A Totem Pole History contains seventy-six photographs, including Joeês most significant totem poles, many of which Pauline watched him carve. She conveys with great insight the stories, teachings, and history expressed by her fatherês totem poles. Eight contributors provide essays on Coast Salish art and carving, adding to the authorês portrayal of Joeês philosophy of art in Salish life, particularly in the context of twentieth century intercultural relations.
This engaging volume provides an historical record to encourage Native artists and brings the work of a respected Salish carver to the attention of a broader audience.
—from “WHEREAS Statements”
WHEREAS confronts the coercive language of the United States government in its responses, treaties, and apologies to Native American peoples and tribes, and reflects that language in its officiousness and duplicity back on its perpetrators. Through a virtuosic array of short lyrics, prose poems, longer narrative sequences, resolutions, and disclaimers, Layli Long Soldier has created a brilliantly innovative text to examine histories, landscapes, her own writing, and her predicament inside national affiliations. “I am,” she writes, “a citizen of the United States and an enrolled member of the Oglala Sioux Tribe, meaning I am a citizen of the Oglala Lakota Nation—and in this dual citizenship I must work, I must eat, I must art, I must mother, I must friend, I must listen, I must observe, constantly I must live.” This strident, plaintive book introduces a major new voice in contemporary literature.