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Studies in American Indian Literatures Editor Malea Powell Michigan State University volume 19 . number 3 . fall 2007 Studies in American Indian Literatures editor malea powell Michigan State University Published by the University of Nebraska Press subscriptions Studies in American Indian Literatures (SAIL ISSN 0730-3238) is the only scholarly journal in the United States that focuses exclusively on American Indian literatures. SAIL is published quarterly by the University of Nebraska Press for the Association for the Study of American Indian Literatures (ASAIL). Subscription rates are $37 for individuals and $90 for institutions. Single issues are available for $21. For subscriptions outside the United States, please add $20. Canadian subscribers please add appropriate GST or HST. To subscribe, please contact the University of Nebraska Press. Payment must accompany order. Make checks payable to the University of Nebraska Press and mail to: Customer Service 1111 Lincoln Mall Lincoln, NE 68588-0630 Telephone 800-755-1105 (United States and Canada) 402-472-3581 (other countries) www.nebraskapress.unl.edu All inquiries on subscription, change of address, advertising, and other busi- ness communications should be addressed to the University of Nebraska Press. For information on membership in ASAIL or the membership subscrip- tion discount please contact: Ellen L. Arnold 1247 Stoneybrook Lane Boone, NC 28607 828-264-0968 [email protected] or [email protected] submissions The editorial board of SAIL invites the submission of scholarly, critical, pedagogical, and theoretical manuscripts focused on all aspects of American Indian literatures as well as the submission of poetry and short fiction, biblio- graphical essays, review essays, and interviews. We define “literatures” broadly to include all written, spoken, and visual texts created by Native peoples. Manuscripts should be prepared in accordance with the most recent edi- tion of the MLA Style Manual. Please send three clean copies of the manu- script along with a self-addressed envelope and sufficient postage to permit the return of the reviewed submission, or you may submit by e-mail as an attachment (preferably in Rich Text Format [RTF]). SAIL observes a “blind reading” policy, so please do not include an author name on the title, first page, or anywhere else in the article. Do include your contact information, such as address, phone number, and e-mail address on a separate sheet with your submission. All submissions are read by outside reviewers. Submissions should be sent directly to: Daniel Heath Justice Department of English, University of Toronto 170 St. George Street Toronto, ON M5B 2M8 Canada Rights to the articles are held by the individual contributors. All rights reserved Manufactured in the United States of America SAIL is available online through Project MUSE at http://muse.jhu.edu. Articles appearing in this journal are abstracted and indexed in Anthro- pological Index, Arts & Humanities Citation Index, Bibliography of Native North Americans, Current Abstracts, Current Contents/Arts & Humanities, ERIC Databases, IBR: International Bibliography of Book Reviews, IBZ: International Bibliography of Periodical Literature, MLA International Bibliography, and TOC Premier. Cover: Photo courtesy of Bonita Bent-Nelson © 2003, design by Kimberly Hermsen Interior: Kimberly Hermsen general editor Malea Powell book review editor P. Jane Hafen creative works editors Joseph W. Bruchac and Janet McAdams editorial board Chadwick Allen, James Cox, Dean Rader, and Lisa Tatonetti editorial assistant Kimberli Lee editors emeritus Helen Jaskoski Karl Kroeber Robert M. Nelson John Purdy Rodney Simard contents 1 Oklahoma: A View of the Center ruthe blalock jones, maria depriest, and cynthia fowler 45 “The Way I Heard It”: Autobiography, Tricksters, and Leslie Marmon Silko’s Storyteller lynn domina 68 Refiguring Legacies of Personal and Cultural Dysfunction in Janet Campbell Hale’s Bloodlines: Odyssey of a Native Daughter jordana finnegan 87 Cycles linda young 89 Heartspeak from the Spirit: Songs of John Trudell, Keith Secola, and Robbie Robertson kimberli lee 115 The Nineteenth-Century Garden: Imperialism, Subsistence, and Subversion in Leslie Marmon Silko’s Gardens in the Dunes terre ryan 133 Contributor Biographies 1 3 5 Major Tribal Nations and Bands Oklahoma A View of the Center ruthe blalock jones, maria depriest, and cynthia fowler preface In the summer of 2003 a group of twenty-five educators converged at Evergreen State College in Olympia, Washington, under a National Endowment for the Humanities Fellowship titled “Working from Community: American Indian Art and Literature in a Historical and Cultural Context.” It was six weeks of intensive study of American Indian art and literature to further more thoughtful scholarship on indigenous culture and to encourage teaching strategies that might integrate native topics into general courses on art and literature. Under the direction of Gail Tremblay (Onondaga/Mi’kmac), art- ist, critic, and professor at Evergreen, along with Mario Caro, then a professor at Evergreen and now at Indiana University–Purdue University Indianapolis, the seminar was a provocative, engaging, and dynamic discussion of topics related to American Indian cul- ture. It included a stellar lineup of guest lecturers, including writ- ers LeAnne Howe (Choctaw), Linda Hogan (Chickasaw), Leslie Marmon Silko (Laguna Pueblo), and Ofelia Zepeda (Tohono O’odham) and artists Corwin Clairmont (Salish Kootenai), Frank LaPena (Nomtipom-Tunai Wintu), Jolene Rickard (Tuscarora), C. Maxx Stevens (Seminole), and Hulleah Tsinhnahjinnie (Diné/ Seminole/Muskogee). Participants were also introduced to members of the Makah Nation in Neah Bay, Washington, and to local artists such as Greg Colfax (Makah). 2 sail · fall 2007 · vol. 19, no. 3 The following dialogue began as a collaborative presentation deliv- ered at the seminar. After putting the notes from our original pre- sentation into written form, we developed this paper through e-mail and telephone exchanges over the years that followed. We present our ideas in conversational form to preserve the quality of a dialogue and the spirit of collaboration among colleagues. The conversational form departs from conventional scholarly analysis, yet it is not without precedent and remains viable as an alternative discourse to the prevailing academic model, which presumes the superiority of an individual critique. Shared among three scholars, American Indian and Euroamerican, our work is an alert, ongoing activity of love and fun. Our focus was, and still is, twentieth-century Oklahoma artists and writers. While Oklahoma has not been recognized in main- stream America as a major center of cultural activity, it has been and continues to be a fertile ground for American Indian creativity. In our dialogue we explore the shared subject matter of a select group of twentieth-century Oklahoma artists and writers, uniting the divide between the visual arts and literature for a more comprehen- sive perspective while revisiting the pervasive question of the con- nection between artist/home/place. We have selected five themes as the organizing principle of our discussion. These themes emanated from the works of art themselves. Based on our shared knowledge of “Oklahoma” art and literature—and this was broadly defined by the three of us to be work produced by artists and writers connected in a wide variety of ways to this specific place—we felt that the cat- egories of travel, loss, memory, transformation, and dance would aid us in our exploration of the significance of Oklahoma as a cultural center. Ruthe Blalock Jones (Delaware/Shawnee/Peoria), artist and cur- rent director of art at Bacone College, provides background infor- mation on the Bacone style of painting that emerged from the Bacone College School of Art, an important center of painting since the 1930s, and describes the relationship of her own painting to this long-standing Oklahoma art tradition. American art histo- rian Cynthia Fowler discusses key works by artists C. Maxx Stevens, Jones, DePriest, and Fowler: Oklahoma 3 Hachivi Edgar Heap of Birds, Steven Deo, and Anita Fields, all of whom have strong ties to Oklahoma and work in media outside of the painting tradition. American literature scholar Maria DePriest highlights particular tribal, urban, and academic perspectives about Oklahoma in the works of Joy Harjo, Linda Hogan, LeAnne Howe, Carter Revard, Rennard Strickland, and Craig Womack. Like the visual artists, the writers figure Oklahoma as both a physical and psychic umbilical cord, a primary relation available for interaction. introduction cynthia fowler: The artists and writers we selected for our dis- cussion work in diverse, even contradictory styles. But they share an important connection in their choice of subjects. This connection is often lost when categories such as “traditional versus nontradi- tional” and “modern versus postmodern” are imposed upon their work. When we turn the spotlight on Oklahoma, the limitations to these categories become immediately apparent. But even more, the importance of Oklahoma as a vital center of American Indian art and literature has been revealed to us in this process of exploration. maria depriest: And don’t you think, Cynthia, that one aspect of the vitality we are exploring has everything to do with a complex relationship of artist to place? For example, in a Western American Literature issue devoted to Oklahoma’s legacy as “Indian Territory,” Joy Harjo makes a case for the power of language to forge sustain- ing bonds
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