In recent years, the interdisciplinary fields of Native North American and Indigenous Studies have reflected, at times even foreshadowed and initiated, many of the influential theoretical discussions in the humanities after the "transnational turn." Global trends of identity politics, performativity, cultural performance and ethics, comparative and revisionist historiography, ecological responsibility and education, as well as issues of social justice have shaped and been shaped by discussions in Native American and Indigenous Studies. This volume brings together distinguished perspectives on these topics by the Native scholars and writers Gerald Vizenor (Anishinaabe), Diane Glancy (Cherokee), and Tomson Highway (Cree), as well as non-Native authorities, such as Chadwick Allen, Hartmut Lutz, and Helmbrecht Breinig. Contributions look at various moments in the cultural history of Native North America - from earthmounds via the Catholic appropriation of a Mohawk saint to the debates about Makah whaling rights - as well as at a diverse spectrum of literary, performative, and visual works of art by John Ross, John Ridge, Elias Boudinot, Emily Pauline Johnson, Leslie Marmon Silko, Emma Lee Warrior, Louise Erdrich, N. Scott Momaday, Stephen Graham Jones, and Gerald Vizenor, among others. In doing so, the selected contributions identify new and recurrent methodological challenges, outline future paths for scholarly inquiry, and explore the intersections between Indigenous Studies and contemporary Literary and Cultural Studies at large.
A decade after the terrorist attacks of September 11, 2001, over 160 novels by U.S.-American writers have re-enacted or revised the day we now call ‘9/11’. This study systematically charts the rich subgenre of Ground Zero Fiction by exploring its formal, structural, thematic, and functional dimensions. In a combination of typological survey and detailed analysis, both familiar texts (by Jonathan Safran Foer, Don DeLillo, or John Updike) and lesser-known approaches (by writers such as Karen Kingsbury, Laila Halaby, Nicholas Rinaldi, Helen Schulman, or Ronald Sukenick) are investigated for their specific engagements with contemporary history. The American 9/11 novel, this volume argues, not only provides a productive testing ground for narrative crisis management, but it serves as an exemplary twenty-first century interface between historical and fictional representation, between ethical and aesthetic responsibilities, and between national and transnational formations of identity.
Responding to an increasing need for critical perspectives and methodologies, this collection traces the historical dimensions of Native North American drama through overviews of major developments, individual playwrights’ perspectives, and in-depth critical analyses. Bringing together writers and scholars from the United States, Canada, and Europe, Indigenous North American Drama provides the first comprehensive outline of this vibrant genre. It also acknowledges the wide diversity of styles and perspectives that have helped shape contemporary Native North American theater itself. This interdisciplinary introduction offers a basis for new readings of Native American and First Nations literature at large.
Indigenous drama is at once the oldest and most innovative, the most heavily displaced and resistant American genre. Despite its increasing international presence over the past two decades, the field has so far been neglected by scholarship. This study seeks to chart the genre, in both the U.S. and Canada, by its contemporary manifestations from 1968 to 2004 and traces its historical entanglements in simulacral images and colonial surveillance. Placing particular emphasis on the fashioning of cultural identity, this approach situates Native theater in the larger framework of transnational methodologies. General questions of theatricality and representation are complemented by in-depth analyses of 25 plays by authors such as Hanay Geiogamah, Monica Charles, Gerald Vizenor, Spiderwoman Theater, Diane Glancy, Margo Kane, Tomson Highway, and Drew Hayden Taylor.