Native Waterscapes in the Northern Borderlands: Restoring Traditional Environmental Knowledge in Linda Hogan’s Solar Storms

In her novel Solar Storms (1995) Chickasaw novelist and poet Linda Hogan foresees what political geographers today refer to as waterscapes, that is, water-based environments where a multiplicity of human and other-than-human forces interact with each other producing diverse forms of signification. This essay examines Indigenous experiences of water, geography, and social activism as they intersect in Hogan‘s waterscape narrative. I ground my analysis of this visionary novel in recent geographical studies that look at waterscapes from the perspective of cultural politics and which criticize rationalist conceptions of water that reduce it to the sole function of human commodity. Challenging such a reductionist view, Western and non-Western political geographers have begun to take into account traditional environmental knowledge (TEK), local ecologies, and historically rooted, alternative social practices to argue that water environments produce meaning through the ways human and other-than-human beings experience them, and this includes beings such as the earth or water. In this article I contend that such a view is the epistemological backbone sustaining Hogan‘s Solar Storms. While the potential swirling action of water as a form of environmental and spiritual power is strongly highlighted, I also consider how alternative cartographical practices and stories may challenge the boundaries of colonial dominance and propose ways in which Hogan‘s waterscape may contribute to contemporary geographical and political debates concerning home, territory, sovereignty, and sustainability in the Americas.En su novela Solar Storms (1995), la novelista y poeta Chickasaw Linda Hogan anticipa el concepto de waterscape, un entorno natural acuático en el cual (tal y como se empieza a reconocer en el campo de la geografía política contemporánea) una multiplicidad de agentes humanos y no-humanos interactúa entre sí produciendo diferentes niveles de sentido. Este artículo considera el modo en que las comunidades indígenas entienden el agua, la geografía y el activismo social tomando como punto de partida los waterscapes descritos por Linda Hogan. Mi análisis está fundamentado en estudios geográficos recientes, los cuales examinan estos entornos acuáticos atendiendo a las nuevas políticas geoculturales, a la par que critican conceptualizaciones racionales occidentales que reducen el agua a la mera función de mercancía o recurso. Cuestionando esta perspectiva reduccionista, numerosos geógrafos políticos, occidentales y no occidentales, empiezan a reconocer el valor de la sabiduría ecológica tradicional de las comunidades indígenas, las prácticas ecológicas locales, así como una serie de prácticas geosociales alternativas que tienen también un fuerte arraigo histórico. Este grupo creciente de geógrafos alega que los entornos acuáticos cobran también significado a través de las múltiples experiencias que los seres humanos y no humanos tenemos de los mismos y esto incluye a seres naturales como la tierra o el agua. En este artículo defiendo que esta perspectiva orgánica y multivocal constituye el eje fundamental que sustenta la novela de Hogan. Paralelamente, demuestro cómo las historias y prácticas cartográficas alternativas presentadas en la novela, junto a la acción arremolinadora del agua como fuerza medioambiental y espiritual, cuestionan los límites del orden colonial dominante proponiendo maneras de intervención en los debates geopolíticos contemporáneos sobre hogar, territorio, soberanía y sostenibilidad en la América indígena

“Things which don’t shift and grow are dead things”: Revisiting Betonie’s Waste-Lands in Leslie Silko’s Ceremony

This article explores the socio-political background that led to widespread Native American urban relocation in the period following World War II – a historical episode which is featured in Leslie Marmon Silko’s acclaimed novel Ceremony (1977). Through an analysis of the recycling, reinterpreting practices carried out by one of Ceremony’s memorable supporting characters, Navajo healer Betonie, Silko’s political aim to interrogate the state of things and to re-value Native traditions in a context of ongoing relations of coloniality is made most clear. In Silko’s novel, Betonie acts as an organic intellectual who is able to identify and challenge the 1950s neocolonial structure that forced Native American communities to either embrace hegemonic practices and lifestyles or else be condemned to cultural reification and abject poverty. Through his waste-collecting and recycling activities, Betonie develops alternative solutions that go beyond a merely spiritual or epistemological dimension of life and materially intervene in the social text. The margins of 1950s urban sprawl functioned as repositories of indigenous cultural and intellectual capital that was being consciously, actively transformed by Native agents such as him. Thus, through Ceremony’s medicine man, Leslie Silko criticizes disempowering attitudes of victimhood and Native self-shame while vindicating indigenous historical territories and unconventional political strategies. She also anticipates the liminal practices of material and cultural recycling we see in countless Western cities today, in the aftermath of the most recent world economic crisis

Wordarrows: The performative power of language in N. Scott Momaday’s non-fiction work

This article focuses on two non-fiction works by Native American author N. Scott Momaday: his 1969 historical memoir The Way to Rainy Mountain and his essay collection The Man Made of Words It specifically tackles performative conceptions of language in the Kiowa storytelling tradition, where words are experienced as speech acts that have the power to intervene in surrounding realities. Taking into account 20th century ethno-cultural and linguistic policies in the United States, the article also reflects on the role indigenous languages may play in contemporary Native American Literature, which has most often been written in English

The Way to Rainy Mountain: Imágenes, historias, y relaciones humanas/más-que-humanas en la memoria Kiowa de Alfred y N. Scott Momaday

Drawing from the pictographic traditions and interspecies relations of the Kiowa as well as from N. Scott Momaday’s own theories of language, vision, and the creative imagination, this article aims to broaden our understanding of the ­­­memoir The Way to Rainy Mountain as a verbal/visual collaboration between Kiowa painter Alfred Momaday and his son, N. Scott. The stories and images rendered in the book strongly establish the Kiowa in relation to a particular cultural landscape, to visual/oral forms of memory, and to the animals and more-than-human beings that endow them with meaning. To further understand these two sets of relations, the sacred interdependence between images/words and human/more-than-human beings in the Kiowa tradition, I first situate the revision of history, place, and ceremony carried out by the Momadays within a tribal-specific intellectual framework. To that end, I consider the visual modes and practices that were traditionally engaged by the Kiowa and which are reinserted by the Momadays in their text as a form of anti-colonial resurgence. Such strategies contributed to decolonizing textual spaces and tribal representation in the late 1960s through their blurring of Western disciplines and through the spiritual interconnection of human, more-than-humans and place at a time when Native American religions were banned. Words and images in The Way to Rainy Mountain are preeminently relational and place-based; they engage with the land and the multiple beings that dwell on it at material and spiritual levels that cannot be set apart. Shaped by traditional Kiowa epistemology and social practice, Rainy Mountain’s illustrations depict more-than-human beings and interspecies relations which, understood as both material and sacred experience, lead to creative vision and cultural resurgence in this groundbreaking text.Partiendo de las tradiciones pictográficas y de las relaciones entre especies asociadas a la cultura kiowa, así como de las teorías sobre el lenguaje, la visión y la imaginación creativa desarrolladas por N. Scott Momaday, en este trabajo propongo ampliar nuestra comprensión de la autobiografía colectiva The Way to Rainy Mountain entendida como colaboración visual y verbal entre el pintor kiowa Alfred Momaday y su hijo N. Scott. Las historias e imágenes plasmadas en esta obra contribuyeron a establecer a los kiowa en relación a un paisaje cultural concreto, a unas formas de memoria visual/oral, así como a los animales y seres más-que-humanos que les dan sentido. Para entender estos dos tipos de relación, la sagrada interdependencia entre las imágenes y las palabras y los seres humanos y más-que-humanos en la tradición kiowa, sitúo la revisión histórica, geográfica y ceremonial practicada por los Momaday en un marco intelectual tribal. Para ello considero los modos y prácticas visuales que caracterizan a la cultura kiowa y que son reinsertados por los Momaday en su obra como estrategia de resurgimiento anti-colonial. Estas estrategias contribuyeron a descolonizar los espacios textuales y la representación tribal a finales de los años 60 al cuestionar la rigidez de los campos de conocimiento occidentales e interconectar telúrica y espiritualmente a seres humanos y más-que-humanos en un momento histórico en el que las prácticas religiosas amerindias estaban prohibidas. Las palabras e imágenes plasmadas en The Way to Rainy Mountain son preeminentemente relacionales y están centradas en el territorio; apelan a la tierra y a los múltiples seres que la habitan de un modo material y spiritual que los hace inseparables. Las ilustraciones de Rainy Mountain muestran una clara influencia de la epistemología, historiografía visual y prácticas sociales kiowa y presentan relaciones entre especies que, entendidas como experiencia material y sagrada, llevan a la visión creativa y al resurgimiento cultural en esta obra pionera

Cholera outbreak in southern Tanzania: risk factors and patterns of transmission.

To identify risk factors and describe the pattern of spread of the 1997 cholera epidemic in a rural area (Ifakara) in southern Tanzania, we conducted a prospective hospital-based, matched case- control study, with analysis based on the first 180 cases and 360 matched controls. Bathing in the river, long distance to water source, and eating dried fish were significantly associated with risk for cholera. Toxigenic Vibrio cholerae O1, biotype El Tor, serotype Ogawa, was isolated in samples from Ifakara's main water source and patients' stools. DNA molecular analyses showed identical patterns for all isolates