Incident At Buffalo Crossing

An old settler, a steamship captain and a Cherokee warrior gather at Buffalo Crossing. Each man has come for his own reason, drawn to the sacred hill that rises above the surrounding land.

The Sacred Hill rises above the land, drawing men to it like a beacon. But the men who come each have their own reason, their own dreams. Zeno Bond is a settler whose dreams are of the land and an empire he might build. Steamship Captain Mat McDonald is sent to head off the looming war between the Spanish and the Americans. And Walker, the Cherokee warrior who is called to the Sacred Hill, hundreds of miles from his tribe's home, by a vision he cannot deny--a vision of life, death and destiny.

A collection of short stories by thirty-five Native American authors ranging from those who have achieved mainstream success to young writers just starting out.

Presents an encyclopedia of American Indian literature in an alphabetical format listing authors and their works.

A master practitioner’s view of his craft, this classic survey of the fiction of the American West is part literary history, part criticism, and entertaining throughout. The first edition of The Wister Trace was published in 1987, when Larry McMurtry had just reinvented himself as a writer of Westerns and Cormac McCarthy’s career had not yet taken off. Loren D. Estleman’s long-overdue update connects these new masters with older writers, assesses the genre’s past, present, and future, and takes account of the renaissance of western movies, as well. Estleman’s title indicates the importance he assigns Owen Wister’s 1902 classic, The Virginian. Wister was not the first writer of Westerns, but he defined the genre, contrasting chivalry with the lawlessness of the border and introducing such lines as “When you call me that, smile!” Estleman tips his hat to Wister’s predecessors, among them Ned Buntline, the inventor of the dime novel, and Buffalo Bill. His assessments of Wister’s successors—Zane Grey, Walter Van Tilburg Clark, and Louis L’Amour, to name but three—soon make clear the impossibility of differentiating great western writing from great American writing. Especially important in this new edition is the attention to women writers. The author devotes a chapter each to Dorothy Johnson—author of “The Man Who Shot Liberty Valance”—and Annie Proulx, whose Wyoming stories include “Brokeback Mountain.” In his discussion of movies, Estleman includes a list of film adaptations that will guide readers to movies, and moviegoers to books. An appendix draws readers’ attention to authors not covered elsewhere in the volume—some of them old masters like Bret Harte and Jack London, but many of them fascinating outliers ranging from Clifford Irving to Joe R. Lansdale.

Native American fiction writers have confronted Euro-American narratives about Indians and the colonial world those narratives help create. These Native authors offer stories in which Indians remake this colonial world by resisting conquest and assimilation, sustaining their cultures and communities, and surviving. In Muting White Noise, James H. Cox considers how Native authors have liberated our imaginations from colonial narratives. Cox takes his title from Sherman Alexie, for whom the white noise of a television set represents the white mass-produced culture that mutes American Indian voices. Cox foregrounds the work of Native intellectuals in his readings of the American Indian novel tradition. He thereby develops a critical perspective from which to re-see the role played by the Euro-American novel tradition in justifying and enabling colonialism. By examining novels by Native authors—especially Thomas King, Gerald Vizenor, and Alexie—Cox shows how these writers challenge and revise colonizers’ tales about Indians. He then offers “red readings” of some revered Euro-American novels, including Herman Melville’s Moby-Dick, and shows that until quite recently, even those non-Native storytellers who sympathized with Indians could imagine only their vanishing by story’s end. Muting White Noise breaks new ground in literary criticism. It stands with Native authors in their struggle to reclaim their own narrative space and tell stories that empower and nurture, rather than undermine and erase, American Indians and their communities.

Provides up-to-date profiles on the careers of leading and emerging poets.