Les maisons fugitives (Littérature Française) (French Edition)

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Only when this has been properly done will the spirits be able to return to the mountain and be reborn into more deer who will, remembering the reverence and appreciation of the people, once more come home with the hunters. Lee Marmon, Laguna Eagle Dancers , The poem begins at night and continues:. All night your eyes something burns dark in old juniper trees. The stars pull the sky down with them. I smooth your belly with my hand round and round I saw how you would go spilling out between ivory ribs seeping under the tall gate where earth sucked you in like rainwater.

Then we could gather Fluttering darkfeathered dreams Before they startle Before they fly far away. Through imagining contact with her lover, the speaker creates a passageway between self and other, and between interior and exterior landscapes. Instead of seeking victory over another being, even in love, this story rewrites the activity of hunting as one of perpetually shifting pursuit, first of a physical being and eventually of a delicate, shared idea. The journeys that Harjo makes in her poetry often follow traditional Muskogee paths along the Mississippi and other waterways, along the vertical axis that links earth and sky, and within Creek land in Oklahoma.

However, the ritual patterns her poems enact might be considered pan-tribal, since they reconfigure stories of creation and emergence, confrontations with enemy beings, and homecomings. Harjo confronts the legacies of colonialism for Creek people, but she also seeks to imagine a future that will not be defined by their colonial past or limited by tribal nationalism.

In order to find spaces where memory can be recovered and put to positive use, Harjo entwines journeys of emergence and transcendence with moments of everyday encounter, reconfiguring her body as a renewed spirit along the way. Harjo conceives of seeing itself as a participatory act: By approaching vision as an act of perception that renders the viewer a witness, Harjo confers responsibility on both the producer and consumer of images to redefine the process of seeing as a route towards intellectual and emotional insight.

Remember the earth whose skin you are: Red earth, black earth, yellow earth, white earth Brown earth, we are earth. Remember the plants, trees, animal life who all have their tribes, their families, their histories, too. Talk to them, Listen to them. They are alive poems. When a newborn looks at you it is with utter comprehension. We know where we are coming from, where we have been.

Remembering is an active and ongoing process, one that engages archival and imaginary photographic albums. For Harjo, the body is a container for the soul, a living being like other earthly and celestial bodies.

In each of her photo-texts, Harjo stages meetings between the bodies that constitute her identity at a particular stage of her creative process, and these meetings propel her towards connections between past and future worlds. Harjo writes in the Preface,.

Harjo and Strom, , n.

Githa Hariharan — Wikipédia

Rather they gracefully and respectfully exist inside it. The world is not static but inside a field that vibrates. But you cannot see their shaggy dreams of fish and berries, any land signs supporting evidence of bears, or any bears at all. Harjo suggests that the world as seen in the photograph could suddenly be transformed into something entirely unexpected: While her body physically links the earth in New Mexico with the atmosphere far above through motion whether walking, driving, or flying by plane , her imagination flows along the real and imagined waterways that have shaped Muscogee life.

I consider what has come to be known as Muscogee culture. Our culture contains many threads leading all over the world. Two photographs effectively frame the book.

Githa Hariharan

We have access to ancestors, to eternity. Let all hurts and failures go. Again she bears the responsibility for continuing the stories of all the people who have created her: In A Map to the Next World , she negotiates with her body the balance of oppositions that structure Muskogee thought, and recurring figures at the center of Muscogee culture water, fire, crows and ritual pathways provide the means for continuing to track the transformation of herself and her people. In Crazy Brave , she reclaims her identity from the inside out, through the language that produces the world she desires.

She ends the memoir with a reflection on one of her first poems, written to release her fear after a panic attack. At that point, she realizes that the everyday language she speaks Please pass the salt. When are we going In providing an open sequence of figures for poetry itself, Harjo envisions the creative spirit as a Native body that can never be captured in a still frame.

Their texts demonstrate strategic interplay between voiced narrative, photographic images, and written language to produce new photo-poetic expressions of cultural survival and transformation. When Tsinhnahjinnie recently reflected on the value of images she collected from her family and friends, she emphasized the courage that young artists need to reinterpret traditional forms of expression and carry them forward into the future.

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Later she describes discovering a photograph of her father, an artist who served in WWII, in his army uniform, and it brings her closer to him. Reproduced with the permission of the artist. Maintaining such connections requires agile motion and imaginative transformation. Conversations with Leslie Marmon Silko. UP of Mississippi, A Collection of Critical Essays. U of New Mexico Press, Edited by Joy Porter and Kenneth M. Michigan State UP, Indians in Unexpected Places. U of Kansas Press, Native Women Mapping Our Nations. Minneapolis, U of Minnesota Press, New and Selected Poems.

New York, Norton, Secrets from the Center of the World. The University of Arizona Press, Soul Talk, Song Language. Indigenous Cinema and the Western. SUNY Press, , p. Reflections on Native Photography. National Museums of Scotland, A Photographic History, Albuquerque: National Museums of Scotland, , p.

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