Nothing But the Truth
American Indian Non Fiction
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20th century Native non-fiction is a continuation of 2
centuries of a tradition of nonfiction protest literature. - Samson Occom
(Mohegan) 1772 sermon
William Appess (Pequot), 1883: "The Indian's Looking Glass for the
White Man"
* Contemporary writers have concerns with postmodernism,
nationalism, humor, the Ghost Dance, language and imagination, authenticity and
identity, the power of stories
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NA writers blur “European” categories or genres
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We read simultaneously of ethics and aesthetics, politics and
poetry, history and myth, identity and community
Brian Swann
Introduction: Only the
Beginning
End of the Trail, James Fraser, from The Vanishing American
transculturation:
A term coined by Cuban anthropologist Fernando Ortiz that refers
to a process in which "members of subordinated or marginal groups select and
invent from materials transmitted by a dominant culture." Transculturation
emphasizes the agency involved in cultural change, as well as the loss that
accompanies cultural acquisition. In these ways, "transculturation" differs from
the older terms "assimilation" and "acculturation," which emphasize a more
one-way transmission of culture from the colonizer to the colonized, from the
dominant to the marginalized. For Ortiz, transculturation was a necessary
concept for understanding Cuban and Spanish American culture more generally.
Swann says we have yet to “discover America” because we haven’t looked
at our history or really met Native Americans. Reading AI lit is a way to
“discover America.”
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AI lit/poetry is literature of Historic Witness
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A past that is in the present
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The NA poet is his or her history with all its ambiguities and
complications;
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Their history is not something external to be learned, molded
or ignored, though it may be something has to be acknowledged and recovered. It
is embodied and unavoidable because the weight and consequences of that history
make up the continuum of the present. This fact gives an urgency to the
utterance, a resonance to the art that carries it deeper than much of the poetry
one finds today. The poets are still “singing for power.”
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The Native American poet seems to work from a sense of social
responsibility to the group a much as from an intense individuality.
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Many Native poets consider themselves as both distinct individual
voices and voices that speak for whatever cannot speak.
Who is a Native American?
“Native Americans are Native Americans if they say they
are, if other Native Americans say they are and accept them, and (possibly) if
the values that are held close and acted upon are values upheld by the various
native peoples who live in the Americas.”
Themes in Native literature
Faith in renewal
Reverence of grandparents and parents
Commitment to orality in the non-oral medium of print
“active immediacy” in print, power of the word
Connection to myth/tribal cosmic stories: the animal
people, the first ones
Balance, reconciliation, healing
Relationality
Communitism (Jace Weaver)
Survivance (Gerald Vizenor)
Paula Gunn Allen (Laguna/Sioux/Lebanese)
The Sacred Hoop: A Contemporary Perspective
“The significance of a literature can be best understood in
terms of the culture from which it springs, and the purpose of literature is
clear only when the readers understand and accepts the assumptions on which the
literature is based.”
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AI literature is unlike Western lit. because the basic assumptions
about the universe and basic reality are dissimilar;
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AI lit is never pure self-expression
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AI lit seeks to bring the individual into the communal and cosmic
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The Word is alive, sacred
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All is alive; all things have equal value and are not separate
from God.
“The AI universe is based on dynamic self-esteem, while the
Christian universe is based primarily on a sense of separation and loss. For the
American Indian, the ability of all creatures to share in the process of ongoing
creation makes all things sacred.”
Native lit doesn’t rely on crisis, conflict or resolution for organization; its
significance is determined by its relations to creative empowerment, its
reflection of tribal understandings and its relation to the unitary nature of
reality; that things are related to each other.
Space is spherical and time is cyclical (not linear and
sequential)
Indians see all creatures as relatives;
relationship is
central
2 basic forms of Indian lit: ceremony and myth
Ceremony is a ritual enactment of a specialized perception
of a cosmic relationship, while the myth is a prose record of that
relationship.”
Within this ceremonial context, we can understand
repetition and symbolism in a NA aesthetic.
Purpose of repetition: “to fuse the individual with his or
her fellows the community of people with that of the other kingdoms and this
larger communal with the world beyond this one.”
Repetition also reinforces the theme and serves to focus
the participants’ attention on central concerns while intensifying their
involvement with the enactment.”
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Symbolism in AI ceremonial literature: a semiotic system different
from the Western dualism of sign and signified.
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Native symbolism is “not symbolic in the usual sense; that is the
four mountains in the Mountain Chant (of the Navajo) do not stand for something
else. They are those exact mountains perceived psychically, as it were, or
mystically.”
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The ostensible sign or symbol has value itself as the signified or
symbolized.
AI literature attempts to create or restore harmony and
wholeness.
Leslie Marmon Silko (Laguna Pueblo [New Mexico])
Language and Literature from a Pueblo Indian Perspective
* Pueblo Indian storytelling resembles a spider's web with many threads
radiating from the center, crisscrossing one another. The listener must trust
that meaning will be made.
She tells Laguna Pueblo creation story: Thought Woman (Tse'itsi'nako)
by thinking of her sisters and together with her sisters, thought of everything
that is. In this way, the world was created.
For Pueblo and other Native people, language is
story.
Words have stories attached to them. So narrative is story
within story, the idea that one story is only the beginning of many stories and
the sense that stories never truly end.
Storytelling always includes the audience, the listeners;
the storyteller's role is to draw the story out of the listeners. The
storytelling continues from generation to generation.
We know who we are because of our Creation story in this
place.
One moves from one's identity as a tribal person into clan
identity (Antelope, Badger), and then as a member of an extended family.
Family accounts include positive and negative stories. It
is important to keep track of all these stories: by knowing the stories that
originate in other families, one is able to deal with terrible sorts of things
that might happen within one's own family. If others have endured, so can we.
Stories bring us together; they keep family and clan
together. You learn not to isolate yourself when bad things happen: one does not
recover by oneself.
Pueblo people have never been removed from their land. Our
stories cannot be separated from their geographical locations, from actual
physical places on the land. There is a story connected with every place, every
object in the landscape.
Language has a boundless capacity through storytelling to
bring us together, despite great distances between cultures, despite great
distances in time.
N. Scott Momaday, "The Man Made of Words"
* Concerned with relationship between language and
experience
* We are all made of words
* Our most essential being consists of language
An Indian is an idea which a given man has of himself. It is a moral idea, for
it accounts for how he reacts to others. That idea, in order to be realized,
must be expressed.
Racial memory: awareness of place and history due to verbal tradition
Old woman Ko-sahn-- Momaday imagines himself with her in different time
Power of the imagination
"Once in his life a man ought to concentrate his mind on
the remembered earth, I believe. He ought to give himself up to a particular
landscape in his experience, to look at it from as many angles as he can, to
wonder about it, to dwell upon it. He ought to imagine that he touches it with
his hands at every season and listen to the sounds that are made upon it. He
ought to imagine the creates that are there and all the faintest motions in the
wind. He ought to recollect the glare of noon and all the colors of the dawn and
dusk." (84)
"I am interested in the way that a man looks at a given
landscape and takes possession of it in his blood and brain. For this happens, I
am certain, in the ordinary motion of life. None of us lives apart from the land
entirely; such an isolation is unimaginable. We have sooner or later to come to
terms with the world around us--and I mean especially the physical world; . .
.And we must come to moral terms. There is no alternative, I believe, if we are
to realize and maintain our humanity; for our humanity must consist in part in
the ethical as well as the practical ideal of preservation. And particularly
here and now is that true. We Americans need now more than ever before--and in
deed more than we know--to imagine who and what we are with respect to the earth
and sky. I am talking about an act of the imagination essentially , and the
concept of an American land ethic." (86)
"We are what we imagine. Our very existence consists in our
imagination of ourselves. Our best destiny is to imagine, at least,
completely who and what, and that we are. The greatest tragedy is to go
unimagined." 87
"All sorrows can be borne if you put them into a story or
tell a story about them." Isak Dinesen (89).
Simon Ortiz, "Towards a National Indian Literature: Cultural Authenticity in
Nationalism"
What appears to be a Catholic/Spanish celebration is held within
the Acqumeh community it is an Acqumeh ceremony. . . "This is so because this
celebration speaks of the creative ability of Indian people to gather in many
forms of the socio-political colonizing force which beset them and to make these
forms meaningful in their own terms. In fact, it is a celebration of the human
spirit and the Indian struggle for liberation"(120).
Many Christian rituals brought to the SW are no longer
Spanish. They are now Indian because of the creative development that the native
people applied to them. Present-day Native literature is evidence of this in the
very same way.
Because in every case where European culture was cast upon Indian people of this
nation there was similar creative response and development it can be
observed that this was the primary element of a nationalistic impulse to make
use of foreign ritual, ideas, and material in their own--Indian--terms
(121).
It is entirely possible for a people to retain and maintain
their lives through the use of any language. There is not a question of
authenticity here; rather it is the way that Indian people have creatively
responded to forced colonization. And this response has been one of resistance;
there is no clearer word for it than resistance (122)
And it is this literature, based upon continuing resistance,
which has give a particularly nationalist character to the Native American
voice. . . Because of the insistence to keep telling and creating stories,
Indian life continues, and it is this resistance against loss that has made that
life possible. 124.
"Nevertheless . . . the acknowledgement by Indian writers of a
responsibility to advocate for their people's self-government, sovereignty, and
control of land and natural resources; and to look also at racism, political and
economic oppression, sexism, supremacism, and the needless a nd wastetful
exploitation of land and people, . . ." 124.
“Decolonializing
Criticism: Reading Dialectics and Dialogics in Native American Literatures,”
David Moore
Epistemology:
the nature of knowing
There are different
ways of knowing the world
There
are ethical considerations in the aesthetic study of literatures, and
particularly in the study of American Indian literatures due to the history of
colonialism.
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Colonial cognitive structures
underlie cultural definitions of race and ethnicity, embedded as those
definitions are in the economics of colonial history (94)
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Moore traces ways in which epistemology is linked to ethics and to
aesthetic study by dualistic, dialectic and dialogic ways of thinking.
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Native American texts try to increase
a community that understands “dialogical processes” by which Native cultures
often conceive of their own survival. That process shapes its readers’ aesthetic
and ethic responses (95)
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Dialectics:
Oppositions with closed ends; dualities/binary oppositions
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Dialogics:
open-ended, exchange
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The dialectic ignores the dialogic by
reducing issues to binaries, while the dialogic continues to “dialogue” with the
dialectic by opening up more than binary possibilities.
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Those who construct their world
through dialectical binaries, such as civilization v. wilderness, Euro-American
v. Indian, or Euro-American v. African American, miss the blurring of those
boundaries that drives the pragmatic unfolding of American identities and
differences.
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Those who see the world through
dialogical interaction, through a nexus of exchange, continue to negotiate that
dialectical history in ways that seem invisible to dialecticians. These are the
perennially “vanishing Indians” who continue to survive after five hundred
years of colonization’s dialectical materialism.
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A dialogic can deconstruct each
binary instead of synthesizing them; through a reader’s fuller attention to
context, the dialogic begins to enter the reading process: some Indian
literatures suggest complex cultural exchanges instead of binary oppositions or
binary absorption or resistance between self and other, between tribes, or
between Indian and white (97)
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We exchange with each other, rather
than disappear (absorb) or resist each other (fight).
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Decolonializing Criticism
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How then can critics participate in
the textual context of dialogic cultural survival? Critics can affirmatively
articulate modes of cultural interaction in the texts the elude domination,
assimilation, or co-optation and that make visible possibilities of cultural
survival through such processes as nexus of exchange.
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The critic must start with the
premise that oral forms reflect particular ways of knowing, that they are
epistemological realities. They exist both as artifact and as process.
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We can take a critical approach to
the complex field of Native American studies that begins to reflect certain
Native American ways/values.
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We
can foster cooperation among
many critics, writers, folklorists, anthropologists, and art historians, all of
who can publish sensitive description of specific artistic traditions, not in
the style of the once-popular “definitive” accounts of “dying” traditions, but
in a way that shows both the continuity and the open-endedness of tribal ways.
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Ethics: one can “give back” in a
variety of ways---by teaching, by writing, by round dancing when the invitation
goes out at a powwow, by just attending cultural events such as powwows, by
bringing food to a wake, or by coming over merely to hang out and visit.
Carter Revard (Osage), "Myth, History, and Identity Among the Osages and Other
Peoples"
American Indian autobiographies the notion of identity, how the individual
is related to world, people, self, differs from what we see in Euroamerican
autobiographies differ.
Euro-americans: story of birth to death
Geronimo (Apache): cosmic through geologic to tribal, subtribal, family and then
individual self that was Geronimo
Americans have untied their names and individual histories from place and nation
to an astonishing extent
Geronimo knew who he was and where he came from. In this story, the notions of
cosmos, country, self, and home are inseparable.
For Santee Sioux Charles Eastman, becoming Santee meant "learning the Santee
system of names for animals and plants, and how this system tied his sense of
personal identity to his sense of tribal identity and relationship to the
world of other-than-human "natural beings.
"The 'wild' Indian was tied to land, people, origins and way of life, by every
kind of human order we can imagine. 'History' and 'myth' and 'Identity' are not
three separate matters, here but three aspects of one human being" (136).
Greg Sarris, "The Woman Who Loved a Snake: Orality in Mabel McKay's Stories"
Context of story
important, especially in cross-cultural situations 144
Dialogics: open ended exchange
Listener as part of story; there is so much more than just the story and what
was said that is the story 143
story always changing
Literate tries to pin down, close
Orality opens
"Mabel's talk impedes these literate tendencies for closure by continually
opening the world in which oral exchange takes place" 143, 151
In Mabel's story the "real" and the "supernatural" are a "coexistent
reality."
Jenny wants to know what the snake "symbolizes." Mabel doesn't really understand
this question due to cultural differences/epistemologies. 142
Sarris says, "Mabel is saying: Remember that when you hear and tell my
stories there is more to me and you that is the story. You don't know everything
about me and I don't know everything about you. Our knowing is limited. Let our
words show us as much as we can learn together about one another. Let us
tell stories that help us in this. Let us keep leaning." 150
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