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Magisterarbeit Universität Konstanz Fachbereich Literaturwissenschaft SS 2005 Magisterarbeit Master Thesis in English literature/ Magisterarbeit für das Fach: Englische Literatur ‘Trickster Figures and Discourse’: Negotiating the Liminal Space Between Cultures in Four Native American Novels Prof. R. M. Nischik PD. M. Reif-Hülser Anita Hillers Matrikel-Nummer: 01/078726 Adresse: Torgasse 7 Tel. Nr.: 07531-917291 [email protected] Englische und Amerikanische Literatur This research is dedicated with gratitude to my sister Mia in Alaska, whose name backwards, spells out my ‘aim’: to remember a shared ceremony of another place, another time – but that’s another story. Two Koshare on Burro (Source: Kenneth Lincoln, Indi’n Humor). TABLE OF CONTENTS INTRODUCTION ....................................................................................................... 1 1 THEORETICAL FRAMEWORK.......................................................................... 5 1.1 NEW HISTORICISM................................................................................................. 5 1.2 FEMINIST APPROACHES ......................................................................................... 6 1.3 CULTURAL MATERIALIST APPROACH .................................................................... 6 1.4 IN BETWEEN TWO SIDES OF AN ARGUMENT .......................................................... 7 2 CULTURAL CONTACT......................................................................................... 8 2.1 OTHERS ................................................................................................................. 8 2.2 EARLY ACCULTURATION ..................................................................................... 10 i 2.3 LANGUAGE AND IMAGINATION............................................................................ 10 2.4 ORAL TRADITION................................................................................................. 11 2.5 FUSION OF ORAL TRADITIONS AND WRITING ...................................................... 12 2.6 HISTORICAL POINT OF VIEW................................................................................ 13 2.7 AN ASYMMETRICAL POWER RELATIONSHIP ........................................................ 13 3 THE FIGURE OF THE TRICKSTER................................................................. 15 3.1 DEFINITIONS ........................................................................................................ 15 3.2 THE DISCURSIVE ASPECT OF THE TRICKSTER ...................................................... 17 4 GERALD VIZENOR: THE HEIRS OF COLUMBUS ....................................... 19 4.1 BIOGRAPHY ......................................................................................................... 19 4.2 PLOT SUMMARY .................................................................................................. 20 4.3 STRUCTURE AND THEMES.................................................................................... 21 4.4 TRICKSTER DISCOURSE........................................................................................ 23 4.5 COMPOSITE TRICKSTER FIGURES......................................................................... 26 4.6 HISTORY .............................................................................................................. 27 4.7 TRICKSTER AS LIBERATOR: POLITICAL SATIRE................................................... 29 4.8 CRITICISM............................................................................................................ 30 4.9 GENDER ASPECTS ................................................................................................ 32 4.10 GENDER DISCOURSE: DOUBLE DISCOURSE....................................................... 32 5 THOMAS KING: GREEN GRASS, RUNNING WATER................................ 34 5.1 BIOGRAPHY ......................................................................................................... 34 5.2 PLOT SUMMARY AND STRUCTURE ....................................................................... 35 5.3 BETRAYAL OF NATIVE AMERICANS..................................................................... 36 5.4 INTRODUCING COYOTE INTO THE DISCOURSE...................................................... 36 5.5 SUBVERSIVE MIMICRY AND THE PRIVILEGED POINT OF VIEW ............................ 41 5.6 PARODY............................................................................................................... 42 5.7 TRANSCULTURAL ASPECTS.................................................................................. 43 5.8 TRICKSTER HUMOR ............................................................................................. 45 5.9 GENDER ASPECTS ................................................................................................ 46 5.10 THE AUTHOR’S POLITICAL CRITICISM ............................................................... 48 5.11 THE WESTERN MOVIE HERO ............................................................................. 48 ii 6 LOUISE ERDRICH: LOVE MEDICINE........................................................... 50 6.1 BIOGRAPHY ......................................................................................................... 50 6.2 PLOT STRUCTURE AND THEMES........................................................................... 51 6.3 STORYTELLING AND IDENTITY............................................................................. 52 6.4 FLEUR, A MYTHOLOGICAL FEMALE TRICKSTER.................................................. 52 6.5 MALE TRICKSTERS .............................................................................................. 54 6.6 OTHER FEMALE TRICKSTER FIGURES .................................................................. 58 6.7 TRANSGENDERED TRICKSTERS ............................................................................ 60 6.8 DISSOLVING BOUNDARIES ................................................................................... 60 6.9 CRITICISM............................................................................................................ 62 7 LESLIE MARMON SILKO: CEREMONY ........................................................ 62 7.1 BIOGRAPHY ......................................................................................................... 62 7.2 PLOT.................................................................................................................... 63 7.3 STRUCTURE ......................................................................................................... 64 7.4 TRICKSTER DISCOURSE........................................................................................ 64 7.5 HEALING CEREMONY........................................................................................... 66 7.6 TRICKSTER FIGURE IN A DISCOURSE OF HEALING ............................................... 67 7.7 ANOTHER COYOTE TRICKSTER............................................................................ 69 7.8 TRICKSTER HUMOR ............................................................................................. 70 7.9 CRITICISM............................................................................................................ 71 8 SUMMARY ............................................................................................................. 72 9 ZUSAMMENFASSUNG........................................................................................ 76 10 BIBLIOGRAPHY................................................................................................. 79 10.1 PRIMARY SOURCES............................................................................................ 79 10.2 SECONDARY LITERATURE.................................................................................. 79 10.3 DISSERTATIONS ................................................................................................. 85 10.4 INTERNET SOURCES ........................................................................................... 85 10.5 JOURNAL ARTICLES ........................................................................................... 85 iii INTRODUCTION “Almost, please show your virtual realities,” said Lord. “Your honor, this is only the second time we have presented our show of shadow realities in public; the first time we started a revolution at a consumer mall,” said Almost. “A revolution in virtual realities?” asked Lord. “Our realities are shadows, a trace of the real that simulates sound and the simulation of touch, but our moccasins are better worn than told to show the heart of tribal realities,” said the laser shaman. “The realities that were stolen by cold reason and mani- fest manners.”1 Vizenor’s laser shaman trickster figure, Almost Browne, engages in trickster discourse with a female court judge, Beatrice Lord, who wishes him to visually reveal his inside knowledge and capabilities surrounding shadow manifestations of reality. Almost Browne’s responds that ‘Native American’ realities have been stolen by logical think- ing and manners. What he describes is an inevitable loss, a consequence of cultural assimilation inherent in the American belief in ‘Manifest Destiny’. He observes that wearing (worn) moccasins reveal the heart of tribal realities much better than virtual realities, which can only trace the real, merely imitate the sound and touch of literal realities. Almost Browne response is
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