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ⓘ Gerald Vizenor. Gerald Robert Vizenor is an American writer and scholar, and an enrolled member of the Minnesota Chippewa Tribe, White Earth Reservation. Vizeno .. Gerald Robert Vizenor is an American writer and scholar, and an enrolled member of the Minnesota Chippewa Tribe, White Earth Reservation. Vizenor also taught for many years at the University of California, Berkeley, where he was Director of Native American Studies. With more than 30 books published, Vizenor is Professor Emeritus at the University of California, Berkeley, and Professor of American Studies at the University of New Mexico. 1. Early life. Gerald Vizenor was born to a mother who was Swedish-American and a father who was Anishinaabe. When he was less than two years old, his father was murdered in a homicide that was never solved. He was raised by his mother and paternal Anishinaabe grandmother, along with a succession of paternal uncles, in Minneapolis and on the White Earth Reservation. His mothers partner acted as his informal stepfather and primary caregiver. Following that mans death in 1950, Vizenor lied about his age and at 15 entered the Minnesota National Guard. Honorably discharged before his unit went to Korea, Vizenor joined the army two years later. He served with occupation forces in Japan, as that nation was still struggling to recover from the vast destruction of the nuclear attacks that ended World War II. During this period, he began to learn about the Japanese poetic form of haiku. Later he wrote Hiroshima Bugi 2004, what he called his "kabuki novel." Returning to the United States in 1953, Vizenor took advantage of G.I. Bill funding to complete his undergraduate degree at New York University. He followed this with postgraduate study at Harvard University and the University of Minnesota, where he also undertook graduate teaching. After returning to Minnesota, he married and had a son. 2. Activism. After teaching at the university, between 1964 and 1968, Vizenor worked as a community advocate. During this time he served as director of the American Indian Employment and Guidance Center in Minneapolis, Minnesota, which brought him into close contact with numerous Native Americans from reservations. Many found it difficult to live in the city, and struggled against white racism and cheap alcohol. This period is the subject of his short-story collection Wordarrows: Whites and Indians in the New Fur Trade, some of which was inspired by his experiences. His work with homeless and poor Natives may have been the reason Vizenor looked askance at the emerging American Indian Movement AIM, seeing radical leaders such as Dennis Banks and Clyde Bellecourt as being more concerned with personal publicity than the "real" problems faced by American Indians. Vizenor began working as a staff reporter on the Minneapolis Tribune, quickly rising to become an editorial contributor. He investigated the case of Thomas James White Hawk, convicted of murder. Vizenors perspective allowed him to raise difficult questions about the nature of justice in a society dealing with colonized peoples. His work was credited with enabling White Hawk to have his death sentence commuted. During this period Vizenor coined the phrase "cultural schizophrenia" to describe the state of mind of many Natives, who he considered torn between Native and White cultures. His investigative journalism into American Indian activists revealed drug dealing, personal failings, and failures of leadership among some of the movements leaders. As a consequence of his articles, he was personally threatened. 3. Academic career. Beginning teaching full-time at Lake Forest College, Illinois, Vizenor was appointed to set up and run the Native American Studies program at Bemidji State University. Later he became professor of American Indian Studies at the University of Minnesota in Minneapolis 1978–1985. He later satirized the academic world in some of his fiction. During this time he also served as a visiting professor at Tianjin University, China. Vizenor worked and taught for four years at the University of California, Santa Cruz, where he was also Provost of Kresge College. He had an endowed chair for one year at the University of Oklahoma. Vizenor next was appointed as a professor at the University of California, Berkeley. He is professor of American Studies at the University of New Mexico. Vizenor was influenced by the French post-modernist intellectuals, particularly Jacques Derrida and Jean Baudrillard. 4. Fiction. Vizenor has published collections of haiku, poems, plays, short stories, translations of traditional tribal tales, screenplays, and many novels. He has been named as a member of the literary movement which Kenneth Lincoln dubbed the Native American Renaissance, a flourishing of literature and art beginning in the mid-20th century. His first novel, Darkness in Saint Louis Bearheart 1978, later revised as Bearheart: The Heirship Chronicles 1990, brought him immediate attention. One of the few science fiction novels written by a Native American, it portrayed a procession of tribal pilgrims through a surreal, dystopian landscape of an America suffering an environmental apocalypse brought on by white greed for oil. Simultaneously postmodern and deeply traditional, inspired by N. Scott Momadays pioneering works, Vizenor drew on poststructuralist theory and Anishinaabe trickster stories to portray a world in the grip of what he called "terminal creeds" – belief systems incapable of change. In one of the most noted and controversial passages, the character Belladonna Darwin Winter-Catcher proclaims that Natives are better and purer than whites. She is killed with poisoned cookies, purportedly for her promoting racial separatism. In Vizenors subsequent novels, he used a shifting and overlapping cast of trickster figures in settings ranging from China to White Earth Reservation to the University of Kent. Frequently quoting European philosophers such as Umberto Eco, Roland Barthes and Jean Baudrillard, Vizenor has written a fiction that is allusive, humorous and playful, but deeply serious in portraying the state of Native America. He has refused to romanticize the figure of the Native and opposes continued oppression. Vizenors major theme is that the idea of "Indian" as one people was an "invention" of European invaders. Before Columbus arrived, no one defined Indian as other; there were only the indigenous peoples of various tribes such as Anishinaabe or Dakota. They defined "other" among themselves, often divided by languages and associated cultures. To deconstruct the idea of "Indianness," Vizenor uses strategies of irony and Barthesian jouissance. For instance, in the lead-up to Columbus Day in 1992, he published the novel, The Heirs of Columbus, in which Columbus is portrayed as a Mayan Indian trying to return home to Central America. In Hotline Healers, he claims that Richard Nixon, the American president who he said did more for American Indians than any other in restoring sovereign rights and supporting self-determination, did so as part of a deal in exchange for traditional "virtual reality" technology. 5. Non-fiction. Vizenor has written several studies of Native American affairs, including Manifest Manners and Fugitive Poses. He has edited several collections of academic work related to Native American writing. He is the founder-editor of the American Indian Literature and Critical Studies series at the University of Oklahoma Press, which has provided an important venue for critical work on and by Native writers. In his own studies, Vizenor has worked to deconstruct the semiotics of Indianness. His title, Fugitive Poses is derived from Vizenors assertion that the term Indian is a social-science construction that replaces native peoples, who become absent or "fugitive". Similarly, the term, "manifest manners," refers to the continued legacy of Manifest Destiny. He wrote that native peoples were still bound by "narratives of dominance" that replace them with "Indians". In place of a unified "Indian" signifier, he suggests that Native peoples be referred to by specific tribal identities, to be properly placed in their particular tribal context, just as most Americans would distinguish among the French, Poles, Germans and English. In order to cover more general Native studies, Vizenor suggests using the term, "postindian," to convey that the disparate, heterogeneous tribal cultures were "unified" and could be addressed en masse only by Euro-American attitudes and actions towards them. He has also promoted the neologism of "survivance", a cross between the words "survival" and "resistance." he uses it to replace "survival" in terms of tribal peoples. He coined it to imply a process rather than an end, as the ways of tribal peoples continue to change as do the ways of others. He also notes that the survival of tribal peoples as distinct from majority cultures, is based in resistance. He continues to criticize both Native American nationalism and Euro-American colonial attitudes. 6. Honors. Both his fiction and academic studies have contributed to his being honored as a major Anishinaabe and American intellectual and writer. Summer in the Spring : Anishinaabe Lyric Poems and Stories. The Anishinaabe, otherwise named the Ojibwe or Chippewa, are famous for their lyric songs and stories, particularly because of their compassionate trickster, naanabozbo, and the healing rituals still practiced today in the society of the Midewiwin. The poems and tales, interpreted and reexpressed here by the distinguished Anishinaabe author Gerald Vizenor, were first transcribed more than a century ago by pioneering ethnographer Frances Densmore and Theodore Hudson Beaulieu, a newspaper editor on the White Earth Reservation in northern Minnesota. This superb anthology, illustrated with tribal pictomyths and helpfully annotated, includes translations and a glossary of the Anishinaabe words in which the poems and stories originally were spoken. Gerald Vizenor. Gerald Vizenor in 2007. Photo by Vizjim . Licensed under Creative Commons, courtesy Wikipedia . Thomas King. Gerald Robert Vizenor (born 1934) is a Native American poet, prose writer, and academic, with over 30 books to his name. Contents. Life [ edit | edit source ] Youth and education [ edit | edit source ] Vizenor is an Anishinaabe writer, and an enrolled member of the Minnesota Chippewa Tribe, White Earth Reservation. His father was murdered in an unsolved homicide when he was less than 2 years old. [1] He was raised by his Anishinaabe grandmother, his Swedish American mother, and a succession of uncles in Minneapolis and the White Earth Reservation. Following the death of his informal stepfather, who had been his primary caregiver, Vizenor lied about his age to enter the Minnesota National Guard in 1950 at age 15, but was honorably discharged before his unit went to Korea. Vizenor joined the army 2 years later, serving in Japan as the nation was still reeling from the impact of nuclear attack. This period would inspire his interest in haiku, and much later his 2004 "kabuki novel" Hiroshima Bugi . Returning to America in 1953, Vizenor took advantage of G.I. Bill funding to earn a degree at New York University: this was followed by additional postgraduate study at Harvard University and the University of Minnesota, where he also undertook graduate teaching. During this period he married and had a son. Activism [ edit | edit source ] Between 1964 and 1968, Vizenor was a community advocate. During this time he served as director of the American Indian Employment and Guidance Center in Minneapolis, which brought him into close contact with dislocated Native Americans from reservations, many finding it profoundly difficult to survive in a culture of white racism and cheap alcohol. This period is the subject of his collection Wordarrows: Whites and Indians in the new fur trade, some of the stories in which were inspired by real events. Working with homeless and poor Natives may have been the reason Vizenor looked askance at the emerging American Indian Movement (AIM), seeing radical leaders such as Dennis Banks and Clyde Bellecourt as being more concerned with personal publicity than the "real" problems faced by American Indians. In this spirit, Vizenor began working as a staff reporter on the Minneapolis Tribune, quickly rising to become an editorial contributor. His investigation into the case of Thomas James White Hawk, while never pretending that White Hawk was innocent, raised difficult questions about the nature of justice in dealing with colonized peoples. It was credited with being the work that led to the death sentence on White Hawk being commuted. During this period Vizenor coined the phrase “cultural schizophrenia” to describe the state of mind of many Natives torn between Native and White cultures. His investigative journalism into the activities of American Indian activists uncovered many instances of hypocrisy and drug dealing among the movement’s leaders, and earned him a number of death threats. Academic career [ edit | edit source ] Beginning teaching at Lake Forest College, Illinois, Vizenor was quickly appointed to set up and run the Native American studies program at Bemidji State University. Later he was professor of American Indian studies at the University of Minnesota in Minneapolis (1978-1985), [2] which he satirized mercilessly in his fictions. [3] During this time he was also a visiting professor at Tianjin University, China. Following 4 years at the University of California, Santa Cruz, where he was Provost of Kresge College, and an endowed chair for a year at the University of Oklahoma, Vizenor taught for many years at the University of California, Berkeley, where he was Director of Native American studies. He is the founder-editor of the American Indian Literature and Critical Studies series at the University of Oklahoma Press, which has provided an important venue for critical work on and by Native writers. Vizenor is professor emeritus at Berkeley, and a professor of American studies at the University of New Mexico. Writing [ edit | edit source ] Fiction [ edit | edit source ] Vizenor has published collections of haiku, poems, plays, short stories, translations of traditional tribal tales, screenplays and of course many novels. He has been named as a member of the literary movement Kenneth Lincoln dubbed the Native American Renaissance. [4] His debut novel, Darkness in Saint Louis Bearheart (1978), later revised as Bearheart: The Heirship Chronicles (1990), brought him immediate attention. A science fiction novel, it portrayed a procession of tribal pilgrims through a surreal, dystopian landscape of an America suffering an environmental apocalypse brought on by white greed for oil. Simultaneously postmodern and deeply traditional, and inspired by N. Scott Momaday's pioneering works, Vizenor drew on poststructuralist theory and Anishinaabe trickster stories to portray a world in the grip of what he called “terminal creeds” – belief systems incapable of change.(Citation needed) In one of the most famous and controversial passages, the character Belladonna Darwin Winter-Catcher proclaims that Natives are better and purer than whites, and is killed for her belief in racial separatism with poisoned cookies.(Citation needed) Subsequent novels have seen a shifting and overlapping cast of tricksters turn up anywhere from China to White Earth to the University of Kent. Frequently quoting philosophers such as Umberto Eco, Roland Barthes and Jean Baudrillard, Vizenor’s fiction is allusive, humorous and playful, but always ultimately serious in dealing with the state of Native America. Proclaiming himself as much the enemy of those who would romanticize the figure of the Native as he is of those who would continue colonial oppression, Vizenor constantly returns to the theme that the “Indian” was an invention of European invaders – before Columbus’ first landing, there was no such thing as an “Indian”, only the peoples of various tribes (such as Anishinaabe or Dakota). To deconstruct the idea of "Indianness," Vizenor uses strategies of irony and jouissance. For instance, in the lead up to Columbus Day in 1992, he published The Heirs of Columbus , in which he teasingly claims that Columbus was in fact a Mayan Indian trying to return home. In Hotline Healers , he claims that Richard Nixon, the American president who did more for American Indians than any other, did so as part of a deal in exchange for traditional “virtual reality” technology. Non-fiction [ edit | edit source ] Vizenor has authored several studies of Native American affairs, including Manifest Manners and Fugitive Poses , and in addition has edited several collections of academic work on Native American writing. In his own full-length studies, Vizenor is concerned with deconstructing the semiotics of Indianness. For instance, the title of Fugitive Poses relates to Vizenor's assertion that the term indian is a social-science construction that replaces native peoples, who become absent or "fugitive". [5] Similarly, the term "manifest manners" refers to the continued legacy of Manifest Destiny, especially the way native peoples are still bound by narratives of dominance that replace them with "indians". [6] [7] In place of a unified “Indian” signifier, he suggests that Native peoples be referred to as tribal, and always where possible put into their own particular tribal context. To discuss more general Native studies, he suggests using the term "postindian," which would get across the idea of disparate, heterogeneous tribal cultures unified only by Euro-American attitudes and actions towards them. Among his many other neologisms is “survivance”, a cross between the words "survival" and "resistance," which Vizenor uses as a replacement for “survival”, saying that it carries an implication of an ongoing, changing process, rather than the simple continuance of old ways into the modern world, and pointing out that for tribal peoples, the act of survival is based in resistance. He continues to be critical of both Native American nationalism and Euro-American colonial attitudes. Recognition [ edit | edit source ] Awards [ edit | edit source ] for Shrouds of White Earth , 2011. [8] MELUS Lifetime Achievement Award, 2011. [9] Distinguished Minnesotan, Bemidji State University, 2005 Distinguished Achievement Award, Western Literature Association, 2005 Lifetime Achievement Award, Native Writers' Circle of the Americas, 2001 PEN Excellence Award, 1996 PEN Oakland/Josephine Miles Literary Award, 1990 [10] Artists Fellowship in Literature, California Arts Council, 1989 New York Fiction Collective Prize, 1988 , 1988 New York Fiction Collective Award, 1986 [10] Best American Indian Film, San Francisco Film Festival, 1984 [10] Film-in-the-Cities Award, Sundance Festival, 1983. Publications [ edit | edit source ] Poetry [ edit | edit source ] Poems Born in the Wind . Minneapolis, MN: 1960. The Old Park Sleepers: A poem . Minneapolis, MN: Obercraft Printing, 1961. Two Wings the Butterfly: Haiku poems in English . St. Cloud, MN: privately published, 1962. South of the Painted Stones . Minneapolis, MN: 1963. Seventeen Chirps: Haiku in English . Minneapolis, MN: Nodin Press, 1964. Slight Abrasions: A dialogue in haiku (with Jerome Downes). Minneapolis, MN: Nodin Press, 1966. Empty Swings: Haiku in English . Minneapolis, MN: Nodin Press, 1967. Anishinabe Nagamon = Songs of the people . Minneapolis, MN: Nodin Press, 1970. Summer in the Spring: Ojibway lyric poems and tribal stories . Minneapolis, MN: Nodin Press, 1981; also published as Summer in the Spring: Anishinaabe lyric poems and stories . Norman, OK: University of Oklahoma Press, 1993. Novels [ edit | edit source ] Darkness in Saint Louis Bearheart . St. Paul, MN: Truck Press, 1978; revised as Bearheart: The heirship chronicles . Minneapolis, MN: University of Minnesota Press, 1990. Short fiction [ edit | edit source ] Earthdivers: Tribal narratives on mixed descent . Minneapolis, MN: University of Minnesota Press, 1981. Landfill Meditation: Crossblood stories . Hanover, NH: Wesleyan University Press / University Press of New England, 1991. Non-fiction [ edit | edit source ] The Everlasting Sky: New voices from the people named the Chippewa . New York: Crewell-Collier, 1972. Wordarrows: Indians and whites in the new fur trade . Minneapolis, MN: University of Minnesota Press, 1978; also published as Wordarrows: Native states of literary sovereignty . Lincoln, NE: University of Nebraska Press, 2013. also published as Manifest Manners: Narratives on Postindian Survivance [11] Collected editions [ edit | edit source ] Shadow Distance: A Gerald Vizenor reader . Hanover, NH: Wesleyan University Press / University Press of New England, 1994. Edited [ edit | edit source ] Touchwood : A collection of Ojibway prose . St. Paul, MN: New Rivers Press (Many Minnesotas Project, No 3), 1987. Narrative Chance: Postmodern discourse on native American Indian literatures . Albuquerque, NM: University of New Mexico Press, 1989; Norman, OK: University of Oklahoma Press, 1993. Native American Literature: A brief introduction and anthology . New York: HarperCollins, 1995. Survivance: Narratives of native presence . Lincoln, NE: University of Nebraska Press, 2008. Native Storiers: Five selections . Lincoln, NE: University of Nebraska Press, 2009. Except where noted, bibliographical information courtesy WorldCat . [12] Audio / video [ edit | edit source ] Gerald Vizenor's "North Dakota" Gerald Vizenor (VHS). Princeton, NJ: Films for the Humanities & Sciences, 1995. See also [ edit | edit source ] References [ edit | edit source ] Biographies [ edit | edit source ] Gerald Vizenor: Writing in the Oral Tradition , by Kimberly Blaeser Loosening the Seams: Interpretations of Gerald Vizenor , by A. Robert Lee Four American Indian Literary Masters: N. Scott Momaday, James Welch, Leslie Marmon Silko and Gerald Vizenor , by Alan R. Velie Gerald Vizenor: Profils Americains 20 , ed. Simone Pellerin. Presses Universitaires de la Méditerranée, 2007. (In English) Gerald Vizenor: Texts and contexts , ed. A. Robert Lee & Deborah Madsen, 2011. Understanding Gerald Vizenor , by Deborah Madsen, 2010. Interviews or Essays [ edit | edit source ] Contemporary Authors: Biography – Vizenor, Gerald Robert (1934-) , Thomson Gale. Other Words: American Indian Literature, Law, and Culture , (American Indian Literature and Critical Studies Series), Jace Weaver, Univ. Oklahoma Press. Postindian Conversations , Gerald Robert Vizenor, A. Robert Lee, University of Nebraska Press. Excavating Voices: Listening to Photographs of Native Americans , Michael Katakis (Editor), University of Pennsylvania Museum Press. Mythic Rage and Laughter: An Interview with Gerald Vizenor , Dallas Miller, 1995, Studies in American Indian Literatures , 7, 77, 1995 Spring. Subverting the Dominant Paradigm: Gerald Vizenor's Trickster Discourse , Kerstin Schmidt, Studies in American Indian Literatures , 7, 65, 1995 Spring. That the People Might Live: Native American Literatures and Native American Community , Jace Weaver, Oxford University Press. "Text as Trickster: Postmodern language games in Gerald Vizenor's 'Bearheart." (Maskers and Tricksters), An article from: MELUS , by Elizabeth Blair Gerald Vizenor and his 'Heirs of Columbus': a postmodern quest for more discourse . An article from: The American Indian Quarterly by Barry E Laga Monkey kings and mojo: postmodern ethnic humor in Kingston, Reed, and Vizenor , An article from: MELUS, by John Lowe Postmodern bears in the texts of Gerald Vizenor (Critical Essay), An article from: MELUS, by Nora Baker Barry "Bad Breath": Gerald Vizenor's Lacanian fable . (Critical Essay), An article from: Studies in Short Fiction by Linda Lizut Helstern Native American Writers of the United States , (Dictionary of Literary Biography, V. 175), Kenneth M. Roemer (Editor), Gale Research. Woodland word warrior: An introduction to the works of Gerald Vizenor , A. LaVonne Brown Ruoff. Survival This Way: Interviews With American Indian Poets , Joseph Bruchac III (Editor), (Sun Tracks Books, No 15) University of Arizona Press. Winged Words: American Indian Writers Speak , Laura Coltelli, University of Nebraska Press. Partial Recall: With Essays on Photographs of Native North Americans , Lucy Lippard (Editor) Contemporary Authors. Autobiography Series (Vol 22. Issn 0748-0636), Gale Research American Contradictions: Interviews With Nine American Writers , Wolfgang Binder (Editor), Helmbrecht Breinig (Editor), Wesleyan University Press. First published in German as Facing America, Multikulturelle Literatur def heutigen USA in Texten und Interviews , Rotpunktverlag, Leipzig, Germany, 1994. "Interior Dancers": Transformations of Vizenor's Poetic Vision, Kimberly M. Blaeser The Ceded Landscape of Gerald Vizenor's Fiction , Chris LaLonde Blue Smoke and Mirrors: Griever's Buddhist Heart , Linda Lizut Helstern Liberation and Identity: Bearing the Heart of The Heirship Chronicles , Andrew McClure Liminal Landscapes: Motion, Perspective and Place in Gerald Vizenor's Fiction , Bradley John Monsma Waiting for Ishi: Gerald Vizenor's Ishi and the Wood Ducks and Samuel Beckett's Waiting for Godot , Elvira Pulitano Doubling in Gerald Vizenor's Bearheart: The Pilgrimage Strategy or Bunyan Revisited , Bernadette Rigel-Cellard Legal and Tribal Identity in Gerald Vizenor's The Heirs of Columbus , Stephen D. Osborne (Articles by Rodriguez, Velie and Blaeser address Vizenor's writings.) Notes [ edit | edit source ] ↑ Vizenor, Interior Landscapes , pp. 28–32. ↑University of Minnesota Department of American Indian Studies Homepage ↑ "The Chair of Tears", in Earthdivers , pp 3–29 ↑ Kenneth Lincoln, Native American Renaissance (Berkeley: University of California Press, 1983). ↑ Review of Fugitive Poses , reviewed by David Greenham, in Journal of American Studies 33.3 (1999), pp. 555–556. Accessed via JSTOR, February 19, 2011. ↑ Postindian Conversations by Gerald Vizenor and A. Robert Lee, U of Nebraska Press, 2003, pp.82–84. ↑ Gerald Vizenor: writing in oral tradition , by Kimberly M. Blaeser, U of Oklahoma Press, 1996, pp.55–57. ↑American Book Award announcement ↑Vizenor Award Announcement, word .doc, accessed January 15, 2011. ↑ 10.010.110.2 "Gerald Vizenor", Encyclopedia of American Indian Literature , by Jennifer McClinton-Temple and Alan R. Velie, Facts on File, 2007, pp.376–378 ↑ see this cover at Google Books, accessed February 19, 2011. ↑Search results = au:Gerald Vizenor, WorldCat, OCLC Online Computer Library Center Inc. Web, Apr. 5, 2015. External links [ edit | edit source ] at the Poetry Foundation at Terebess Asia Online (TAO) from Weber Studies - Talk at University of Minnesota 2006. at Amazon.com in libraries (WorldCat catalog) at Blue Ravens at Native American Authors] at Minnesota Authors Biography Project Official website. . (NB this is not up- to-date) Salt Publishing website for Almost Ashore – includes video footage, excerpts and biography from Weber Studies , 1994 "To Honor Impermanence: The haiku and other poems of Gerald Vizenor" by Tom Lynch The Poetry and Poetics of Gerald Vizenor essays available in .PDF. This article incorporates text from Nativewiki under the GFDL license. Chancers: A Novel - American Indian Literature and Critical Studies Series (Paperback) Possessed by the demonic wiindigoo, a mythic monster, the Solar Dancers, in a gruesome ritual, sacrifice faculty and administrators associated with the collection and storage of native remains. The Dancers replace stored native skulls with those of the academics, and the resurrected natives become the Chancers. The Round Dancers, humane and erotic trickster figures, are natural opponents of the morbid Solar Dancers. The war between the two groups comes to a comic conclusion at a graduation ceremony attended by Pocahontas; Phoebe Hearst; Alfred Kroeber, the anthropologist; Ishi, the native who actually lived and worked in the university museum; and many Chancers. Publisher: University of Oklahoma Press ISBN: 9780806133881 Number of pages: 168 Weight: 194 g Dimensions: 203 x 127 x 8 mm.