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BEYOND THE GLITTERING WORLD by Stacie Shannon Denetsosie

BEYOND THE GLITTERING WORLD

An Anthology of Indigenous Feminisms and Futurisms

edited by Stacie Shannon Denetsosie , Kinsale Drake & Darcie Little Badger

Pub Date: Nov. 4th, 2025
ISBN: 9798890920300
Publisher: Torrey House Press

A collection of more than 20 Indigenous writers carving out space in the literary canon.

“We are many and diverse cultures, histories, and present-day realities…There’s incredible beauty in this, our variety,” the editors write in their introduction. Featuring Indigenous writers of poetry and prose, including women, two-spirit people, and people of marginalized genders, the collection places particular emphasis on emerging writers: “We hold the door open behind us and encourage others to do the same.” Rooted in the past, present, and futures (both real and imagined), Indigenous language, culture, resilience, sorrow, hope, and traditions are fully realized in this collection. In A.J. Eversole’s engaging “Dilasulo Walks,” Little Dilasulo, a pair of moccasins that yearns to be worn, finds sentience after 177 years. Little Dilasulo fears that Indigenous people’s art, like themself, will forever be trapped within museums as “the aftermath of our apocalypse.” Imbued with science fiction and horror elements, Moniquill Blackgoose’s “Sky Woman Rising: A Memoir” and Denetsosie’s “No Wrong Roads Home” notably explore the apocalypse as a way back to humanity and the Earth (“All Natives have lived in a dystopia since colonization,” Denetsosie writes). Poetry standouts include Ayling Dominguez’s “Alfabetízate Otro Mundo: Reverse Abecedarian Broke Open” (“The path to liberation gets wider the more of us tread it”); Ha’åni Lucia Falo San Nicolas’ “Kahilinā’i” (“our shared being as / women of the Pacific. I knew / you long before I learned your // name…”); Arielle Twist’s “In the beginning, it’s just you and me against the world” (“My haunting will be one of longing / to love something as you have loved me”); and Amelia Vigil’s “Splice of Genetic Material” (“these bones / these bones // are on loan”). Though the collection’s organization can feel jarring at times, the interconnectedness of the writing and the writers—as Indigenous people, stewards of the land, and keepers of history—serves as the anthology’s beating heart.

An enduring collection straddling time, language, and genre to explore Indigenous futures that await on and off the page.