Northern Cheyenne Exodus and Negroes Lynching: Historical Novels of Howard Fast in the USSR

The article deals with the historical novels reception of Howard Fast (a writer who was extremely popular in the 1950s, though he is almost forgotten now) in the Soviet Union. Once a USA Communist Party member loyal to the USSR, he became a fierce opponent of Soviet communism. The analysis of the American context uncovers the reasons why the author of left-wing beliefs turned to the genre of a historical novel and peculiarities of the literary market he faced. A close study of Soviet reviews demonstrates that the novels The Last Frontier and The Freedom Road were perceived by Soviet literary critics as Fasts protest against racial discrimination and growing right-wing sentiment. These problems were a matter of urgency against the background of the McCarthy campaign, which Fast fell victim to in 1947. His novel The Freedom Road was put on the stage in Moscow theaters. According to Soviet reviewers, the absence of decadent primitivism set Fast apart from other once-friendly Soviet writers such as Richard Wright and Claude McKay. Within this tradition of exoticism criticism, dating back to the 1920s and 1930s, novels about distant lands were highly appreciated only when ethnographic descriptions were used for consistent social criticism. Being a committed supporter of the concept art as a weapon developed in the Soviet Union, Fast perceived exaggerated exoticism, top-heavy descriptions of historical novels as a sign of escapist literature that ignores the method of dialectical materialism.

Remembering the Battle of Pezi Sla (Greasy Grass—aka Little Bighorn) with the Lakota, Northern Cheyenne, and Arapaho Victory Riders: An Autoethnographic Photo Essay

If one travels to Little Bighorn Battlefield National Park in late June, one can witness at least three events that simultaneously take place each year commemorating what has been called “one of the great mythic and mysterious military battles of American history” (Frosch, 2010). The National Park Service rangers give “battle talks” on the hour to visiting tourists. Two miles away, the privately run U.S. Cavalry School also performs a scripted reenactment called “Custer’s Last Ride”—with riders who have been practicing all week to play the role of soldiers from the doomed regiment of Custer’s 7th Cavalry. On this same day, a traveling band of men, women, and youth from the Lakota, Northern Cheyenne, and Arapaho Nations who have journeyed by horseback and convoy from the Dakotas and Wyoming will reach Last Stand Hill to remember this “Victory Day” from 1876—one that historians have called the “last stand of the Indians” during the period of conflict known as the “Great Sioux War.” This photo essay offers an autoethnographic account of what some have dubbed the annual “Victory Ride” to Montana based upon my participation as a non-Native supporter of this Ride in 2017, 2018, and 2019.

Making Room for Race in Your Classroom Discourse

This chapter explores how the author made room for discussions about race in their high school English Language Arts classroom and how the author's teaching became emotionally responsive as the author embarked upon an identity journey. The classroom discussions were the result of the author's students' lived experiences being reflected in the course readings and then a space being provided to unpack their meanings. The author's journey began with their early years in education and experiencing integration of Native Americans and White students in school. The author's identity journey embodied walking in two worlds but not being accepted in either; the author is both White and Native American. The author looks White but is an enrolled Northern Cheyenne woman. The author began her teaching career on the Northern Cheyenne Reservation as a long-term math substitute teacher at a high school. It was at this school that the author had many experiences unpacking race and learning how to implement emotionally responsive pedagogy.

Cheyenne Odyssey: Representing Removal in an Educational Video Game

This articles reflects on the process of creating digital media in collaboration with Native communities, using the example of Cheyenne Odyssey, a game from Mission US, to argue that such media can illuminate the perspectives of Indigenous peoples for a wide audience while also creating digital repositories for both visual and narrative forms of knowledge. This game takes on the difficult challenge of portraying very sensitive moments of US history to middle school-age children. The game walks the player through the Battle of Little Big Horn, the forced removal of the Northern Cheyenne people, their harrowing journey home again, and even the massacre of Dull Knife’s band at Fort Robinson. The creators of the game brought Cheyenne perspectives to the process by consulting Northern Cheyenne elders, historians, and even school children, as well as archival materials, and scholars of Cheyenne history, including the author. This multifaceted collaboration resulted in a game that presented Cheyenne history in a way that reflected Cheyenne values while providing non-Cheyenne people with an accessible narrative that, nevertheless, disrupts the familiar history of westward expansion in the United States. At the same time, the game makes new a history familiar to every Cheyenne by presenting it in a fresh medium that captivates young people. The public nature of this online game empowers Cheyenne people to take pride in their own historical narratives.