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VOICES of EXILE: REIMAGINING a POLYVOCAL AMERICAN SOUTH by Angela Ruth Mullis

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VOICES of EXILE: REIMAGINING a POLYVOCAL AMERICAN SOUTH by Angela Ruth Mullis Voices of Exile: Reimagining a Polyvocal American South Item Type text; Electronic Dissertation Authors Mullis, Angela Ruth Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 27/09/2021 11:04:06 Link to Item http://hdl.handle.net/10150/194143 VOICES OF EXILE: REIMAGINING A POLYVOCAL AMERICAN SOUTH by Angela Ruth Mullis _____________________ Copyright © Angela Ruth Mullis 2005 A Dissertation Submitted to the Faculty of the DEPARTMENT OF ENGLISH In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF PHILOSOPHY In the Graduate College THE UNIVERSITY OF ARIZONA 2005 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Dissertation Committee, we certify that we have read the dissertation prepared by Angela Ruth Mullis entitled Voices of Exile: Reimagining a Polyvocal American South and recommend that it be accepted as fulfilling the dissertation requirement for the Degree of Doctor of Philosophy _______________________________________________________________________ Date: June 28, 2005 Dr. Charles Scruggs _______________________________________________________________________ Date: June 28, 2005 Dr. Larry Evers _______________________________________________________________________ Date: June 28, 2005 Dr. Charles Bertsch Final approval and acceptance of this dissertation is contingent upon the candidate’s submission of the final copies of the dissertation to the Graduate College. I hereby certify that I have read this dissertation prepared under my direction and recommend that it be accepted as fulfilling the dissertation requirement. ________________________________________________ Date: June 28, 2005 Dissertation Co-Director: Dr. Charles Scruggs ________________________________________________ Date: June 28, 2005 Dissertation Co-Director: Dr. Larry Evers 3 STATEMENT BY AUTHOR This dissertation has been submitted in partial fulfillment of requirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this dissertation are allowable without special permission, provided that accurate acknowledgment of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the copyright holder. SIGNED: Angela Ruth Mullis 4 ACKNOWLEDGEMENTS Community is central to the human experience, and while writing a dissertation community becomes the source of one's survival. With this in mind, I have many communities to thank. First, I would like to acknowledge the faculty, staff, and administrators in the English Department at the University of Arizona as well as the American Indian Studies Program at the University of California, Los Angeles. Throughout the course of my graduate study, these two departments have provided financial, intellectual, and emotional support. My hat goes off to my wonderful dissertation committee. What a dream team! I could not ask for a finer group of scholars to work with. Dr. Larry Evers, Dr. Charles Scruggs, and Dr. Charles Bertsch pushed me to think harder, work harder, play harder, write better, and succeed at all of the above! It has been a joy working with each of you. I will deeply miss our conversations and ruminations about our work and this experience called life. I must also acknowledge the "unofficial" member of my committee, Dr. Melissa Ryan. Thank you, Melissa, for our endless discussions about this project, for your incredibly attentive readings and editorial comments, for never wavering, for always giving so graciously of your time, and most importantly for being my friend. Where the North and South collide (or, as I prefer, meet) is a beautiful place! In addition, I would like to call attention to my professors, mentors, and friends at UCLA's American Indian Studies Program, particularly Dr. Paula Gunn Allen and Dr. Duane Champagne. Together Paula and Duane helped me understand what studying American Indian literatures and cultures is all about. And when I needed it, these two were my greatest fans. Cheers to you both! I want to thank Dr. Ken Lincoln and Dr. Greg Sarris as well. I would be amiss if I did not mention my experience in Dr. Carol Batker's course on Native American Women Writers at Florida State University. It was during this senior seminar that my passion for Native literature began and it has continued to grow throughout the years. To Dr. Anthony Paredes, who suggested I apply to UCLA in the first place, thank you for altering the course of my destiny! And, I must thank you for your term "New, New South," which inspired this project during its initial phase. I want to acknowledge the faculty at Thomas College, too, especially Dr. Doug Haydel and Dr. Woody Search. And reaching back further still, I'd like to salute the late Hal Lankford, my high school English teacher who introduced me to F. Scott Fitzgerald's The Great Gatsby, and from there, as they say, "the rest is history." Throughout this professionalization process there have been many key players who guided and encouraged me without fail. I want to especially thank Dr. Daniel Cooper Alarcón and Dr. Andrew Doolen for their support during my job search. And I must also thank the English Undergraduate Advising team for their support during this final year. I am forever indebted to my friends and colleagues who have not only offered intellectual stimulation, but emotional support and friendship for which "thank you" seems too small of a phrase for what you've done for me. You all definitely helped make "time-off" from work a less guilty pleasure. A huge thank you and big hug to Jessica 5 Maucione, Stacy Day, Sean Cobb, James Lilley, Dr. Carlos Gallego, Dr. Gregory Jackson, Dr. Lucy Wilson, Matthew Saks, Bernie Lurie, Debra White Stanley, Michelle Damon, Amy Hamilton, Steven Sampliner, Marcia Marma, Dr. Charles Sherry, Stephanie Fitzgerald, Kazushi Yabe, Dr. David Kamper, Lauren Cathcart, Daniel Stolar, and the entire Pitt family. Finally, I must thank the Mullis bunch for all of their support and the comical diversions from "my life out West" that they always create. Because of my loving family, I have had quite the "Southern experience," even from afar. Much love and gratitude to my favorite cuz, Cousin Harry. May the force be with you! To my sister, Monica, who is my dearest friend and confidant, a very special thank you. Thank you for believing in me. Thank you for being so very proud of me and always acknowledging even the smallest achievement. Thank you for the orchids. Thank you for your love. And thank you for the countless phone calls and for making me believe in the power of long distance relationships because our love for each other continues to grow, as our phone bills do, with each passing day. A special thank you to my Daddy who taught me the value of honesty and humility. Your humbleness and meekness are refreshing and inspiring in a world that is often maddening and superficial. And thank you Mother for your love and support throughout the years, and for showing me the beauty and strength of womanhood. Most importantly, I want to thank my late grandfather, James M. Mullis, to whom this work is dedicated, and who is largely responsible for this incredible dream that I've just achieved. You inspired me, you taught me tolerance and respect by showing me the "other side of the tracks" in South Georgia, you loved me without conditions, and you gave everything possible--most importantly your heart. You are "Amazing Grace," and I want you to know that Littlin' has finally made it. I owe you so very much. You are my heart. This "exiled" voice thanks you for showing me the best and worst of the South, and how to always keep carving out and working toward that best. This one's for you! I love you, Poppie. 6 DEDICATION In loving memory of my grandfather James M. Mullis 7 TABLE OF CONTENTS ABSTRACT…………………………………………………………………………….. 10 INTRODUCTION……………………………………………………………………… 11 1. CONFLICTING SOVEREIGNTIES AND SOUTHERN INJUSTICE: A TWENTIETH CENTURY INTERPRETATION OF CHEROKEE POLITICS AND HISTORY IN DIANE GLANCY'S PUSHING THE BEAR......…………………….29 Communal Truth--Recalling a Decentralized Government through Polyvocality ……………………………………………………………..32 Kinship and Ani-Yun Wiya (The Real People)……………………….34 Imposition of White Law……………………………………………….37 Glancy's "Storying"…………………………………………………….41 Disorder and Chaos: Factionalism on the Trail of Tears…………….43 Cherokee Cosmogony..…………………………………………………49 Ordering the World: (Re)memory and (Re)turning to Tradition…. 52 2. NARRATING "VOLUNTARY" MIGRATIONS: WILLIAM MELVIN KELLEY'S RESPONSE TO SOUTHERN VIOLENCE AND AFRICAN-AMERICAN AGENCY IN A DIFFERENT DRUMMER ………………………………………... 60 A Different Migration Story: A Different Drummer………………… 67 America's History of Devaluing Blackness………………………….. 82 Constructing "Whiteness as Property"…….…………………………84 Orality, the Blues, and William Melvin Kelley's Unsung Lyrics …...86 8 TABLE OF CONTENTS - Continued Absence: The Power of Silence in Caliban's Narrative…………….. 93 3. SHAKING UP HISTORICAL CORRECTNESS: CHOCTAW TRIBAL HISTORY IN LEANNE HOWE'S SHELL SHAKER ………………………………………… 103 Understanding Tribalography………………………………………..105 Southeastern
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