Primer of the Obsolete
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A01=Diane Glancey
alternative poetic media
Author_Diane Glancey
blending past and present
boundary-crossing poetry
Category=DCF
Cherokee literary traditions
cross-cultural identity in literature
cross-cultural literary exploration
cultural displacement in poetry
cultural hybridity in verse
cultural memory and voice
enamel and cornmeal art
eq_bestseller
eq_biography-true-stories
eq_isMigrated=1
eq_isMigrated=2
eq_nobargain
eq_non-fiction
eq_poetry
experimental lyric poetry
experimental poetry forms
experimental text and form
folk aesthetic in poetry
folk art influences in poetry
fragmented language poetry
historical disruption in verse
historical memory in poetry
house paint and tar in poetry
hybrid cultural narratives
hybridized poetic expression
Indigenous and European cultural fusion
indigenous storytelling techniques
Indigenous-European literary dialogue
intersection of religion and culture
language recovery in literature
literary representation of indigenous culture
material-based literary experimentation
memory and material in poetry
memory and recollection in verse
multi-layered poetic narrative
multicultural poetic expression
narrative experimentation
narrative voice experimentation
Native American poetry
poetic exploration of colo
poetic materiality and texture
poetic reconstruction of history
poetic reinterpretation of memory
postcolonial identity in literature
postcolonial poetry
reclaiming erased language
reclamation of lost language
reconstruction of cultural identity
scrap metal as poetic medium
temporal layering in literature
vernacular and ancestral language
visual and textual hybridity
visuality in contemporary poetry
Product details
- ISBN 9781558494442
- Weight: 300g
- Dimensions: 156 x 229mm
- Publication Date: 12 May 2004
- Publisher: University of Massachusetts Press
- Publication City/Country: US
- Product Form: Paperback
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This remarkable collection of poems explores the conjoined cultures of Indian and European, the revisions the conquered race must face, and the disruption that results from the attempt to combine divergent cultures in a single being. These poems speak from a four-cornered world; Cherokee and white, Christian and conjuring. They attempt to retrieve fragments of language from a nearly erased culture. At times, they speak in the spirit of the remembered language with the new language that is not fully formed in the understanding of the narrator. The poems have roots in history, religion, and illiteracy. They are inspired by folk artists who use materials and textures at hand - enamel and cornmeal on plywood, house paint on tar and tin, model airplane paint on corrugated scrap metal. The resulting lyrics walk the boundary between worlds, weaving remnants of the old way of viewing the world with pieces of the new world, such as a clapper that turns lights on and off. The experimental text revisits the gap between past and present. The past is just beneath a newly painted surface. The newly painted surface is not quite dry.
Diane Glancy is a professor at Macalester College in St. Paul, Minnesota, where she teaches Native American literature and creative writing. Her recent books include the novels The Mask Maker, Designs of the Night Sky, and Stone Heart: A Novel of Sacajaweya. Among her poetry collections are The Relief of America, The Stones for a Pillow, and The Shadow's Horse. A new collection of essays, Geographies of Language, is forthcoming.
