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Transcription 1 volume To subscribe, please contact the University of Nebraska Press.
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Siobhan Senier University of New Hampshire Department of English Hamilton Smith Hall 95 Main Street Durham, NH submissions The editorial board of SAIL invites the submission of scholarly, critical, pedagogical, and theoretical manuscripts focused on all aspects of American Indian literatures as well as the submission of poetry and short fiction, bibliographical essays, review essays, and interviews.
We define literatures broadly to include all written, spoken, and visual texts created by Native peoples. Please send three clean copies of the manuscript along with a self-addressed envelope and sufficient postage to permit the return of the reviewed submission, or you may submit by as an attachment preferably in Rich Text Format [RTF].
SAIL observes a blind reading policy, so please do not include an author name on the title, first page, or anywhere else in the article. Do include your contact information, such as address, phone number, and address on a separate sheet with your submission.
All submissions are read by outside reviewers. Submissions should be sent directly to: Kimberly Hermsen 4 general editor Malea Powell book review editor P. Jane Hafen creative works editors Joseph W. Indigenous Women Writing to Survive elizabeth archuleta Contributor Biographies Major Tribal Nations and Bands 6 American Indian Quarterly Revitalized and refocused, aiq is building on its reputation as a dominant journal in American Indian studies by presenting the best and most thought-provoking scholarship in the field.
New editor Amanda J. Cobb is committed to makingaiq a forum for diverse voices and perspectives spanning a variety of academic disciplines. The common thread is aiq s commitment to publishing work that contributes to the development of American Indian studies as a field and to the sovereignty and continuance of American Indian nations and cultures.
University of Nebraska Press P. When not directly confronting a particular land or jurisdiction issue these writers often addressed the broader human rights of their people as well as the problematic ways Americans imagined them. The prevalence of nonfiction in the nineteenth century, the dearth of creative works of the imagination, and the idea of a fiction that would arise in a later generation with questionable political credentials is complicated by those who see a hidden politics between the lines in the more recent fictional work, others a more direct engagement, and the occasional critic who discerns a complete avoidance of politics altogether.
The dialect letters that began appearing in Indian Territory newspapers in the late s challenge virtually all these assumptions. The letters are notable as both works of fiction as well as a forum for particular political issues. In the best-known instance, that is, Alexander Posey s Fus Fixico letters, fiction writing 8 2 sail winter vol.
Perhaps these letters are left out of the search for Native intellectual traditions because they are situated between the time periods commonly referenced in relation to Native literary eras: They do not fit comfortably into a particular period given their publication in opening years of the twentieth century.
These epistolary works of fictional storytelling, however, should be considered before claims are made that early nonfiction writing comprised a more direct or authentic link to Indian experience, political affairs, or the most obvious way of understanding a foundational link in Native theory or criticism.
They at least add something to the creation story of Native intellectual practice that is worth consideration, and they pose important questions about whether one kind of literature nonfiction can be a more direct pipeline to a pure source of experience or politics than another fiction. We do not suggest a postmodern turn in which literature is merely a proving ground for demonstrating that there is really no difference between nonfiction and fiction but a historical one in which the differences between the two forms of expression are contextualized in relation to the Indian and non-indian worlds that surround them.
Hence Posey, concerned for his son s future education, forbade young Alex to speak the Muskogee Creek language when he turned the age of fourteen. Here we are purposefully suggesting the possibility that Posey s proclamation of a literary language he characterized as Este Charte pronounced stijaati in Creek involved an understanding that English could function as a Muskogee Creek language, a radical thesis then as now.
In his correspondence with his con- 9 Petete and Womack: Moore s Sour Sofkee 3 temporary fellow Este Charte writer Charles Gibson, Posey s major criticism of cheap imitators, publishing simulations in newspapers that borrowed from his own work and other Indian writers, was that the briefest time inside the territory would prove the inaccuracy of their depictions of the language.
One of the criteria of a language is that its meanings are communally conferred, and the literary language Posey created certainly passes that test since he was neither the first of its speakers and writers nor the last. Posey s Este Charte is a passed-on oral and literary tradition, a Creek language in English.
Jesse McDermott, who also worked for the Dawes Commission at the same time as Posey, wrote dialect letters from to Dialect writings of Creek-Pawnee painter Acee Blue Eagle were published posthumously in the s. Of most importance to our studies in relation to Thomas E. Moore is probably the actor, pundit, and self-described poet lariat Will Rogers, who grew up reading territory newspapers and, later, took the dialect tradition to the American mainstream, where he presented his famous wise-fool persona as the person most likely to accurately assess the political challenges that faced America.
While outside the purview of this essay, much could be said about the structural framework of the dialect writing and Rogers s version of it in his writings and radio broadcasts which one Muskogee scholar, Tol Foster, describes as one of the best running commentaries on the state of the American union in the s and s that is available.
The most important writer to produce Muskogee dialect literature in the former territory and newly emerged state of Oklahoma after Posey s untimely death was Thomas E. Moore, whose letters appeared front page as a regular Sunday feature of the Tulsa World in the late s and early s and again, briefly, in and Moore wrote under the pen name William Harjo, and his column was called Sour Sofkee, where some of his letters appeared, an output, in fact, larger than Posey s.
In a personal interview, conducted in the summer of in Thomas E. Moore s Okmulgee, Oklahoma, home, which will be constantly referenced from here on out in this article, Moore told us he chose the name William Harjo simply because it was so easily recognizable as a Creek name, and he felt that if he were to take up Creek subject matter he should use a readily identifiable Creek moniker.
Moore s literary predecessor, Alexander Posey, had also begun his literary career by choosing a persona at Bacone, where he first started to write under the name of Chinubbie Harjo, a choice of persona that a more recent Creek writer, Louis Oliver, problematizes in ways, evidently, that Moore and Posey did not, even linking the persona to Posey s early death: Had he not changed his name to Chenube Harjo, the river would not have taken him.Spider Webb's Classic Tattoo Flash 2, Spider Webb In a Lovers Roots An Essay Addressed To Captains Of The Royal Navy And Those Of The Merchants' Service - On The Means Of Preserving The Health Of The One - A Womans Search for Eternal Love, Tonia.
6 American Indian Quarterly Revitalized and refocused, aiq is building on its reputation as a dominant journal in American Indian studies by presenting the best and most thought-provoking scholarship in the field. New editor Amanda J. Cobb is committed to makingaiq a forum for diverse voices and perspectives spanning a variety of academic disciplines.
Spider Woman's Granddaughters Research Papers look at a book by Paula Gunn Allen that has many personal stories of the Native American Women's encounters in .
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Jun 03, · Paula Gunn Allen is a lesbian feminist scholar of Native American literature, a critic (The Sacred Hoop), an anthologist (Spider Woman's Granddaughters), a mother, a grandmother, Laguna Pueblo and. Spider Woman's Granddaughters: Traditional Tales and Contemporary Writing by Native American Women Paula Gunn Allen Fawcett Columbine, - History - 2/5(1).