Cultures · Writing

Indigenous Writers

Since the beginning of the year, Path with Art staff have a tradition of sharing the work of Native American artists at the start of our weekly staff meeting. In honor of Native American Heritage Month, I wanted to begin sharing out some of these incredible artists that we’ve been learning about and admiring. Let’s start off with some writers, authors, and poets!

Deborah A. Miranda is an enrolled member of the Ohlone-Costanoan Esselen Nation of the Greater Monterey Bay Area in California. Her mixed-genre book Bad Indians: A Tribal Memoir (Heyday 2013), received the 2015 PEN-Oakland Josephine Miles Literary Award, a Gold Medal from the Independent Publishers Association, and was short-listed for the William Saroyan Literary Award. She is also the author of four poetry collections: Indian CartographyThe Zen of La LloronaRaised by Humans, and the forthcoming Altar for Broken Things. She is coeditor of Sovereign Erotics: A Collection of Two-Spirit Literature. Deborah lives in Lexington, Virginia with her wife Margo and a variety of rescue dogs. She is the Thomas H. Broadus, Jr. Professor of English at Washington and Lee University, where she teaches literature of the margins and creative writing. Visit her blog, BAD NDNS.

Buy Bad Indians from an Indigenous-owned bookstore or borrow it from the Seattle Public Library!

Robin Wall Kimmerer is a mother, scientist, decorated professor, and enrolled member of the Citizen Potawatomi Nation. She is the author of Braiding Sweetgrass: Indigenous Wisdom, Scientific Knowledge and the Teachings of Plants, which has earned Kimmerer wide acclaim. Her first book, Gathering Moss: A Natural and Cultural History of Mosses, was awarded the John Burroughs Medal for outstanding nature writing, and her other work has appeared in Orion, Whole Terrain, and numerous scientific journals. She tours widely and has been featured on NPR’s On Being with Krista Tippett and in 2015 addressed the general assembly of the United Nations on the topic of “Healing Our Relationship with Nature.” Kimmerer is a SUNY Distinguished Teaching Professor of Environmental Biology, and the founder and director of the Center for Native Peoples and the Environment, whose mission is to create programs which draw on the wisdom of both indigenous and scientific knowledge for our shared goals of sustainability.

Buy Braiding Sweetgrass from an indigenous-owned bookstore or borrow it from the Seattle Public Library!

Rebecca Roanhorse is a NYTimes bestselling and Nebula, Hugo, and Locus Award-winning speculative fiction writer and the recipient of the 2018 Astounding (Campbell) Award for Best New Writer. Rebecca has published multiple award-winning short stories and five novels, including two in The Sixth WorldSeries, Star Wars: Resistance RebornRace to the Sun for the Rick Riordan imprint, and her latest novel, the epic fantasy Black Sun. She has also written for Marvel Comics and for television, and had projects optioned by Amazon Studios, Netflix, and Paramount TV. Find her Fiction & Non-Fiction HERE. She lives in Northern New Mexico with her husband, daughter, and pup. She drinks a lot of black coffee. Find more at https://rebeccaroanhorse.com/ and on Twitter at @RoanhorseBex.

Buy Black Sun from an Indigenous-owned bookstore or borrow it from the Seattle Public Library!

Joy Harjo is an internationally renowned performer and writer of the Muscogee (Creek) Nation. She is serving her second term as the 23rd Poet Laureate of the United States. The author of nine books of poetry, including the highly acclaimed An American Sunrise, several plays and children’s books, and two memoirs, Crazy Brave and Poet Warrior, her many honors include the Ruth Lily Prize for Lifetime Achievement from the Poetry Foundation, the Academy of American Poets Wallace Stevens Award, two NEA fellowships, and a Guggenheim Fellowship. As a musician and performer, Harjo has produced seven award-winning music albums including her newest, I Pray for My Enemies. She is Exec­u­tive Edi­tor of the anthol­o­gy When the Light of the World was Sub­dued, Our Songs Came Through — A Nor­ton Anthol­o­gy of Native Nations Poet­ry and the editor of Living Nations, Living Words: An Anthology of First Peoples Poetry, the companion anthology to her signature Poet Laureate project. She is a chancellor of the Academy of American Poets, Board of Directors Chair of the Native Arts & Cultures Foundation, and holds a Tulsa Artist Fellowship. She lives in Tulsa, Oklahoma.

Photo by Matika Wilbur

Read some poems by Joy Harjo via Poetry Foundation or borrow a book from the Seattle Public Library!

Stay tuned for more Indigenous Artist highlights!

Writing

Yard Car

by James Thiele

I was walking through my neighborhood on a fine spring day and what I saw through a gap in some bushes made me stop in my tracks. Sitting in the yard was the unmistakable boxy shape of a classic Land Rover, star of many National Geographic TV specials from my youth. But instead of trekking through the Sahara or African jungle it was now parked on the grass in a residential neighborhood of Seattle. It was still covered in colored leaves from the previous fall. It had become something else I remembered from my younger days — a yard car.

As a teenager growing up in a farming region of Indiana, it seemed that every house in the countryside had a car sitting on blocks in the front yard. Not to pick on Indiana though — people from rural areas all across America talk about this. “Yard car” is a generic term for any non-working vehicle sitting in the yard. This includes pickup trucks, tractors, RVs and other more unusual specimens. Once in Washington state I saw a lifeboat from a World War 2 cargo ship in someone’s yard. It was pretty big and rather far from the ocean so it wasn’t there by accident.

No car starts out wanting to be yard car. Every car comes out of the factory shiny and new with a possibly bright future ahead of it. But one day the future yard car won’t start. If another working vehicle is available this one gets left home. Assuming it can’t be fixed quickly and affordably it will be pushed off of the driveway and onto the yard. For awhile the owners will glance at it and mutter “I really ought to get around to fixing that.” But as time passes it inevitably starts getting stripped for parts. Somebody needs a new battery or radio or whatever and the one in the car in the yard will fit. Eventually the tires get removed the car goes up on blocks.

The Land Rover was not the only yard car in my neighborhood. A Ford Mustang from the 1960s was surrounded by weeds which had grown to half the height of the tires. The Mustang’s body looked good and made me wonder why it was sitting in the overgrown grass.

Both the Land Rover and Mustang were out of their respective yards before I moved out of the neighborhood. I’m sure the Mustang sooner or later will make it into the hands of a car enthusiast who will buff it up and show it off on weekends. The Land Rover probably won’t make it back to the Sahara (if it was ever there) but may regain some self esteem four wheeling through the Pacific Northwest backcountry.

But the true yard cars, sitting on blocks in rural front yards, aren’t going anywhere soon. Maybe someday it will get sold for parts or the owner may simply get tired of looking at it and pay to have it hauled away.


I got the idea for this in a writing class at Sound Mental Health (Hi LT).  I wrote it in a Path With Artwriting class (Hi Scott) and recited it at a PWA Showcase (Hi Nikki). It was later published in a small local literary journal.