Taking up Lisa Brooks’s notion of spinning the binary between oral and literary forms and Christopher Teuton’s explication of the graphic mode, this book examines the uses that a range of Anishinaabe authors make of art and artists. Arguing that the mark on a surface - whether it be an ancient pictograph or a contemporary painting - intervenes, in the works under scrutiny, in such artificial divisions as precolonial/oral and postcontact/alphabetically literate societies, the text examines the ways Anishinaabe authors establish frameworks for continuity, resistance, and sovereignty in that space where conventional narratives of settlement read rupture.