Bøger af Diane Glancy

The Keyboard Letters acknowledges the infinite variety of combinations of the alphabet that enable our different searches for meaning. As Captain Ahab after Moby Dick, and Salvadore Dali after images with which to arrange his frenetic world, QWERTYUIOPASDFGHJKLZXCVBNM is after the building blocks of language that face the rough weather of North Central Texas and the rougher terrain along a county road. Poetry is a map, a cartography of the Daliesque discovery of America and the Pequodian discovery of the whale, breaking the ship into what can be seen as mathematic formulas. Poetry is a mathematics of language. Poetry after all is a vehicle after a whale. Or maybe poetry is the whale, breaking the Pequod into useable equations of language, which poetry is.

Unpapered brings together personal narratives of Indigenous writers to explore the meaning and limits of Native American identity beyond its legal margins.

Award-winning poet Diane Glancy’s radical approach to the perennial mystery of suffering takes the trials of Job—the just man unjustly punished—into the New World.

Diane Glancy once again puts Indigenous women at the center of American history in her account of a young Inupiat woman who survived a treacherous arctic expedition alone. In September 1921, a young Inupiat woman named Ada Blackjack traveled to Wrangel Island, 200 miles off the Arctic Coast of Siberia, as a cook and seamstress, along with four professional explorers. The expedition did not go as planned. When a rescue ship finally broke through the ice two years later, she was the only survivor. Diane Glancy discovered Blackjack's diary in the Dartmouth archives and created a new narrative based on the historical record and her vision of this woman's extraordinary life. She tells the story of a woman facing danger, loss, and unimaginable hardship, yet surviving against the odds where four "experts" could not. Beyond the expedition, the story examines Blackjack's childhood experiences at an Indian residential school, her struggles as a mother and wife, and the faith that enabled her to survive alone on a remote island in the Arctic Sea. Glancy's creative telling of this heroic tale is a high mark in her award-winning hybrid investigations of suffering, identity, and Native American history.

The story of a 17th century Mohawk woman's interaction with her land, the Jesuits, and the religion they brought.

In American Gypsy, a collection of six plays, Diane Glancy uses a mélange of voices to invoke the myths and realities of modern Native American life. Glancy intermixes poetry and prose to address themes of gender, generational relationships, acculturation, myth, and tensions between Christianity and traditional Native American belief systems.The six plays included, "The Woman Who Was a Red Deer Dressed for the Deer Dance," "The Women Who Loved House Trailers," "American Gypsy," "Jump Kiss," "Lesser Wars," and "The Toad (Another Name for the Moon) Should Have a Bite," run the gamut from monologues to multi-character pieces and vary in length from fifteen minutes to over an hour. Glancy concludes the collection with a thought-provoking essay on Native American playwritingDiane Glancy is Professor of English at Macalester College, St. Paul, Minnesota. She has received the Cherokee Medal of Honor from the Cherokee Honor Society. She is also an award-winning author of poetry, short stories, and plays. Her works include War Cries, a collection of plays, and Firesticks and The Voice That Was in Travel, both short story collections published by the University of Oklahoma Press. Her collection of essays, Claiming Breath, won the North American Indian Prose Award and an American Book Award.

A minister's wife finds herself in hell. The story of Lazarus and the rich man in Luke 16:19-31 gives a chilling insight into the afterlife. It is a story that is not often addressed because it makes clear the separation of people upon death. Frank Winscott, a retired minister, works at comparing translations of the Bible. Eugena has ignored her husband's work and his sermons all her life. Instead, she finds meaning in her potter's shed, where she makes different forms of ziggurats that she places in her kiln, a little symbol of hell. Though Eugena rejects Frank's insistence that there is a heaven and hell, she finds that she has worked with the shape of both and never knew it. In the end, she realizes that heaven and hell are in the shape of ziggurats, one rising and the other sinking. Her beloved ziggurats become the ironic witness of what her husband preached. Meanwhile, Frank and Eugena struggle to make sense of their lives after the death of their addict son, Daniel. When he is killed in a car accident, Frank and Eugena argue over whether Daniel's death was truly an accident, or whether his car may have been pushed off the road. The novel begins, ""Another letter from the afterlife, you might say. But this one starts before the afterlife and continues into it."" When Eugena dies, she travels through hell to find her son, Daniel. Frank sends the last chapter from heaven. The novel was influenced by Dante's The Divine Comedy and begins with an epigraph from The Inferno, ""What I was living, that I am dead.""

A professor hears the voices of Biblical women. She begins writing. What was it like for Dorcas to die and be brought back to life? What was it like for Philip''s daughters to live with the threat of persecution after Christ was crucified? What did Miriam feel when she sat in the leprosy tent? What did they all say as the professor wove her own story between their voices? It was Michal, David''s first wife, who made a bolster of goat''s hair for David''s bed when Saul, her father, was trying to kill him. The bolster made it look as if David were there. Likewise, these women''s voices are not their actual voices, because they were not recorded in Scripture, but a similitude of what such women might have said. The narrator struggles with their stories beneath Scripture. Michal is maligned because she scorned David when he danced before the ark, but after the death of her sister, she raised her sister''s sons. David hanged them all when the Gibeonites told him that Saul had broken a covenant with them. They asked that Saul''s male descendants be killed. What was it like for Michal to see her nephews hanged? What did she have to say?""Diane Glancy is the kind of visionary whose poetic spirit sees beyond, twisting the ordinary with astonishing verbal leaps of imagination, turning things inside out so that we see what they are made of. In these stories, she interweaves a personal narrative with visions and voices from another time, another sphere. The result is quite extraordinary.""--Luci Shaw, author of Scape""Uprising of Goats is an impeccably researched, intricately rendered, hauntingly beautiful journey through what has traditionally been a realm of silent mystery. It''s clear that Diane Glancy does not simply imagine the world of biblical women, but inhabits the same quietly electrifying space.""--Paula Huston, author of A Land Without SinDiane Glancy is emeritus professor at Macalester College. Her books and films are listed online at www.dianglancy.org and www.dianeglancy.com..

At the end of the Southern Plains Indian wars in 1875, the War Department shipped seventy-two Kiowa, Cheyenne, Arapaho, Comanche, and Caddo prisoners from Fort Sill, Oklahoma, to Fort Marion in St. Augustine, Florida. These most resistant Native people, referred to as "trouble causers," arrived to curious, boisterous crowds eager to see the Indian warriors they knew only from imagination. Fort Marion Prisoners and the Trauma of Native Education is an evocative work of creative nonfiction, weaving together history, oral traditions, and personal experience to tell the story of these Indian prisoners.Resurrecting the voices and experiences of the prisoners who underwent a painful regimen of assimilation, Diane Glancy''s work is part history, part documentation of personal accounts, and a search for imaginative openings into the lives of the prisoners who left few of their own records other than carvings in their cellblocks and the famous ledger books. They learned English, mathematics, geography, civics, and penmanship with the knowledge that acquiring the same education as those in the U.S. government would be their best tool for petitioning for freedom. Glancy reveals stories of survival and an intimate understanding of the Fort Marion prisoners'' predicament.Diane Glancy is an emerita professor of English at Macalester College and is currently a professor at Azusa Pacific University in California. She is the author of numerous novels, including Claiming Breath (Nebraska, 1992), Designs of the Night Sky (Nebraska, 2002), and The Reason for Crows: A Story of Kateri Tekakwitha.

Speaking out of the known world, this powerful selection of Glancy's poems transforms experience through new narratives, mytholigising history and social crisis. Tackling themes of disruption, loss and heritage, these poems invoke a wide range of familial and animal personae and environments: we find ourselves guided to a land filled with hope.

Constructed as a series of reports to the Department of the Interior, these poems of grief, anger, defiance, and resistance focus on the oppressive educational system adopted by Indian boarding schools and the struggle Native Americans experienced to retain and honour traditional ways of life and culture.

In this innovative novel, a librarian of Cherokee ancestry rekindles and reinvents her Native identity by discovering the rhythm and spark of traditionally told stories in the most unusual places in the modern world.

The dream of a broken field is to bear crops. The dream of a broken history is to create meaning, to find among the fragments a way to tell the story of a life. It is this dream that Diane Glancy pursues here, through essays on writing, faith, family, teaching, and retirement. Blending a poet's vision and a storyteller's voice, the result is a virtuoso work of creative nonfiction.

A depiction of contemporary life in Native America. This book presents an Indian worldview in its holistic complexity and integrity, and is an addition to the literature of white-Indian cultural interrelationships. It presents an account of the author's life on the road, driving throughout Oklahoma and Arkansas teaching poetry in the schools.