Native American literature

 is literature, both oral and written, produced by Native Americans in what is now the United States (as distinct from First Nations writers in Canada), from pre-Columbian times through to today.

Quotes

 * There is such a thing as American Indian literature, and it can be divided into several interlocking categories. The major divisions are traditional literature and genre literature of the present. Traditional literature can be further divided into ceremonial and popular varieties—that is, into canonical works and those that derive from the canon but that are widely told and appeal to audiences gathered on social occasions. Contemporary works, or genre literature, can be divided into the classic western categories of poetry, short fiction, the novel, and drama, with the addition of autobiography, as-told-to narrative, and mixed genre works. Structural and thematic elements from the oral tradition, usually from the writer’s own tribe, always show up in contemporary works by American Indians, and elements from contemporary, non-Indian works sometimes show up in contemporaneous tribal social literature.
 * Paula Gunn Allen, Introduction


 * Native American literature should be important to Americans not as a curio, an artifact of the American past that has little pertinence to an American present or future, but rather as a major tradition that informs American writers ranging from Cotton Mather and Nathaniel Hawthorne through Walt Whitman, William Carlos Williams, and William Faulkner to Adrienne Rich, Toni Cade Bambara, and Judy Grahn.
 * Paula Gunn Allen, Introduction


 * The whole body of American Indian literature, from its traditional, ceremonial aspects to its formal literary aspects, forms a field, or, we might say, a hoop dance, and as such is a dynamic, vital whole whose different expressions refer to a tradition that is unified and coherent on its own terms. It is a literary tradition that is breathtaking in its aesthetic realization and fundamental to coherent understanding of non-Indian varieties of American literature.
 * Paula Gunn Allen, Introduction


 * The great mythic and ceremonial cycles of the American Indian peoples are neither primitive, in any meaningful sense of the word, nor necessarily the province of the folk; much of the literature, in fact, is known only to educated, specialized persons who are privy to the philosophical, mystical, and literary wealth of their own tribe. Much of the literature that was in the keeping of such persons, engraved perfectly and completely in their memories, was not known to most other men and women. Because of this, much literature has been lost as the last initiates of particular tribes and societies within the tribes died, leaving no successors.
 * Paula Gunn Allen, Chapter Two


 * The tribes seek—through song, ceremony, legend, sacred stories (myths), and tales—to embody, articulate, and share reality, to bring the isolated, private self into harmony and balance with this reality, to verbalize the sense of the majesty and reverent mystery of all things, and to actualize, in language, those truths that give to humanity its greatest significance and dignity. To a large extent, ceremonial literature serves to redirect private emotion and integrate the energy generated by emotion within a cosmic framework. The artistry of the tribes is married to the essence of language itself, for through language one can share one’s singular being with that of the community and know within oneself the communal knowledge of the tribe. In this art, the greater self and all-that-is are blended into a balanced whole, and in this way the concept of being that is the fundamental and sacred spring of life is given voice and being for all.
 * Paula Gunn Allen, Chapter Two


 * Those reared in traditional American Indian societies are inclined to relate events and experiences to one another. They do not organize perceptions or external events in terms of dualities or priorities. This egalitarianism is reflected in the structure of American Indian literature, which does not rely on conflict, crisis, and resolution for organization, nor does its merit depend on the parentage, education, or connections of the author. Rather, its significance is determined by its relation to creative empowerment, its reflection of tribal understandings, and its relation to the unitary nature of reality.
 * Paula Gunn Allen, Chapter Two


 * The two forms basic to American Indian literature are the ceremony and the myth. The ceremony is the ritual enactment of a specialized perception of a cosmic relationship, while the myth is a prose record of that relationship. [...] The formal structure of a ceremony is as holistic as the universe it purports to reflect and respond to, for the ceremony contains other forms such as incantation, song (dance), and prayer, and it is itself the central mode of literary expression from which all allied songs and stories derive. The Lakota view all the ceremonies as related to one another in various explicit and implicit ways, as though each were one face of a multifaceted prism. This interlocking of the basic forms has led to much confusion among non-Indian collectors and commentators, and this complexity makes all simplistic treatments of American Indian literature more confusing than helpful. Indeed, the non-Indian tendency to separate things from one another—be they literary forms, species, or persons—causes a great deal of unnecessary difficulty with and misinterpretation of American Indian life and culture. It is reasonable, from an Indian point of view, that all literary forms should be interrelated, given the basic idea of the unity and relatedness of all the phenomena of life. Separation of parts into this or that category is not agreeable to American Indians, and the attempt to separate essentially unified phenomena results in distortion.
 * Paula Gunn Allen, Chapter Two


 * Underlying all their complexity, traditional American Indian literatures possess a unity and harmony of symbol, structure, and articulation that is peculiar to the American Indian world. This harmony is based on the perceived harmony of the universe and on thousands of years of refinement. This essential sense of unity among all things flows like a clear stream through the songs and stories of the peoples of the western hemisphere. [...] It remains for scholars of American Indian literature to look at this literature from the point of view of its people. Only from this vantage can we understand fully the richness, complexity, and true meaning of a people’s life; only in this way can we all learn the lessons of the past on this continent and the essential lesson of respect for all that is.
 * Paula Gunn Allen, Chapter Two