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Reviews  highlights the role of federal policy in elevating Native cultural expression at Chemawa,the collective efforts on the part of students to exert cultural agency in an oppressive environment seems to be the real triumph here. Fueled by tectonic cultural shifts rocking the conservative foundations of 1960s America, students at Chemawa began picking up electric guitars and assembling trap sets. Chapter seven focuses in particular on the Chemawa “garage band” the Meteors, a regionally successful group that is emblematic of change at the Chemawa Indian School and within the individual and collective identities of its students. Chapter eight traces the history of the Powwow at Chemawa, from the post–Merriam Report gatherings of the 1930s to the intertribal Powwow Club of today. Parkhurst’s concerted effort to include Native voices in telling Chemawa’s history humanizes a story marked by the dehumanizing legacy of Indian boarding schools. To Win the Indian Heart makes an important contribution to the Indian boarding school literature. It is well written, thoroughly researched, and is useful within the disciplines of American Indian studies,ethnomusicology, and Native American history. Chad S. Hamill Northern Arizona University REGIONALISTS ON THE LEFT: RADICAL VOICES FROM THE AMERICAN WEST edited by Michael C. Steiner University of Oklahoma Press, Norman, 2013. Illustrations, notes, index. 328 pages. $39.95 cloth. In this carefully crafted and absorbing anthology, editor Michael Steiner challenges the notion that regionalism is essentially conservative. He argues that regionalism — “the basic fact that culture varies over space and that people identify with portions of the earth that they inhabit” — is just as much a product of the radical left as the ideological right (p. xi). Fifteen authors explore the work of sixteen leftist regionalists ranging from the well-known, such as Mari Sandoz and John Steinbeck, to overlooked but influential writers and activists such as Carlos Bulosan and Josephine Herbst. During the 1930s and early 1940s, before the Cold War cut short the literary, scholarly, and artistic movements that championed the underdog and social justice, these artists and writers collectively represented an important if neglected voice of the American West. The book’s essays are divided into four sections representing subregions of the West: the Midwest,Great Plains and Texas,the Northern West,and California.The authors focus on the particular ways that artists observed injustice in their region and advocated social change for workers, women, African Americans, and immigrants. As egalitarian dreamers, they felt passionately about their places and the people in them,critiqued how capitalism had ravaged both, and documented and imagined how people in solidarity fought back to create more promising futures. Despite the history of radicalism in the Pacific Northwest, there is but one essay that explores the region’s rich left literature, which, asT.V.Reednotes,waslargelyexpressedinlabor newspapers and radical journals.Reed provides a fascinating overview of Aberdeen native son Robert Cantwell and his evolving politics and writing.A former plywood mill worker in western Washington, Cantwell wrote about immigrant and class divisions and union struggles from his perch as a literary critic in New York City. His most widely acclaimed work, the proletarian novel Land of Plenty (1934), more closelyfollowstheanarcho-syndicalisttradition of the Northwest’s Industrial Workers of the World (IWW), stressing the ability of workers to organize and operate independently of both capitalist and Communist Party directives.  OHQ vol. 116, no. 1 It is this independent radical tradition, also expressed by Native Americans, that may distinguish the western left from its eastern counterparts. In essays about Montanans Joseph Kinsey Howard and D’Arcy McNickle, authors Tim Lehman and William Bevis demonstrate how the two regionalists championed Indian societies as model alternatives to avaricious capitalism. Howard wrote eloquently about how eastern corporations exploited place and people, and his popular history books altered the way people understood the northern Rockies. Like the other artists featured in Regionalists on the Left, Howard not only critiqued the status quo but also sought reform through various projects that engaged Montana communities. In what is regarded as his masterpiece, Strange Empire, Howard speculated how Louis Riel and the Métis people might have created a transnational independent republic in the heart of Canada and the United States...

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