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Gordon Henry Jr) Moreira the New Warrior in Gordon Henry´S the Light People

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Gordon Henry Jr) Moreira the New Warrior in Gordon Henry´S the Light People Universidade de Aveiro Departamento de Línguas e Literaturas 2007 GORETTI O NOVO GUERREIRO EM THE LIGHT PEOPLE DAS NEVES (GORDON HENRY JR) MOREIRA THE NEW WARRIOR IN GORDON HENRY´S THE LIGHT PEOPLE Universidade de Aveiro Departamento de Línguas e Literaturas 2007 GORETTI O NOVO GUERREIRO EM THE LIGHT PEOPLE DAS NEVES (GORDON HENRY JR) MOREIRA THE NEW WARRIOR IN GORDON HENRY´S THE LIGHT PEOPLE Dissertação apresentada à Universidade de Aveiro para cumprimento dos requisitos necessários à obtenção do grau de Mestre em Estudos Ingleses, realizada sob a orientação científica do Prof. Dr. David Callahan, Professor Associado do Departamento de Línguas e Literaturas da Universidade de Aveiro Para Old Eagle (kete ginew), em memória de Eagleheart (Francis Cree) e Louis Cree, contadores de histórias. Megwetch. o júri presidente Doutor Anthony David Barker Professor Associado da Universidade de Aveiro vogais DoutoraTeresa Maria Dimas Botelho Dias Professora Associada da Universidade Nova de Lisboa Doutor Kenneth David Callahan Professor Associado da Universidade de Aveiro (Orientador científico) agradecimentos O presente trabalho foi uma incursão espantosa pelo mundo da literatura ameríndia e, em especial, pelo mundo da nação Anishinabe. Agradeço a todos aqueles que me acompanharam nesta viagem: os meus três Filipes, a minha mãe, e os meus sogros, que me aturaram ao longo de dois anos e meio; o meu professor e orientador Prof. Dr. David Callahan, cuja confiança em mim me levou a ir mais longe do que esperava; Gordon Henry Jr, pela confiança, amizade e as conversas sobre literatura; Nash Ki, pela amizade e força; José Gonçalves, presidente do Conselho Executivo da Escola EB 2,3/S de Vilar Formoso, os Serviços Administrativos da EB 2,3/S de Vilar Formoso (em especial Judite Jarmela e Jorge Viana), Beatriz Fonte e os meus colegas da “salinha ao lado”, pela amizade e por todo o apoio que me deram, principalmente nos dias de neura. palavras-chave literatura ameríndia, romance ameríndio, história, cultura, eurocentrismo, estereotipos, resumo O presente trabalho propõe-se estabelecer o romance ameríndio como género por si só, diferente do romance pós-modernista, categoria que lhe é frequentemente atribuída. A dissertação é composta por uma contextualização teórica da problemática e uma introdução à obra em questão (Parte I), pela análise da obra à luz do pressuposto teórico (Parte II) e pela conclusão (Parte III). The Light People de Gordon Henry Jr destaca-se pela intersecção do passado e do presente do povo Anishinabe em particular e dos povos ameríndios em geral, naquilo que constitui uma visão de um futuro activo e interactivo em termos de construção de identidades e destruição de estereótipos num contexto de adaptação a, e equilíbrio com, as contextualizações social, cultural e histórica existentes. keywords Native American literature, Native American novel, history, culture. Eurocentrism, stereotypes abstract This dissertation aims at establishing the Native American novel as a genre of its own, different from the postmodernist novel, as which it is frequently categorized. The dissertation includes the theoretical contextualization of the theme and an introduction to the novel (Part I), the analysis of the novel according to this contextualization (Part II) and the conclusion (Part III). Gordon Henry’s The Light People stands out for the intersection of the past and present of the Anishinabe people in particular, and Native American peoples in general, in what becomes a vision of an active and interactive future in terms of the construction of identity and destruction of stereotypes within a context of adaptation to, and balance with, the existing social, cultural and historical contextualization. Índice Índice/Contents Part I Introduction 3 The Light People Circularity 24 Part II “Invisible Trails” Reading in-between the lines 39 “Arthur Boozhoo on the Nature of Magic” Tricksters, magic and social criticism 42 “Rose Meskwaa Geeshik’s Monologue on Images” Destroying images with images: the Turtle, the Eagle and the Stone 48 “Oshawa’s Story” Ceramic and Stone 53 “Oshawa’s Uncle’s Story” Stones and Books 54 “Bombarto Rose: Mixed-Blood Musings in Obscurity” Blood in Two Worlds 56 “The Autobiographical Profile of Bombarto Rose: An Essay on Personal Origins” Another kind of seed 60 “The Prisoner of Haiku” The Artistic Warrior 62 “Haiku and Dream Songs of Elijah Cold Crow” Dreams and visions 65 “Bombarto Rose: Essay on Parameters of Residence” X marks the spot 68 “Bombarto Rose: A Note to Hold the Eyes” Circling the X 69 “Bombarto Rose: Winter Song” Returning to the old ones and old ways 71 “Old Woman Cold Crow’s Monologue on the Death of Her Son” The gift of a story 71 “Old Woman Cold Crow’s Story as Payment to Bombarto Rose” The gift of a sculpture 72 “Abetung’s Story” Mary’s child 74 “Geeshis” Unfinished trails 76 “Franklin Squandum’s Death Dream: A Mini-Drama for Native Dancers” The Nest and the Mind 77 “Squandum’s Funeral” The Deer Hunter 80 “Requiem for a Leg” Missa pro defunctis 81 “Oshawanung’s Story: Waking in the Library” Guilt and Shame 87 “Systems and Witnesses for the Museum” Point, Set… 88 “The Anthro’s Tale” …and Match 89 “After the Requiem” The Circle of Truth 93 “Oshawa’s Attempt to Kill” The Wrong Side of the Stone 94 “Rose Meskwaa Geeshik’s After-image Dreams” Calling the Old Ones 94 “Arthur Boozhoo: Two Dogs Stuck Together” If an Indian book contains no dogs, then the book is written by a non-Indian or mixed-blood writer. 95 “Seed’s Journey to the Cave” Cranes rise again 97 “We the People” The Eternal Fire 99 Part III Conclusion 109 Works cited 115 Filmography 121 Figuras - Figure 1 – The Four Colors – Turtle Island Productions. http://www.turtle- island.com/traditions.html. - Figure 2 - A Medicine Wheel – handcrafted by Ned Benson (In: Jalbun Lodge - http://www.miditrax.com/MedicineWheel.htm) SWEET GRASS AND SUN Burn sweet grass rinse your face with smoke Eat the moon slowly, then spit the pieces out Eat it again spit it out Burn sweet grass wash your hands with smoke Speak the wind angrily, then cover sky with hand Speak again cover sky dark Burn sweet grass bath your bodyface smoke, smoke Lick the earth sun, don’t let it melt Smoldering sweet grass cleanse my face with smoke Patrick Russel LeBeau Stands Alone, Faces and Other Poems Part I 1 2 Introduction The contemporary Native American novel was born in 1968, the year of the publication of N. Scott Momaday’s Pulitzer Prize-winning House Made of Dawn, which stimulated a new line of approach to literature in general, and the novel in particular. Catherine Rainwater sums up the situation when she says that “a new generation of Native American storytellers has chosen writing over the oral storytelling tradition” (xiii), and among this generation we can find Gordon Henry Jr, whose novel The Light People constitutes the subject of this dissertation. Much has been written and debated about this flow of literary production; much has been avoided. There seems to be a generalised understanding amongst Europeans and defenders of the Canons that the only place which Native American peoples may occupy is the realm of “Euro-Fantasy”. In the words of Devon Mihesuah: No other ethnic group in the United States has endured greater and more varied distortions of its cultural identity than American Indians. Distorted images of Indian culture are found in every possible medium – from scholarly publications and textbooks, movies, TV shows, literature, cartoons, commercials, comic books, and fanciful paintings, to the gamut of commercial logos, insignia, and imagery that pervade tourist locales throughout the Southwest and elsewhere (…) Not only Euro-Americans, but also Europeans, Africans, and Asians appear to have definite expectations of what Indians should look like. Indian men are to be tall and copper-colored, with braided hair, clothed in buckskin and moccasins, and adorned with headdresses, beadwork and/or turquoise. Women are expected to look like models for the “Learnin’ Tree” greeting cards. (American Indians, 9) Over the centuries Native American peoples have been deprived of that which constitutes one of the most important aspects of Native American representations – Place – in each of the significances this concept may be subjected to. Ranging from the early settlers to Hollywood businessmen, from explorers to scholars, the history of the appropriation of Native American representations and the idealization of the “Noble Savage” or the Disney Pocahontas stereotypes are illustrative of the loss of places which has marked the histories of all Native (American) peoples. Furthermore, Devon Mihesuah tells us that “the problem 3 with many books and articles about Indians is not with what is included but with what is omitted” (Natives and Academics, 4), as the construction of stereotypes does not allow space for contradiction or the realization that identity is multiple and dynamic. Being deprived of place in Native American terms is to be deprived of one of the most important elements underlying the construction of Native American identity. In Native Science, Gregory Cajete comments on the fact that “the first Europeans saw America as wilderness, an obstacle to be overcome through settlement and the use of living and non-living resources. The land was a material object, a commodity, something from which they could gain economically” (179), whereas: For the indigenous people the land and the place in which they lived were in a perfect state. The real test of living was to be able to establish a harmonious relationship with that perfect nature – to understand it, to see it as the source of one’s life and livelihood, and the source of one’s essential spiritual being. But in the minds of many Europeans, Natives were “the other” – either savage and heathen, or noble and good.
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