American Indian Literature and Critical Studies Series – serie

Incorporating elements of fiction, nonfiction, drama, and poetry, Diane Glancy's stories are lyrical yet down to earth, often tough and gritty. Experimental, sometimes surreal in form, they nevertheless concern people who are very real-a color-blind young boy who watches planes in flight and imagines color; a shy stamp collector who speculates that he and his friend, like the stamps, could go anywhere via the U.S. Post Office; an old woman who dies in the cold landscape of her inner life but retains her vision; a cynical woman reluctant to take risks with yet another traveling man.In spite of life's hard realities, Firesticks is filled with humor and hope and a stitching together of cultures, as the crossblood characters search for their identities.

The Anishinaabe, otherwise named the Ojibwe or Chippewa, are famous for their lyric songs and stories, particularly because of their compassionate trickster, naanabozbo, and the healing rituals still practiced today in the society of the Midewiwin. The poems and tales, interpreted and reexpressed here by the distinguished Anishinaabe author Gerald Vizenor, were first transcribed more than a century ago by pioneering ethnographer Frances Densmore and Theodore Hudson Beaulieu, a newspaper editor on the White Earth Reservation in northern Minnesota.This superb anthology, illustrated with tribal pictomyths and helpfully annotated, includes translations and a glossary of the Anishinaabe words in which the poems and stories originally were spoken.

Focusing on published works by novelists N. Scott Momaday, Leslie Marmon Silko, D'Arcy McNickle, Louise Erdrich, Gerald Vizenor, and other Native American authors, the critical essays in this collection examine translation and representation in tribal literatures, comic and tragic world views, and trickster discourse.

Gerald Vizenor gives life to traditional tribal stories by presenting them in a new perspective: he challenges the idyllic perception of rural life, offering in its stead an unusual vision of survival in the cities-the sanctuaries for humans and animals. It is a tribal vision, a quest for liberation from forces that would deny the full realization of human possibilities. In this modern world his characters insist upon survival through an imaginative affirmation of the self.In Dead Voices Vizenor, using tales drawn from traditional tribal stories, illuminates the centuries of conflict between American Indians and Europeans, or ""wordies."" Bagese, a tribal woman transformed into a bear, has discovered a new urban world, and in a cycle of tales she describes this world from the perspective of animals-fleas, squirrels, mantis, crows, beavers, and finally Trickster, Vizenor's central and unifying figure. The stories reveal unpleasant aspects of the dominate culture and American Indian culture such as the fur trade, the educational system, tribal gambling, reservation life, and in each the animals, who represent crossbloods, connect with their tribal traditions, often in comic fashion.As in his other fiction, Vizenor upsets our ideas of what fiction should be. His plot is fantastic; his story line is a roller-coaster ride requiring that we accept the idea of transformation, a key element in all his work. Unlike other Indian novelists, who use the novel as a means of cultural recovery, Vizenor finds the crossblood a cause for celebration.

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 these short stories, Jack D. Forbes captures the remarkable breadth and variety of American Indian life. Drawing on his skills as scholar and native activist, and, above all, as artist, Forbes enlarges our sense of how American Indians experience themselves and the world around them.Though all the main characters are of Indian descent, each is a unique combination of tribal origin, social status, age, and life-style-from native elder and college professor to lesbian barmaid and Chicano adolescent. Nevertheless the U.S. government (and perhaps white society as a whole) narrows the definition of ""Indian"".

The narrator-protagonist of this magical novel about urban mixed-blood Indian life is Albert (Alley) Hummingbird, a self-conscious, shy college student who masks his feelings with humor and who longs to reconcile the two cultures that have formed him. Alley is not supposed to live at birth, but his grandfather, a Nez Perce, rescues him from Death (who reappears throughout the novel as a petty, mean, pathetic, and ultimately funny character). The grandfather's teachings to Alley, which come from the afterlife region known as the ""absence of angels,"" connect Alley to his Indian heritage when he needs it. Otherwise his life is fragmented: a father who rejected his heritage, a mother who is slightly mad, and a friend, Sara, with whom Alley is in love.

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.

Faces in the Moon is the story of three generations of Cherokee women, as viewed by the youngest, Lucie, a woman who has been able to use education and her imagination to escape the confines of her rootless, impoverished upbringing. When her mother's illness summons her back to Oklahoma, Lucie finds herself confronted with the legacy of a childhood she has worked hard to separate from her adult self.Her mother, Gracie, and her maternal aunt, Auney, are members of the Cherokees' ""lost generation,"" women who rejected the traditional rural ways in search of a more glamorous life as autonomous working women.

Native American Perspectives on Literature and History is a volume of essays by Indian and white scholars on issues such as ethnic identity, Indians in American mythology, how Indians write about Indians, and Indian crime and punishment.James Ruppert explores the bicultural nature of Indian writers and discusses strategies they employ in addressing several audiences at once: their tribe, other Indians, and other Americans.Helen Jaskoski analyzes the genre of autoethnography, or Indian historical writing, in an Ottawa writer's account of a smallpox epidemic. Kimberly Blaeser, a Chippewa, writes about how Indian writers reappropriate their history and stories of their land and people. Robert Allen Warrior, an Osage, examines the ideas of the leading Indian philosopher in America, Vine Deloria, Jr., who calls for a return to traditional tribal religions. Robert Berner exposes the incomplete myths and false legends pervading Indian views of American history. Alan Velie discusses the issue of historical objectivity in two Indian historical novels, James Welch's Fools Crow and Gerald Vizenor's The Heirs of Columbus. Kurt M. Peters relates how Laguna Indians retained their culture and identity while living in the boxcars of the Santa Fe Railroad Indian Village at Richmond, California. Juana Maria Rodriguez examines power relations in Gerald Vizenor's narrative of a Dakota Indian accused of murder in 1967, ""Thomas White Hawk."" Finally, Gerald Vizenor, a Chippewa, discusses Indian conceptions of identity in contemporary America, including simulations he calls ""postindian identity."" Editor Alan Velie, with Gerald Vizenor, provides an introduction to this volume of essays by the country's leading Indian and white scholars of Indian literature and history. It will be essential reading for those seeking to understand Native American approaches to fiction and history.

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.""

Lurking in the caves of eastern New Mexico, Falke, a thousand-year-old vampire, chooses his next bride: Melissa Roanhorse, an Albuquerque teenager. To regain his granddaughter's life, Michael Roanhorse, an old Navajo sheepherder wise to the power of myth, must outwit the vampire and his loyal coven. So begins A.A. Carr's Eye Killers, a novel that combines the Eastern European legend of the vampire with the Navajo tale of the monster slayer.The songs of Michael Roanhorse's childhood include potent chants passed down through his grandmother, who sang to him of Changing Woman and her Warrior Twins, Monster Slayer and Child of the Water. But Michael's spiritual strength and his memory have waned with the years. Who is left to help reunite him with his family and his family with their heritage?Michael enlists Diana Logan, Melissa's young English teacher, to wrestle Melissa from the vampire. But to conquer Falke they must also overpower his coven: Elizabeth, captured by Falke in the 1850s during her family's journey along the Santa Fe Trail, and Hanna, once a prostitute in Old Albuquerque, who aspires to supplant Falke's vampire reign.Michael must invoke ancient traditions to bring Melissa home. The elders undertake to teach Diana, but her Irish-American heritage has not prepared her for a fight against shape-shifting vampires who have lived-and murdered-for centuries.In Eye Killers, Carr delivers an imaginative clash of cultures-both a suspenseful thriller and a valid rendering of Navajo and Pueblo tribal life in contemporary New Mexico. His inventiveness, expressed through melodic prose and layers of fine storytelling, weaves new legends of the American Southwest.

In the dawn of November 29, 1864, a Colorado militia unit attacked a peaceful encampment of Cheyennes by Sand Creek in southeast Colorado Territory and murdered almost two hundred men, women, and children. In The Massacre at Sand Creek, Bruce Cutler retells, in a powerful narrative, the events surrounding this atrocity. We hear the voices of the white participants, such as Colonel John Chivington, who planned and led the surprise attack, and Captain Silas Soule, the only officer who refused to attack. We are also given the voices of the Cheyennes - voices that historical documents do not record - with particular focus on Black Kettle, the chief who trusted the promise of protection he had received from white officers and who waved the white flag of peace even as the attacking army approached.

Mediation"" is the term James Ruppert uses to describe his theory of reading Native American fiction. Focusing on the novels of six major contemporary American writers - N. Scott Momaday, James Welch, Leslie Marmon Silko, Gerald Vizenor, D'Arcy McNickle, and Louise Erdrich - Ruppert analyzes the ways these writers draw upon their bicultural heritage, guiding Native and non-Native readers to different and expanded understandings of each other's worlds.          While Native American writers may criticize white society, revealing its past and present injustices, their emphasis, Ruppert argues, is on healing, survival, and continuance. Their fiction aims to produce cross-cultural understanding rather than divisiveness. To that end they articulate the perspectives and values of competing worldviews, creating characters who manifest what Ruppert calls ""multiple identities"" - determined by Native and non-Native perceptions of self.These writers might incorporate Native oral storytelling techniques, adapting them to written form, or they might reconstruct Native mythologies, investing them with new meaning by applying them to contemporary situations. As novelists, they also include characteristic features of western European writing - such as the omniscient narrator or the detective story plot.          Ruppert demonstrates how a rich blending of different traditions is producing extraordinary breadth and innovation in Native American literature.

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 Briefcase Warriors, a collection of six fast-paced, thought-provoking plays, E. Donald Two-Rivers presents an intricate and multifaceted view of contemporary American Indian urban life. Alternately sad, humorous, or discomfiting, these plays range from one-act vignettes accessible to young adults to extended portrayals of the seedier side of urban existence. Fast-talking and hard-living, the characters depicted by Two-Rivers struggle to survive the sometimes hostile environs of a society whose members think of them as a vanishing race.The plays included are: Winter Summit or the Bang-Bang Incident; Forked Tongues; Chili Corn; Coyote Sits in Judgment; Shattered Dream; and Old Indian Trick (An Old Urban Indian Story as Told by an Old Urban Indian Who May Have Lied).

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.

Centered on the volatile issue of the repatriation of Native American skeletal remains, Chancers follows a group of student Solar Dancers who set out to resurrect native remains housed in the Phoebe Hearst Museum of Anthropology at the University of California, Berkeley.Possessed by the demonic wiindigoo, a mythic monster, the Solar Dancers, in a gruesome ritual, sacrifice faculty and administrators associated with the collection and storage of native remains. The Dancers replace stored native skulls with those of the academics, and the resurrected natives become the Chancers.The Round Dancers, humane and erotic trickster figures, are natural opponents of the morbid Solar Dancers. The war between the two groups comes to a comic conclusion at a graduation ceremony attended by Pocahontas; Phoebe Hearst; Alfred Kroeber, the anthropologist; Ishi, the native who actually lived and worked in the university museum; and many Chancers.

In The Mask Maker, Diane Glancy tells the story of Edith Lewis, a recently divorced mixed-blood American Indian, as she travels the state of Oklahoma teaching students the art and custom of mask-making. A complex, subtle tale about f1esh-and-blood human beings, this enchanting novel shows how one woman copes with alienation, loss, and questions about identity and, in the end, rediscovers meaning in living.Through Edith's daily life and efforts to teach, Glancy explores the power of the mask and mask-making. When Edith tries reaching out to a listless, alienated student, she knows enough to ask, ""Where would you want to go?"" He replies, ""Nowhere,"" to which she responds with the advice, ""Then make a mask to take you nowhere.""For Edith, masks go beyond the limitations of words and surface gloss. ""A mask is a face when you have none,"" she reflects. Yet some stories need to be confronted, so Edith struggles with the question of how to use masks to tell stories without using words.Glancy's Edith is no idealized sage but a very human character struggling as best she can while enduring clueless officials and teachers. When Edith explains to one teacher how the art of mask-making reaches students on a creative, intuitive level, she is chided as impractical: ""We're supposed to reach them through math and English.""In The Mask Maker, Glancy provides the reader with intriguing new ways of looking at identity, at language, at intangible values, and at love. This captivating novel on the human need for self-expression will delight readers of all ages.

Inventive, provocative, and ultimately affirmative, The Trickster of Liberty has become a classic in the repertoire of celebrated author Gerald Vizenor. A series of related stories, the novel follows the lives of seven mixedblood trickster siblings who began their lives on a reservation in northern Minnesota. Behaving in unpredictable ways, these siblings defy any attempt to fit them within stereotypical notions of the Indian.

At the turn of the twentieth century, the Osage Indians owned Oklahoma's most valuable oil reserves and became members of the world's first wealthy oil population. Osage children and grandchildren continued to respect the old customs and ways, but now they also had lives of leisure: purchasing large homes, expensive cars, eating in fancy restaurants, and traveling to faraway places. In the 1920s, they also found themselves immersed in a series of murders. Charles H. Red Corn sets A Pipe for February against this turbulent, exhilarating background.Tracing the experiences of John Grayeagle, the story's main character, Red Corn describes the Osage murders from the perspective of a traditional Osage. Other books on the notorious crimes have focused on the greed of government officials and businessmen to increase their oil wealth. Red Corn focuses on the character of the Osage people, drawing on his own experiences and insights as a member of the Osage Tribe.

A rediscovered novel portrays Cherokees in transitionJohn Milton Oskison was a mixed-blood Cherokee known for his writing and his activism on behalf of Indian causes. The Singing Bird, never before published, is quite possibly the first historical novel written by a Cherokee.Set in the 1840s and '50s, when conflict erupted between the Eastern and Western Cherokees after their removal to Indian Territory, The Singing Bird relates the adventures and tangled relationships of missionaries to the Cherokees, including the promiscuous, selfish Ellen, the ""Singing Bird"" of the title. The fictional characters mingle with such historical figures as Sequoyah and Sam Houston, embedding the novel in actual events.The Singing Bird is a vivid account of the Cherokees' genius for survival and celebrates Native American cultural complexity and revitalization.

Native American fiction writers have confronted Euro-American narratives about Indians and the colonial world those narratives help create. These Native authors offer stories in which Indians remake this colonial world by resisting conquest and assimilation, sustaining their cultures and communities, and surviving.In Muting White Noise, James H. Cox considers how Native authors have liberated our imaginations from colonial narratives. Cox takes his title from Sherman Alexie, for whom the white noise of a television set represents the white mass-produced culture that mutes American Indian voices. Cox foregrounds the work of Native intellectuals in his readings of the American Indian novel tradition. He thereby develops a critical perspective from which to re-see the role played by the Euro-American novel tradition in justifying and enabling colonialism.By examining novels by Native authors - especially Thomas King, Gerald Vizenor, and Alexie - Cox shows how these writers challenge and revise colonizers' tales about Indians. He then offers ""red readings"" of some revered Euro-American novels, including Herman Melville's Moby-Dick, and shows that until quite recently, even those non-Native storytellers who sympathized with Indians could imagine only their vanishing by story's end.Muting White Noise breaks new ground in literary criticism. It stands with Native authors in their struggle to reclaim their own narrative space and tell stories that empower and nurture, rather than undermine and erase, American Indians and their communities.

It is February 1839, and the survivors of the Cherokee Trail of Tears have just arrived in Fort Gibson, Indian Territory. A quarter of the removed Indian population have died along the way, victims of cold, disease, and despair. Now the Cherokee people confront an unknown future. How will they build anew from nothing? How will they plow fields of unbroken sod, full of rocks too heavy to lift? Can they put aside the pain and anger of Removal and find peace?Pushing the Bear: After the Trail of Tears tells the story of the Cherokees' resettlement in the hard years following Removal, a story never before explored in fiction. In this sequel to her popular 1996 novel Pushing the Bear: A Novel of the Trail of Tears, author Diane Glancy continues the tale of Cherokee brothers O-ga-na-ya and Knobowtee and their families, as well the Reverend Jesse Bushyhead, a Cherokee Christian minister. The book follows their travails in Indian Territory as they attempt to build cabins, raise crops, and adjust to new realities.The novel begins with a nation defeated - displaced, starving, broken, still walking that hated Trail in their dreams. Debate rages between followers of the old ways and converts to Christianity, and conflict between those who opposed and those who authorized resettlement eventually erupts into violence. In the aftermath of confusion, despair, and turmoil, a new nation emerges.

Five plays by the award-winning Native playwrightWhen leading Assiniboine playwright Wil-liam S. Yellow Robe, Jr., began his theatrical career, few roles existed for American Indians. So he wrote his own plays, creating parts for himself and other Native actors.Where the Pavement Ends contains five of Yellow Robe's most poignant and powerful plays: The Star Quilter, The Body Guards, Rez Politics, The Council, and Sneaky. Written in the 1980s and 1990s and based on his experiences on the Fort Peck reservation, these plays explore American Indian experience, from Indian-white relations to ecology and identity. Combining raw reservation reality with subtle humor, their unique perspective on humanity remains fresh today.

In 1821, Sequoyah, a Cherokee metalworker and inventor, introduced a writing system that he had been developing for more than a decade. His creation - the Cherokee syllabary - helped his people learn to read and write within five years and became a principal part of their identity. This groundbreaking study traces the creation, dissemination, and evolution of Sequoyah's syllabary from script to print to digital forms. Breaking with conventional understanding, author Ellen Cushman shows that the syllabary was not based on alphabetic writing, as is often thought, but rather on Cherokee syllables and, more importantly, on Cherokee meanings.Employing an engaging narrative approach, Cushman relates how Sequoyah created the syllabary apart from Western alphabetic models. But he called it an alphabet because he anticipated the Western assumption that only alphabetic writing is legitimate. Calling the syllabary an alphabet, though, has led to our current misunderstanding of just what it is and of the genius behind it - until now.In her opening chapters, Cushman traces the history of Sequoyah's invention and explains the logic of the syllabary's structure and the graphic relationships among the characters, both of which might have made the system easy for native speakers to use. Later chapters address the syllabary's enduring significance, showing how it allowed Cherokees to protect, enact, and codify their knowledge and to weave non-Cherokee concepts into their language and life. The result was their enhanced ability to adapt to social change on and in Cherokee terms.Cushman adeptly explains complex linguistic concepts in an accessible style, even as she displays impressive understanding of interrelated issues in Native American studies, colonial studies, cultural anthropology, linguistics, rhetoric, and literacy studies. Profound, like the invention it explores, The Cherokee Syllabary will reshape the study of Cherokee history and culture.Published through the Recovering Languages and Literacies of the Americas initiative, supported by the Andrew W. Mellon Foundation.

When John Joseph Mathews (1894-1979) began his career as a writer in the 1930s, he was one of only a small number of Native American authors writing for a national audience. Today he is widely recognized as a founder and shaper of twentieth-century Native American literature. Twenty Thousand Mornings is Mathews's intimate chronicle of his formative years. Written in 1965-67 but only recently discovered, this work captures Osage life in pre-statehood Oklahoma and recounts many remarkable events in early-twentieth-century history.Born in Pawhuska, Osage Nation, Mathews was the only surviving son of a mixed-blood Osage father and a French-American mother. Within these pages he lovingly depicts his close relationships with family members and friends. Yet always drawn to solitude and the natural world, he wanders the Osage Hills in search of tranquil swimming holes - and new adventures.Overturning misguided critical attempts to confine Mathews to either Indian or white identity, Twenty Thousand Mornings shows him as a young man of his time. He goes to dances and movies, attends the brand-new University of Oklahoma, and joins the Air Service as a flight instructor during World War I - spawning a lifelong fascination with aviation. His accounts of wartime experiences include unforgettable descriptions of his first solo flight and growing skill in night-flying. Eventually Mathews gives up piloting to become a student again, this time at Oxford University, where he begins to mature as an intellectual.In her insightful introduction and explanatory notes, Susan Kalter places Mathews's work in the context of his life and career as a novelist, historian, naturalist, and scholar. Kalter draws on his unpublished diaries, revealing aspects of his personal life that have previously been misunderstood. In addressing the significance of this posthumous work, she posits that Twenty Thousand Mornings will challenge, defy, and perhaps redefine studies of American Indian autobiography.