Native Americans

"(What thoughts do you have for young and new writers coming up?) Those who write are assisting in constructing the next world, the next consciousness. Be open, aware, and study. Study with all parts of your being, not just your intellect. Some of your knowledge may come from books, most of it from other sources. Always allow yourself to be surprised. And, write. (2008)"

"Yes, we're still struggling to have a place here, though, ironically, we have a place. It's the fearful ones who try and keep us out who are still looking for a place. (2008)"

"Earth is larger than humans in size and consciousness. We're guests on this earth. Humans are just part of a larger creation. If it so happens we were given dominion, or males were-and I don't believe this at all and it's one reason I walked away from the church at thirteen-then we certainly won't have it next time around. We've done nothing but rape the earth of its resources and don't even turn around. We forget to say thank you. (2005)"

"(What do you believe/feel/know lies at the heart of your body of work?) JH: Compassion. Joy. (2003)"

"Really, all poetry is a prayer, you have to go to the center place, inside you, to write poetry. (1994"

"...it is what we are made of, the stories that we carry with us. Stories create us. We create ourselves with stories. Stories that our parents tell us, that our grandparents tell us, or that our great-grandparents told us, stories that reverberate through the web. (1994)"

"In the middle of all the tension and destruction, there is a laughter of absolute sanity that might sound like someone insane. Maybe laughter is the voice of sense. I always tell my students that you cannot take everything too seriously because at will kill you. If you carry bitterness and hatred around, it gives you arthritis, rheumatism, cancer. Certainly, I have to be aware of everything that is happening, but I can't let it kill me. (1994)"

"Alcoholism is an epidemic in native people, and I write about it. I was criticized for bringing it up, because some people want to present a certain image of themselves. But again, it comes back to what I was saying: part of the process of healing is to address what is evil. Evil causes disease, when something isn't settled. The very process of the healing is talking about it and recognizing it. Alcoholism is hiding, it comes out of an inability to speak. (1994)"

"...you pick up the saxophone again, I suppose it's like writing poetry, you are picking up the history of that. Playing saxophone is like honoring a succession of myths. I never thought of this before but: the myth of saxophone and here comes Billie Holiday and there's Coltrane. I love his work dearly, especially "A Love Supreme." That song has fed me. And all of that becomes. When you play you're a part of that, you have to recognize those people. (1993)"

"(In the dedication to In Mad Love and War you affirm that "the erotic belongs in the poetry, as in the self." Can you elaborate?) It has taken me years to divest myself of Christian guilt, the Puritan cloud that provides the base for culture in this country... or at least to recognize the twists and turns of that illogic in my own sensibility. In that framework the body is seen as an evil thing and is separate from spirit. The body and spirit are not separate. Nor is that construct any different in the place from which I write poetry. There is no separation. (1993)"

"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 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 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."

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

"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 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."

"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."

"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."

"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."

"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.""

"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 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."

"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."

"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."

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

"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."

"(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."

"It is my conviction that currently in the United States, more women than men are writing good and vital poetry, although there are fine male poets. This is our renaissance, our Elizabethan plenty. We have giants like Adrienne Rich, Audre Lorde, Diane di Prima and Maxine Kumin, we have rising powers like Joy Harjo and Celia Gilbert and Sharon Olds, and we have dozens and dozens of individual voices sharply flavored and yet of our time, our flesh, our troubles."

"Joy Harjo is one of the real poets of our mixed, fermenting, end-of-century imagination.""

"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."

"Sorrow eats time. Be patient. Time eats sorrow."

"Love Medicine has received all kinds of acclaim. Like many others, Ursula Le Guin is unrestrained in her praise of Love Medicine which she calls "a work of really startling beauty and power" and of you, Louise, whom she refers to as "a true artist and probably a major one" [SAIL, Winter 1985]."

"I read Louise Erdrich’s “Love Medicine,” with its strong multiple voices. The stories were bound by community and mutual loss. That later became a model for the structure of “The Joy Luck Club.”"

"Like two of her favorite contemporary writers, Marilynne Robinson and Joan Chase, Erdrich is committed to evoking the spirit of place."

"Louise Erdrich, who recently won the Nelson Algren short fiction award, writes of survival in a tone that has quiet strength. Roles reverse. The hunted and the hunter merge, become one. The poems contain a mystery and depth that charge them with meaning and intensity."

"Louise Edrich's book Love Medicine gave me a new way of understanding how fiction could work with values and commercial values - I think her book is really important in that respect, because it's a new direction for Indian writers. I think also how radical writers have tried very hard to do what she did - intending, for herself, just to write fiction - that is, telling the plain stories of people and their lives without pity, judgment, opinion, or romanticization."

"Philip Roth has declared her "greatly gifted" and found in her work "originality, authority, tenderness, and a pitiless and wild wit," and Toni Morrison has written that "the beauty of Love Medicine saves us from being devastated by its power.""

"A further measure of the importance of the feminism of women of color was the tremendous efflorescence in their fiction. The writings of Toni Morrison, Sandra Cisneros, Amy Tan, and Louise Erdrich, among others, played a major role in bringing the feminist message and perspective to the masses of American women."

"Anishinaabe Louise Erdrich’s novel Future Home of the Living God (2017) is a really interesting take on decolonizing the Anthropocene."

"Louise Erdrich, Barbara Kingsolver. They write, as you say, from the margins: a subversive novel, with an anti-WASP tone that I love."

"Today, great writers from minority groups in the U.S. are finding their voice in the wonderful, rich imagery of magic realism. Writers such as Louise Erdrich, Toni Morrison, Alice Walker, and Amy Tan all have a unique, rich way of writing that can be described as magic realism. These women are among those who have broken away from the style of writing that defines most of the fiction coming from industrialized countries: that pragmatic, minimalist style and way of facing reality in which the only things one dares talk about are those things one can control."

"there's such a sense of humor and irony in Native American life, in tribal life. I mean, that's one of the things that does not get portrayed often enough-that there's such an irony and humor. (1986)"

"The recent abundance of Native American writers follows the course of Native American fortunes in general. Things got better for Native Americans in education, in health, in many areas. I'm one who has benefited from Bureau of Indian Affairs money and education. The program at Dartmouth really stresses the importance of keeping your heritage. All of these things really work together. If things continue as they are now under the Reagan administration, we can expect to see a corresponding absence of younger Native American writers as well as Native American doctors, lawyers, everything-who don't have the educational advantages. These things are linked to a national governmental attitude toward keeping those promises of providing education and tribal assistance. (1986)"

"when you love someone you try to listen to them. Their voice then comes through. (1987)"

"(Wasn't it Pete Seeger who once said that any time you assemble a group of people, for whatever purpose, you have the body politic?) LE: That's what people on reservations say. You know, everything's political. Getting your teeth fixed is political. There's no way around it. I just don't want to become polemical. That's the big difference. (1991)"

"(Q: Are you concerned that being labelled a "Native American writer" or a "woman writer" might result in your being marginalized? Do you object to those labels?) Erdrich: I think they originate in course descriptions and that there is some use in them. If the work survives, perhaps they'll fall away. If not, there isn't much I can do about it. After all, I don't think we read George Eliot, Jane Austen, Virginia Woolf, or Flannery O'Connor as "women writers" anymore, but as vital voices of their time. I know that, for instance, Toni Morrison will be read in this fashion. She is already. The point we're striving for is one at which the criteria for the work is its worth to readers, its excellence, the qualities that shine out and endure. (1993)"

"(Q: Who are the writers who influenced your work or served as models?) A: Michael Dorris, of course: believer, critic, beloved, and the person I most admire. Other than Michael, it is hard to pick out lasting influences. I'm a browser, prey to temporary enthusiasms. In my reading life, I usually have a number of books "going" at once. Last year I read nature essays. This year, women's politics and Henry James. My favorites over the years include Flannery O'Connor, William Faulkner, Angela Carter, Gabrel Garcia Marquez, Marguerite Duras, Robert Stone, Jane Smiley, Robb Forman Dew, Jean Rhys, Adrienne Rich, Toni Morrison, Rene Char, Larry Woiwode, Christina Stead, Katherine Anne Porter, Willa Cather, Jim Harrison, the poets Louise Gluck, Mary Oliver, Sharon Olds and Donald Hall. I read Madame Bovary and Jane Austen and George Eliot over and over. (1993 interview)"

"(Q: Were there any established writers whom you knew and were important to your writing career during or after your apprenticeship period?) A: Mark Vinz, Cynthia MacDonald, Richard Howard, Charles Newman, Edmund White, M. L. Rosenthal, and then, although Love Medicine went out with absolutely no expectations or any prepublication notes or hype, none at all, Toni Morrison, Kay Boyle, Philip Roth, Peter Matthiessen, Anne Tyler, and Rosellen Brown read an unknown manuscript and responded with those quotes and marks of approval that appear on book jackets. These were completely unsolicited and I still find it remarkable that these writers, overwhelmed with pleas and manuscripts, picked up Love Medicine and responded. There were a great number of people kind along the way. One hears much more about the egomania and posturing of writers than one does about the devotion that writers have for one another's work. (1993)"

"(BM: do you have an assured faith now?) LE: I go through a continual questioning. And I think that is my assurance that if I was to let go of my doubt, that I would somehow have surrendered my faith. My job is to address the mystery. My job is to doubt. My job is to keep searching, keep looking. When I think about my version of what a God is and I keep changing it, right now I think of this creator as a great artist, we don’t understand works of art when we see them. They’re—the greatest works of art are—we see them through a glass darkly. We don’t understand them. They’re very difficult for us to understand. So with this great work of art in which we’re all participating, this great artist has made beauty and terror and death and cruelty and humor and mystery part of who we are and commerce. And health care reform. Everything is part of this mystery."