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"The Intertextual Hemingway." In it, she contributes to the destruction of the time-worn canard diat reads all of Hemingway in autobiographical terms. This shedoes by ttacingsome ofhis bottowings and sources, be they thematic, parodie, or in character. Her discussion is particularly detailed in her explication of Hemingway's sources in theworks ofHenryJames, Ford Maddox Ford, and Blasco Ibanez, all ofwhom are among the sources for Hemingway's intertextuality. What follows is the illustrated chronology. Concluding die volume is a brief bibliographical essay by Kelli Larson, author of the most recent comprehensive annotated bibliography on the author. Particularly welcome to those who might venture out on critical limbs via elaborate interpretations based on some word, line, or character is Larson's briefdiscussion ofthe distortions, misrepresentations, and errors in Hemingway texts, many attributable to an editor's blue pencil. Her review ofthe problematic nature ofthe integrity ofthe posdiumous work is another sound contribution to the scholarly dialogue. Hemingway criticism is a burgeoning field and the quantityofpublication can be daunting to the neophyte as well as the seasoned reader. He endures both as cultural icon and serious artist. Today, the Hemingway name sells everything from furniture to fishing equipment. A Historical Guide to ErnestHemingway is a welcome contribution, one that both explores the nature of that phenomenon and provides new information and insights. % Gretchen M. Bataille, ed. NativeAmerican Representations: FirstEncounters , DistortedImages, andLiteraryAppropriations. Lincoln: University ofNebraska Press, 2001. 265p. Peter L. Bayers Fairfield University In November of2001, 1 opened my local newspaper to a photo ofa newly commissioned sculpture that was recently unveiled at one ofmy hometown's elementaryschools . The sculpture—described as "stunning"—was ofawhite colonial girl (Sarah Noble, a member ofthe town's "first" family) reading to two Native American (presumablyWeantinogues, though unclear) children situated belowher. The newly minted school was named after Sarah Noble, who is considered a hero to the children ofour town. I made a very public effort to get the sculpture, at the very least, altered, but to no avail as die public rallied against my request. I knew before I raised the issue, of course, that stereotypes of Native Americans abound in the media. I was surprised, however, that a newly commissioned stereotype, in this case the stereotype of"civilizing the savage," wound up in my 108 * ROCKY MOUNTAIN REVIEW -f- FALL 2002 Reviews local school. The commissioning of this sculpture reinforces the reality that stereotypical representations ofNative Americans are deeply inscribed in the dominant culture's unconscious. The purpose ofthe essayists in Gretchen M. Bataille's Native American Representations: First Encounters, Distorted Images, and Literary Appropriations is to work toward the goal of uprooting these representations "as each [essayist] attempts to give back, as a sort of apology, the dignified voice or space that has been usurped fromAmerican Indians through stereotypes and misrepresentations " (Shanely226). For these essayists, "giving back" this Native "voice or space" is linked to questions regarding who controls the representations of Native Americans and what form that voice must take if it is to be effective. And it is no easy task for a Native writer to forge an effective voice. As Louis Owens argues in his essay, "As ifan Indian Were Really an Indian," "After five hundred years ofwar, colonial infantilization and linguistic erasure, cultural denigration, and more, how andwhere does the Nativewriter discoveravoice that maybe heard at the metropolitan center?" (19). A great strength ofthis book—a natural outgrowth ofits variety ofessays—is that it does not oversimplify "how and where" a Native American writer finds a voice, and these essays show that this "voice" does not have its origins in some essentialized form ofNative American identity. Nor does this necessarily mean, as many ofthese critics point out, that how misrepresentations ofNativeAmericans are challenged is necessarily effective. For instance, when NativeAmerican artists appropriate the very stereotypes they hope to debunk, how do they do so, and to what ends? Moreover, should they appropriate stereotypes? If they do not, does this make them ineffective Native voices? And what is the scholar's responsibility in locating Native voices? In the case of collaborative Native American autobiography, Kathleen M. Sands, in her essay "Cooperation and Resistance," calls for critics to move away from...

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