Early Indigenous LiteraturesMain MenuThe Child Who Would be Sovereign: Settler Colonial Frustrations and the Figure of the Child in Gertrude Simmons Bonnin's American Indian StoriesBy: Kai ChaseIllicit Relations: The Challenges and Possibilities of Black and Indigenous Relationssoumya rachel shailendraLegibility and Ambivalence in 19th Century Indigenous Women's WritingAn exhibit on E. Pauline Johnson and Sarah Winnemucca by Emma CohenLyric Histories: An Investigation of Early Black (and) Native America through Poetic Vignettesby Kira TuckerMarriage and Empire in 19th Century Native American Women's Literatureby Angad SinghNot-not blood quantum: the Dawes Act and ambivalent Indigeneityby Yasmin YoonReading Indigenous Authorial Presence in 18th- and 19th-century ParatextsTitle Page for Isabel Griffith-Gorgati's ExhibitResistance on and off the Page: A Collaborative Conversation between Black and Indigenous Literary ContributorsFeaturing James Printer, Katherine Garret, Phillis Wheatley, and John Marrant (17th-18th Century Early Print Culture Participants)- By Lauren JohnsonSpiritual Armies, Resurrected Bones, and “Boundless” Continents: How Indigenous Activists in Early New England Reconfigured Puritan Millennialist NarrativesFeaturing texts of Samson Occom, William Apess, and the Wampanoag Bible. By Surya MilnerSovereignty or Removal: The Conflicting Indigenous Policies of 1835 in the Continental United StatesJulia GilmanWhat Does Water Do For Indigenous Peoples of the Great Lakes Region?Featuring Heid E. Erdrich, Simon Pokagon, Black Hawk, and Simon Kofe by Sarah Nisenson(Re)introducing Black Hawk and The Life (1833)BHR 1-IntroYasmin Yoonf7f231e474bf43796f973cd0ee560919050f7427Lydia Abedeen321b94302eca10e499769fd0179e64cd33bc4cd5Kira Tuckeracf97d948460e98cd439646cc2db7ae17c5ebd9dsarah nisenson7cb5d2c1682fbd145e76716f3924f03bf25c616aKai Chased7cab5968a3a916efd1a14a48cc4832d5d5514aeSoumya Shailendra86c246fcc4aea83787381bffd2b839885bef5096Bennett Herson-Roeserc8289125445a56c819045a0091daf0402b3e0875Surya Milner077f837f3d662fd5ef9055f8258e5c47bb11f714Julia Gilmanb860a8277eea484f91a1a9e0423cab4b52bae522Lauren Johnson98dac03e7c9c1ad41e1c0a8583704e55802f98baAngad Singhd2b8d1d68ec374981c9e99b7cb400803bc678231Emma Cohen146e757b9fc3b3b416edecbf79592e8d743d4ba1Charlotte Goddu2d4c020870148128c7824ece179e04cffe180d95Isabel Griffith-Gorgati985a05928a67a856791fffac3dbba8acc85f6f37
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12022-12-01T11:40:57-08:00sarah nisenson7cb5d2c1682fbd145e76716f3924f03bf25c616a4169610structured_gallery2022-12-04T18:34:31-08:00Lauren Johnson98dac03e7c9c1ad41e1c0a8583704e55802f98baOn this page, I discuss the paratextual materials included with the birch bark text "The Red Man's Greeting" for their sociocultural implications as authenticating documents. I also discuss the technological and ecological considerations of printing upon birch bark.
Contents of this annotation:
1media/rmg by the author_thumb.jpeg2022-12-02T12:58:16-08:00sarah nisenson7cb5d2c1682fbd145e76716f3924f03bf25c616a"The Red Man's Greeting" "By the Author"3Printing on birch bark is a technical challenge, since it had the potential to damage the printing press. Despite this potential damage to the printing press, hundreds of these booklets were produced for the Chicago World’s Fair with an awareness that Pokagon’s white settler audience was enamored with Indigenous birch bark objects at this time (Berliner). Perhaps more overt evidence of Pokagon’s catering to his audience is his departure from the traditional scroll format of Algonquian writing to a booklet. Berliner explains that “this choice may have been made partly because it was easier to print multiple small pages than a long scroll” but notes that “additionally, the booklet format would have been more widely recognizable to his readers as a text” (82). Despite the way that the introductory materials “By the Author” connects this booklet to “untold generations… [for whom] this most remarkable tree with manifold bark used by us instead of paper” Pokagon actually departs from a more traditional manifestation of birch bark writing to make his product more legible as a piece of written text for his white audience. Although the materiality of the birch bark booklet strays from more traditional formats of birch bark scrolls, Pokagon uses the technology of birch bark and the printing press to make his claim on temporal continuity legible to his white audience. What he potentially compromises in form is recapitulated in content: the disappearance of his people, the ecological violence of colonialism, and transformation as a method of endurance in the wake of colonialism.media/rmg by the author.jpegplain2022-12-02T14:10:00-08:00Lauren Johnson98dac03e7c9c1ad41e1c0a8583704e55802f98ba
1media/brief history this one_thumb.jpg2022-12-02T12:57:31-08:00sarah nisenson7cb5d2c1682fbd145e76716f3924f03bf25c616a"Brief History of Simon Pokagon"2media/brief history this one.jpgplain2022-12-02T13:29:19-08:0041.899875,-87.6311805555562022101814305420221018143054Lauren Johnson98dac03e7c9c1ad41e1c0a8583704e55802f98ba
1media/pokagon portrait this one_thumb.jpg2022-12-02T12:57:04-08:00sarah nisenson7cb5d2c1682fbd145e76716f3924f03bf25c616apokagon portrait1media/pokagon portrait this one.jpgplain2022-12-02T12:57:04-08:0041.899808333333,-87.6310972222222022101815074320221018150743Lauren Johnson98dac03e7c9c1ad41e1c0a8583704e55802f98ba
