Analysis Of Indigena By Cherrie Morura

This shines light upon her Native American roots and how it can be an inspiration for her Century Quilt, each square representing her family’s racial diversity and mixed roots. It is quite difficult to learn of all the harsh animosity they were enduring, such as Meema and her yellow sisters whose “grandfather’s white family nodding at them when they met” (24-27). The hostility is clear as the white relatives only register their presence; no “hello” or warm embrace as if they didn’t acknowledge them as true family. However, with descriptive imagery, the speaker’s sense of pride for having the best of both worlds is still present as she understands Meema’s past experiences and embraces her family’s complexity wholeheartedly; animosity and all.

Throughout the history of mankind, change has remained a constant. Men and women continually strive to improve their lives and enact changes that enable them to better their quality of life. Our world’s history is compromised of these efforts by man to enhance society, through political, economic, and social changes, which are further documented through the cultural outputs of a society. The poets Roger Bonair-Agard and Gloria Anzaldua encapsulate the calls for change in a society through their works “how do we spell freedom – the weusi alphabeti method” and “El sonavabitche”, respectively. Though the two poets wrote on vastly different subjects, both authors employed literature as a medium for their call for activism in society and expressed discontent with the dominance of western culture over minority groups. Through their utilization of formal elements including imagery, diction, and narrator, both poets call for action to change the mindset that the imposition that American society holds over other groups of people.

When she utilises the modes of appeals, they are subtle within the texts, which leads the reader to analyse as they read. She conveys ideas of internalised oppression, involuntarily imposed upon to follow strict social rules, the act of people erasing cultural heritage, as well as the importance of embracing personal heritage.

She loves how the words on a page are carefully picked and how private the reading and writing is. (SS) Because of her curiosity, Mora uses writing to find out how she feels about everything; to her, writing is how she saves her feelings. (PS) She uses this part of her curiosity to write about true problems, further explaining why she writes based on her culture as a Hispanic woman. (SS) She describes how her people are viewed as lesser because of the way they speak and look.

Leslie Marmon Silko’s novel, Ceremony, reveals how the crossing of cultures was feared, ridiculed, and shunned in various Native American tribes. The fear of change is a common and overwhelming fear everyone faces at some point in their life. The fear of the unknown, the fear of letting go, and the fear of forgetting all play a part in why people struggle with change. In Ceremony the crossing of cultures creates “half-breeds,” usually bringing disgrace to their family’s name. In Jodi Lundgren’s discourse, “Being a Half-breed”, is about how a girl who struggles with understanding what cultural group she fits into since she is a “half-breed.” Elizabeth Evasdaughter’s essay, “Leslie Marmon Silko’s “Ceremony”: Healing Ethnic Hatred by

When reading literature we often attempt to use particular threads of thought or lenses of critique to gain entry into the implied historic or legendary nature of literature. To accurately process a tale in the light in which it is presented, we have to consider the text from multiple viewpoints. We must take into consideration intentional and affective fallacies and the socioeconomic circumstances of the presenter/author/narrator. We also have to consider how our personal experience creates bias by placing the elements of the story into the web of relationships that we use to interpret the external world. There also is the need to factor in other external pressures, from societal norms, cultural ideals, and psychological themes, and how

Traditions and old teachings are essential to Native American culture; however growing up in the modern west creates a distance and ignorance about one’s identity. In the beginning, the narrator is in the hospital while as his father lies on his death bed, when he than encounters fellow Native Americans. One of these men talks about an elderly Indian Scholar who paradoxically discussed identity, “She had taken nostalgia as her false idol-her thin blanket-and it was murdering her” (6). The nostalgia represents the old Native American ways. The woman can’t seem to let go of the past, which in turn creates confusion for the man to why she can’t let it go because she was lecturing “…separate indigenous literary identity which was ironic considering that she was speaking English in a room full of white professors”(6). The man’s ignorance with the elderly woman’s message creates a further cultural identity struggle. Once more in the hospital, the narrator talks to another Native American man who similarly feels a divide with his culture. “The Indian world is filled with charlatan, men and women who pretend…”

Writing may be an enthralling experience for one and a clever way to decompress for another. In general, however, writing has different purposes for a variety of people. “Why I Write,” written in the late 20th century by Terry Tempest Williams, describes various reasons for writing narrated from a female’s perspective. The short essay begins in the middle of the night with a woman engulfed in her own thoughts. She abruptly goes forth by reciting the multiple reasons why she continues to write in her life. Through a variety of rhetorical devices such as repetition, imagery, analogies, and symbolism, Terry Tempest Williams produces an elegant piece of writing that offers the audience insight into the narrator’s life and forces the audience to have empathy for the narrator with the situation she is incurring.

Gloria Anzaldua was a schoolteacher and then an academic, speaker and writer whom talked about feminist, lesbian, and Chicanas about autobiography. She is best known for This Bridge Called My Back; Writings by Radical of Color (19981), which she edited with Cherrie Moraga, and Borderlands/La Frontera; The New Mestiza (1987). Based on Anzaldua’s background one can infer that her intended audience are feminists, lesbians, and Chicanos. We may wonder why these are the authors audience. These are the author’s audience because she is a lesbian, feminist women that is a migrant work which lives in Texas were there is a big population of Chicanas. The reason why these are her intended audience is because, the article was intended to make her audience more aware and come to realization about people shame us with our secondary language. Daily the author gets reminded that society has made her language impossible to improve because others are constantly shaming her of and bulling her by the way she speaks. One can believe that Anzaldua is fighting for those that have struggle in their culture with their language. Also raise awareness using her article that she has experience common struggles. Those people that have used our language against us have made our culture hard to decide which is the right one for us. That we have lose our identity do to the fact of

For Arega, writing was a way to get closer to his Ethiopian Orthodox faith. At a young age, he was enrolled in a priest school where he learned write prayers, bible verses, etc. Arega stated, “Because I was so passionate about my religion, I thoroughly enjoyed writing about it. In this process, I also learned to love writing.” He was later enrolled in a boarding school where he still incorporated writing into his everyday habits. Arega would write down math formulas, and biology notes to study and review. He particularly liked writing about historical events that he found interesting. Arega stated, “Writing is very important because it helps us remember history and the many things that have happened in our world. The ability to write should

Let us not be a mere footnote To history—rather, be a living volume Of the Ancestor’s and Our Story; We have not come this far to stop now. Now is the time and

Storytelling is an essential part of building a ‘nation,’ Anderson says that novels and newspapers are key tools for creating an ‘imagined community.’ Novels, newspapers and films all work to archive the nation’s history. Yet, verbal storytelling is no different. In The Kingdom of This World Macandal is seen as the storyteller. He is the one with all the tales to tell and “the disappearance of Macandal was also the disappearance of all that world evoked by his tales. With him had gone Kankan Muza, Adonhueso, the royal kings and the Rainbow of Whidah. Life had lost its savor…” (pg.

It is often said that life imitates art: that we follow patterns, archetypes, and structures, conforming to the mundane and universal reality we are presented with. We are easily influenced and guided by popular cultural opinions, yet we strive for a unique human experience. Instead of following the path often tread, the movers and shakers of our world sculpt vivid escapes from our realities by drawing on inspiration from their journey. Their lives do not imitate art; on the contrary, their experiences create inspiration for their art. Many great writers throughout history have taken part in this conglomerate catharsis by sharing their own stories and opinions, but none

Many scholars have asserted that the invention of writing is a miracle for the study of histories of countries, especially ancient Indian history. Professor Upinder Singh emphasized that in the past, “writing marked a new stage in human expression and communication. It opened new possibilities for storing and transmitting ideas and knowledge across distance and time”. She indicated four classes including rulers, merchants, priests, and poets who used writing as a tool “to advertise and exercise power, to record business transactions, to preserve religious texts, and to give permanence to their creative expression”. Therefore, “historians consider the beginning of writing an

“As we grow older as a race, we grow aware that history is written, that it is a kind of literature without morality. That in its actuaries the ego of the race is indissoluble and that everything depends on whether we write this fiction through the memory of hero or of victim.”Derek Walcot (The Postcolonial Studies Reader 371)