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C o n t r i b u t o r s A u t h o r s Stuart Christie teaches in the Department of English Language and Literature at Hong Kong Baptist University. His work on mixedblood narrative has been published in the American Indian Quarterly, Studies in American Indian Literatures, and the American Indian Culture and Research Journal. He is currently at work on a book analyzing the impact of nationalism on contemporary mixedblood fiction. Julia Martin grew up in Pietermaritzburg. Since the mid-1980s she has taught in the English Department at the University of the Western Cape, attempt­ ing to bring her work in teaching and research into conversation with an involvement in ecological politics and Buddhist practice. She has published extensively in these areas, her interests including environmental literacy and contemporary (especially ecological, feminist, and postmodern) interpretations of Buddhist teaching, with a particular emphasis on the poetry of William Blake and Gary Snyder. Lee Clark Mitchell teaches at Princeton University, where he specializes in nineteenth- and twentieth-century American fiction and cultural history. His books include Witnesses to a Vanishing America: The Nineteenth-Century Response (1981), Determined Fictions: American Literary Naturalism (1989), The Photograph and the American Indian (1994), and Westerns: Making the Man in Fiction and Film (1996). Matthew A. Watson earned his Ph.D. in American literature at Boston College in 2003. He currently teaches English at the Detroit Country Day School. A r t i s t s Henry Bacon (1839-1912) produced a wide range of paintings that focus on landscape, including often romanticized figures inhabiting the land. His por­ trayal of life in settlement times, particularly in the mining era, represents how much of the outside world envisioned the exciting lives of those who settled in the West. Stephanie Bacon is an artist and designer whose current work concerns language as visual form. Her projects include work in book arts, letterpress printing, collage, papermaking, and graphic design. She teaches in the Art Department at Boise State University in Idaho. Morris Graves (1910-2001) was best known for his paintings that reflect his journeys into the spiritual and transcendental consciousness, which link his art to the study of Zen Buddhism. Although Graves spent much of his life travel­ ing worldwide, particularly in the Far East where his art was greatly influenced, he is a native of the Pacific Northwest. His paintings reflect three spaces: “the C o n t r i b u t o r s 117 phenomenal space of nature; mental space, the space of dreams and imagina­ tion; and the third space, the space of consciousness,” which Graves wanted his viewers to be aware of as they studied his art (as quoted in “Creativity and Man—His Imagination and Images”). R. C. Gorman (b. 1931) was raised by his grandmother on the Navajo Reser­ vation in Chinle, Arizona. She ignited his ambition by recounting Navajo legends and by acquainting him with his artistic ancestors. His art reflects the mysticism of his ancestral legends and beliefs. Oscar Kunath (1830-1909) was bom in Germany, where he received most of his training as a painter. He moved to the United States at the age of thirty and became involved with an artists’ organization in New York. Later he moved to San Francisco, where he taught at the School of Design and established himself as a figure and portrait painter, working for influential families such as the Stanfords and Crockers. His best known works re-create the early days of mining and prospecting in California. Roger Minick (b. 1944) moved to California as a child and began working in photography at the ASUC Studio, a student arts facility at the University of California at Berkeley, while a student there. As its director in the early 1970s, he published several books of photographs and designed photography books by others. His Southland Series (1974-1976) featured freeways, vernacular architecture, fastfood restaurants, and shopping plazas; in the early 1980s, he did a color series on enclosed shopping malls. He was selected in 1977 by the National Endowment for the Arts to photograph the Mexican American Community, a project cosponsored by the Mexican American...


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