This chapter traces a history of Native American short stories, from oral narratives to written short stories infused with retellings of Indigenous oral tales reflecting Native values: close relationships with language, land, human and non-human communities, ancestors, and the sacred. Rather than focus on defining the short story as a genre, Native writers tend to focus on story itself, especially the centrality, power, and life-shaping capacities of story. The earliest short stories were embedded in autobiographies, ethnographies, sermons, etc., but became more standalone stories over time. The long tradition of stories in a primarily realist mode has been joined by speculative fiction, science fiction, horror stories, children’s stories, Young Adult stories, and graphic narratives. Native short stories, including interlinked story cycles, critique settler-colonialism, document historical trauma, present Indigenous alternatives to imposed historical narratives, and offer new possibilities for Native continuance.

This chapter introduces liminality, an anthropological concept, before going on to explain why human embryos may be described as liminal beings. As an entity in a state of constant and rapid change, embryos sit ‘betwixt and between’ the various realms of legal categorisation. As such, the core problem for law is two-fold: ‘the embryo’ has neither a fixed status, nor is it possible to ‘fix’ its status. Law, accordingly, struggles to capture and regulate what embryos are ontologically (as opposed to what the ‘embryo’ is descriptively). The challenge in capturing these ontologies is perhaps part of the problem; if, indeed, this is what law has sought to do. This chapter argues that an embrace of liminality - both as a state embryos are led into, and as a lens for analysing that state - fully reveals the multiplicity of contexts in which embryos are used and created. This chapter shows that a liminal perspective demonstrates that there are vital aspects of embryos - some of which the law itself creates - that the law might better recognise, namely its contextually variable and relational qualities

“Blood after Isaac” reads the binding of Isaac, where some interpreters see blood, although the story never mentions it. This chapter introduces the pattern that blood seeps in where it seems not to belong. The little word "na," untranslated in English versions of the story, in modern Hebrew means simply "please," but in the Hebrew Bible indicates irony, as in "say, go ahead, see if I care." The chapter argues that the story of Isaac is best understood in terms of divine irony, God imitating Abraham as a trickster. Why does Abraham not catch on?