Textbook

Publisher description: Native American Autobiography is the first collection to bring together the major autobiographical narratives by Native American people from the earliest documents that exist to the present._ The thirty narratives included here cover a range of tribes and cultural areas, over a span of more than 200 years. From the earliest known written memoir--a 1768 narrative by the Reverend Samson Occom, a Mohegan, reproduced as a chapter here--to recent reminiscences by such prominent writers as N. Scott Momaday and Gerald Vizenor, the book covers a broad range of Native American experience. Editor Arnold Krupat provides a general introduction, a historical introduction to each of the seven sections, extensive headnotes for each selection, and suggestions for further reading, making this an ideal resource for courses in American literature, history, anthropology, and Native American studies. General readers, too, will find a wealth of fascinating material in the life stories of these Native American men and women.

I Tell You Now is an anthology of autobiographical accounts by eighteen notable Native writers of different ages, tribes, and areas. This second edition features a new introduction by the editors and updated biographical sketches for each writer.

American Indian Autobiography is a kind of cultural kaleidoscope whose narratives come to us from a wide range of American Indians: warriors, farmers, Christian converts, rebels and assimilationists, peyotists, shamans, hunters, Sun Dancers, artists and Hollywood Indians, spiritualists, visionaries, mothers, fathers, and English professors. Many of these narratives are as-told-to autobiographies, and those who labored to set them down in writing are nearly as diverse as their subjects. Black Elk had a poet for his amanuensis; Maxidiwiac, a Hidatsa farmer who worked her fields with a bone-blade hoe, had an anthropologist. Two Leggings, the man who led the last Crow war party, speaks to us through a merchant from Bismarck, North Dakota. White Horse Eagle, an aged Osage, told his story to a Nazi historian. ø By discussing these remarkable narratives from a historical perspective, H. David Brumble III reveals how the various editors? assumptions and methods influenced the autobiographies as well as the autobiographers. Brumble also?and perhaps most importantly?describes the various oral autobiographical traditions of the Indians themselves, including those of N. Scott Momaday and Leslie Marmon Silko. American Indian Autobiography includes an extensive bibliography; this Bison Books edition features a new introduction by the author.

When John Joseph Mathews (1894–1979) began his career as a writer in the 1930s, he was one of only a small number of Native American authors writing for a national audience. Today he is widely recognized as a founder and shaper of twentieth-century Native American literature. Twenty Thousand Mornings is Mathews’s intimate chronicle of his formative years. Written in 1965-67 but only recently discovered, this work captures Osage life in pre-statehood Oklahoma and recounts many remarkable events in early-twentieth-century history. Born in Pawhuska, Osage Nation, Mathews was the only surviving son of a mixed-blood Osage father and a French-American mother. Within these pages he lovingly depicts his close relationships with family members and friends. Yet always drawn to solitude and the natural world, he wanders the Osage Hills in search of tranquil swimming holes—and new adventures. Overturning misguided critical attempts to confine Mathews to either Indian or white identity, Twenty Thousand Mornings shows him as a young man of his time. He goes to dances and movies, attends the brand-new University of Oklahoma, and joins the Air Service as a flight instructor during World War I—spawning a lifelong fascination with aviation. His accounts of wartime experiences include unforgettable descriptions of his first solo flight and growing skill in night-flying. Eventually Mathews gives up piloting to become a student again, this time at Oxford University, where he begins to mature as an intellectual. In her insightful introduction and explanatory notes, Susan Kalter places Mathews’s work in the context of his life and career as a novelist, historian, naturalist, and scholar. Kalter draws on his unpublished diaries, revealing aspects of his personal life that have previously been misunderstood. In addressing the significance of this posthumous work, she posits that Twenty Thousand Mornings will challenge, defy, and perhaps redefine studies of American Indian autobiography.”

Using contemporary autobiography theory and literary, historical, and ethnographic approaches, Wong explores the transformation of Native American autobiography from pre-contact oral and pictographic personal narratives through late nineteenth-/early twentieth-century life histories to written contemporary autobiographies. This book expands the definition of autobiography to include non-written forms of personal narrative and non-Western concepts of self, highlighting the incorporation of traditional tribal modes of self-narration with Western forms of autobiography and charting the historical transition from orality to literacy.

Ethnological classic details life of 19th-century native American—childhood, tribal customs, contact with whites, government attitudes toward tribe, much more.

In this book, Hertha D. Sweet Wong examines the intersection of writing and visual art in the autobiographical work of twentieth- and twenty-first-century American writers and artists who employ a mix of written and visual forms of self-narration. Combining approaches from autobiography studies and visual studies, Wong argues that, in grappling with the breakdown of stable definitions of identity and unmediated representation, these writers-artists experiment with hybrid autobiography in image and text to break free of inherited visual-verbal regimes and revise painful histories. These works provide an interart focus for examining the possibilities of self-representation and self-narration, the boundaries of life writing, and the relationship between image and text. Wong considers eight writers-artists, including comic-book author Art Spiegelman; Faith Ringgold, known for her story quilts; and celebrated Indigenous writer Leslie Marmon Silko. Wong shows how her subjects formulate webs of intersubjectivity shaped by historical trauma, geography, race, and gender as they envision new possibilities of selfhood and fresh modes of self-narration in word and image.

Discusses the contrast in lifestyles of the author between his life among whites, and his life with the Hopi