All his dreams for a better spiritedness take over ended badly, just as his actual dreams at night end with such horrors as the head of a utter American Indian being used as diversion by whites. The story portrays the grittiness of life and the helplessness of the protagonist to agitate his surroundings, although his sobriety shows that he at least can stir himself. He is sober, plainly he is not happy, and that unhappiness is payable in large part to the fact that he lull lives in a racist society that sees him as a second-class citizen at best.
The stories in this collection argon unspoilt in their refusal to whitewash the depressing nature of a life of a poor man of an ethnic minority that has suffered dogmatism of every form in the past, and still suffers from racism today. Oddly, the title--The unaccompanied Ranger and Tonto Fistfight in Heaven--seems to promise energy, action, and a spectacular telling of an exciting story, promises not forthcoming. The title is obviously meant to be ironic. The L matchless Ranger and Tonto atomic number 18 allies, hotshot white and dominant, one American Indian and subordinate. Alexie's title, however, has them as battling enemies--and in Heaven--e
Erdrich. Louise. Tracks. New York: Henry Holt, 1988.
The narrator, a young Indian boy, dreams that soldiers come to devour his people. The dream comes true. The soldiers arrive, randomly kill and pressure the people on the reservation and gather up the survivors. The Indians are helpless victims. . . . (Scott 2).
In the Nanapush sections of Tracks, Erdrich focuses on communication . . . within the Anishinaabe destination to explore the relationship between communication and whose oral traditions are central to its survival. . . Nanapush addresses . . . his grand girlfriend, Lulu. . . . Lulu's mother is Fleur [and] Lulu will not continue to her as "mother." . . .
Nanapush hopes that his narrative will bring mother and daughter together again, or
Alexie writes simply and starkly, even crudely, of the despair and exhalation of hope of native-born Americans in the urban environment, with minimal signs that there is any deep connection remaining with the culture of their past. Erdrich, on the other hand, portrays in Tracks the continuing and intense struggle ingrained Americans have in maintaining their connection with their cultural heritage.
The reader capacity not be interested in the downtrodden characters in Alexie's stories, entirely the author clearly believes that they deserve to be visualized, and to be portrayed honestly, without adornment, without false hope, so that the reader can see what the have-to doe with of racism against Native Americans has been, and so that many poor Native Americans can see their own lives portrayed honestly. Clearly, the author operator the reader to feel uncomfortable looking at the acerb truth of his characters' lives and the fact that many victims of racism in one form or other live in a world where nobody trusts anybody else. American Indians and whites doubt one another; family members distrust one another; lovers distrust one another' customers and cashiers distrust one another. Not all of this distrust is the result of racism, but racism is ce
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