Abstract: My dissertation explores tributary relationships between Algonquin, Siouan, and Iroquoian Indians and English settlers in Virginia, placing the process of political subjection into the heart of narratives of dispossession. Both indigenous Chesapeake and European political traditions shared ideas of tribute as a structure linking unequal, but conceptually autonomous and self-governing, polities in hierarchical relationships of power. By treating colonial tributary relations as a trans-Atlantic political institution, I interpret colonial power struggles in Virginia as a local instance of global battles over sovereignty, jurisdiction, and political subordination within the heart of the unfolding project of settler colonialism. Remarkably durable and continuously shifting, the tributary system and its central ritual of exchanging payments symbolizing subordination for the promise of protection and friendship, provides a powerful lens for understanding the collision of native and English ideas of subjugation that structured colonial interactions in the region. Framing settler colonialism as a contested but unequal political relationship in which subordinated native peoples retained considerable autonomy opens an otherwise obscure era of Virginia’s Native history, in which the English and several dozen Native peoples from the Chesapeake and the Southern Piedmont forged political ties based on a language of friendship and unequal alliance. Drawing on a variety of archival sources, I follow the efforts of small Native polities, who lived in a world of constrained options, to shape the terms of their subordination. Despite numerous disruptions, the tributary system was at the core of both dispossession and resistance in Virginia well into the eighteenth century. Moreover, tributary forms of power continue to structure the experiences of Indigenous peoples in the Chesapeake, the United States, and many of the world’s other settler-states. In Virginia, state-recognized tribes still pay tribute to the governor every fall. In the United States and beyond, indigenous people remain, both theoretically and legally, subordinated yet “sovereign,” or in John Marshall’s phrase, “domestic dependent nations.” By placing political allegiance and subjugation at the heart of settler colonialism, my work expands the scope of dispossession and offers a framework for thinking about contemporary Indigenous politics.







Excerpt: This essay investigates artist and scholar Warren Cariou’s aesthetic attempts to challenge the operational logic and legitimacy of petromodernity, what Stephanie LeMenager defines as “a modern life based in the cheap energy systems long made possible by petroleum” (“Aesthetics” 60). Like all forms of modernity, petromodernity has produced numerous aesthetic responses. Methods of representing petromodernity that rely on its existing operational logic ultimately replicate the same techno-scientific rationality and dislocation that produce the harmful practices these works represent. For instance, recent work by Debra Davidson, Mike Gismondi, and Jon Gordon attends to the ways that proponents of the Alberta tar sands project justify its harms through appeals to reason. As Gordon argues, what may be necessary to disrupt petromodernity and its numerous ills is a form of representation that challenges the logical premises of petromodernity (Gordon xlix). Following Gordon, I offer a formal analysis of Warren Cariou’s creative work, in particular his 2012 “Tarhands: A Messy Manifesto” and his 2014 new media project that he terms petrography, referring to petroleum as both the subject matter and material of the medium. I argue that Cariou’s work spills across form and genre, thereby challenging an aesthetic and form of logic that seeks to sequester the environmental and social ills of petromodernity. Moreover, I make explicit the way irrationality serves as an implicit critique of settler colonialism throughout Cariou’s work.

Writing about Cariou’s short story “An Athabasca Story,” Gordon suggests that we understand “Cariou’s call for an ‘irrational response’ to bitumen extraction as an attempt to expose the flaws in the ‘rational’ and ‘common sense’ logic of capitalism, a move to ‘uncommon sense’”(107). In a recent essay cowritten with Cariou, Gordon extends this analysis to Cariou’s petrographs. Arguing that “literature has the potential to interrupt the relentless justifications and rationalizations of and for the status quo,” Gordon explains that petrographs “are a new medium for such interrupting” (3). Formal analysis can demonstrate the faulty logic of petromodernity, but in order to account for the amplified ways that logic affects Indigenous communities, the analysis needs to be informed by theories of settler colonialism. I argue that Cariou’s disruptive and formally innovative work is not only a critique of the logic of capitalism or petromodernity but also a critique of settler colonialism, which also operates through a logic of separation, containment, and a fantasy of elimination, as Patrick Wolfe has argued (2006). Further, the work’s irrationality performs an epistemic shift rooted in a connection to place, traditional Indigenous relationships with bitumen, and Cariou’s own Métis heritage.