvas and Paper. Binghamtom: Roberson Center for the Arts and Sciences (1986). Catalog of an exhibition of Iroquois artists, with brief biographical notes on each artist and reproductions of selected works in black & white and in color. Oblong quarto; fine in stapled wrappers.

69. (Art). After 5 P.M. and On Weekends. Santa Fe: Institute of American Indian Arts (1991). The catalog of a faculty art exhibition at this federally chartered art school for American Indians and Eskimo natives. Includes the vitae of the artists and black & white reproductions of selected works. Quarto. Fine in stapled wrappers.

70. (Art). Visions of Power. (Toronto): (Earth Spirit Festival) (1991). Catalog of an exhibition of contemporary art by First Nations Inuit and Japanese Canadians. With essays by Alfred Young Man, Bryce Kanbara and Ingo Hessel. Oblong quarto. Mildly rubbed; near fine in wrappers.

71. (Art). Land Spirit Power: First Nations at the National Gallery of Canada. (Ottawa): National Gallery of Canada, 1992. The catalog of the exhibition, including portraits of the artists, an essay on "Kinds of Knowing," and a critical history of exhibitions of First Nations art. Quarto, heavily illustrated in color and black & white; fine in self-wrappers.

72. (Art). Inuit Women Artists. (San Francisco): (Chronicle Books) (1996). The first American edition of this catalog of an exhibition of the work of nine Cape Dorset artists, with the commentary of three Inuit writers. Quarto; heavily illustrated. One slight corner bump; still fine in self-wrappers.

73. "ATALIE, Princess." 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. Much of the book recounts tales that deal with the origins of particular flowers and plants. Illustrated with drawings by the author. Near fine in a very good, edge-chipped dust jacket. A somewhat uncommon book and, in our experience, very scarce in dust jacket; this is the first copy we have seen with its dust jacket intact.

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