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• W38343487 abstract "In a nation whose capital sports a team called the Redskins and whose attraction to endur ing colonialist fantasy?coated in blue skin? recently made Avatar a blockbuster, it should hardly prove surprising that most contemporary American literature remains an unknown country to nonspecialists. In a nation where Native Americans are hypervisible as cartoons, commodities, and casino caricatures yet virtually invisible as diverse, real people, Sherman Alexie's very public literary and media success is stun ning. If televisual culture constitutes a vital site for redirecting the place and presence of indigenous peoples, consider Alexie's repeat appearances on the wildly popular late-night show The Colbert Report. His wickedly brilliant sparring with Ste phen Colbert, the faux conservative talk show host, has included exchanges over smallpox blan kets, Columbus statues, and Indian giving. For Alexie, wielding such deadly humor is no game: as he reminds us in his recent poetry collection, Face, comedy is simply a funny way of being seri ous. About the place of Indians in the big picture, Alexie claims that we're usually just the extras, the brown folks at the edges of the screen. Every time Alexie grabs screen time, he changes its face; however briefly, he transmits the possibilities in disrupting the formula. On the small screen and the big screen, in prose poems and in novels, Sherman Alexie con stantly reinvents the literary wheel to counter, re-imagine, and transform the one-trick Indians transmitted over generations of film and televi sion. A self-proclaimed sitcom kid who has claimed, I think I'm actually the first practitioner of the Brady Bunch school of Native American literature, Alexie profoundly messes with the picture, changes the dials.1 That screen time has served him well: in both form and function, his writing enacts what television actually does. Tele vision works, after all, through multiple trans mutations: an image transformed into an electro magnetic wave that is then broadcast, decoded, and reconstructed. As such, it also works as a remarkably apt metaphor for Alexie's signature style of refraction (and infraction): transmitting, but also always transmuting; bending genre, and bending the rules. As an example, take the tenacious screen life of Indian-white conflict, encapsulated by those tele-westerns that are both synonymous with and symptomatic of the enduring distortions of media in the United States. Like many Native writers, Alexie transmutes the ways U.S. popular culture has long made a romance out of genocidal vio lence, casting it in entwined languages of elegy and romance, of fantasy and faux nostalgia. Not ing the formula, he reformulates it. Not the Lone Ranger and Tonto, but The Lone Ranger and Tonto Fistfight in Heaven. Not simply John Wayne, but also, as we learn in Smoke Signals, John Wayne's teeth." @default.
• W38343487 created "2016-06-24" @default.
• W38343487 creator A5069745337 @default.
• W38343487 date "2016-01-01" @default.
• W38343487 modified "2023-09-24" @default.
• W38343487 title "Alexie-Vision: Getting the Picture" @default.
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