Synopses & Reviews
In this sweeping work of memoir and commentary, leading cultural critic Paul Chaat Smith illustrates with dry wit and brutal honesty the contradictions of life in “the Indian business.”
Raised in suburban Maryland and Oklahoma, Smith dove head first into the political radicalism of the 1970s, working with the American Indian Movement until it dissolved into dysfunction and infighting. Afterward he lived in New York, the city of choice for political exiles, and eventually arrived in Washington, D.C., at the newly minted National Museum of the American Indian (“a bad idea whose time has come”) as a curator. In his journey from fighting activist to federal employee, Smith tells us he has discovered at least two things: there is no one true representation of the American Indian experience, and even the best of intentions sometimes ends in catastrophe. Everything You Know about Indians Is Wrong is a highly entertaining and, at times, searing critique of the deeply disputed role of American Indians in the United States. In “A Place Called Irony,” Smith whizzes through his early life, showing us the ironic pop culture signposts that marked this Native American’s coming of age in suburbia: “We would order Chinese food and slap a favorite video into the machine—the Grammy Awards or a Reagan press conference—and argue about Cyndi Lauper or who should coach the Knicks.” In “Lost in Translation,” Smith explores why American Indians are so often misunderstood and misrepresented in today’s media: “We’re lousy television.” In “Every Picture Tells a Story,” Smith remembers his Comanche grandfather as he muses on the images of American Indians as “a half-remembered presence, both comforting and dangerous, lurking just below the surface.”
Smith walks this tightrope between comforting and dangerous, offering unrepentant skepticism and, ultimately, empathy. “This book is called Everything You Know about Indians Is Wrong, but it’s a book title, folks, not to be taken literally. Of course I don’t mean everything, just most things. And ‘you’ really means we, as in all of us.”
Review
From Publishers WeeklyIn this acerbic collection of essays, Comanche cultural critic and art curator Smith (Like a Hurricane) riffs on the romantic stereotypes of Indian as “spiritual masters and first environmentalists,” as tragic victims of technology and civilization, as primal beings brimming with nomad authenticity, their every artifact a gem of folk art. Such tropes, he complains, hide the riotous complexity of the modern Indian experience, which he visits in pieces that explore his grandfather's Christian church, Sitting Bull's savvy manipulation of his media image (he had an agent) and the author's own Comanche forebears, who were both “world-class barbarians” and avid adopters of the white man's gadgetry. These loose-limbed essays range all over the landscape, from Hollywood westerns to the 1973 siege of Wounded Knee to (somewhat obscurely) the contemporary Indian art scene. Smith doesn't entirely square his view of Indians as “just plain folks” with his advancing of a unique Indian cultural perspective, but his keen, skeptical eye makes such ironies both amusing and enlightening.
Review
and#8220;Diane Glancy inhabits a world of images that breathe life and voice for the voiceless men, women, and children. . . . No simple history lesson, this, as Glancy examines how language is both captor and savior, another means of imprisonment and also liberation.and#8221;and#8212;Gina Ochsner, author of The Necessary Grace to Fall
Review
and#8220;This book is mesmerizing and will stay with you for lifetimes.and#8221;and#8212;Jackie Old Coyote, Apsaalooke Nation, former director of education and outreach at the Harvard Project on American Indian Economic Development
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Review
and#8220;The survival of Indian people represents one of the most important subjects in American history. Glancy creates a multilayered narrative about the Kiowa, Cheyenne, Comanche, and Arapaho Indians, who became prisoners of the United States government during the late nineteenth century. She invites readers to contemplate the bleak realities and the difficult choices presented by historical circumstances.and#8221;and#8212;Brad Lookingbill, professor of history at Columbia College of Missouri
Review
andquot;Glancy is not only an insightful historian but a gifted storyteller. The craft, creativity, and imagination with which she renders this amazing text powerfully draw the reader into the world of the Fort Marion prisoners. Few texts to date have portrayed their experiences with the upheavals of a changing world with such intimacy and humanism.andquot;andmdash;Steven Williams, American Studies
Synopsis
At the end of the Southern Plains Indian wars in 1875, the War Department shipped seventy-two Kiowa, Cheyenne, Arapaho, Comanche, and Caddo prisoners from Fort Sill, Oklahoma, to Fort Marion in St. Augustine, Florida. These most resistant Native people, referred to as and#8220;trouble causers,and#8221; arrived to curious, boisterous crowds eager to see the Indian warriors they knew only from imagination.
Fort Marion Prisoners and the Trauma of Native Education is an evocative work of creative nonfiction, weaving together history, oral traditions, and personal experience to tell the story of these Indian prisoners.
Resurrecting the voices and experiences of the prisoners who underwent a painful regimen of assimilation, Diane Glancyand#8217;s work is part history, part documentation of personal accounts, and a search for imaginative openings into the lives of the prisoners who left few of their own records other than carvings in their cellblocks and the famous ledger books. They learned English, mathematics, geography, civics, and penmanship with the knowledge that acquiring the same education as those in the U.S.and#160;government would be their best tool for petitioning for freedom. Glancy reveals stories of survival and an intimate understanding of the Fort Marion prisonersand#8217; predicament.
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About the Author
Diane Glancy is an emerita professor of English at Macalester College and is currently a professor at Azusa Pacific University in California. She is the author of numerous novels, including Claiming Breath (Nebraska, 1992), Designs of the Night Sky (Nebraska, 2002), and The Reason for Crows: A Story of Kateri Tekakwitha.
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