Transatlantic Voices: Interpretations of Native North American Literatures

Index

Index Alexie, Sherman, 41, 58, 59, 94, 173 Allen, Paula Gunn, 90–91, 92. See also The Woman Who Owned the Shadows (Allen) Almanac of the Dead (Silko), xx, xxiv– xxv, 6, 150, 167n10, 177; as a transnational novel, 151–52, 161, 164, 165; and global economic forces, 159; critique of, 160–61; and memory, 162, 164; political signi ficance of, 41, 155, 161–65; and postcolonial theory, 153–55; and Silko’s notion of “cure,” 155–58, 161, 163, 165–66 American Indian Workshop (aiw), ix, xv Barnes, Jim, xx, xxix, 268–69, 271, 283–84; and European sites, 270; 285–86; and glyphs as metaphor, 280–81; and importance of Oklahoma , 269–70, 277–78, 283, 286–87; and importance of Native history and topography, 272–80; La Plata Cantata, 280–81, 284; and mixed heritage, 268, 282–83; On Native Ground, 272; Paris, 285; and relation to European poetic tradition , 271–72; The Sawdust War, 281–83; A Season of Loss, 273–74, 279, 284–85 Bhabha, Homi, xxi, 46, 160–61, 167n5 Borges, Jorge Luis, xix, xxvi Breinig, Helmbrecht, xxi–xxii, 44–62, 289. See also transculturality and transdifference Carr, Aaron, xxvi, xxxiin9 Châtelet, François, 24 Coltelli, Laura, x, xxiin4, 136, 145 cross-cultural symbolism, xxvii; and European folktale motifs, 192–93; and Native and Christian symbolism , 188–92, 194–97; in Love Medicine, 188–98; and reader’s responsibility , 197–98, 202; in Tracks, 198–202, 203nn9–10 Darkness in Saint Louis Bearheart (Vizenor ), xiv, xx, xxvi, 86n3; and American paratexts, 181–84; and Cervantes, 181; and importance of myth, 173–74, 175; and mythic genre paradigms, 176–79; and 296 Index Darkness in Saint Louis Bearheart (cont.) non-mythic fiction, 179–80; and notion of combining cultures, 173–76, 185n3, 186n7 diaspora, xxxiiin13, 239, 244–45. See also Heartsong of Charging Elk (Welch) Erdrich, Louise, xiv–xv, xxii–xxiii, xxvi–xxvii, 91. See also cross-cultural symbolism; novel, Native American European Association of American Studies, xv, xvi–xvii European Review of Native American Studies , xv Feest, Christian, xv–xvi, xviii Fishkin, Shelley Fisher, xiv, xxxin1 Georgi-Findlay, Brigitte, xxii–xxiii, xxxiin5, 89. See also novel, Native American Gilroy, Paul, xiii–xiv, xxix, 239 Gray, Napier Katheryn, xxiv, 129, 150, 167n6. See also Rose, Wendy Haselstein, Ulla, xxvii–xxviii, 225. See also Heartsong of Charging Elk (Welch) The Heartsong of Charging Elk (Welch), xxii, xxvii–xxviii, 19, 94, 97, 225–47; and cultural translation, 227–29; and diasporic identity, 244–45; and “homing in” tradition (Bevis), 225–26; and incompatibility of Native and Euro-American cultural interpretations, 231–36; and relation to Claude McKay’s Banjo, 236–40; and theme of exile, 240–44 Henry, Gordon, xix, xxii. See also transculturality and transdifference history, xx–xxii, 12; as opposed to myth, 5–6, 20n5, 24–26, 28–29, 33, 39; in Beatrice Culleton’s In Search of April Raintree, 26–30; in Gerald Vizenor’s The People Named the Chippewa, xxi, 26, 34–38; in LeAnne Howe’s Shell Shaker, 26, 30–34 Hogan, Linda, xvii, xxvii, 30, 76, 91, 92. See also Power (Hogan) Hornung, Alfred, xix, xxxin1 Howe, LeAnne, xxi, 40. See also history , in LeAnne Howe’s Shell Shaker I Hear the Train (Owens), xx, xxviii, 249–50; and “Dancing Poodle of Arles,” 263–66; and metaphor of hunting, 261–62; and metaphor of visibility, 262–63; and Owens’s cultural misunderstanding, 254– 55; and Owens’s reverse (racial) gaze, 254–59; and Owens’s travels in France, 251–54; and racism, 259–60 Isernhagen, Hartwig, xx, xxiii, 3, 112, 245 King, Thomas, xvii, 38, 91–92 Krasteva, Yonka, xxvii, 206. See also Power (Hogan) LaLonde, Chris, 259, 263 Index 297 Lee, A. Robert, xix, xxix, xxx, 268. See also Barnes, Jim Madsen, Deborah, xvii, xxiii–xxiv, 111. See also The Woman Who Owned the Shadows (Allen) Mathews, John Joseph and D’Arcy McNickle, xxii, 30, 65–86; biography of, 66–69; and imagery in novels, 72–75; and realism in novels , 69–72, 76–84; and relation to mythological framework, 85 Momaday, N. Scott, xiv, xix, xxv, xxvii, 13, 20n6, 91, 206; The Ancient Child, xxvi, 179; House Made of Dawn, xiv, xxxin3, 6, 18, 30, 40, 42n1, 58, 85n3, 90, 92; “The Man Made of Words,” xix, 3–4, 11, 57, 68; The Names, 275 myth, xx, xxi, xxv–xxvi, 6, 34, 37, 38, 173–74...