Growing Up Native American: An Anthology


Stories of oppression and survival, of heritage denied and reclaimed — twenty-two American writers recall childhood in their native land.

A bounty of Native American writers provides a dazzling array of stories and essays on their cultural heritage and lifestyle. These provocative pieces speak to everyone of pain, love, youthful passion, mischief, anger, betrayal and healing.

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Stories of oppression and survival, of heritage denied and reclaimed — twenty-two American writers recall childhood in their native land.

A bounty of Native American writers provides a dazzling array of stories and essays on their cultural heritage and lifestyle. These provocative pieces speak to everyone of pain, love, youthful passion, mischief, anger, betrayal and healing.

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Editorial Reviews

Publishers Weekly - Publisher's Weekly
Riley, a graduate student in ethnic studies at UC Berkeley, has gathered more than 20 pieces (most previously published) about coming of age as an Indian in North America by such well-known writers as Leslie Silko, N. Scott Momaday, Louise Erdrich and Michael Dorris. The material is diverse, ranging from a 19th-century account of a boy's first buffalo hunt to modern-day memoirs of childhoods scarred by poverty, racism and abuse. The collection contains fiction and nonfiction from the U.S. and Canada, reflecting the invisibility of these national borders to indigenous Americans. Cherokee critic Geary Hobson provides a Faulkneresque excerpt from an unpublished novel about intricate family ties among Indians in Arkansas, and Simon Ortiz writes movingly about making the difficult transition from his native Acoma language to English, but the best selection is from John Joseph Mathews's underrated novel Sundown , which shows an Osage boy grappling with Christianity in 1920s Oklahoma. Riley prefaces the selections with brief introductions. ( July )
A collection of writings about childhood--short fiction pieces and essays--by 22 Native American writers, from the 19th century to the 1990s, each briefly introduced. The editor is a poet and fiction writer of Irish and Cherokee descent. Annotation c. Book News, Inc., Portland, OR (
Roland Wulbert
In what is possibly the best collection of native American prose available, Riley evenhandedly represents the most-celebrated writers (N. Scott Momaday, Lesley Marmon Silko, Joseph Bruchak, Louise Erdich, Simon Ortiz), the nations of North America (Cherokee, Acoma Pueblo, Pawnee, Dakota, Sioux, Paiute, Ojibway, Lakota, Chippewa, Osage, Kiowa, Metis), two historical eras (one section covers the nineteenth century, another the twentieth), and both gender perspectives. The selections include biographies, autobiographies, short stories, novel excerpts, narrative polemics, and oral histories as well as genres unrecognized by contemporary Western literature, such as biography infused with myth and communicated by revelation (Old Testament "historians" would have been at home with this). Many pieces compare missionary and Bureau of Indian Affairs education unfavorably to tribal teachings. Most of the pieces explore the conflict between tribal and American identities. "Possibly the best collection of native American prose" should not be mistaken for qualified praise. This writing stands up to the standards of the literary canon as well as those of cultural diversity.
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Product Details

  • ISBN-13: 9780688118501
  • Publisher: HarperCollins Publishers
  • Publication date: 7/1/1993
  • Edition description: 1st Edition
  • Edition number: 1
  • Pages: 333

Meet the Author

Bill Adler is the editor of four New York Times bestselling books, including The Kennedy Wit, and is also the president of Bill Adler Books, Inc., a New York literary agency whose clients have included Mike Wallace, Dan Rather, President George W. Bush, Bob Dole, Larry King, and Nancy Reagan.

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Table of Contents

Foreword: Reflections on Identity and Culture 7
Introduction 21
Going Forward, Looking Back 27
"The Language We Know" 29
"The Warriors" 39
The Nineteenth Century 55
From Waterlily 57
From Life Among the Piutes 73
"Ni-Bo-Wi-Se-Gwe" 87
"Wasichus in the Hills" 97
"At Last I Kill a Buffalo" 107
Schooldays 115
From The Middle Five: Indian Schoolboys of the Omaha Tribe 117
From Lame Deer: Seeker of Visions 135
From Love Medicine 151
"A Day in the Life of Spanish" 167
Twentieth Century 189
From Sundown 191
From Mean Spirit 203
From The Names: A Memoir 215
"Notes of a Translator's Son" 237
"Turbulent Childhood" 247
"The Talking That Trees Does" 263
"Water Witch" 273
"Grace" 279
"Uncle Tony's Goat" 299
From Yellow Raft in Blue Water 307
"The Ballad of Plastic Fred" 325
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First Chapter

Growing Up Native American

Chapter One

The Language We Know

Simon Ortiz

I don't remember a world without language. From the time of my earliest childhoodl there was language. Always language,and imagination, speculation, utters of sound. Words, beginnings of words. What would I be without language? My existence has been determined by language, not only the spoken but the unspoken, the language of speech and the language of motion. I can't remember a world without memory. Memory, immediate and far away in the past, something in the sinew, blood, ageless cell. Although I don't recall the exact moment I spoke or tried to speak, I know the feeling of something tugging at the core of the mind, something unutterable uttered into existence. It is language that brings us into being in order to know life.

my childhood was the oral tradition of the Acoma Pueblo peopie-Aaquumeh hano-which included my immediate family of three older sisters, two younger sisters, two younger brothers, and my mother and father. My world was our world of the Aaquumeh in McCartys, one of the two villages descended from the ageless mother pueblo of Acoma. My world was our Eagle clan-people among other clans. I grew up in Deetziyamah, which is the Aaquumeh name for McCartys, which is posted at the exit off the present interstate highway in western New Mexico. I grew up within a people who farmed small garden plots and fields, who were mostly poor and not well schooled in the American system's education. The language I spoke was that of a struggling people who held ferociously to a heritage, culture, language, and land despite the odds posed them by the forcessurrounding them since 1540 A.D., the advent of Euro-American colonization. When I began school in 1948 at the BIA (Bureau of Indian Affiirs) day school in our village, I was armed with the basic ABC's and the phrases "Good morning, Miss Oleman" and "May I please be excused to go to the bathroom," but it was an older language that was my fundamental strength.

In my childhood, the language we all spoke was Acoma, and it was a struggle to maintain it against the outright threats of corporal punishment, ostracism, and the invocation that it would impede our progress towards Americanization. Children in school were punished and looked upon with disdain if they did not speak and learn English quickly and smoothly, and so I learned it. It has occurred to me that I learned English simply because I was forced to, as so many other Indian children were. But I know, also, there was another reason, and this was that I loved language, the sound, meaning, and magic of language. Language opened up vistas of the world around me, and it allowed me to discover knowledge that would not be possible for me to know without the use of language. Later, when I began to experiment with and explore language in poetry and fiction, I allowed that a portion of that impetus was because I had come to know English through forceful acculturation. Nevertheless, the underlying force was the beauty and poetic power of language in its many forms that instilled in me the desire to become a user of language as a writer, singer, and storyteller. Significantly, it was the Acoma language, which I don't use enough of today, that inspired me to become a writer. The concepts, values, and philosophy contained in my original language and the struggle it has faced have determined my life and vision as a writer.

In Deetziyamah, I discovered the world of the Acoma land and people firsthand through my parents, sisters and brothers, and my own perceptions, voiced through all that encompasses the oral tradition, which is ageless for any culture. It is a small village, even smaller years ago, and like other Indian communities it is wealthy with its knowledge of daily event, history, and social system, all that make up a people who have a manydimensioned heritage. Our family lived in a two-room home (built by my grandfather some years after he and my grandmother moved with their daughters from Old Acoma), which my father added rooms to later. I remember my father's work at enlarging our home for our growing family. He was a skilled stoneworker, like many other men of an older Pueblo generation who worked with sandstone and mud mortar to build their homes and pueblos. It takes time, persistence, -patience, and the belief that the walls that come to stand will do so for a long, long time, perhaps even forever. I like to think that by helping to mix mud and carry stone for my father and other elders I managed to bring that influence into my consciousness as a writer.

Both my mother and my father were good storytellers and singers (as my mother is to this day-my father died in 1978), and for their generation, which was born soon after the turn of the century, they were relatively educated in the American system. Catholic missionaries had taken both of them as children to a parochial boarding school far from Acoma, and they imparted their discipline for study and quest for education to us children when we started school. But it was their indigenous sense of gaining knowledge that was most meaningful to me. Acquiring knowledge about life was above all the most important item; it was a value that one had to have in order to be fulfilled personally and on behalf of his community. Growing Up Native American. Copyright © by Bill Adler. Reprinted by permission of HarperCollins Publishers, Inc. All rights reserved. Available now wherever books are sold.

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