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Introduction to the Special Issue on the Future of Legal Gender: Exploring the Feminist Politics of Decertification
Get PDFIntroduction to the special issue on the Future of Legal Gender. The editors of the special issue are Flora Renz, Davina Cooper and Emily Grabham
The Physical Presence of Survivance in The Heirs of Columbus
Get PDF Critics attempt to make sense of the fantastic happenings in Gerald Vizenor’s The Heirs of Columbus (1991) by taking his plethora of theoretical claims, the pinnacle of which is a concept called “survivance,” and applying them to the novel. However, no one has considered that Heirs does not simply give body to Vizenor’s theory, but surpasses it, crafting and testing a new definition of “survivance.” I argue in this paper that Vizenor’s Heirs adds a new dimension of “survivance,” portrayed particularly in his character Stone. In this way, “survivance” moves beyond its generally agreed upon definition as personal and intellectual liberation from identity constraints in order to encompass physical and communal healing as well
Sweatlodge in the Apocalypse: A Conversation with Smokii Sumac : James Mackay
No full textKtunaxa poet-scholar Smokii Sumac's first book of poetry, you are enough: love poems for the end of the world, was published by Kegedonce in 2018, and won the Indigenous Voices Award. Here he talks with Transmotion editor James Mackay
Making the Leap: the Poetry of César Vallejo and Ralph Salisbury
No full textIn her introduction to The Path on the Rainbow (1918), “the first authoritative volume of aboriginal American verse,” Mary Austin claims that one “will be struck at once with the extraordinary likeness between much of this native product and the recent work of the Imagists, vers librists, and other literary fashionables” (xvi). As a Cherokee-Shawnee-English-Irish-American poet publishing since the 1950s, one might be tempted to read Ralph Salisbury’s work in light of Ezra Pound. However, I argue that Salisbury’s free verse is not primarily influenced by Imagism’s objectivism, which, according to Robert Bly, is among the early twentieth century poetry “without spiritual life” and “without even a trace of revolutionary feeling—in either language or politics” ("A Wrong Turning" 22, 24); rather, I assert, a different modernist school informs Salisbury’s poetry: the surrealists, especially those from Latin America, like Peruvian mestizo César Vallejo. Reading Vallejo only as a surrealist limits his work; Vallejo is, more significantly, a forerunner to literary indigenism, who sought to develop “a poetics of the mestizaje” and whose work is grounded in poverty, war, as well as human suffering (Mulligan xlvi). Salisbury himself acknowledges that, in his mid-twenties, he “follow[ed] the example of […] surrealists” and, like Vallejo, explored “the land between sleep and waking” (So Far 230). Through his use of what Bly has described as “leaping poetry” in the work of Vallejo and others, Salisbury links outward images to inward emotion, allowing unexpected associations to form between his childhood on a Depression-era Iowa farm, his experiences in WWII, his anti-war activism, and his Cherokee culture. In so doing, like Vallejo before him, Salisbury goes beyond the “parlor games” of the surrealists to answer the call to produce “socially responsible art” (Mulligan xxxii)
A Dramatic Reading of Vizenor's Bear Island at the University of Michigan
Get PDFA brief report on a dramatic reading of Vizenor's Bear Island: The War at Sugar Point staged at the Univeristy of Michigan in March 2018 in conjunction with Vizenor's presentation of the third annual Berkhofer Lecture
Palominos Near Tuba City (Denise Sweet)
No full textThis is a review of a poetry collection - please see earlier pages for the review. Thank you
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