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  • Patrice E. M. Hollrah - Resistance and Continuance through Cultural Connections in Simon J. Ortiz's Out There Somewhere - Studies in American Indian Literatures 16:4

    • The progression from the opening romanticized description of the moon to critiquing state prisons and federal organizations, which deal in foreign intelligence and national security, leads to the final verbal assault on the U.S. government in the ninth entry. The progression symbolizes romanticized notions of American Indians that are demythologized by the reality of oppressive institutions of authority.
    • By examining the "relationship between place and the creative process," the mission of the HCA, Ortiz engages in an artistic act of resistance and decolonization, imagining the possibilities for a different relationship between the U.S. government and native peoples, one in which the natives are in control
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  • The Eastern Door Volume 13 Number 12

    • Ortiz spoke about remembering
      the past in terms of the present. His observation here was that such memory
      was about values, and that this type of memory was neither abstract nor nostalgic
      in nature. Beyond that, he touched upon the idea of collective memory, as opposed
      to individual memory, explaining that the former found itself at the core of
      cultural, philosophical and religious concepts.


    • Through forms of expression,
      such as writing and other creative efforts, it was pointed out that the more
      technological and industrial elements of colonization could be actually counteracted.
      By reaching out to the hearts and minds of those who now share the land with
      us, we can perhaps instill a sense of responsibility for Mother Earth in the
      collective consciousness.

  • Wild Horse Island | Montana: The Magazine of Western History | Find Articles at BNET.com

    • The first recorded report of"Wild Horse Island" is in the 1854 journal of John Mullan, a member of Issac Stevens's exploration party. Mullan wrote:
    • In 1872 the Flathead Indian Reservation was created, ostensibly placing land-including Wild Horse Island-in trust for the exclusive use of members of the Salish and Kootenai tribes. Only fifteen years later, the 1887 Dawes Act stipulated that the reservation be dismantled with tribal members receiving individual allotments of land, and in 1904 the Flathead reservation was surveyed and divided. At least two tribal members chose land on the island. Divided into lots called villa sites and 80- and 160-acre plots, unclaimed land was offered to white settlers in 1910, beginning a new chapter in Wild Horse Island's history.
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  • Simon J. Ortiz and Adrian C. Louis - Empowerment - The American Indian Quarterly 28:1&2

    • When Adrian and I were "talking" via e-mail, we were not writing a poem. Far from it. We were not being "literary." Not at all. We were simply conversing, telling stories, very much in the tradition of oral storytelling. In other words, we were simply sharing information and knowledge.
    • Although not overtly addressed in the poem, my personal history has been replete with alcohol abuse—thankfully I do not drink anymore and I have not for nine years

  • ortiz

    • Joseph Bruchac asserts that Ortiz may be the Native poet best known to
      other American Indians (
    • The voice of the Acoma traditionalist which informs his early work expands in his later work to encompass concerns usually identified with
      the pan-Indian nationalism of the '70s and '80s; even in these works, however, the voice of militant protest, the quality of anger and defiance we hear in the
      work of Jimmy Durham or Carol Sanchez, is subsumed and subordinated to the gentler rhythms of assurance and continuity characteristic both of his early work
      and of traditional Pueblo oral narrative and song
    • 3 more annotations...
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