Academic literature on the topic 'American Indian Literary Award'

Contemporary thoughts in the fields of literature and science lead to an interdisciplinary effort to bring along the issues common to both disciplines involved. The post-colonial and post-modern era of literature see literature and society along and literary exponents stamp their responsibilities to take up the serious societal crises and bring the awareness arousing a socio-consciousness in the reading public. This paper tight spots magical realism as one of the experiential tools employed by authors, Amitav Gosh, an Indian writer and winner of the 54th Jnanpith award and Wayétu Moore, a Liberian-American author and entrepreneur, to discuss the contemporary issues such as immigration, climate change, enslavement, etc through the employment of myth and magic. Environmental Humanities is best explained with the advocacy of magic realism. Of all the important supernatural elements, (which is the formula of magic realism) presented in both of the selected novels, Gun Island (2019) and She Would Be King (2018), this paper in detail, deals with only two components that are common in both the texts. They are i) the omnipotent natural force, wind and ii) the most powerful and dangerous species, snake. Both of these components are presented as commanding aid of the two literary texts to progress towards the solution to the catastrophic environmental complications. Both novels employ characters bitten by poisonous snakes, attaining extraordinary powers and also one can witness the power of wind, as omniscient, omnipresent and omnipotent natural force. This paper is comparison of collective unconsciousness of two authors and their artful works irrespective of their genders, age and geography.

Carl Jung paid a short visit to Taos, New Mexico, in January 1925. A brief account of his stay at the Pueblo appeared in Memories, Dreams, Reflections, edited by Aniela Jaffe in 1963. Remembering his conversations with Mountain Lake (Antonio Mirabal), Jung wrote of the confrontation between the “European consciousness,” or the “European thought,” with the Indian “unconscious.” My article provides a reading of Jung’s text as a meeting ground of the aesthetic, emotional, visionary and of the analytical, rational, explanatory. Like many other European and Anglo-American visitors to Taos Pueblo, Jung rediscovers its capacity to mirror the inner needs of the visitor; he examines the significance of the encounter with the Southwestern landscape and with the Pueblo Indians’ religious views in terms of self-reflection and of the return to the mythical. As Carl Jung’s “inner comprehension” of the Pueblo Indian’s philosophy is mediated through language, aware both of its desire and its inability to become liberated from the European perspectives, Mountain Lake’s attitude towards his visitor from Switzerland remains ultimately unknown; Mountain Lake does, however, communicate his readiness to assume the archetypal role of a teacher and a spiritual guide whose insights reach beyond the confines and mystifications of language. According to Jung’s account, during this brief encounter of the two cultures, he and his Indian host experienced a sense of satisfaction and fulfillment, the sources of which, as they both understood them in their own individual ways, resided in the comprehension of universal sharing.

A different name than English literature, ‘Anglo-Indian Literature’, was given to the body of literature in English that emerged on account of the British interaction with India unlike the case with their interaction with America or Australia or New Zealand. Even the Indians’ contributions (translations as well as creative pieces in English) were classed under the caption ‘Anglo-Indian’ initially but later a different name, ‘Indo-Anglian’, was conceived for the growing variety and volume of writings in English by the Indians. However, unlike the former the latter has not found a favour with the compilers of English dictionaries. With the passage of time the fine line of demarcation drawn on the basis of subject matter and author’s point of view has disappeared and currently even Anglo-Indians’ writings are classed as ‘Indo-Anglian’. Besides contemplating on various connotations of the term ‘Indo-Anglian’ the article discusses the related issues such as: the etymology of the term, fixing the name of its coiner and the date of its first use. In contrast to the opinions of the historians and critics like K R S Iyengar, G P Sarma, M K Naik, Daniela Rogobete, Sachidananda Mohanty, Dilip Chatterjee and Gayatri Chakravorty Spivak it has been brought to light that the term ‘Indo-Anglian’ was first used in 1880 by James Payn to refer to the Indians’ writings in English rather pejoratively. However, Iyengar used it in a positive sense though he himself gave it up soon. The reasons for the wide acceptance of the term, sometimes also for the authors of the sub-continent, by the members of academia all over the world, despite its rejection by Sahitya Akademi (the national body of letters in India), have also been contemplated on. 
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Bibliography: pages 124-132.<br>This study explores the symptoms of alienation witnessed in Indian characters and the healing they achieve through myth in three contemporary American Indian novels. In James Welch's historical novel, Fools Crow, I explore the methods through which Welch tells the story of Fools Crow. I draw comparisons between oppositions such as oral and written language, oral and written history, and history and narrative. I examine the ideas of many theorists, including Walter J. Ong's Orality and Literacy and Hayden White's inquiry into historiography in Tropics of DiscouT'Se. My conclusions suggest that myth is the foundation of history and that Welch effectively uses myth to rehabilitate Fools Crow. Leslie Marmon Silko's Ceremony presents its main character, Tayo, as alienated. He operates in a confusing world of dualities whereby the hegemonic culture brutalizes a feminine universe, and the counter-culture embraces a feminine universe. This study of Ceremony necessitates exploring the differences between Indian and Euro-American perceptions of landscape. Greta Gaard's studies on ecofeminism and Michel Foucault's History of Sexuality help to focus the theories v presented in this chapter. In addition, I consider the opposition between European patriarchal and American Indian matriarchal cultures, a difference that may affect the way the two cultures perceive the landscape. Finally I look at the Laguna captivity narrative that heals Tayo and compare the Laguna captivity genre to Euro-American captivity tales. The juxtaposition of cultural captivity narrative types reveals further differences in Laguna and Euro-American perceptions of the land. Annette Kolodny's theories on landscape and feminism prove useful in focusing my conclusions. N. Scott Momaday's The Ancient Child explores the parameters of representation and struggles with the question of how an Indian author can effectively describe the condition of an alienated American Indian to an audience who is, for the most part, Euro-American. This novel ties together many of the themes explored in Fools Crow and Ceremony. Momaday shows myth as originating in oral language and oral language as invented by vision: The story's main character, Set, has to overcome his alienation by understanding the origin of a myth which exists in his 'racial memory.' As an Indian, Set must discover the importance of non-textual spatiality and not the spaces contained within and influenced by written texts such as the very one Momaday creates to depict this character. The term non-textual spatiality refers to the imaginative space created by oral language and myth and the notion of non-textual spatiality opens a path for Set's healing. W.J.T. Mitchell's Picture Theory and Nelson Goodman's Languages of A rt are the main critical studies I use to amplify theories that grow out of The Ancient Child.

This thesis reads the fiction and poetry of Spokane/Coeur d’Alene writer Sherman Alexie as predominantly urban Indian literature. The primary experience of the growing majority of American Indians in the twenty-first century consists in the various threats and opportunities presented by urban living, yet contemporary criticism of literature by (and about) American Indians continues to focus on the representations of life for those tribally enrolled American Indians living on reservations, under the jurisdiction of tribal governments. This thesis provides critical responses to Alexie’s contemporary literary representations of those Indians living apart from tribal lands and the communities and traditions contained therein. I argue that Alexie’s multifaceted representations of Indians in the city establish intelligible urban voices that speak across tribal boundaries to those urban Indians variously engaged in creating diverse Indian communities, initiating new urban traditions, and adapting to the anonymities and visibilities that characterise city living. The thesis takes a broadly linear chronological structure, beginning with Alexie’s first published collection of short stories and concluding with his most recent works. Each chapter isolates for examination a distinct aspect of Alexie’s urban Indian literature, so demonstrating a potential new critical methodology for reading urban Indian literatures. I open with a short piece explaining my position as a white, British scholar of the heavily politicised field of American Indian literary studies, before the introductory chapter positions Alexie in the wider body of Indian literatures and establishes the historical grounds for the aims and claims of my research. Chapter one is primarily concerned with the short story ‘Distances’, from The Lone Ranger and Tonto Fistfight in Heaven (1993), and the Ghost Dance religion of the late nineteenth century, reading Alexie’s representations of this phenomenon as explorations of the historical and political tensions that divide those Indians living on tribal lands and those living in cities. Chapter two discusses the difficulties of maintaining a tribal identity when negotiating this divide towards the city, analysing the politics of indigenous artistic expression and reception in Alexie’s first novel, Reservation Blues (1995). Alexie’s second novel, Indian Killer (1996), signals the relocation of his literary aesthetics to the city streets, and chapter three detects and unravels the anti-essentialist impulse in Alexie’s (mis)use of the distinctly urban mystery thriller genre. Grief, death and ritual are explored in chapter four, which focusses on selected stories from Ten Little Indians (2003), and explains Alexie’s characters’ need for new, urban traditions with reference to an ethics of grieving. Chapter five connects the politics of time travel to the representation of trauma in Flight (2007), and addresses Alexie’s representations of violence in Ten Little Indians and The Toughest Indian in the World (2000), proposing that it is the structural violences of daily life, rather than the murder and beatings found throughout his work, that leave lasting impressions on urban Indian subjectivities. My conclusion brings together my approaches to Alexie’s urban Indian literature, and suggests further areas for research.

"A Place to See: Ecological Literary Theory and Practice" approaches "American" literature with an inclusive interdisciplinarity that necessarily complicates traditional notions of both "earliness" and canon. In order to examine how "Nature" has been socially constructed since the seventeenth century to support colonialist objectives, I set American literature into a context which includes ancient Mayan almanacs, the Popol Vuh, early seventeenth and eighteenth century American farmer's almanacs, 1992 Nobel Peace Prize winner Rigoberta Menchu's autobiography, the 1994 Zapatista National Liberation army uprising in Mexico, and Leslie Silko's Almanac of the Dead. Drawing on the feminist, literary and cultural theories of Donna Haraway, Carolyn Merchant, and Michel Foucault, Julia Kristeva, Edward Said, Annette Kolodny, and Joseph Meeker, I argue that contemporary Native American writers insist that readers question all previous assumptions about "Nature" as uninhabited wilderness and "nature writing" as realistic, non-fiction prose recorded in Waldenesque tranquility. Instead the work of writers such as Silko, Louise Erdrich, Simon Ortiz, and Joy Harjo is a "nature writing" which explores the interconnections among forms and systems of domination, exploitation, and oppression across their different racial, sexual, and ecological manifestations. I posit that literary critics and teachers who wish to work for a more ecologically and socially balanced world should draw on the work of all members of our discourse community in cooperative rather than competitive ways and seek to transform literary theory and practice by bringing it back into dynamic interconnection with the worlds we all live in--inescapably social and material worlds in which issues of race, class, and gender inevitably intersect in complex and multi-faceted ways with issues of natural resource exploitation and conservation.

The thesis examines the current split in American Indian literary studies between cross-cultural and tribal-centred schools of criticism through analyses of Arnold Krupat's, Louis Owens's and Gerald Vizenor's scholarship, on one side, and Elizabeth Cook-Lynn's and Craig Womack's critical work, on the other. The conflicting critical positions, despite their growing importance, have not received a consistent analysis in the critical discourse. The implications of this controversy for the future of American Indian studies and for the ways in which American Indian literature may be studied and taught have not been examined in depth. Particularly, there is little recognition of the validity of tribal-centred contributions to the field. The research seeks to address such gaps in the current scholarship: it develops a synoptic discussion of the opposing critical positions, assesses their strengths and drawbacks, and proposes a possible resolution of the controversy. The thesis argues that crosscultural scholarship (in conjunction with postcolonial and postmodern theory) has contributed importantly to the understanding of discursive hybridity as a vital aspect of American Indian existence, writing and anticolonial resistance. Yet, cross-cultural criticism has sidelined questions regarding tribal sovereignty discourse and tribal centred identity politics. Tribal-centred scholarship is making an important, and still ignored and misunderstood contribution to American Indian studies because it assists the understanding of these two important categories in American Indian experience and decolonisation. Assessing contributions and omissions of either critical position, the research posits that the current critical split could and should be negotiated to enable a more accurate and comprehensive reading of the political discourses that shape American Indian experience, anticolonial struggles and writing. The research illustrates the controversy and its potential mediation through a re-interpretation of two "representative" American Indian novels: Leslie Marmon Silko's Ceremony and Louise Erdrich's Tracks. Part One of the research - chapters one, two and three - analyses the debate, while Part Two - chapters four and five - re-reads Ceremony and Tracks.

The Native American characters in Love Medicine and The Absolutely True Diary of a Part-Time Indian experience prejudice from other Native Americans and suffer from internalized norms and values. This study examines whether or not the prejudice the fictional characters in Love Medicine and The Absolutely True Diary of a Part-Time Indianexperience and express as Native Americans unite them as a community or not. It also investigateshow they view white society andif the Native American characters have prejudice against the members of their own tribal community. The analysis is partially based on postcolonial theory and focuses on terms such as internalisation, acculturation and prejudice. The thesis found that the communitiesare united on the premises that they conform to the Native American norms but any deviation from these norms has the potential to divide them.

“Sonic Gentitud” brings American Indian and Chicana/o literatures into sound studies as testimonials to decolonial and transformative listening practices. I argue that the narrative forms and paratexts in Leslie Marmon Silko’s Ceremony (1977), Sandra Cisneros’s Woman Hollering Creek and Other Stories (1991), Sherman Alexie’s Reservation Blues (1995), and Nina Marie Martínez’s ¡Caramba!: A Tale Told in Turns of the Card (2004) remap the cognitive space of sonic (re)production by offering textual and graphic representations of sound and listening. Understanding this articulation of the literary to the sonic as a form of audile realism, I highlight the listening citizen as a prominent figure in literary renderings of enduring Laguna, Spokane, Chicana/o, and Greater Mexican community-formation and growth. A self-consciously aesthetic narrative depiction that links embodied practices of listening to the historical, material, and political contours and discourses of a specific locale, audile realism represents subversive and differential listening practices that transform social networks of sonic (re)production such that they serve the interests of the tribal nation or Greater Mexican community. Listening citizens are thus critical actors in the maintenance of gentitud, a form of community- and network-building that recognizes affiliation as always-already performed across differences of race, class, gender, and/or sexuality.<br>text

Bradbury’s honors soon included the Mark Twain Literary Award and a screenwriting award founded in his name by the Science Fiction and Fantasy Writers of America. Chapter 31 continues through Bradbury’s unsuccessful attempt to interest Ted Turner in a new film adaptation of Fahrenheit 451, and his keynote fundraising address to support the Challenger Center for Science Education. In June 1993, screenings of Bradbury films were featured in the American Film Institute’s 7th annual International Film Festival. The various lectures, engagements, and circulating film projects continued to draw time and creativity away from story writing; chapter 31 concludes with an accounting of his low story production and his lack of success with magazines beyond specialty markets.

This chapter examines Robert Penn Warren’s All the King’s Men and Ralph Ellison’s Invisible Man in the context of their winning of the Pulitzer Prize and the National Book Award, respectively. While considering the authors’ resistance to reading overt political commentary in their work, favoring a moral reading instead, the chapter argues that their insistence dovetails with the purpose of such large, national literary prizes: to reward works that best demonstrate the values important to the nation. Therefore, literary prizes such as the Pulitzer and National Book Award, as well as other cultural prizes (such as the Grammys, Academy Awards, Tonys, and Emmys) reveal themselves in the context of the Cold War to be awards that reinforce and reward correct ideological perspectives in the guise of good, democratic art.