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Collects the author's writings on sacred geography, Billy the Kid, actor Jay Silverheels, ecological ethics, Navajo place names, and old ways of knowing.
Collects the author's writings on sacred geography, Billy the Kid, actor Jay Silverheels, ecological ethics, Navajo place names, and old ways of knowing
First published in paperback by UNM Press in 1976, The Way to Rainy Mountain has sold over 200,000 copies. "The paperback edition of The Way to Rainy Mountain was first published twenty-five years ago. One should not be surprised, I suppose, that it has remained vital, and immediate, for that is the nature of story. And this is particularly true of the oral tradition, which exists in a dimension of timelessness. I was first told these stories by my father when I was a child. I do not know how long they had existed before I heard them. They seem to proceed from a place of origin as old as the earth. "The stories in The Way to Rainy Mountain are told in three voices. The first voice is the voice of my father, the ancestral voice, and the voice of the Kiowa oral tradition. The second is the voice of historical commentary. And the third is that of personal reminiscence, my own voice. There is a turning and returning of myth, history, and memoir throughout, a narrative wheel that is as sacred as language itself."--from the new Preface
“Both a masterpiece about the universal human condition and a masterpiece of Native American literature. . . . A book everyone should read for the joy and emotion of the language it contains.” — The Paris Review A special 50th anniversary edition of the magnificent Pulitzer Prize-winning novel from renowned Kiowa writer and poet N. Scott Momaday, with a new preface by the author A young Native American, Abel has come home from war to find himself caught between two worlds. The first is the world of his father’s, wedding him to the rhythm of the seasons, the harsh beauty of the land, and the ancient rites and traditions of his people. But the other world—modern, industrial America—pulls at Abel, demanding his loyalty, trying to claim his soul, and goading him into a destructive, compulsive cycle of depravity and disgust. An American classic, House Made of Dawn is at once a tragic tale about the disabling effects of war and cultural separation, and a hopeful story of a stranger in his native land, finding his way back to all that is familiar and sacred.
For more than a quarter of a century, Ildefonso, a Mexican Indian, lived in total isolation, set apart from the rest of the world. He wasn't a political prisoner or a social recluse, he was simply born deaf and had never been taught even the most basic language. Susan Schaller, then a twenty-four-year-old graduate student, encountered him in a class for the deaf where she had been sent as an interpreter and where he sat isolated, since he knew no sign language. She found him obviously intelligent and sharply observant but unable to communicate, and she felt compelled to bring him to a comprehension of words. The book vividly conveys the challenge, the frustrations, and the exhilaration of opening the mind of a congenitally deaf person to the concept of language. This second edition includes a new chapter and afterword.
Much literary scholarship has been devoted to the flowering of Native American fiction and poetry in the mid-twentieth century. Yet, Robert Warrior argues, nonfiction has been the primary form used by American Indians in developing a relationship with the written word, one that reaches back much further in Native history and culture. Focusing on autobiographical writings and critical essays, as well as communally authored and political documents, The People and the Word explores how the Native tradition of nonfiction has both encompassed and dissected Native experiences. Warrior begins by tracing a history of American Indian writing from the eighteenth century to the late twentieth century, then considers four particular moments: Pequot intellectual William Apess’s autobiographical writings from the 1820s and 1830s; the Osage Constitution of 1881; narratives from American Indian student experiences, including accounts of boarding school in the late 1880s; and modern Kiowa writer N. Scott Momaday’s essay “The Man Made of Words,” penned during the politically charged 1970s. Warrior’s discussion of Apess’s work looks unflinchingly at his unconventional life and death; he recognizes resistance to assimilation in the products of the student print shop at the Santee Normal Training School; and in the Osage Constitution, as well as in Momaday’s writing, Warrior sees reflections of their turbulent times as well as guidance for our own. Taking a cue from Momaday’s essay, which gives voice to an imaginary female ancestor, Ko-Sahn, Warrior applies both critical skills and literary imagination to the texts. In doing so, The People and the Word provides a rich foundation for Native intellectuals’ critical work, deeply entwined with their unique experiences. Robert Warrior is professor of English and Native American studies at the University of Oklahoma. He is author of Tribal Secrets: Recovering American Indian Intellectual Traditions (Minnesota, 1994) and coauthor, with Paul Chaat Smith, of Like a Hurricane: The Indian Movement from Alcatraz to Wounded Knee.
In The Man Who Tasted Words, Guy Leschziner leads readers through the senses and how, through them, our brain understands or misunderstands the world around us. Vision, hearing, taste, smell, and touch are what we rely on to perceive the reality of our world. Our senses are the conduits that bring us the scent of a freshly brewed cup of coffee or the notes of a favorite song suddenly playing on the radio. But are they really that reliable? The Man Who Tasted Words shows that what we perceive to be absolute truths of the world around us is actually a complex internal reconstruction by our minds and nervous systems. The translation into experiences with conscious meaning—the pattern of light and dark on the retina that is transformed into the face of a loved one, for instance—is a process that is invisible, undetected by ourselves and, in most cases, completely out of our control. In The Man Who Tasted Words, neurologist Guy Leschziner explores how our nervous systems define our worlds and how we can, in fact, be victims of falsehoods perpetrated by our own brains. In his moving and lyrical chronicles of lives turned upside down by a disruption in one or more of their five senses, he introduces readers to extraordinary individuals, like one man who actually “tasted” words, and shows us how sensory disruptions like that have played havoc, not only with their view of the world, but with their relationships as well. The cases Leschziner shares in The Man Who Tasted Words are extreme, but they are also human, and teach us how our lives and what we perceive as reality are both ultimately defined by the complexities of our nervous systems.
Gutenberg, simply put, helped found the Modern Age.".
When his first novel House Made of Dawn was awarded the Pulitzer Prize for fiction in 1969, N. Scott Momaday was virtually unknown. Today he is the most acclaimed Native American writer, working at the peak of his creative power and gaining stature also as an important painter. His first retrospective was held in 1993 at the Wheel-wright Museum in Santa Fe. The son of a Kiowa artist and a Cherokee-Anglo mother, Momaday synthesizes multiple cultural influences in his writing and painting. While much of his attention focuses on the challenging task of reconciling ancient traditions with modern reality, his work itself is an example of how the best of the Indian and non-Indian worlds can be arranged into a startling mosaic of seemingly contradictory cultural and artistic elements. Momaday sees his writings as one long, continuous story, a working out of his evolving identity as a modern Kiowa. It is a story grounded in the oral tradition of his ancestors and told in the modes of the traditional storyteller and the modern novelist-poet who is steeped in the best writings of American and European literature. The interviews in this volume span the period from 1970 to 1993. Momaday responds candidly to questions relating to his multicultural background, his views on the place of the Indian in American literature and society, his concern for conservation and an American land ethic, his theory of language and the imagination, the influences on his artistic and academic development, and his comments on specific works he has written. The reader who joins these conversations will meet in N. Scott Momaday a careful listener and an engaging, often humorous speaker whose commentaries provide a deeper vision for those interested in his life and work.
Randall Kennedy takes on not just a word, but our laws, attitudes, and culture with bracing courage and intelligence—with a range of reference that extends from the Jim Crow south to Chris Rock routines and the O. J. Simpson trial. It’s “the nuclear bomb of racial epithets,” a word that whites have employed to wound and degrade African Americans for three centuries. Paradoxically, among many Black people it has become a term of affection and even empowerment. The word, of course, is nigger, and in this candid, lucidly argued book the distinguished legal scholar Randall Kennedy traces its origins, maps its multifarious connotations, and explores the controversies that rage around it. Should Blacks be able to use nigger in ways forbidden to others? Should the law treat it as a provocation that reduces the culpability of those who respond to it violently? Should it cost a person his job, or a book like Huckleberry Finn its place on library shelves?