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Carter Revard was born in the Osage Indian Agency town of Pawhuska, Oklahoma. He won a radio quiz scholarship to the University of Tulsa, was awarded a Rhodes Scholarship, and in 1952 was given his Osage name by his grandmother and the tribal elders. How his family coped with the dizzying extremes of the Great Depression and the Osage Oil Boom and with small-town life in the Osage hills is the subject of this book. It is about how Revard came to be a writer and a scholar, how his Osage roots have remained alive, about the alienation of being an Indian who "didn't look Indian, " and about finding community, even far from home. Above all, this is a book about identity, about an Osage son who grew up to find that the world is neither Indian nor white but many colors in between.
What does it mean to say that Native peoples exist in the present? In Beyond Settler Time Mark Rifkin investigates the dangers of seeking to include Indigenous peoples within settler temporal frameworks. Claims that Native peoples should be recognized as coeval with Euro-Americans, Rifkin argues, implicitly treat dominant non-native ideologies and institutions as the basis for defining time itself. How, though, can Native peoples be understood as dynamic and changing while also not assuming that they belong to a present inherently shared with non-natives? Drawing on physics, phenomenology, queer studies, and postcolonial theory, Rifkin develops the concept of "settler time" to address how Native peoples are both consigned to the past and inserted into the present in ways that normalize non-native histories, geographies, and expectations. Through analysis of various kinds of texts, including government documents, film, fiction, and autobiography, he explores how Native experiences of time exceed and defy such settler impositions. In underscoring the existence of multiple temporalities, Rifkin illustrates how time plays a crucial role in Indigenous peoples’ expressions of sovereignty and struggles for self-determination.
The outpouring of Native American literature that followed the publication of N. Scott Momaday’s Pulitzer Prize–winning House Made of Dawn in 1968 continues unabated. Fiction and poetry, autobiography and discursive writing from such writers as James Welch, Gerald Vizenor, and Leslie Marmon Silko constitute what critic Kenneth Lincoln in 1983 termed the Native American Renaissance. This collection of essays takes the measure of that efflorescence. The contributors scrutinize writers from Momaday to Sherman Alexie, analyzing works by Native women, First Nations Canadian writers, postmodernists, and such theorists as Robert Warrior, Jace Weaver, and Craig Womack. Weaver’s own examination of the development of Native literary criticism since 1968 focuses on Native American literary nationalism. Alan R. Velie turns to the achievement of Momaday to examine the ways Native novelists have influenced one another. Post-renaissance and postmodern writers are discussed in company with newer writers such as Gordon Henry, Jr., and D. L. Birchfield. Critical essays discuss the poetry of Simon Ortiz, Kimberly Blaeser, Diane Glancy, Luci Tapahonso, and Ray A. Young Bear, as well as the life writings of Janet Campbell Hale, Carter Revard, and Jim Barnes. An essay on Native drama examines the work of Hanay Geiogamah, the Native American Theater Ensemble, and Spider Woman Theatre. In the volume’s concluding essay, Kenneth Lincoln reflects on the history of the Native American Renaissance up to and beyond his seminal work, and discusses Native literature’s legacy and future. The essays collected here underscore the vitality of Native American literature and the need for debate on theory and ideology.
Although American Indian poetry is widely read and discussed, few resources have been available that focus on it critically. This book is the first collection of essays on the genre, bringing poetry out from under the shadow of fiction in the study of Native American literature. Highlighting various aspects of poetry written by American Indians since the 1960s, it is a wide-ranging collection that balances the insights of Natives and non-Natives, men and women, old and new voices.
There has been surprisingly little writing about the condition of contemporary tribal government. Library shelves are filled with works on other American and foreign governments, but an inquirer must leam about tribal government incidentally and in piecemeal fashion. This state of scholarship is regrettable because of the importance of the modem I
In this anthology, eighteen scholars discuss the themes and practices of survivance in literature, examining the legacy of Vizenor's original insights and exploring the manifestations of survivance in a variety of contexts. Contributors interpret and compare the original writings of William Apess, Eric Gansworth, Louis Owens, Carter Revard, Gerald Vizenor, and Velma Wallis, among others.
"In Indigenous Cities Laura M. Furlan demonstrates that stories of the urban experience are essential to an understanding of modern Indigeneity. She situates Native identity among theories of diaspora, cosmopolitanism, and transnationalism by examining urban narratives--such as those written by Sherman Alexie, Janet Campbell Hale, Louise Erdrich, and Susan Power--along with the work of filmmakers and artists. In these stories, Native peoples navigate new surroundings, find and reformulate community, and maintain and redefine Indian identity in the postrelocation era. These narratives illuminate the changing relationship between urban Indigenous peoples and theirtribal nations and territories and the ways in which new cosmopolitan bonds both reshape and are interpreted by tribal identities. Though the majority of American Indigenous populations do not reside on reservations, these spaces regularly define discussions and literature about Native citizenship and identity. Meanwhile, conversations about the shift to urban settings often focus on elements of dispossession, subjectivity, and assimilation. Furlan takes a critical look at Indigenous fiction from the last three decades to present a new way of looking at urban experiences that explains mobility and relocation as a form of resistance. In these stories Indian bodies are not bound by state-imposed borders or confined to Indian Country as it is traditionally conceived. Furlan demonstrates that cities have always been Indian land and Indigenous peoples have always been cosmopolitan and urban."--
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.
The noted Nez Perce fiction writer and critic W. S. Penn turns his wry and penetrating gaze on the state of modern Native life and literature and considers how modern scholarship has affected the ways Natives and others see themselves and their world. The result is a uniquely frank, witty, and unsettling critique of contemporary theory and its ability to come to terms with the real lives and literatures of Natives in North America. ø Key to this critique is the troubling issue of what properly constitutes a traditional "Indian" identity and an "Indian" literature within Native communities and in the academy. In confronting this issue, Penn exposes some of the sillier uses of the serious language of diversity as well as the impact of identity politics on Native professors. And yet, Penn argues, the storytelling traditions so central to Native communities remain very much alive today, hidden in the corners of the literary canon.