Words on a Page

Literature of the American West encompasses many things. Fiction, poetry, memoir, biography, travelogue and historical texts can all be found beneath its broad banner. Coming up with just ten titles, then, is a ridiculous exercise. There are so many other books I could have included. Books such as... Travels With Charley   was probably the first book to put 'the West' on my radar when I was just 11 or 12 years old was .  We'd probably been reading  Of  Mice and Men  or  The Red Pony  at school, and rather than turning me off of Steinbeck - as so often happens when books are studied at that age - it sparked a love which continues to this day. The book recounts the journey Steinbeck made around the perimeter of the United States in 1960, in the company of his standard poodle, Charley. It was probably the dog that first attracted me to the book, but it's the movement of the narrative which really sticks with me.  Travels  is not about the West a...

We are different people at different times in our lives, and the experiences we have and the lessons we take from them shape us into the people we become. In Eddie Chuculate’s debut collection,  Cheyenne Madonna , we dip in and out of the life of Jordan Coolwater, glimpsing some of his many identities: devoted son, runaway convict, gifted artist, and grief-ridden husband.  Galveston Bay, 1826 , which won the O. Henry Prize in 2007, gives historical context to Jordan’s life and provides the overall backdrop to the collection. Eager for adventure, Cheyenne chief Old Bull and his three companions set off on an equestrian road-trip to the sea – "the absolute end of the earth." Through the shimmering heat haze which rises off the desert, we watch the landscape change: herds of sand-coloured antelope springing in "long graceful arcs" and a wildfire which appears "like the bluffs of a red canyon, lapping and advancing with thirsty orange flames." When, after ...

Sherman Alexie had already published four collections of poetry by the time he gained national attention in 1993 by winning the prestigious PEN/Hemingway Award for Best First Book of Fiction for the short story collection The Lone-Ranger and Tonto Fistfight in Heaven .  In 1996, he was named as one of Granta’s Best Young American Novelists in recognition for his first novel Reservation Blues . Two years later, he won the Audience Award at the Sundance Film Festival for the screenplay of Smoke Signals .  In all, Alexie has published eighteen books and screenplays in sixteen years, making him one of the most prolific writers working in the United States today. But his multi-genre talents don’t stop there.  He’s also collaborated on an album with musician Jim Boyd and turned his hand at film directing, too.  And in his free time?  He does a spot of stand-up comedy as well.  * While much of Alexie’s earlier work explores small-town life on the Spokane ...

A number of months ago I read an article which was critical of the advice we often give to Creative Writing students in which we encourage them to begin their stories in the thick of action, or in medias res.  The argument goes that writers must capture the reader’s interest right at the beginning by ‘hooking them in’ so they feel compelled to continue reading.  Often this ‘hook’ is achieved through the creation of intrigue, something or someone which is obviously out of place or which otherwise encourages the reader to ask questions.  At other times it involves a piece of high drama and the reader is dropped straight into a piece of unfolding action.  At the same time that we encourage students to work on their hooks, we tend to shoo them away from using too much description at the beginning of a story.  Readers’ attention spans have shortened, we say, and if a writer doesn’t grab reader’s interest in the first couple of paragraphs – or in the case o...

photo by Karen Murray Belonging  to the Land The people we become – both in the sense of how we see ourselves and how others see us as individuals – depends on a multitude of influences: the families we are born into and our positions within those families; the friends we choose; our education; our employment; our political and religious beliefs; and the experiences we have in life are just some of the factors that shape our identity.  A few of these factors are constant and unchangeable: most of us will remain the same gender throughout our lives, for example, and regard ourselves as being a particular nationality or race.  Other factors, such as family position, education and occupation, and even political and religious beliefs, can change periodically through a natural process of maturation and individual development.  Others, still, may change numerous times during the course of our lives as our interests change and our attachments and allegiances shi...

The Quest for Native Identity Before any discussion of Indian identity can take place, one needs to ask what , exactly, is ‘an Indian’?  Hilary Weaver sets out the complexity of the Indian identity discussion: There is little agreement on precisely what constitutes an indigenous identity, how to measure it, and who truly has it.  Indeed, there is not even a consensus on appropriate terms.  Are we talking about Indians, American Indians, Natives, Native Americans, indigenous people, or First Nations people?  Are we talking about Sioux or Lakota?  Navajo or Dine?  Chippewa, Ojibway, or Anishnabe?  Once we get that sorted out, are we talking about race, ethnicity cultural identity, tribal identity, acculturation, enculturation, bicultural identity, multicultural identity, or some other form of identity? (Weaver 2001:240) The mixedblood Indian writer Hertha Dawn Wong identifies two key features which distinguish the Native American concept ...