By Eric Gary Anderson
Culture-to-culture encounters among "natives" and "aliens" have long past on for hundreds of years within the American Southwest—among American Indian tribes, among American Indians and Euro-Americans, or even, in line with a few, among people and extraterrestrials at Roswell, New Mexico. Drawing on a variety of cultural productions together with novels, movies, work, comedian strips, and historic reviews, this groundbreaking publication explores the Southwest as either a true and a culturally developed web site of migration and stumble upon, within which the very identities of "alien" and "native" shift with each one act of travel.
Eric Anderson pursues his inquiry via an unparalleled diversity of cultural texts. those comprise the Roswell spacecraft myths, Leslie Marmon Silko's Almanac of the Dead, Wendy Rose's poetry, the outlaw narratives of Billy the child, Apache autobiographies through Geronimo and Jason Betzinez, work by way of Georgia O'Keeffe, New West background via Patricia Nelson Limerick, Frank Norris' McTeague, Mary Austin's The Land of Little Rain, Sarah Winnemucca's Life one of the Piutes, Willa Cather's The Professor's House, George Herriman's modernist caricature Krazy Kat, and A. A. Carr's Navajo-vampire novel Eye Killers.
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Additional resources for American Indian Literature and the Southwest: Contexts and Dispositions
That Hopi earth does contain my roots and I am, indeed, from that land. Because the roots are there, I will find them. But pg 20 # 4 Name /T0201/T0201_CH01 10/01/01 06:10AM Plate # 0-Composite Mobile Homes: Migration and Resistance 21 when I find them, he said, I must rebuild myself as a Hopi. I am not merely a conduit, but a participant. I am not a victim, but a woman. (‘‘Neon Scars,’’ 261) Travel is not simply or exclusively a quest for a single, unimplicated self that somehow detaches from the gender of the traveler, the places she visits, or the peoples she encounters.
The space between. The not this, not that, not the other. The place that the others go around. Or around about. It’s more a Mo¨bius strip than a line’’ (‘‘Autobiography,’’ 151). Some of us, she writes, live on the road that the dead walk down. We ride it out of town and back. By its meanders we discover what is there, what is not. By its power we are drawn into a confluence of minds, of beings, of perceptions, of styles. It is a singularly powerful place, the road that runs across the middle of the lands, the roads that run, everywhere, bordering the Big Arroyo that leads to the other place, that connects us to it and them to us.
As Charles L. Woodard argues, Momaday’s clearly articulated ‘‘idea of the importance of place is . . not contradicted by [his] nomadism’’ (48). The Way to Rainy Mountain perhaps enacts a sort of imaginative, formal and stylistic migration by moving among and across three parallel ‘‘levels’’ of narrative, including Momaday’s physical and imaginative retracings of historical Kiowa migrations. And throughout his written work, Momaday reflects on and represents himself, with depth and complexity, as a Kiowa Indian writer in motion.
American Indian Literature and the Southwest: Contexts and Dispositions by Eric Gary Anderson