Musicians From The United States

"I’ll be in a car or a bus or a van or whatever, looking at the houses and the windows and all the storefronts, and thinking about all the different realms, all the different story realms, and how many — every place, every window, every doorway is an opening to a life — a whole different life, a whole series of stories. And it’s multiplied hundreds and thousands of times. And some don’t overlap at all. Some are in their very private universes; other universes are more expansive."

"I’m a great-grandmother now. I was a grandmother in my 30s and a teenage mother. And what that’s given me is a kind of a broader sense of the story field."

"I remember at one point going out to do a story, just after the [1979] Church Rock uranium spill, and there were children out playing in the water and in the livestock and the Navajo speakers were saying, "We need a word." How do we come up with a word that will tell the people that even though you can't see it, there is something dangerous here that can harm you and you can't use these waters, when it was the only source of water for their livestock?"

"I think a lot of America, when they think back in history and see Natives, we were hiding out in the woods, wearing rags and so on, but we had huge societies. I have a great, great, great uncle who had the largest horse-racing establishment on the Eastern Seaboard, a Muscogee (Creek) man and half Irish. And they wanted that, they wanted what we had."

"A lot of images [of Native Americans] are based on fairy tales or Wild West shows. We are human beings, not just people who have been created for people’s fantasy worlds. There’s not just one Native American. We’re diverse by community, by land, by language, by culture. In fact, we go by our tribal names, and there are 573 tribal nations."

"I've come to realize that what has motivated my art-making is really a strong need for justice, for "people" to be treated [with respect.] And then when I say people, I also mean animals and insects and the birds and the earth and the earth person that we are all part of — that there's a key element and that's respect. And my work has always been motivated by that need for respect."

"She's generous in her poetry, opening her sacred spaces and music to all, yet never naive or forgetful about hostility and hatred, as in "Transformations"... This is not forgiveness, turning the cheek. It's a claiming of power, the power of the poetic act, the courage and grace and knowledge it takes to reach, through "the right words, the right meaning” into that place in the other where "the most precious animals leave." It's about "tough belief," no sentimental gesturing. You hear it in the rhythms of Harjo's music, catching it in the bladed outlines of her images."

"Every poem has so many poetry ancestors. How can we construct a poetry ancestor map of America that would include and start off with poetry of indigenous nations? Those strands would continue into the present with the wonderful young Native poets we have right now. I guess what strikes me is the diversity—the diversity of Native poetry, which was here and is here and is still growing, and the diversity of American poetry, which has roots all over the world—and I’ve always wanted to show that, ultimately, there’s a root system that’s connected all over the Americas, which is one body and all over the world. A healthy ecosystem is a system of diversity. That’s the same thing in poetry, different poetry streams. It’s the same thing with peoples in a country."

"Our class and our generation really shifted Native art, in the contemporary world art scene."

"...I could hear my abandoned dreams making a racket in my soul. (p135)"

"President Andrew Jackson went against Congress to remove Southeastern Native peoples from the lands there into Indian territory, or what became known as Oklahoma. Of course, we did not go willingly. There were several scuffles and fights and even massacres against this illegal removal. But we were force-marched from our homelands. I think a lot of America thinks it was only the Cherokee — or the so-called "five civilized tribes," that included the Muscogee (Creek) — but these kind of removals or forced migration or marches happened all over the country."

"we don’t live in a society, generally, that supports dreams as knowledge. And we’re not living in a place like that."

"It’s about learning to listen, much like in music. You can train your ears to history. You can train your ears to the earth. You can train your ears to the wind. It’s important to listen and then to study the world, like astronomy or geology or the names of birds. A lot of poets can be semihistorians. Poetry is very mathematical. There’s a lot in the theoretical parts that is similar. Quantum physicists remind me of mystics. They are aware of what happens in timelessness, though they speak of it through theories and equations."

"Political means great movers. To me, you can define political in a number of ways. But I would hope it was in the sense that it does help move and change consciousness in terms of how different peoples and cultures are seen, evolve."

"It's like this, living is like a diamond or how they cut really fine stones. There are not just two sides but there are so many and they all make up a whole."

"Joy Harjo is one of the more powerful voices among the second generation of the so-called Native American Renaissance, the movement that arose in the late 1960s with N. Scott Momaday, James Welch]], and Leslie Marmon Silko. Through these works, extraordinarily innovative in content but also in form, these Indian writers for the first time bore witness directly to their native world, interpreting it from within and freeing it from the portrayals by white writers that had been at best ambivalent, if not thoroughly distorted. The arduous, agonizing reconstruction of the tribal past, the dramatic confrontation with white civilization, the existential and artistic itinerary through present-day America, the shady liminal area inhabited by mixed-bloods-such are the major themes of a literary corpus that has now grown to considerable proportions, one that within a span of thirty years has been acclaimed by critics and readers alike for its vitality and its prodigious variety of voices and styles."

"The world is not disconnected or separate but whole. All persons are still their own entity but not separate from everything else-something that I don't think is necessarily just Native American, on this particular continent, or only on this planet. All people are originally tribal, but Europeans seem to feel separated from that, or they've forgotten it. If European people look into their own history, their own people were tribal societies to begin with and they got away from it. That's called "civilization."

"European and American settlers soon took over the lands that were established for settlement of eastern tribes in what became known as Indian Territory. The Christian god gave them authority. Yet everyone wanted the same thing: land, peace, a place to make a home, cook, fall in love, make children and music. (p19)"

"It seems es that the Native American experience has often been bitter. Horrible things have happened over and over. I like to think that bitter experience can be used to move the world, and if we can see that and work toward that instead of killing each other and hurting each other through all the ways that we have done it. (The world, not just Indian people, but the world.) JH: Sure, because we're not separate. We're all in this together. It's a realization I came to after dealing with the whole half-breed question. I realized that I'm not separate from myself either, and neither are Indian people separate from the rest of the world."

"Joy Harjo has always been one of my favorite writers."

"I don't see time as linear. I don't see things as beginning and ending. A lot of people have a hard time understanding native people and native patience-they wonder why we aren't out marching to accomplish something. There is no question that we have had an incredible history, but I think to understand Indian people and the native mind you have to understand that we experience the world very differently. For us, there is not just this world, there's also a layering of others. Time is not divided by minutes and hours, and of everything has presence and meaning within this landscape of timelessness."

"In the beginning when I was writing poetry, a poem had definite limits--I started out knowing definitely what I wanted to begin and end with, or one particular image that I wanted to stay with. Now I feel that my poems have become travels into that other space."

"People often forget that everything they say, everything they do, think, feel, dream, has effect, which to me is being Indian, knowing that. That's part of what I call "being Indian" or "tribal consciousness.""

"Every soul has a distinct song. (p19)"

"When Sun leaves at dusk, it makes a doorway. We have access to ancestors, to eternity. Breathe out. Ask for forgiveness. Let all hurts and failures go. Let them go. (p171)"

"There's an incredible relationship of guilt between native people and white Americans. It's an odd relationship. Many white Americans think native people have special spiritual knowledge or know certain tricks. Certainly there are some people who are more in touch with those things than others, but we all have prayer. Prayer was not just designated to native people, and there are no special spiritual qualities designated for native people. Of course, at one point we were all tribal people. Europeans were tribal people; all around the world the roots of all human beings were tribal."

"I realize writing can help change the world. I'm aware of the power of language which isn't meaningless words.... Sound is an extension of all, and sound is spirit, motion...Everything, anything that anybody says, it does go out and makes change in the world."

"The poems of Joy Harjo incorporate the aspects of identity, "children born, half-breed, blue eyes..." with the vision of spiritual life beneath the daily realities which face Indian women. She writes of earth, of change, and of the psychological genocide that is often so subtle we do not realize it exists. And she writes of the strength it takes to escape that destruction which often becomes destruction of the self."

"I think it’s easier to honor the male in our culture because it’s much more accepted. There are almost no truly powerful and sustained images of female power. None. Look at Marilyn Monroe? The Virgin Mary? And what images exist for Indian women? The big question is, How do we describe ourselves as women in this culture? It’s unclear."

"In the short-root mind, a kind of mind of a people whose children don't even know the names of their great-grandparents, there is no past. Everything is right now. This kind of mind has its roots in the material culture, in what can be accumulated. My great-grandfather reminds me that we need to keep within the long-rooted mind. Because of the longer roots we have a larger structure of knowing from which to take on understanding. (p78)"

"I think of poetry as a kind of lyricism. I think of poetry as a place beyond words, that we — you know, the paradox is, we use words to get there."

"I marked myself once with a knife. I was disappearing into the adolescent sea of rage and destruction. The mark of pain assured me of my own reality. The cut could speak. It had a voice that cried out when I could not make a sound in my defense. I never made such a mark again. Instead I chose to slash art onto canvas, pencil marks onto paper, and when I could no longer carry the burden of history, I found other openings. I found stories. (North, p91)"

"We are all here to serve each other. At some point we have to understand that we do not need to carry a story that is unbearable. We can observe the story, which is mental; feel the story, which is physical; let the story go, which is emotional; then forgive the story, which is spiritual, after which we use the materials of it to build a house of knowledge. (p32)"

"A poem can be like a pocket that can hold anything, almost anything. You can hold different kinds of time. It can hold grief, it can hold history, and it is often — a poem has come to me or through me, and it’s taught me what I needed to know."

"Many people assume that all Indian people lived a long time ago in a certain in a certain way and wore certain clothes, so if you don't look like that now, you're not really Indian people; but all cultures change. In our case, the change has certainly been abrupt and shocking, and we have had to a struggle to maintain the heritage within that terrible upheaval...Maybe all artists now must struggle to understand the connections between the world of heritage and the present world. Those worlds certainly do converge and maybe poems are points of convergence or, in some sense, paintings of that convergence. Maybe the artist has always worked to find those connections, but I think the struggle is especially important in these difficult times when the illusion of separation among peoples has become so clear...*For me the illusion is that we're separate. That's the illusion."

"I truly feel there is a new language coming about-look at the work of Meridel LeSueur, Sharon Doubiago, Linda Hogan, Alice Walker - it's coming from the women. Something has to be turned around. (1990)"

"I'm already tired of hearing about this madman Columbus and discovery. Yet, this quincentenary is important because crucial attention is being paid to the indigenous peoples of this america. I say there never was an "encounter." To have an encounter would be quite a groundbreaking event! That would require Euro-Americans and Europeans to meet native peoples with respect. I don't know that it's ever been done. There was always a hidden agenda, a hierarchy in which the lives of native peoples were counted as worthless, as were the cultures. What a tremendous loss for everyone! (1992)"

"I want to have some effect in the world; I want my poetry to be useful in a native context as it traditionally has been. In a native context art was not just something beautiful to put up on the wall and look at; it was created in the context of its usefulness for the people. (what do you hope your poems do?) JH: I hope that on some level they can transform hatred into love. Maybe that's being too idealistic; but I know that language is alive and living, so I hope that in some small way my poems can transform hatred into love."

"when you’re writing, and I think when you’re creating, too, it’s a large part of that act of writing or — whether it’s music or stories or poetry or drawing, or any of the — it’s — a large part of it is listening."

"In the end, we must each tend to our own gulfs of sadness, though others can assist us with kindness, food, good words, and music. Our human tendency is to fill these holes with distractions like shopping and fast romance, or with drugs and alcohol. (p23)"

"Poetry and living — they’re often the same thing."

"Poetry has given me a voice, a way to speak, and it has certainly enriched my vision so that I can see more clearly."

"I think the natural movement of love is an opening, a place that makes connections...You have to be open in that way to write a poem that really works, and I think there's always love involved in the act of creation."

"(Q: Who, other than yourself, are the important Native American writers?) NSM: Jim Welch...Louise Erdrich. Leslie Silko...Simon Ortiz and Joy Harjo are very good poets."

"I believe that if you do not answer the noise and urgency of your gifts, they will turn on you. Or drag you down with their immense sadness at being abandoned. (p135)"

"A story matrix connects all of us. (p28)"

"No one ever truly dies. The desires of our hearts make a path. We create legacy with our thoughts and dreams. This legacy either will give those who follow us joy on their road or will give them sorrow. (p149)"

"A family is essentially a field of stories, each intricately connected. Death does not sever the connection; rather, the story expands as it continues unwinding inter-dimensionally. (p30)"

"Our physical living is held together by plant sacrifice. We eat, wear, and are sheltered by plants and plant material. Nearly all of our medicines are plant-derived. We need to take time with them, get to know them. (Part Six: Sunset, p287)"

"Those of fire move about the earth with inspiration and purpose. They are creative, and can consume and be consumed by their desires (p25)"