![]() Norton published a paperback edition of Joy Harjo’s Poet Warrior that coincided with the release of Harjo’s Catching the Light, part of Yale University Press’s Why I Write series. ![]() In 2022, Milkweed and other independent presses championed books by Native authors in an array of genres, such as the linked-story collections Night of the Living Rez by Morgan Talty (Tin House) and A Calm and Normal Heart by Chelsea Hicks (Unnamed Press). And a salaried, one-year, entry-level fellowship position at Milkweed Editions, created to bring in underrepresented perspectives and enrich the Milkweed team, has so far trained two Indigenous women and fostered Native advocacy at the company. (See “ MacDowell, IAIA Create Fellowship.”) The Audible Indigenous Writers’ Circle, which is going into its third year, provides mentorship and funding for First Nations, Métis, and Inuit writers in Canada. Initiatives supporting emerging writers are gaining steam, among them a new fellowship cosponsored by IAIA and MacDowell artists’ residency center in Peterborough, N.H. “ Renaissance implies there will be a decline, when instead the publishing industry is waking up.” “I don’t want to hear that this is a renaissance period,” says Deborah Jackson Taffa, a citizen of the Yuma Kwaa-Tsaan Nation, a descendent of Laguna Pueblo, and director of the MFA program in creative writing at the Institute of American Indian Arts in Santa Fe, N.Mex. Increased recognition, however, doesn’t mean Indigenous publishing-a shorthand term representing a multitude of experiences and heritages-is a trend. ![]() As Indigenous authors from a variety of traditions increasingly command the market’s attention, and as Indigenous editors join ventures large and small, it seems publishing is paying long overdue attention to people of Native backgrounds.
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