Louis Owens – författare

This first book-length critical analysis of the full range of novels written between 1854 and today by American Indian authors takes as its theme the search for self-discovery and cultural recovery. In his introduction, Louis Owens places the novels in context by considering their relationships to traditional American Indian oral literature as well as their differences from mainstream Euroamerican literature. In the following chapters he looks at the novels of John Rollin Ridge, Mourning Dove, John Joseph Mathews, D'Arcy McNickle, N. Scott Momaday, James Welch, Leslie Marmon Silko, Louise Erdrich, Michael Dorris, and Gerald Vizenor.

In the Cascade Range of northwest Washington, Tom Joseph, a young Indian who had gone south to attend college, returns for his uncle's funeral and finds himself caught up in the old man's fight to save the wilderness from destruction. In his first novel, Louis Owens exposes the raw edge of the current American land-rights controversy and poses questions about authenticity and the common bonds that American Indians, of very different or mixed backgrounds, are in the process of discovering today.

Bone Game is a murder mystery on a grand scale. Cole McCurtain, a mixed-blood Indian professor of Indian Studies at Santa Cruz, California, is haunted by dreams dating back to events of Spanish California. Images of a Spanish priest murdered in 1812, a rearing grizzly bear, and a black-and-white painted Indian who offers bones in his extended hands come at a time when dismembered pieces of a young woman are washing ashore in 1993. The dreams become increasingly urgent as the murders become more frequent, and Cole's family and friends gather to help-including Choctaw relatives who travel west from Mississippi because ""this story's so big, Cole sees only a little bit of it.""

Jacob Nashoba's journey has taken him from his Choctaw homeland in Mississippi to Vietnam and finally to a small reservation in the mountains of eastern Arizona. A tribal ranger, he lives among people far different from any he has known. Balanced precariously between isolation and community, he is drawn to both the fastness of a remote river canyon and the Apaches who have come to be the only family he has.Nashoba's world is peopled by, among others, a bright young man who sells vision quests to romantic tourists, a determined elder whose power makes her a force to be reckoned with on the reservation, a resident anthropologist more ""native"" than the natives, a corrupt tribal chairman, a former Hollywood extra who shouts at reservation women the scraps of Italian he learned from other ""Indian"" actors, and the ranger's estranged wife. Confusion and violence follow their encounter with a right-wing militia group training secretly on tribal land. The contrast between these Rambo types and the various Native American characters typifies the sardonic humor running throughout this novel of contemporary Indian identity.

In this innovative collection, Louis Owens blends autobiography, short fiction, and literary criticism to reflect on his experiences as a mixedblood Indian in America.In sophisticated prose, Owens reveals the many timbres of his voice--humor, humility,love, joy, struggle, confusion, and clarity. We join him in the fields, farms, and ranches of California. We follow his search for a lost brother and contemplate along with him old family photographs from Indian Territory and early Oklahoma. In a final section, Owens reflects on the work and theories of other writers, including Gayatri Chakravorty Spivak, Gerald Vizenor, Michael Dorris, and Louise Erdrich.Volume 40 in the American Indian Literature and Critical Studies Series

In the hot, dry New Mexico wilderness, Will and Billy, two half-Cherokee ranchers, discover a corpse and a suitcase containing nearly a million dollars. As the two friends contemplate what to do with the money, they set into motion a series of events that will cost them more than they want to pay.Volume 41 in the American Indian Literature and Critical Studies Series

In this challenging and often humorous book, Louis Owens examines issues of Indian identity and relationship to the environment as depicted in literature and film and as embodied in his own mixedblood roots in family and land. Powerful social and historical forces, he maintains, conspire to colonize literature and film by and about Native Americans into a safe ""Indian Territory"" that will contain and neutralize Indians. Countering this colonial ""Territory"" is what Owens defines as ""Frontier,"" a dynamic, uncontainable, multi-directional space within which cultures meet and even merge.Owens offers new insights into the works of Indian writers ranging from John Rollin Ridge, Mourning Dove, and D'Arcy McNickle to N. Scott Momaday, Leslie Silko, James Welch, and Gerald Vizenor. In his analysis of Indians in film he scrutinizes distortions of Indians as victims or vanishing Americans in a series of John Wayne movies and in the politically correct but false gestures of the more recent Dances With Wolves. As Owens moves through his personal landscape in Oklahoma, Mississippi, California, and New Mexico, he questions how human beings collectively can alter their disastrous relationship with the natural world before they destroy it. He challenges all of us to articulate, through literature and other means, messages of personal and environmental - as well as cultural - survival, and to explore and share these messages by writing and reading across cultural boundaries.