Michelle Romero
English 1B, Fall Qtr. 2006
Poetry Essay
"We Are"
We who live in America live in a black and white world, intolerant of diversity and unaware of the struggles encumbering many races. For a country so diverse that it is referred to as a melting pot, there are many issues among its populace that have yet to just melt away. Tato LaViera’s poem “boricua” is a representative work which uses language, form, and structure to expose the marginalized identity of the Puerto Rican race in a predominantly white society, and to reaffirm themes of equality and brotherhood.
Language is the strongest literary element used to reveal some of the underlying themes in “boricua.” For example, the term “boricua” used in this poem, is a Puerto Rican word referring to the Indian or native name of the island of Puerto Rico. This word is also used today among proud Puerto Ricans who call themselves and each other “boricua” to identify with their cultural roots. One passage describing the Puerto Rican culture begins on line 41: “We offer what your love has taught us, and what you’re worth” (LaViera 905). Notice that the word “your” is used to refer to the native island of Puerto Rico. Therefore, from a Puerto Rican perspective, we can conclude, the people idolize the native, original roots of its culture and look to it for answers. These key words indicate a strong cultural identity which is tied to its roots.
In addition, the speaker says they offer the love the island has taught them. This is a good sign that the island or culture was accepting and loving toward its people, whereas now, the people do not feel so welcome in their present situation. Obviously, they have learned much from their past and wish to influence their present state in a positive way, feeling as though they have something to contribute. In fact, lines 30-32 state: “Color is generally color blind with us, that’s our contribution” (905). This feeling or declaration is a reaffirmation of who they are as a people. It is a declaration which states “We Are” too; we are America.
Further evidence of the Puerto Ricans’ view regarding their own identity can be found in comparing the form and structure used in “boricua” with another of LaViera’s poems, “AmerRican.” “AmerRican” as it is expressed in its title, is the combining of American and Puerto Rican cultures. In this poem, very similar themes regarding identity are expressed. Particularly, in one passage the speaker proclaims: “We gave birth to a new generation, AmerRican salutes all folklores, european, indian, black, spanish, and anything else comparable” (LaViera 812). Notice I have left the grammar of the passage untouched to reflect how it is used in its original text. Each culture in this passage is spelled with a lower case letter; no one group is given the privilege of being identified with an upper case letter.
This style is not unusual for LaViera as he also chooses to use this method in “boricua” when he refers to his own Puerto Rican culture as “we” with a lower case “w” and later says, “we have a lot of black & white & yellow & red people whom we befriend” (905). Clearly, the speaker is beyond the bounds of using politically correct words and grammar and gives no regard to their restrictions. This choice of form and structure clearly states that all people and their respective cultures are equal, revealing Puerto Rican sentiment regarding their identity in America.
In fact, it is also expressed when the speaker of “AmeRican” claims that they gave birth to the new generation. This is a brave and powerful statement to make. The language here is asserting that the Puerto Rican people just as equally contributed to what America is today; the people are the ones who make the country what it is and clearly, the speaker feels it is important for the audience to understand the importance of its public. For that reason, the speaker in “boricua” commands: “Say, let there be no prejudice” (905). The two poems not only give a voice to the marginalized race, but they criticize the white privilege by which American society is based and call for a change.
Looking back at “boricua” we see that the poem is introduced with a repetitious five lines: “we are a people / who love to love / who are loving / lovers who love / to love respect” (904-905). When the poem ends with the same five lines, it comes full circle, attesting to its themes of equality and brotherhood. The term love is repeated several times throughout the text in a context of brotherly or friendly love, so by beginning and ending the poem with the same five lines, the reader is taken on a literary journey to discover the full circle of love. On a deeper level, this idea of a circle of love points to the fact that it takes all people to achieve the goal of equality and brotherhood, and that by giving love we are teaching love, therefore, love will spread. In theory, it is the cure for the American disease of prejudice and bigotry. Furthermore, the repetition of these lines achieves a tone which renders a sense of reaffirmation in the culture’s declaration to tell its audience who they are.
LaViera has clear views and concerns regarding the marginal status of Puerto Ricans and all races for that matter, living in America. His poems represent a view that all cultures should be treated equally and respected for their contributions. The poems use of language, form, and structure also reveal that in order to achieve the goal of equality and brotherhood, in order to complete the circle, it will take everyone to stand up and say, “Let there be no prejudice.”
Works Cited
LaViera, Tato. “boricua.” Access Literature: an introduction to fiction, poetry,
and drama. Ed. Barnard, Barbara and David F. Winn. Massachucetts: Thompson Wadsworth, 2006. 904-905.
LaViera, Tato. “AmerRican.” Access Literature: an introduction to fiction, poetry, and drama. Ed. Barnard, Barbara and David F. Winn. Massachucetts: Thompson Wadsworth, 2006. 812-814.
Afterthoughts:
For the purpose of this paper, I chose to be briefer and solid in my interpretation of this poem, however, it would be interesting to do more research on how the historical context of the two poems I’ve written about relates to their meanings. For example, in 1985 the president at the time announced before the close of his term that all immigrants who met certain criteria would be granted citizenship. One connection here is that both poems I’ve discussed deal with the issue of a culture immigrating and incorporating itself in to American society, but more importantly, both poems were also published in the year 1985. Could the powerful reaffirmations of identity revealed in these poems also be representative of an overall feeling of the time that finally, after much struggle, these immigrants (Puerto Rican included) were now too American, equal in status?
Just a thought…
Friday, February 9, 2007
Essay on Ana Castillo's "The Mixquiahuala Letters"
Michelle Romero
Essay #3
English 1B, Fall Qtr. 2006
"The Powerful Powerless"
The word “feminist” today brings to mind the image of a demanding, promiscuous, outspoken woman in a suit. While appearing on the outside to be held together and strong, in her own personal world, she is confused and still searching for something to satisfy a secret place within her. Through Teresa’s dialogue to Alicia, Ana Castillo’s The Mixquiahuala Letters depicts two women confused about their own identity as they desperately seek a feminist way of life. The Mixquiahuala Letters uses dialogue and imagery to reveal a deep feminist connection between two women of a pioneering generation, a connection which prevails through racial tensions but which will inevitably lead them back to the place they first began: cheapened by man.
Teresa, the speaker, often uses language to develop the idea that her generation of feminists views marriage itself to be a terrible thing. Letter nine expresses Alicia’s feminist view as Teresa writes to her: “Since we met that summer in Mexico you believed I’d no business being married, eyed my wedding band as if it were a shackle, found it incomprehensible that any women of your generation could willingly commit herself to slavery” (Castillo 38). In this single quote alone, there are several literary indicators giving marriage a negative perception. First, Alicia had “eyed” Teresa’s wedding band. Rather than saying she saw it or noticed it, our speaker clearly states she “eyed” it. Marriage in this statement is compared to slavery. In the United States the most common form of slavery was that of the black man enslaved to the white man. In slavery, the black man was considered to be less than a man; His existence did not count.
Likewise, Teresa explains to us that feminists believe by avoiding marriage, they can avoid such an inferior status. The symbolic wedding band is regarded as a shackle. Shackles were used to keep prisoners confined in older times; Handcuffs are the new shackles. Therefore, the use of the word shackle connects the idea that a wedding band or rather what it stands for, holds women captive to their subordinate status from the old days. Again, in Letter eight, Teresa says “I was on my way to my husband, stopping off in New York to spend just a few days with you—as if postponing a sentence to Siberia” (Castilo 37). The reference to serving a sentence here again supports one of the themes in Castillo’s novel that marriage is bondage, a life served in prison. While one woman was married and the other single, they both agreed on one central theme, that the idea of marriage made them feel held hostage.
The use of imagery suggests the reason marriage is so dreadful is that men failed to fill the need women have for an equal partnership. Teresa for example, knew from her observations, that a woman may be a wife with considerable influence, but that a man’s woman could never compete with another man (Castillo 41). The end of letter nine illustrates this idea quite clearly when Libra and Melvin ride home in their new car together, abandoning their two women to fend for themselves, forcing them to hitch a ride home from a stranger. In fact, this is the exact point in the story when Teresa who had been the married one, had enough, “packed [her] duffle bag with jeans, books, and poems and moved out on [her] own” (Castillo 41). The speaker here is making a statement without directly saying, that the cause of the feminist movement was man’s failure to care for women.
More powerful than racial differences is this connection between women: that they are and do not wish to be any longer, second class citizens whose needs are left un met. Letter thirteen perfectly paints this connection as Teresa dialogues why she hated white women, including Alicia who was half white. Teresa’s reasons for hating white women had been that men seemed drawn to them, they were privileged, and had seemingly acquired everything they ever wanted, including the attention of men in her own race.
This tension Teresa had felt regarding the dissatisfaction of her own relationships with men had been directed toward white women. White women, she finally realized, were not the problem. At the end of this letter, Teresa realizes that Alicia was “flat-chested, not especially pretty and bore no resemblance to the ideal of any man [she] encountered anywhere” (Castillo 50). Some may misconstrue this quote to be an insult on Alicia, however, it is more likely Teresa’s empathy over Alicia’s similarly unfortunate situation with men that is revealing itself. For example, throughout the entire letter, Teresa says she hated white women, hated being used in the past tense. Also, the reasons she listed for hating white women, turned out at the end in her depiction of Alicia, to have been untrue. More importantly, in the letter following this, Teresa begins by calling her “hermana” meaning sister (Castillo 51). If Teresa had not felt that her connection to Alicia through their shared status as a woman was not stronger than their racial or class differences, she would not have viewed her like a sister, nor gone on to say how beautiful she really was, which she does in fact do in letter fourteen. (51).
Unfortunately, much of the text more clearly illustrates a confused identity among these women as they struggle for equality in the world. Many times, Teresa dialogues about their times together and their feminist views which guide them, however, their actions point to a different conclusion, one which suggests their feminism did not do anything but put them right back where they did not want to be. For example, Teresa speaking of a time when Alvaro Perez Perez had pursued her reflects back: “He sought me out, in the grand stubborn fashion of the Mexican man, and finally I believed that beneath his rebellion was a sensitive human being with an insight that was unique and profound. This is a woman conditioned to accept a man about whom she has serious doubts concerning his legitimate status with the human race” (54). At another time, Alicia desires the affections of a random painter she meets in Mexico. She speaks of her jealousy because Teresa had acquired the body most desirable to men (Castillo 62).
Another example is encapsulated in Tanya Bennet’s note this of the texts wording: “[The speaker’s] choice of "i" as pronoun for her self undermines the notion of the authorial "I" in that it refuses to indicate the authority representing dominant discourses. Yet in saying "i," Teresa, through her letters, can voice a self, a fragmented self that resists ideological definition” (Bennet 1). To expand on this, I must say she is correct in perceiving that the lower case “i” challenges the conventional forms of grammer, however, again I must turn your attention to the fact that a lower case “i” also suggests a lower status being inferior to the upper case “I.” Clearly, the two women remain bound to a desire to please men and be noticed as objects to be desired only now instead of being quiet, they go out seeking male partners. In essence, while Teresa and Alicia have serious feminist convictions, their acceptance of many inadequate suitors, promiscuity, and dialogue about a desire for men speaks volumes of something else: of confused women who still after recognizing the wrong of their inferior status in a predominantly male society, can not deny they need men as much as they detest their ways.
In fact, I would go so far as to say that feminism as it is expressed today, is another form of captivity, one inflicted upon one’s self. Teresa and Alicia repeat their journey to Mixquiahuala because they are fascinated with its native, pre-conquest beauty. The village for them is a reflection of their dream to live free in a world before man conquered and imprisoned the woman race, stripping them of the very essence and beauty of their womanhood, and claiming it to be evidence of their inferior status. For example, Teresa admires Alicia’s long, virgin hair and the angular lines of her legs “reminiscent of a child transforming into a woman” (Castillo 51). It is as though she sees the pure, untouched, untarnished Alicia. Teresa reveals in letter twelve, Alicia’s rape by her father and points to the image of the tiny red stain on his sheets which made her his (Castillo 47). These images give light into the darkness of woman’s status and conquest by men before feminism. Later Teresa observes feminists in San Francisco who painted red circles around their bare nipples (Castillo 44). It is ironic that red is used here to symbolize liberation because later Alicia the feminist, “closed [her] eyes and waited for the circling patters on his expert fingers” as the coarse rug she laid on “painted red irritation” (Castillo 45). While she stands against the bondage of marriage, she is “provoked nonetheless to seek approval from man through sexual meetings” and in fact is quite promiscuous (45). The image of red most strongly, is woven through all three of these images. First, as innocence is taken away, then as a symbol of “liberation,” and finally as the liberated lies in wait for another man to have her intimate parts. It is as though instead of having innocence taken from them, feminists now give it freely to many men, cheapening themselves in their own way by beating men to the punch, so to speak, which they’ve somehow convinced themselves is liberating.
Overall The Mixquiahuala Letters in its full use of language and imagery, reveals the deep rooted connection between women concerning their second class citizenship and the vicious circle of feminism. Clearly, there is a common thread between the oppression of women which supersedes any racial differences which has led to the feminist movement. Unfortunately, however, as we have seen, this is a vicious cycle which will no matter what, lead to women being cheapened. Ana Castillo’s Mixquiahuala Letters does not promote feminism, but rather provides a critique of the feminist movement’s eventual return to the conquest of women.
Works Cited
Bennett, Tanya. “No country to call home: a study of Castillo's 'Mixquiahuala Letters.’” Style. Fall 1996.
Castillo, Ana. The Mixquiahuala Letters. New York: Anchor Books, 1992.
Essay #3
English 1B, Fall Qtr. 2006
"The Powerful Powerless"
The word “feminist” today brings to mind the image of a demanding, promiscuous, outspoken woman in a suit. While appearing on the outside to be held together and strong, in her own personal world, she is confused and still searching for something to satisfy a secret place within her. Through Teresa’s dialogue to Alicia, Ana Castillo’s The Mixquiahuala Letters depicts two women confused about their own identity as they desperately seek a feminist way of life. The Mixquiahuala Letters uses dialogue and imagery to reveal a deep feminist connection between two women of a pioneering generation, a connection which prevails through racial tensions but which will inevitably lead them back to the place they first began: cheapened by man.
Teresa, the speaker, often uses language to develop the idea that her generation of feminists views marriage itself to be a terrible thing. Letter nine expresses Alicia’s feminist view as Teresa writes to her: “Since we met that summer in Mexico you believed I’d no business being married, eyed my wedding band as if it were a shackle, found it incomprehensible that any women of your generation could willingly commit herself to slavery” (Castillo 38). In this single quote alone, there are several literary indicators giving marriage a negative perception. First, Alicia had “eyed” Teresa’s wedding band. Rather than saying she saw it or noticed it, our speaker clearly states she “eyed” it. Marriage in this statement is compared to slavery. In the United States the most common form of slavery was that of the black man enslaved to the white man. In slavery, the black man was considered to be less than a man; His existence did not count.
Likewise, Teresa explains to us that feminists believe by avoiding marriage, they can avoid such an inferior status. The symbolic wedding band is regarded as a shackle. Shackles were used to keep prisoners confined in older times; Handcuffs are the new shackles. Therefore, the use of the word shackle connects the idea that a wedding band or rather what it stands for, holds women captive to their subordinate status from the old days. Again, in Letter eight, Teresa says “I was on my way to my husband, stopping off in New York to spend just a few days with you—as if postponing a sentence to Siberia” (Castilo 37). The reference to serving a sentence here again supports one of the themes in Castillo’s novel that marriage is bondage, a life served in prison. While one woman was married and the other single, they both agreed on one central theme, that the idea of marriage made them feel held hostage.
The use of imagery suggests the reason marriage is so dreadful is that men failed to fill the need women have for an equal partnership. Teresa for example, knew from her observations, that a woman may be a wife with considerable influence, but that a man’s woman could never compete with another man (Castillo 41). The end of letter nine illustrates this idea quite clearly when Libra and Melvin ride home in their new car together, abandoning their two women to fend for themselves, forcing them to hitch a ride home from a stranger. In fact, this is the exact point in the story when Teresa who had been the married one, had enough, “packed [her] duffle bag with jeans, books, and poems and moved out on [her] own” (Castillo 41). The speaker here is making a statement without directly saying, that the cause of the feminist movement was man’s failure to care for women.
More powerful than racial differences is this connection between women: that they are and do not wish to be any longer, second class citizens whose needs are left un met. Letter thirteen perfectly paints this connection as Teresa dialogues why she hated white women, including Alicia who was half white. Teresa’s reasons for hating white women had been that men seemed drawn to them, they were privileged, and had seemingly acquired everything they ever wanted, including the attention of men in her own race.
This tension Teresa had felt regarding the dissatisfaction of her own relationships with men had been directed toward white women. White women, she finally realized, were not the problem. At the end of this letter, Teresa realizes that Alicia was “flat-chested, not especially pretty and bore no resemblance to the ideal of any man [she] encountered anywhere” (Castillo 50). Some may misconstrue this quote to be an insult on Alicia, however, it is more likely Teresa’s empathy over Alicia’s similarly unfortunate situation with men that is revealing itself. For example, throughout the entire letter, Teresa says she hated white women, hated being used in the past tense. Also, the reasons she listed for hating white women, turned out at the end in her depiction of Alicia, to have been untrue. More importantly, in the letter following this, Teresa begins by calling her “hermana” meaning sister (Castillo 51). If Teresa had not felt that her connection to Alicia through their shared status as a woman was not stronger than their racial or class differences, she would not have viewed her like a sister, nor gone on to say how beautiful she really was, which she does in fact do in letter fourteen. (51).
Unfortunately, much of the text more clearly illustrates a confused identity among these women as they struggle for equality in the world. Many times, Teresa dialogues about their times together and their feminist views which guide them, however, their actions point to a different conclusion, one which suggests their feminism did not do anything but put them right back where they did not want to be. For example, Teresa speaking of a time when Alvaro Perez Perez had pursued her reflects back: “He sought me out, in the grand stubborn fashion of the Mexican man, and finally I believed that beneath his rebellion was a sensitive human being with an insight that was unique and profound. This is a woman conditioned to accept a man about whom she has serious doubts concerning his legitimate status with the human race” (54). At another time, Alicia desires the affections of a random painter she meets in Mexico. She speaks of her jealousy because Teresa had acquired the body most desirable to men (Castillo 62).
Another example is encapsulated in Tanya Bennet’s note this of the texts wording: “[The speaker’s] choice of "i" as pronoun for her self undermines the notion of the authorial "I" in that it refuses to indicate the authority representing dominant discourses. Yet in saying "i," Teresa, through her letters, can voice a self, a fragmented self that resists ideological definition” (Bennet 1). To expand on this, I must say she is correct in perceiving that the lower case “i” challenges the conventional forms of grammer, however, again I must turn your attention to the fact that a lower case “i” also suggests a lower status being inferior to the upper case “I.” Clearly, the two women remain bound to a desire to please men and be noticed as objects to be desired only now instead of being quiet, they go out seeking male partners. In essence, while Teresa and Alicia have serious feminist convictions, their acceptance of many inadequate suitors, promiscuity, and dialogue about a desire for men speaks volumes of something else: of confused women who still after recognizing the wrong of their inferior status in a predominantly male society, can not deny they need men as much as they detest their ways.
In fact, I would go so far as to say that feminism as it is expressed today, is another form of captivity, one inflicted upon one’s self. Teresa and Alicia repeat their journey to Mixquiahuala because they are fascinated with its native, pre-conquest beauty. The village for them is a reflection of their dream to live free in a world before man conquered and imprisoned the woman race, stripping them of the very essence and beauty of their womanhood, and claiming it to be evidence of their inferior status. For example, Teresa admires Alicia’s long, virgin hair and the angular lines of her legs “reminiscent of a child transforming into a woman” (Castillo 51). It is as though she sees the pure, untouched, untarnished Alicia. Teresa reveals in letter twelve, Alicia’s rape by her father and points to the image of the tiny red stain on his sheets which made her his (Castillo 47). These images give light into the darkness of woman’s status and conquest by men before feminism. Later Teresa observes feminists in San Francisco who painted red circles around their bare nipples (Castillo 44). It is ironic that red is used here to symbolize liberation because later Alicia the feminist, “closed [her] eyes and waited for the circling patters on his expert fingers” as the coarse rug she laid on “painted red irritation” (Castillo 45). While she stands against the bondage of marriage, she is “provoked nonetheless to seek approval from man through sexual meetings” and in fact is quite promiscuous (45). The image of red most strongly, is woven through all three of these images. First, as innocence is taken away, then as a symbol of “liberation,” and finally as the liberated lies in wait for another man to have her intimate parts. It is as though instead of having innocence taken from them, feminists now give it freely to many men, cheapening themselves in their own way by beating men to the punch, so to speak, which they’ve somehow convinced themselves is liberating.
Overall The Mixquiahuala Letters in its full use of language and imagery, reveals the deep rooted connection between women concerning their second class citizenship and the vicious circle of feminism. Clearly, there is a common thread between the oppression of women which supersedes any racial differences which has led to the feminist movement. Unfortunately, however, as we have seen, this is a vicious cycle which will no matter what, lead to women being cheapened. Ana Castillo’s Mixquiahuala Letters does not promote feminism, but rather provides a critique of the feminist movement’s eventual return to the conquest of women.
Works Cited
Bennett, Tanya. “No country to call home: a study of Castillo's 'Mixquiahuala Letters.’” Style. Fall 1996.
Castillo, Ana. The Mixquiahuala Letters. New York: Anchor Books, 1992.
Essay on Sherman Alexie's "The Lone Ranger and Tonto Fistfight In Heaven"
Michelle Romero
English 1B
Fall Qtr. 2006
"Holding On To Hope"
English 1B
Fall Qtr. 2006
"Holding On To Hope"
Sherman Alexie has been criticized by the Spokane Indian tribe for reinforcing many stereotypes concerning Native Americans and life on the reservation. Contrary to this view, it is my interpretation that Alexie rather exposes the reality of their situation and reveals the harsh road which led to alcoholism on the reservation. While the themes of this novel are often ambiguous, there are indicators that hope is among them. By utilizing symbolism, Sherman Alexie’s Lone Ranger and Tonto Fistfight in Heaven portrays Euro-American culture as dominating Native American culture and reveals how some Native Americans are combating the defeat from this dominance
“Imaging the Reservation” is a perfect example of Euro-American culture and its influence on Native Americans. This story also questions the impact of their influence. For example, the speaker says: “Imagine Columbus landed in 1493 and some tribe or another drowned him in the ocean. Would Lester FallsApart still be shoplifting in the 7-11?” (149). Columbus in this passage, is obviously a symbol of Euro-Americans and the historical implications of their arrival. The 7-11 convenient store is symbolic of their influence as I do not imagine there were many convenient stores before Euro-Americans arrived. Therefore, speaker is pointing the blame for Lester FallsApart’s shoplifting to Euro-Americans; he is implying that there is something that happened from the Euro-Americans arrival which contributed either in part or in full to Lester’s present situation and his need or tendency toward shoplifting. One interpretation suggests that if Native Americans view the land as being stolen by Euro-Americans, they would have gotten the idea to steal from the Euro-Americans. Besides, there probably wouldn’t be a 7-11 around to seal from.
This story also addresses the defeat Euro-American dominance causes among many Native Americans living on the reservation. I found the most profound quote to be this: “How can we imagine a new language when the language of the enemy keeps our dismembered tongues tied to his belt?” (152). This passage speaks to the difficulty Native Americans have to dream for better things while they are so burdened by Euro-American regulations and dependent for survival. The symbolic belt in this passage along with the placement of the head in relation to the belt depicts an image of an master-slave relationship. Therefore, if the Native Americans try to move out of the box Euro-Americans have put them in, they will be punished, which is what a belt often represents: punishment.
To further emphasize this point, the speaker continues: “How do we imagine a new life when a pocketful of quarters weighs our possibilities down?” (152). Here we are faced with the same image of Native Americans being held back by Euro-Americans who are calling the shots, so to speak. The quarters which weigh down dreams are representative of the American government due to the image of George Washington which appears on every quarter. In addition, their placement in the pockets reveals that Native Americans are dependent on the government for money now that Euro-Americans have taken all the land and claimed it for their own. Basically, this story conveys the seeming impossibility for Native Americans to improve their situation while still being dominated by a Euro-American government.
Other stories, however, reveal how Native American’s do have choice and are taking control over their situation, how they are surviving. For example, while Samuel drinks himself drunk in “A Train is an Order of Occurrence Designed to Lead to Some Result,” Victor instead opts for a Diet Pepsi in “The Only Traffic Signal on the Reservation Doesn’t Flash Red Anymore.” This contrast challenges the stereotype that all Native Americans are drunkards by showing examples of those who make better choices.
In “Because My Father Always Said He Was the Only Indian Who Saw Jimi Hendrix Play ‘The Star Spangled Banner’ At Woodstock,” we see how dreams point to a sense of hope among some Native Americans. For example, “[The Star Spangled Banner] made me want to learn to play guitar, not because I wanted to be Jimi Hendrix and not because I thought I’d ever play for anyone. I just wanted to touch the strings, to hold the guitar tight against my body, invent a chord, and come closer to what Jimi knew, to what my father knew” (28). In essence, the imagery and tone of this passage amplify the symbolic significance of one Native American’s dream to be and feel closer to Euro-American society. The song choice of course is symbolic of America and the American dream as it is the song that was written to mark the victory of Euro-American independence in their claim of this land. What is significant about this passage as a whole, however, is the fact that Victor still dreams at all; he still desires to be a part of the experience although he is presently excluded. People who have given up hope do not dream of things they know they will never have. Eventually, their feelings of defeat keep them from dreaming any longer. Therefore, this passage reveals the hope Victor has, of one day being a part of the Dream.
In addition to making right choices and dreaming, Native Americans use story-telling as a way to cope through the hard times. One passage states: “Thomas was a storyteller that nobody wanted to listen to. That’s like being a dentist in a town where everybody has false teeth” (61). Basically, while storytelling was not always something joyful, everyone needed it. Storytelling helps them to escape for a moment from their present situation; it is where they go to be sustained so that they may keep fighting. For example, while Victor had never liked Thomas much either, when he needed help, he went to him. In fact at these times, it says “Victor felt a sudden need for tradition” (62).
Honesty is another; if not the biggest way many Native Americans can resist complete dominance and defeat. The best example of this is at Thomas Builds the Fire’s trial. The judge of course ignores Thomas’s testimony and treats him without respect. However, Thomas does not allow this. Instead, he continues telling his story, on and on, never faltering from the truth. On page 96, Thomas says, “Honesty is all I have left.” It appears as though, if honesty is all he has left, then he will never cease to tell his story just as he recalls it. On a deeper level, this story symbolizes the importance of Native Americans to remember their past and to never cave into believing that what was done to them is okay.
The Lone Ranger and Tonto Fistfight in Heaven inspires Native Americans to always remember, to dream, and to survive by showing how other Native Americans are persevering. Rather than perpetuating negative stereotypes about Native Americans, Sherman Alexie sheds light to the severity of their situation as reason for understanding why many do turn to various forms of addiction. Even if they barely are surviving, they are a people who will find things like story telling to keep them going in their oppression. One day, they too will be witnesses.
Works Cited
Alexie, Sherman. The Lone Ranger and Tonto Fistfight in Heaven. New York: Grove Press, 2005.
“Imaging the Reservation” is a perfect example of Euro-American culture and its influence on Native Americans. This story also questions the impact of their influence. For example, the speaker says: “Imagine Columbus landed in 1493 and some tribe or another drowned him in the ocean. Would Lester FallsApart still be shoplifting in the 7-11?” (149). Columbus in this passage, is obviously a symbol of Euro-Americans and the historical implications of their arrival. The 7-11 convenient store is symbolic of their influence as I do not imagine there were many convenient stores before Euro-Americans arrived. Therefore, speaker is pointing the blame for Lester FallsApart’s shoplifting to Euro-Americans; he is implying that there is something that happened from the Euro-Americans arrival which contributed either in part or in full to Lester’s present situation and his need or tendency toward shoplifting. One interpretation suggests that if Native Americans view the land as being stolen by Euro-Americans, they would have gotten the idea to steal from the Euro-Americans. Besides, there probably wouldn’t be a 7-11 around to seal from.
This story also addresses the defeat Euro-American dominance causes among many Native Americans living on the reservation. I found the most profound quote to be this: “How can we imagine a new language when the language of the enemy keeps our dismembered tongues tied to his belt?” (152). This passage speaks to the difficulty Native Americans have to dream for better things while they are so burdened by Euro-American regulations and dependent for survival. The symbolic belt in this passage along with the placement of the head in relation to the belt depicts an image of an master-slave relationship. Therefore, if the Native Americans try to move out of the box Euro-Americans have put them in, they will be punished, which is what a belt often represents: punishment.
To further emphasize this point, the speaker continues: “How do we imagine a new life when a pocketful of quarters weighs our possibilities down?” (152). Here we are faced with the same image of Native Americans being held back by Euro-Americans who are calling the shots, so to speak. The quarters which weigh down dreams are representative of the American government due to the image of George Washington which appears on every quarter. In addition, their placement in the pockets reveals that Native Americans are dependent on the government for money now that Euro-Americans have taken all the land and claimed it for their own. Basically, this story conveys the seeming impossibility for Native Americans to improve their situation while still being dominated by a Euro-American government.
Other stories, however, reveal how Native American’s do have choice and are taking control over their situation, how they are surviving. For example, while Samuel drinks himself drunk in “A Train is an Order of Occurrence Designed to Lead to Some Result,” Victor instead opts for a Diet Pepsi in “The Only Traffic Signal on the Reservation Doesn’t Flash Red Anymore.” This contrast challenges the stereotype that all Native Americans are drunkards by showing examples of those who make better choices.
In “Because My Father Always Said He Was the Only Indian Who Saw Jimi Hendrix Play ‘The Star Spangled Banner’ At Woodstock,” we see how dreams point to a sense of hope among some Native Americans. For example, “[The Star Spangled Banner] made me want to learn to play guitar, not because I wanted to be Jimi Hendrix and not because I thought I’d ever play for anyone. I just wanted to touch the strings, to hold the guitar tight against my body, invent a chord, and come closer to what Jimi knew, to what my father knew” (28). In essence, the imagery and tone of this passage amplify the symbolic significance of one Native American’s dream to be and feel closer to Euro-American society. The song choice of course is symbolic of America and the American dream as it is the song that was written to mark the victory of Euro-American independence in their claim of this land. What is significant about this passage as a whole, however, is the fact that Victor still dreams at all; he still desires to be a part of the experience although he is presently excluded. People who have given up hope do not dream of things they know they will never have. Eventually, their feelings of defeat keep them from dreaming any longer. Therefore, this passage reveals the hope Victor has, of one day being a part of the Dream.
In addition to making right choices and dreaming, Native Americans use story-telling as a way to cope through the hard times. One passage states: “Thomas was a storyteller that nobody wanted to listen to. That’s like being a dentist in a town where everybody has false teeth” (61). Basically, while storytelling was not always something joyful, everyone needed it. Storytelling helps them to escape for a moment from their present situation; it is where they go to be sustained so that they may keep fighting. For example, while Victor had never liked Thomas much either, when he needed help, he went to him. In fact at these times, it says “Victor felt a sudden need for tradition” (62).
Honesty is another; if not the biggest way many Native Americans can resist complete dominance and defeat. The best example of this is at Thomas Builds the Fire’s trial. The judge of course ignores Thomas’s testimony and treats him without respect. However, Thomas does not allow this. Instead, he continues telling his story, on and on, never faltering from the truth. On page 96, Thomas says, “Honesty is all I have left.” It appears as though, if honesty is all he has left, then he will never cease to tell his story just as he recalls it. On a deeper level, this story symbolizes the importance of Native Americans to remember their past and to never cave into believing that what was done to them is okay.
The Lone Ranger and Tonto Fistfight in Heaven inspires Native Americans to always remember, to dream, and to survive by showing how other Native Americans are persevering. Rather than perpetuating negative stereotypes about Native Americans, Sherman Alexie sheds light to the severity of their situation as reason for understanding why many do turn to various forms of addiction. Even if they barely are surviving, they are a people who will find things like story telling to keep them going in their oppression. One day, they too will be witnesses.
Works Cited
Alexie, Sherman. The Lone Ranger and Tonto Fistfight in Heaven. New York: Grove Press, 2005.
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