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He’s the kind of bald that requires a daily shave. He wants it to look like he’s in control of his hair, like being bald is his personal choice, but the faintest hint of hair appears on the sides and not a trace at the crown. He’s got a sizable but neat light brown beard, which is clearly compensation for the lack of hair up there, plus a trend now, white hipsters everywhere trying to come off as confident, all the while hiding their entire faces behind big bushy beards and thick black-rimmed glasses.
“There is no there there,” he says in a kind of whisper, with this goofy openmouthed smile Dene wants to punch. Dene wants to tell him he’d looked up the quote in its original context, in her Everybody’s Autobiography, and found that she was talking about how the place where she’d grown up in Oakland had changed so much, that so much development had happened there, that the there of her childhood, the there there, was gone, there was no there there anymore.
Stories are invaluable, but to pay is to appreciate. And this is not just qualitative data collection. I want to bring something new to the vision of the Native experience as it’s seen on the screen. We haven’t seen the Urban Indian story. What we’ve seen is full of the kinds of stereotypes that are the reason no one is interested in the Native story in general, it’s too sad, so sad it can’t even be entertaining, but more importantly because of the way it’s been portrayed, it looks pathetic, and we perpetuate that, but no, fuck that, excuse my language, but it makes me mad, because the whole
“You gotta know about the history of your people. How you got to be here, that’s all based on what people done to get you here. Us bears, you Indians, we been through a lot. They tried to kill us. But then when you hear them tell it, they make history seem like one big heroic adventure across an empty forest. There were bears and Indians all over the place. Sister, they slit all our throats.”
There’s almost too much information out there. The internet is like a brain trying to figure out a brain. I depend on the internet for recall now. There’s no reason to remember when it’s always just right there, like the way everyone used to know phone numbers by heart and now can’t even remember their own. Remembering itself is becoming old-fashioned.
I find out that the same neurotransmitter related to happiness and well-being supposedly has to do with your gastrointestinal system. There’s something wrong with my serotonin levels. I read about selective serotonin reuptake inhibitors, which are antidepressants. Would I have to take antidepressants? Or would I have to reuptake them? — I stand up and back away from the computer, put my head all the way back to stretch my neck.
The catch, or the double bind, about the whole thing is this: If it isn’t pulling from tradition, how is it Indigenous? And if it is stuck in tradition, in the past, how can it be relevant to other Indigenous people living now, how can it be modern? So to get close to but keep enough distance from tradition, in order to be recognizably Native and modern-sounding, is a small kind of miracle these three First Nations producers made happen on a particularly accessible self-titled album, which they, in the spirit of the age of the mixtape, gave away for free online.
Even the old people in charge, they’re acting like kids. There’s no more scope, no vision, no depth. We want it now and we want it new. This world is a mean curveball thrown by an overly excited, steroid-fueled kid pitcher, who no more cares about the integrity of the game than he does about the Costa Ricans who painstakingly stitch the balls together by hand.
We made powwows because we needed a place to be together. Something intertribal, something old, something to make us money, something we could work toward, for our jewelry, our songs, our dances, our drum. We keep powwowing because there aren’t very many places where we get to all be together, where we get to see and hear each other.
The wound that was made when white people came and took all that they took has never healed. An unattended wound gets infected. Becomes a new kind of wound like the history of what actually happened became a new kind history. All these stories that we haven’t been telling all this time, that we haven’t been listening to, are just part of what we need to heal. Not that we’re broken. And don’t make the mistake of calling us resilient. To not have been destroyed, to not have given up, to have survived, is no badge of honor. Would you call an attempted murder victim resilient?
If you have the option to not think about or even consider history, whether you learned it right or not, or whether it even deserves consideration, that’s how you know you’re on board the ship that serves hors d’oeuvres and fluffs your pillows, while others are out at sea, swimming or drowning, or clinging to little inflatable rafts that they have to take turns keeping inflated, people short of breath, who’ve never even heard of the words hors d’oeuvres or fluff. Then someone from up on the yacht says, “It’s too bad those people down there are lazy, and not as smart and able as we are up here,
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Opal is stone solid, but there is troubled water that lives in her, that sometimes threatens to flood, to drown her—rise up to her eyes. Sometimes she can’t move. Sometimes it feels impossible to do anything. But that’s okay because she’s become quite good at getting lost in the doing of things. More than one thing at a time preferably. Like delivering mail and listening to an audiobook or music. The trick is to stay busy, distract then distract the distraction. Get twice removed. It’s about layers.