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This is familial redemption at its finest, which is to say agonizingly complex and wholly engaging. - Booklist
Every winter, Tommy Jack McMorsey watches the meteor showers in northern Minnesota. On the long haul from Texas to Minnesota, Tommy encounters a deluded Japanese tourist determined to find the buried ransom money from the movie Fargo. When the Japanese tourist dies of exposure in Tommy Jack's care, a media storm erupts and sets off a series of journeys into Tommy Jack's past as he remembers the horrors of Vietnam, a love affair, and the suicide of his closest friend, Fred Howkowski.
Exploring with great insight and wit the ways images, stereotypes, and depictions intersect, Extra Indians offers a powerful glimpse into contemporary Native American life.
Nickel Eclipse is a merging of personal and cultural history. Structured in part like the alternating colored beads on a wampum belt, patterns emerge from this exploration of contemporary life on an eastern Indian reservation and the sometimes tenuous persistence of a culture after centuries of survival within another, more dominant, culture. The poems, while highly personalized, reflect the tension of speakers surviving within-though never fully of-that larger culture, where lives are formed and meaning defined by their inherent separateness.
Gansworth's paintings complement the poems, using the metaphor of the cycle of moons identified in the traditional Haudenosaunee (Iroquois Confederacy) culture's calendar. These paintings of the different lunar phases serve to organize the poems around a common image, breaking them into sections through the use of an eclipse. Additionally, the relationships indigenous communities have had with the United States-from thriving to near extinction to eventual re- emergence-are symbolized in the progression of that eclipse across the moon.
Symbols common to the culture appear throughout the cycles: the Three Sisters (Corn, Beans, and Squash), Strawberries, and Green Corn, from the ceremonies named for them, and more consistently, wampum beads-within which Haudenosaunee culture is iconographically documented-appear in various incarnations, from the earliest shell groupings, through isolated shaped beads, small strings, and full- belt formations.
The first work of fiction published in the MSU Press American Indian Studies Series, Indian Summers concerns issues of identity for Native Americans. Set against the backdrop of a contemporary reservation that has had its own losses to the dominant culture--a third of its total land mass taken earlier in the century for a New York State water reservoir, its only religious structures Christian churches--Indian Summers introduces these identity conflicts through the lives and circumstances of its major characters. This is a time when belonging to a tribe is difficult, when dominant societal forces encourage either the acts of abandoning a perceived anachronistic lifestyle or of embracing one of a number of simplistic, prescribed, false identities: warrior, environmentalist, crystal-carrying shaman. None of these options is real for the individuals who populate these pockets of different--not alternative--societies. The people who live these lives do not explore alternatives, nor do they necessarily have the desire to--inextricably entwined as they are with their families, culture, history, and land.
The power struggle between traditionalists and progressives on a modern-day reservation is at the center of Eric Gansworth's latest work of fiction. Through the characters and their unique voices, he deftly develops the multiple viewpoints and arguments that currently exist on many reservations. These voices include a traditional chief and a modern-day group of young adults who, as neglected children, banded together in a traditional dance group. The narrative thread that connects these characters uses the metaphor of traditional dance and its relationship to the integrity of Iroquois culture.
A number of the dance group have come to work in the growing empire formed by one of their members--selling tax-free cigarettes and gasoline on reservation land. This new economic base alters the balance of power on the reservation. At the center of the conflict is Fiction Tunny, a dancer and developing love interest of a man in the smoke business. She is also the illegitimate daughter of the chief, who refuses to acknowledge her; to admit she exists would be to admit he is not fit for his role of chief. Fiction's resentment of her father and the sometimes archaic nature of his life and government are juxtaposed with the predatory nature of the entrepreneur who begins pursuing her sexually at all costs. Fiction seeks a balance, a path that will ground her identity in tradition while following her ever-changing culture into the future.