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NY, Harper & Row, (1981). A discourse on the characteristics and components of an Indian aesthetic and perspective, which attempts to also define the differences between the "Western" world view and that of "primitive" cultures, particularly Native American. A PBS documentary series was launched based on the ideas put forth in this book. Inscribed by the author: "For Hank [i.e., Henry Kurth]/ with much affection & loving friendship/ Jamake." A good association copy albeit, like all of the author’s self-representations as Native American, ethically dubious in retrospect. Recipient's name under front flap. Near fine in a near fine dust jacket. [#026340] $100

Boston, New York Graphic Society, (1976). Highwater was one of the controversial figures in the field of Native American literature. He claimed to be of Blackfeet/Cherokee heritage, but critics disputed that and saw it as yet another case of exploitation of Native Americans -- in this case, Native American heritage and ethnicity itself, and the "authenticity" that comes with it -- by self-promoting whites. For nearly 30 years, though, "Highwater" -- his real name was Jackie Marks -- wrote extensively on American Indian culture and was one of the most visible promoters of Native American interests. He won awards for his writing and his other works, including some from Native American organizations and tribes. His ethnicity may have been a sham -- it was -- but for a time he was an important contemporary literary voice dealing with matters of Native American culture and heritage, with a hefty dose of self-promotion folded in. His writing was prolific, and his books -- on Native American painting, dance, and other subjects -- filled voids left by other writers and became landmarks in their fields. This title, Song From the Earth, an introduction to American Indian painting, and The Sweet Grass Lives On, a subsequent volume that introduced 50 contemporary American Indian artists, together helped launch the trend in collecting contemporary Indian art, and reviving memory of such artists as "the Kiowa Five," from the early 20th century, as well as promoting more contemporary artists. Inscribed by the author. Near fine in a near fine, price-clipped dust jacket worn at the corners and spine extremities. [#016662] $60

NY, Folkways Records, (1978). A long-playing record. Highwater reads from Anpao. Fine in a near fine sleeve, with a "Newbery Honors Book" sticker on the front panel. [#025538] $40

NY, Harper & Row, (1984). The first book in his Ghost Horse cycle, a novel written for young adults and chronicling three generations in the lives of a Northern Plains Indian family in the nineteenth century. Inscribed by the author to Henry Kurth, "in friendship." Fine in a very near fine dust jacket with slight wear at the crown. [#026341] $40

NY, Harper & Row, (1986). The third book in his Ghost Horse cycle. Inscribed by the author "with admiration & affection" in the year of publication. Fine in a very near fine dust jacket. [#026343] $30

Philadelphia, Lippincott, (1977). Second printing of his fourth book under his adopted Indian name, a coming-of-age story for young people told in a manner that N. Scott Momaday called "truly reflective of the oral tradition and the rich heritage of Native American storytelling." The biographical information identifies Highwater as being of Blackfeet/Cherokee heritage, and the book is illustrated by Fritz Scholder, a Luiseno Indian artist, who also provided the dust jacket illustration. Inscribed by the author: "For Hank,/ these tales of the ancient land/ Love, Jamake." The recipient was Henry Kurth, a longtime professor and the co-founder of the Dance Theater of Kathryn Karipides and Henry Kurth in 1969. Highwater, who wrote a book on Native American dance, was the director and choreographer of the San Francisco Contemporary Dancers from 1954 to 1967. Fine in a rubbed, price-clipped, very good dust jacket with the Newbery Honor Book label on the front panel. [#026339] $20

NY, Thomas Crowell, (1978). A novel about the Stephens and Catherwood trips through southern Mexico, Guatemala, Honduras, and the Yucatan peninsula in the 1830s that rediscovered the ruins of the Mayan civilization, record of which had been lost to Europeans by the 19th century, and was entirely new to Americans. Their two books -- Incidents of Travel in the Yucatan and Incidents of Travel in Central America, Chiapas and the Yucatan -- were popular, colorful accounts that were also archeologically important for the highly detailed drawings Catherwood did of the ruins and glyphic writings of the Mayans. Signed by the author,who was representing himself as Native American at the time but was discovered after his death to have no connection to Native American ancestors or tribes. Owner gift inscription on half-title. One corner bumped; very near fine in fine jacket. [#003016] $20

NY, Grove Press, (1992). A novel that continues with the character of Sitko Ghost Horse from his earlier young adult sequence, but which is apparently not aimed at a young adult audience; it is rather an autobiographical novel exploring the issues of ethnicity and identity that dogged Highwater both personally and publicly for many years. Highwater was either a con man or an "Indian wannabe" -- or both -- and his attempt at self-reinvention was met with skepticism in the Native American literature community, if not outright disdain. Inscribed by the author to Henry Kurth "with affection" in the year of publication. Spine lean; else fine in a fine dust jacket. [#026344] $20

NY, New American Library, (1990). Uncorrected proof copy. An extended reflection on, and analysis of, cultural attitudes toward sexuality, and how they embody the central myths of the culture. Fine in wrappers. [#003871] $20

NY, Harper & Row, (1981). Uncorrected proof copy. A discourse on the characteristics and components of an Indian aesthetic and perspective, which attempts to also define the differences between the "Western" world view and that of "primitive" cultures, particularly Native American. Highwater's thesis is that one of the great thrusts of the contemporary era is toward a fusion of the mentality of "primal" peoples with that of Western civilization, giving rise to a new perspective that transcends them both. It is borne out, he says, in many specific ways, such as the trend toward a postmodern aesthetic that challenges old assumptions about what constitute valid experiences. Highwater’s identity challenged a number of notions: he portrayed himself as being of Blackfeet/Cherokee heritage but turned out to be falsely representing himself -- more or less successfully -- for nearly 30 years. Small stain on foredge of pages, otherwise a fine copy in wrappers. [#003867] $20