Born Callie Russell Porter in Indian Creek, Texas, Katherine Anne Porter cultivated an elaborate fiction of genteel southernness: she adopted the name of her Kentucky-born grandmother, along with an apocryphal genealogy of illustrious ancestors and landed gentry. Yet Porter, who rarely lived in the South or even in Texas, would claim other home spaces throughout her life - or, more accurately, her stake in a southern narrative would emerge only circuitously, by way of alternative geographies and narratives in which she identified variously with the elite and the dispossessed. She eventually imported a nativist southern identity that bore the traces of a much deeper American chronicle and called frequently upon an Indigenous motif to both account for and ameliorate the anxieties of dispossession. In Porter’s fiction, an Indigenous frame narrative provides a tempting window onto a reorienting, and finally mythical, humanity unscathed by modernity’s ills. Her long career would bear the traces of an entwined southern-Indigenous imaginary steeped in the lessons and vexations of early American settler colonialism.