Science Fiction and Native Epistemologies David M. Higgins (bio) Miriam C. Brown Spiers. Encountering the Sovereign Other: Indigenous Science Fiction. Michigan State UP, 2021. xl+143 pp. $39.95 pbk & ebk. Encountering the Sovereign Other argues that Indigenous science fiction approaches encounters with alterity from a richly ethical perspective informed by the spatial and communal grounding of tribally specific Native worldviews. If Euro-American colonial perspectives are often characterized by violent dynamics of abjection that define the self in contrast against an alien Other (and are driven by a spatial bias privileging outward expansion and a temporal emphasis on future-oriented progress), Miriam C. Brown Spiers suggests that tribally informed Indigenous worldviews, in contrast, can enable individuals “to accept the presence of an Other without feeling threatened, without getting swept up in a narrative of Progress and assimilation” (xxxviii). Furthermore, people with Indigenous values may be “more likely to allow lived experiences to inform their decisions, whereas those raised in Euro-American culture are more likely to try to force reality to fit into their preconceived notions of how the world should be” (xxxviii). This is a vital difference, Spiers argues, because it can engender dramatically different responses to encounters with alterity. She observes examples of this in Indigenous science fiction, where Native characters are often “better prepared to accept and respond to elements of cognitive estrangement than their non-Native counterparts” (xxx). When encountering what Darko Suvin describes as the “strange newness” of a science-fictional novum (Suvin 4), for example, Spiers notes that sf characters with conventional Euro-American worldviews “often refuse to acknowledge that a problem exists because it does not fit into their fixed notions of the world; meanwhile, Native characters recognize the presence of a novum, assess its effects on the community, and react accordingly” (xxx). Indigenous science fictions, in other words, envision ethical encounters with sovereign Others, and Native characters can often interact with strange Others in full and mutual reciprocity rather than reducing Others to mere negative reflections of the self. The book’s four chapters each offer close readings of key texts that exemplify this tendency. Spiers first examines The Ballad of Billy Badass and the Rose of Turkestan (1999) by William Sanders, a novel in which a Cherokee Gulf War veteran (Billy) and a Kazakh scientist (Janna) cultivate cross-cultural alliances and affinities in order to defeat a radiation monster summoned by colonialist New Age trash magic. Next, she turns her attention to Stephen Graham Jones’s It Came from Del Rio (2010), which tells the story of a US citizen named Dodd Raines who flees to Mexico after a failed bank robbery and eventually becomes a radiation monster himself after attempting [End Page 111] to smuggle moon rocks across the southern border. Raines’s transformation illuminates the coloniality of both race and citizenship, Spiers argues, and his journey provokes readers to recognize the personhood of Others who are dehumanized as they attempt to cross national boundaries. After this, she offers a reading of Field of Honor (2004) by D.L. Birchfield—a “shukha anumpa” or “Choctaw hogwash” alternate history in which a paranoid Vietnam veteran (Patrick Pushmataha McDaniel) discovers a hidden Choctaw community that has avoided removal to Oklahoma by retreating into underground caverns (49). This community, Ishtaboli, preserves Choctaw custom and heritage, eschews colonialist Euro-American cultural norms, and supports people from other non-Choctaw tribes by recognizing and honoring their unique cultures and traditions. Finally, Spiers concludes with a discussion of Riding the Trail of Tears (2011) by Blake M. Hausman, a story in which digital spirits (known as Little People or Nunnehi) subvert a VR re-enactment of Cherokee removal in order to help the novel’s protagonist (Tallulah) to disrupt the continuing cycle of violence that requires her to perform Native identity for tourists and endlessly repeat a debilitating narrative of Cherokee defeat and victimization. Spiers argues that the novel’s recognition of digital Cherokee as real people “reinforces an Indigenous perspective in which nonhuman creatures are recognized as peoples who are deserving of respect and compassion,” and this encourages readers to “acknowledge the humanity of the Other and respond ethically to the Other’s demand...