Native American Literature: Changes and Transformations

Native American Literature: Changes and Transformations

            Just as the existence of Native Americans has transformed over time so has the literature by Native American authors. With its beginnings in oral tradition, Native American literature moved toward the autobiography, then the “Native American Renaissance” , and finally modern Native American Literature of today.

            With no written language, Native American traditions in literature sprang from oral tradition. In this course, we first examined and explored, The Iroquois Creation Story (The Norton Anthology of American Literature 17). Similar to the Book of Genesis from the bible, the creations story provides a “history” of creation for the tribal people (The Norton Anthology of American Literature 17). The story which explains good versus evil sheds light on the Iroquois tradition as well as a “general cultural outlook” (The Norton Anthology of American Literature 17). Like the Christian bible, the creation story tells “what life is and how to understand it” (The Norton Anthology of American Literature 17). In the mid-19^th century European Americans began to translate and transcribe Native American creation stories. Additionally, Native Americans began recording the legends of their people. It wouldn’t be long before removal would force their literature to change.

            As America transitioned further into the 19^th century, westward expansion heavily impacted Native literature. Rather than showcase the culture and traditions of the tribes, Native American literature of the century became “increasingly text based” and written not in the Native tongue but in English, the language of the dominant culture (Janet Gabler-Hover). Native American literature began to rest on the “struggle of Indian authors to find a voice within American culture” (Janet Gabler-Hover). Predominantly, this struggle was conveyed by way of the autobiography. However, it is important to note that some autobiographies were both translated and written by European Americans. These circumstances have resulted in discussion and debate regarding the authenticity of some of the autobiographies.

            Samson Occom’s narrative was one text not translated and transcribed by Euro-Americans. Occom’s autobiography documents his testimony of conversion to Christianity (The Norton Anthology of American Literature 206). Through Occom’s brief narrative and despite his education and conversion, he illustrates a sense of prejudice both in referring to himself as a “poor Indian” as well as in how he was treated by members of the Christian community.  In contrast, Blackhawk’s autobiography displays his “strong sense of himself, his ties to his people and his broad critique of the Americans” (The Norton Anthology of American Literature 571).

            One article on Native American Literature draws parallels with Native American literature and expansion: “The history of literature written in English by American Indians parallels the history of white migration across the continent” (Janet Gabler-Hover). As the century moved forward it became defined by the Indian Removal Act of 1830. With two separate and distinct cultures colliding it became obvious that Native “cultural beliefs” are “essentially incompatible with the white man’s” (Janet Gabler-Hover). The Removal Act was met with some resistance, in particular the Cherokee, the tribe that Blackhawk belonged too (Janet Gabler-Hover). In 1838, forced to leave by federal troops, an estimated four-thousand Native Americans die on the “Trail of Tears”. The federal government continued to implement and enforce policies with the goal of isolating and containing Native Americans on reservations. Some author’s began to write in response to the fact that the “dominant literary tradition sentimentalized and condoned the death of Indians” (Janet Gabler-Hover).

            The turn of the century for the Native Americans meant disposition of land, “nadir of population” (the worst ever), and confinement to a reservation. Writings began to reflect efforts to preserve history and culture “in the face of cultural disintegration” (Mackay). The next generations of Native American writers are considered to have been inspired by Momaday and his story House of Dawn. The story centers on themes involving tribal identity and focusing on a protagonist who is poor, “shiftless”, drinks heavily, is unemployed and sometimes incarcerated (Native American Literature). The main character, Abel, is on a “quest to find himself in the tribal community” (Native American Literature). Welch’s Winter in the Blood and Leslie Marmon Silko’s The Ceremony, share in common with the House of Dawn, an ending where the protagonist has increased self-respect through discovery of their identity and how they “belong to their tribal communities” (Native American Literature).

            Second generation Modern Native American writers turned away from life within the tribe. Often, writers explore the Native American who leaves the tribe or reservation, lives among whites yet his success makes it so he cannot return to the tribe. Having experienced loss of land, loss of culture as well as discrimination and prejudice, the solution of returning to nature made sense.

            Modern Native American literature focuses on the need for survival and the need to return to “tribal life” in some capacity. In Ceremony, Silko deals with the “dark aspects” of modern American Indian life (The Norton Anthology of American Literature 2785). The main character is in “physical and emotional straits” yet survives by “re-establishing contact with his native roots” (The Norton Anthology of American Literature 2785). The story is also an attempt to “search for a ceremony to deal with despair” (The Norton Anthology of American Literature 2785). In the case of reservation Indians today, despair is equivalent to “suicide, the alcoholism, and the violence” that happen in Native American communities (The Norton Anthology of American Literature 2785). Erdrich’s poem Dear John Wayne reflects the mixing of European American and Native American cultures set in a modern drive-in move (The Norton Anthology of American Literature 2829). In addition, the poem reflects the author’s awareness of the “historical” and continuing devastations of Native American life.

            The last author covered in our text that is Native American is Sherman Alexie. Similar to Erdrich, Alexie blends and mixes popular culture or American culture with the culture of reservation Indians. Alexie’s works balance between his portrayal of the reservation community and how it fits into popular culture (or vice versa). In short, Alexie’s writing covers the “contemporary Native American experience” (The Norton Anthology of American Literature 2851).

            Beginning with oral traditions, Native American literature has certainly been transformed. Native authors quickly learned the power of language and the written word to record, and convey the transformations of a culture and to express their human condition. Native American literature has been my favorite genre this term.

Janet Gabler-Hover, Robert S. Helmeyer. "Native American Literature." American History Through Literature. n.d.

Mackay, K.L. Native American Literature. n.d. 18 November 2012 <www.faculty.weber.edu/kmackay/native-american-literature.htm>.

Native American Literature. n.d. 18 November 2012 <www.nativeamericanlit.com>.

The Norton Anthology of American Literature. New York, 2008.

           

            

A Tale of Two "Daddy's"

Comparing and Contrasting
The Song “Daddy” with the poem “Daddy”

In week 7, we experienced the poetic works of Sylvia Path and learned of her short and rather tragic life. The title of the poem, ‘’Daddy” quickly reminded me of a song written and recorded by the artist Jewel with the same name. Both songs deal with the relationship between a daughter and her father. Here are the lyrics to the song Daddy by Jewel:

My bones are tired, Daddy

I don't get enough sleep

I don't eat as good as I could, Daddy

What's that say about me?

Sometimes I sleep past noon, Daddy

Drink lots of black coffee and I smoke like a chimney.

Yes, I left the refrigerator door half open, Daddy.

What's that say about me?

Sometimes I want to rip out your throat, Daddy

For all those things you said that were mean.

Gonna make you just as vulnerable as I was, Daddy

What's that say about me?

Sometimes I want to bash in your teeth, Daddy.

Gonna use your tongue as a stamp

Gonna rip your heart out the way you did mine, Daddy

Go ahead and psycho-analyze that.

'Cause I'm your creation, I'm your love, Daddy.

Grew up to be and do all those sick things you said I'd do

Well last night I saw you sneak out your window

With your white hood, Daddy

What's' that say about you?

I'm sloppy, what's that say about you?

I'm messy, what's that say about you?

My bones are tired, Daddy

One of the strongest similarities between Jewel’s song and Sylvia Plath’s poem are the vulnerability that the speaker’s feel in reference to their fathers. While Jewel’s speaker remembers feeling “vulnerable” (Jewel), Plath’s speaker has always been “scared” of her father (The Norton Anthology of American Literature 2656).  In addition, both speakers respond to their emotions with thoughts of violence. Plath indicates she has “killed” her father in the second stanza of her poem and in stanza 15 she has “killed one man” and then “two” (The Norton Anthology of American Literature 2658). Finally, one last similarity has to do with the indications that the speakers’ fathers were both of the same mindset regarding race. While Plath compares her speaker’s father to a “Nazi” or and “Aryan” (The Norton Anthology of American Literature 2657), Jewel indicates her speaker’s father “sneaks” out at night and wears a “white hood” (Jewel). Here is a link to the song. http://www.youtube.com/watch?v=m-rKgm2sbFQ

Works Cited

Jewel. "Daddy." Pieces of Me. By Jewel. 1995.

The Norton Anthology of American Literature. New York, 2008.

American Literature: American Native to Modernist

American Literature: From Native American Oral Tradition to Modernist

American Literature has changed in many ways since America’s beginnings and the Colonial Period. Each era is marked by unforgettable literature and authors whose writings reflect the eras in which they lived sometimes expressing the very social and cultural contexts in which the author lived. The periods of American Literature begin with the Colonial period and are followed by the writers of the Revolutionary period, The Romantics, the Realists, Naturalists and Modernists.

We first encounter Early American literature with a piece of Native American writing which was transcribed from oral tradition. The Iroquois Creation Story gives a vivid look into Native American Creation Stories and the values and beliefs of Native Americans (The Norton Anthology of American Literature 17). Much like the story of Genesis in the Christian Bible, the story serves as an explanation for creation and the dualism of good versus bad. All too soon, the white man came some would say and notable Englishmen named John Smith comes to mind and his colony of Jamestown.

John Smith’s writings supply some of our earliest American literature and detail Smith’s perspective, and perhaps his fancies of his explorations and encounters. As a result, Smith’s writings become Jamestown’s main record (American Literature-1991). Although once accepted as factual history, it is widely agreed upon that Smith romanticized many of his encounters and explorations in his accounts.

During the Colonial period, much of our American literature was written from the Puritan perspective. These authors focused their writing on a “full awareness of the importance of Worshipping God” and “the dangers” a soul faces on earth (American Literature-1991). The authors of this time include William Bradford, Anne Bradstreet, Cotton Mather and John Winthrop. John Winthrop’s “A Model of Christian Charity” was a sermon given on board a ship to the new world; it gave detailed instruction to the passengers on board in how they should behave themselves as Christian models (The Norton Anthology of American Literature 76).

The eighteenth century brought with it enormous change. America was changing economically, socially and philosophically. With an emphasis on the “intellectual”, people began looking at the world more scientifically as well as exploring psychology (The Norton Anthology of American Literature 151). We get a glimpse into these changing times through writer’s like Sarah Kemble Knight and her journey from Boston to New York detailing provincial America (The Norton Anthology of American Literature 162). In addition, the eighteenth century brought with it the beginning of the destruction of the cultural traditions of Native Americans.  Many become unsuccessfully assimilated or convert to Christianity as in Samson Occom: A Short Narrative of My Life ( The Norton Anthology of American Literature 210). At age seventeen Occom was “enabl’d to put my trust in him alone for Life and Salvation” referring to the Christian God in his autobiography (The Norton Anthology of American Literature 210).

Next American literature moves towards Realism and Mark Twain entertains us with his “regional” flavor. America moved quickly from an agricultural nation to an industrial nation and with the change came new problems and issues. As more work was created, cities grew, immigration began and urban issues such as overcrowding, unsanitary conditions among poor labor conditions influenced American perspective (American Literature-1991). From this era, come the likes of Mark Twain, Jack London and Davis. Davis’ piece “Life in the Iron Mills” shows us the gritty side of industrialization through the eyes of a female author. Davis writes, “The idiosyncrasy of this town is smoke. It rolls sullenly in slow folds from the great chimneys of the iron foundries” bringing us to the very scene in her story (The Norton Anthology of American Literature 1227).

As our literary choices in America grew, new perspectives entered as diverse as the people who wrote them yet most speak of the human condition in some way. Realism and Naturalism flourished as the country grew and more people became “aware of the importance of large economic and social forces” (American Literature-1991).

Modernism is the latest literary wave we have reached this term. For me, no writer exemplifies this wave of Modernism better than Gertrude Stein. A first read through Stein’s “Tender Buttons” left me confused but after applying Stein’s “abstract meanings” and understanding her technique her poems became and interesting and exploratory read (American Literature-1991). Her writing affirmed literature as an art form. So far, American literature has followed along with America as it has grown from Colonial times to Modernization. Through this literature a better understanding of the American culture is gained.

Works Cited

American Literature-1991. 1991. 13 October 2012 <www.let.rug.nl/usa/outlines/literature-1991>.

The Norton Anthology of American Literature. New York, 2008.

Shakespeare's Sonnet 55

William Shakespeare (1563-1616)

William Shakespeare was baptized on April, 26, 1964 in Stratford-upon-Avon, England. Much of his youth remains as mystery but from Church documents and other records some conclusions can be drawn. It is assumed he was the son of a yeoman and an heiress of land and that he worked as an apprentice at some trade when he was young (Bio.com). It is also assumed that he attended school and received free tuition because of his father’s involvement in town positions.

Perhaps surprising to some, Shakespeare married Ann Hathaway, who was eight years his elder at the age of eighteen. The couple had three children together; Susana and a set of twins, Hamnet and Judith. Again, much mystery remains about events leading up to William’s participation in the theater. However, by around 1954 he was a key player in Lord Chamberlain’s Men, which changed to the King’s Men in 1603.

By 1957, Shakespeare had published 15 of his 37 plays and for his family he purchased the second largest house in Stratford for his family. He most likely spent his time in London, four days away from his home. Two years later, he and his partners built their own theater, the Globe on the Thames River. He increased his wealth by investing in real estate. William Shakespeare died on April 23, 1616 and left a legacy of literature that is World-famous and whose themes seem timeless.

Sonnet 55

As I began reading Sonnet 55 I thought of the unstable times in which Shakespeare lived. In his time, the throne was erratic; from King Henry’s Reformation, to “Bloody Mary’s” backslide to Roman-Catholicism, followed by her Protestant Sister Elizabeth’s respected rule (Norton). The sonnet stirs images of the throne in the very first line, or at least an allusion to a King when he wrote “gilded monuments / Of princes” (Shakespeare. 55. 1).  He says not even those things will outlive this poem. I sense confidence on the speaker’s part and wonder if W was feeling a bit big-headed. The speaker says that stones and monuments will get dirty and war will overturn them (Shakespeare.55.5). He says that the battle will take care of old Masonry. I wondered at one point if Shakespeare was alluding to idol-worship. He says not even fire from war will get rid of this sonnet. The speaker seems to be saying, “Don’t worry my friend, you will be remembered in these lines. He says the poem will live on and “Shall you pace forth; your praise shall still find room”. Until of course he sees him on Judgment Day.

http://www.biography.com/people/william-shakespeare-9480323

             

The Norton Anthology of English Literature. New York: Norton, 2006.

A Teeny Bit on Chivalry in Sir Gawain

               Chivalry is a code of conduct and behavior that is often associated with Knighthood. Chivalric code called for the conduct of a Knight to be honorable, brave, courteous, gallant to ladies, a skilled fighter, a good Christian, to respect and honor their Lord, and to fight a fair battle. In the movies chivalry is depicted when the Knight in shining armor arrives on his stead to defend a Lady in distress from a terrifying dragon and in his coy behavior and politeness at her advances. Sir Lancelot, Arthur’s first and greatest Knight is a skillful and able protector in film (He also deals with lust but that is another story!). I often joke that “Chivalry is dead” when I have to do a “mans” job, inferring that my husband should possess a few more of these qualities in jest.

Sir Gawain practices chivalric code when he decides that he will openly admit to his sin, and not lie by wearing the girdle on his arm. He tells King Arthur’s Court on page 165 that “This is my blazon of the blemish that I bear on my neck” (Sir Gawain and the Green Knight). He does not want to be dishonest about what he considers was a failure on his part. One thing that was most surprising was how Gawain treats Lady Bertilak after he knows she was a part of Lord Bertilak’s moral test. He does not spite her, or get angry towards her. He admits his fault and still calls her Lord Bertilak’s “courteous wife” (Sir Gawain and the Green Knight.2411). He acts gallant to her even after she has helped to trick him; by today’s standards it probably wouldn’t have gone so smoothly). He, in fact was practicing the code of honor towards women and did not disrespect her

A Teeny Bit on Beowulf

               The hero of this epic completes his last heroic act when he battles and kills the dragon. The dragon has killed and destroyed in the Geat-land and when the dragon hits too close for comfort, Beowulf is reminded of his own mortality. Beowulf has become an aging king and hero. He knows his days are numbered: “After many trials/ he was destined to face the end of his days, / in this mortal world, as was the dragon.”(Beowulf. 80. 2342-2344).  The Dragon and Beowulf have something in common; both have protected and have come to the end of their time. Yet Beowulf is proud and orders that his men wait at the barrow as he fights the dragon. Beowulf forces the thief who stole the cup to bring them to the dragon’s keep realizing that it was his act that caused the Dragon to destroy. Beowulf, as king of the people is pursuing this fight for “the glory of winning” (Beowulf. 83. 2523-2514). The fact that Beowulf is not as strong is revealed when he says that he won’t fight the dragon unarmed. As Beowulf prepares to battle the dragon, he knows this will be his last battle and he knows that he wants to die a hero not an old man.

               The dragon is very much like Beowulf. While the dragon has guarded the treasure for centuries, Beowulf has protected the Geats for over 50 years. It is until a thief trespasses into the dragon’s cave that he attacks the Geat-land in search of the man. Beowulf, doesn’t react to the dragon until his own home, the throne-room, is destroyed where is own treasures are kept. With respect to this similarity, the dragon represents greed. When we first learn about Beowulf, he is more concerned with heroic acts, not the spoils of his victory. Yet, it is the loss of his throne-room that causes him to react as an aging king. Dying while battling the dragon was exactly what Beowulf was expecting. In the end, Beowulf and the dragon are seen side by side in death. I feel that Beowulf’s act of killing the dragon was more of a selfish act for Beowulf. He wanted to assure that he would die in a glorious way and he took advantage of the situation with the dragon. He could have used his men-at-arms but he knew that he wanted to die.

Corporate Advertisements and the Government

            The First Amendment to the United States Constitution protects our right of freedom of expression. The amendment gives us the freedom to express ourselves without government interfering. In order to uphold this right, the government should not regulate corporate advertisements. However, given the vulnerable state of childhood, the industry should continue to self-regulate advertisements directed at children placing the burden of responsibility with the industry.

            Placing responsibility in the corporations hands benefits the corporation by helping to build ethics that will lead to better relationships with the consumer. By focusing on “enhanced advertising ethics”, corporations instead “build trust in the company and its brands” (Snyder 477). Certain categories or audiences require a higher level of ethics including legal advertising, pharmaceutical advertising, and advertisements directed at children.

            According to material presented in Bob Garfield’s, “The Upside of Legal Advertising”, legal advertising serves a couple of roles. According to Elizabeth Talbert, a regulator for the Florida bar association, legal ads serve the purpose of informing “consumers of their legal rights” (Garfield). The ads are regulated by each state’s bar association. For some attorneys like Boston’s personal injury lawyer, James Sokolove legal advertising allows for “expansion in the marketplace” (Garfield). Sokolove feels that current regulations “restrict” him in the area of advertising (Garfield). Bar associations typically prohibit the use of “storytelling” or “silly” content within legal advertisements (Garfield). These regulations have been relatively successful in protecting the consumer, but these ads are directed towards adults. What about children?

            Today more than ever children are bombarded with advertisements. Points of engagement for advertisers and children range from cell phone ads, to DVDs, to television and the list goes on and on. Many studies currently hold strong correlations “between the amount of advertising content” and the rate of childhood obesity (Ron Warren). One study found that “food products” constitute “as much as half of all child-targeted advertising” (Ron Warren 232). The study also found direct correlations between food advertising and children’s purchase requests (Ron Warren 232). The truth is these ads have dominated children’s programming for years. Children viewing these ads should understand “the persuasive nature of advertising” (Snyder 478).

            In order to combat any issues with corporate advertisements the industry should continue utilizing agencies like CARU, that self-regulate, leaving the government out of the picture. CARU, founded in 1974, promotes responsible children’s advertising (CARU). CARU does not rely on government to regulate the industry; instead, “CARU seeks change through the voluntary cooperation of advertisers.” (CARU). As mentioned above, this approach also strengthens the relationship the consumer has with the corporation. In order to regulate advertisements directed at children, CARU performs “high-level monitoring”, by the “scrutinizing” of ten thousand commercials, radio, print, and online ads (CARU). CARU’s self-regulation should be continued and supported by the industry in order to keep the federal government from interfering.

            Ultimately, the decision to watch corporate advertisements lies with the consumer. However, certain audiences are more sensitive to information conveyed in advertisements. In order to combat any arising issues, the industry should continue self-regulation through its agencies or organizations like CARU. Exhibiting stronger ethics in advertising will only serve to strengthen the relationship between the corporation and the consumer by building trust and loyalty. Legal advertising, pharmaceuticals and ads directed at children would all benefit from the continued self-regulation of the industry.