Search results for ""Author Gerald Vizenor""

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.

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The concept and idea of survivance has revolutionized our understanding of the lives, creative impulses, literary practices, and histories of the Native peoples of North America. Engendered and articulated by the Anishinaabe critic and writer Gerald Vizenor, survivance throws into relief the dynamic, inventive, and enduring heart of Native cultures well beyond the colonialist trappings of absence, tragedy, and powerlessness. Vizenor argues that many people in the world are enamored with and obsessed by the concocted images of the Indian—the simulations of indigenous character and cultures as essential victims. Native survivance, on the other hand, is an active sense of presence over historical absence, deracination, and oblivion.The nature of survivance is unmistakable in Native stories, natural reason, active traditions, customs, and narrative resistance and is clearly observable in personal attributes such as humor, spirit, cast of mind, and moral courage in literature. In this anthology, eighteen scholars discuss the themes and practices of survivance in literature, examining the legacy of Vizenor’s original insights and exploring the manifestations of survivance in a variety of contexts.Contributors interpret and compare the original writings of William Apess, Eric Gansworth, Louis Owens, Carter Revard, Gerald Vizenor, and Velma Wallis, among others.

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The first novel by the author which overturns "terminal creeds" and violence in a decadent material culture. American civilization has collapsed and Proude Cedarfair, his wife Rosina and a bizarre collection of disciples are forced on a pilgrimage.

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Gerald Vizenor’s Native Provenance challenges readers to consider the subtle ironies at the heart of Native American culture and oral traditions such as creation and trickster stories and dream songs. A respected authority in the study of Native American literature and intellectual history, Vizenor believes that the protean nature of many creation stories, with their tease and weave of ironic gestures, was lost or obfuscated in inferior translations by scholars and cultural connoisseurs, and as a result the underlying theories and presuppositions of these renditions persist in popular literature and culture.Native Provenance explores more than two centuries of such betrayal of Native creativity. With erudite and sweeping virtuosity, Vizenor examines how ethnographers and others converted the inherent confidence of Native stories into uneasy sentiments of victimry. He explores the connection between Native Americans and Jews through gossip theory and strategies of cultural survivance, and between natural motion and ordinary practices of survivance. Other topics include the unique element of Native liberty inherent in artistic milieus; the genre of visionary narratives of resistance; and the notions of historical absence, cultural nihilism, and victimry.Native Provenance is a tour de force of Native American cultural criticism ranging widely across the terrains of the artistic, literary, philosophical, linguistic, historical, ethnographic, and sociological aspects of interpreting Native stories. Native Provenance is rife with poignant and original observations and is essential reading for anyone interested in Native American cultures and literature.

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With wry humor and imaginative acuity, noted writer Gerald Vizenor offers compelling glimpses of modern Native American life and the different ways that Native Americans and whites interact, fight, and resolve their conflicts. The elusive borderland between white and Native American cultures is further complicated by exchanges of money, services, language, and skills that make up what Vizenor calls the “new fur trade.” When Native Americans resist dominance, they fight back incisively and creatively with humor in the strategic word wars of survivance over victimry. Vizenor illuminates the troubling encounters and distant reaches of this modernist fur trade through his creative narratives. Especially memorable is the reincarnation of General George Custer as the head of Native American programs and the mystifying play of words between charity agencies and Native Americans. Several of Vizenor’s stories focus on a so-called urban reservation, Franklin Avenue in Minneapolis. In the last section Vizenor recalls his experiences and observations while reporting on the murder trial of a young Native American student, Thomas White Hawk, in South Dakota.

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Hiroshima Bugi is an ingenious kabuki novel that begins in the ruins of the Atomic Bomb Dome, a new Rashomon Gate. Ronin Browne, the humane peace contender, is the hafu orphan son of Okichi, a Japanese boogie-woogie dancer, and Nightbreaker, an Anishinaabe from the White Earth Reservation who served as an interpreter for General Douglas MacArthur during the first year of the American occupation in Japan. Ronin draws on samurai and native traditions to confront the moral burdens and passive notions of nuclear peace celebrated at the Peace Memorial Museum in Hiroshima. He creates a new calendar that starts with the first use of atomic weapons, Atomu One. Ronin accosts the spirits of the war dead at Yasukuni Jinga. He then marches into the national shrine and shouts to Tojo Hideki and other war criminals to come out and face the spirits of thousands of devoted children who were sacrificed at Hiroshima. In Hiroshima Bugi: Atomu 57 acclaimed Anishinaabe writer Gerald Vizenor has created a dynamic meditation on nuclear devastation and our inability to grasp fully its presence or its legacy

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Native peoples today are best known through their fugitive poses: textual and graphic depictions steeped in a modernist aesthetic of romantic victimry, tragedy, and nostalgia. In Fugitive Poses Gerald Vizenor argues that such representations celebrate the absence rather than the presence of the Native.

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Native puppeteers from the White Earth Reservation travel to the 1962 World's Fair.In the summer of 1962, a group of young Native American puppeteers travel in a converted school bus from the White Earth Reservation to the Century 21 Exposition, World's Fair in Seattle, Washington. The five Natives, three young men and two young women, have endured abandonment, abuse, poverty, and find solace, humor, and courage with a mute puppeteer—a Native woman in her seventies who writes original dream songs, and creates hand puppets and ironic parleys that mock the ghosts of authority. Dummy Trout, the mute puppeteer, also figured in Native Tributes and Satie on the Seine. The troupe attends a performance of Waiting for Godot by Samuel Beckett and they create a puppet parley for Wovoka, the inspiration of the Native American Ghost Dance Religion.

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Weaving political commentaries, cultural adventures and Chinese and Native American Indian myths into stories rich in adventure and mystery, this tale is about Griever de Hocus, a reservation-born tribal "trickster" and his accomplice who decide to go to the People's Republic of China and create havoc there by flouting the rigid conventions of socialism is a series of outrageous acts. From his hijacking of a truckload of condemned Chinese prisoners to his daring escape in an ultralight plane, Griever personifies the character of the Monkey King, the cosmic tribal "trickster" common to Chinese and Native American mythology. This book was winner of the Fiction Collective Prize and the 1988 American Book Award.

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Drawing on the traditional ways of Anishinaabe storytelling, acclaimed poet Gerald Vizenor illuminates the 1898 battle at Sugar Point in Minnesota in this epic poem. Fought between the Pillagers of the Leech Lake Reservation (one of the original five clans of the Anishinaabe tribe) and U.S. soldiers, the battle marked a turning point in relations between the government and Native Americans. Although out-numbered by more than three to one, the Pillager fighters won convincingly. Weaving together strands of myth, memory, legend, and history, Bear Island lyrically conveys a historical event that has been forgotten not only by the majority culture but also by some Anishinaabe people—bringing back to light a key moment in Minnesota’s history with clarity of vision and emotional resonance. Gerald Vizenor is professor of American studies at the University of New Mexico. He is a member of the Minnesota Chippewa Tribe, White Earth Reservation. His previous books include The People Named the Chippewa and Griever, for which he won an American Book Award. Jace Weaver is professor and director of the Institute of Native American Studies at the University of Georgia.

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Postindian Conversations is the first collection of in-depth interviews with Gerald Vizenor, one of the most powerful and provocative voices in the Native world today. These lively conversations with the preeminent novelist and cultural critic reveal much about the man, his literary creations, and his critical perspectives on important issues affecting Native peoples at the beginning of the twenty-first century. The book also casts new light on his sometimes controversial ideas about contemporary Native identity, politics, economics, scholarship, and literature.

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The White Earth Nation of Anishinaabeg Natives ratified in 2009 a new constitution, the first indigenous democratic constitution, on a reservation in Minnesota. Many Native constitutions were written by the federal government, and with little knowledge of the people and cultures. The White Earth Nation set out to create a constitution that reflected its own culture. The resulting document provides a clear Native perspective on sovereignty, independent governance, traditional leadership values, and the importance of individual and human rights.This volume includes the text of the Constitution of the White Earth Nation; an introduction by David E. Wilkins, a legal and political scholar who was a special consultant to the White Earth Constitutional Convention; an essay by Gerald Vizenor, the delegate and principal writer of the Constitution of the White Earth Nation; and articles first published in Anishinaabeg Today by Jill Doerfler, who coordinated and participated in the deliberations and ratification of the Constitution. Together these essays and the text of the Constitution provide direct insight into the process of the delegate deliberations, the writing and ratification of this groundbreaking document, and the current constitutional, legal, and political debates about new constitutions.

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Poem-songs summon the voices of Anishinaabe ancestors and sing to future generationsThe ancestors that walk with us, sing us our song. When we get quiet enough, we can hear them sing and make them audible to people today. In Anishinaabe Songs for a New Millennium, Marcie R. Rendon, a member of the White Earth Nation, summons those ancestors' songs, and so begins the dream singing for generations yet to come. The Anishinaabe heard stories in their dream songs, Ojibwe author Gerald Vizenor wrote, and like those stories once inscribed in pictographs on birch-bark scrolls, Rendon's poem-songs evoke the world still unfolding around us, reflecting our place in time for future generations. Through dream-songs and poem-songs responding to works of theater, choral music, and opera, Rendon brings memory to life, the senses to attentionto see the moonbeams blossoming on the windowsill, to feel the hold of the earth, to hear the echo of grandmother's breath, to lie on the bones of ancestors and f

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