By Catherine Rainwater
ISBN-10: 0812234812
ISBN-13: 9780812234817
In goals of Fiery Stars, Catherine Rainwater examines the novels of writers reminiscent of Momaday, Linda Hogan, Leslie Marmon Silko, Gerald Vizenor, and Louise Erdrich and contends that the very act of writing narrative imposes constraints upon those authors which are international to local American culture. Their works volume to a holiday with -- and a change of -- American Indian storytelling.The publication makes a speciality of the time table of social and cultural regeneration encoded in modern local American narrative, and addresses key questions about how those works in achieving their openly said political and revisionary goals. Rainwater explores the ways that the writers create readers who comprehend the relationship among storytelling and private and social transformation; considers how modern local American narrative rewrites Western notions of area and time; examines the life of intertextual connections among local American works; and appears on the important position of local American literature in mainstream society this present day.
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Example text
This is a Christian ship. Animals don't talk. "51 King interweaves these different kinds of discourse, with their respectively different production and reception agendas, to illustrate his point (recalling Silko's in Ceremony) that responsible storytelling is a prerequisite for sane habitation of an endurable world. Like Silko, King builds his polyphonous narrative around icons of instability. One such icon and a main character in the novel, Coyote, goes about his traditional business of destabilizing nearly everything.
Oh God! ' "39 Also raising questions in House about interpretive frames of reference are Tosamah, Ben Benally, and Abel's grandfather, Francisco, all of whom comment on the different ways of seeing the world that apply within different cultures. However, readers unfamiliar with these "solidarity" markers in Indian narratives will probably miss such cues in House. 40 By contrast with House and with varying degrees of success, most Native American novels written subsequently incorporate more extensive reader instruction.
52 Indeed, King and Vizenor appear to share a conviction that trickster figures are, in general, a pan-tribal expression of Indian peoples' sophisticated awareness of the power of sign action. King's short story, "A Seat in the Garden,"53 likewise underscores the world-making powers that reside with those who control representation. King points to the destabilization of the world that accompanies any sudden shifts in representational power. An Indian of dubious ontological status wreaks havoc on Joe Hovaugh's "private property" (84).
Dreams of Fiery Stars: The Transformations of Native American Fiction by Catherine Rainwater
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