416:, humor works by cropping up at “inappropriate” moments, thereby posing a greater question of belonging. Gleason's examples of out-of-place humor include Nector’s tragicomic death and Gordie’s telling of the Norwegian joke in “The World’s Greatest Fisherman,” as King is heard physically threatening his spouse outside. In light of the historical “unthinkable” perpetrated against Native communities, Gleason quotes from various theorists to point to the regenerative effect of laughter. It is Lipsha’s comical take on the world that allows him to endure heartache and eventually realize that “belonging was a matter of deciding to.” According to Gleason, jokes can also take on an explicitly subversive, if not emancipatory, dimension when they invoke Native American mythology. He identifies
252:| ! Patsy Eugene Aurelia | Gordie =.=.=June.....................Gerry Kashpaw Kashpaw Kashpaw | Kashpaw | Morrissey | Nanapush Zelda | Lipsha Morrissey Kashpaw | | King Kashpaw =.=.=Lynette Albertine Johnson | King Jr.
776:: one in 1993 and another 2009. The 1993 edition expanded upon the initial publication with four new chapters and a new section within the chapter entitled "The Beads." Erdrich also made revisions to her language in response to reader reactions to the sexual encounter in "Wild Geese." For the 25th anniversary edition, Erdrich decided to remove two chapters: "Lyman's Luck" and "The Tomahawk Factory." In the author's note, Erdrich reasoned that the two stories "interrupted the flow" of the final pages of the novel.
399:'s alienation from place, in Erdrich's view, is marked by the impulse to document change in the face of an ever-present threat of nuclear annihilation. She explains how American Indian writers write from a different position: for them, “the unthinkable has already happened,” and as such, their task is to reconstitute a new birthing place that is capable of “ the stories of contemporary survivors while protecting and celebrating the cores of cultures left in the wake of the catastrophe.”
238:, 1981, and ends in 1985, with the reunification of June's former husband, Gerry Nanapush, with June and Gerry's son, Lipsha. Encapsulated between those two chapters are interrelated stories that proceed in loosely chronological order from 1934 onwards. A pair of stories at the midpoint of the novel converge on a single day in the lives of Lulu Lamartine, Marie Lazarre, and Nector Kashpaw, who are involved in a love triangle.
763:'s Nelson Algren Fiction Award. Erdrich and Dorris subsequently discussed expanding upon the characters of Nector, Marie, and Lulu. The short story "Scales", in particular, was inspired by her experience working as a weigher of commercial trucks. In several interviews, Erdrich and her then-husband described their creative relationship as one of primary writer (Erdrich) and editor/contributing writer (Dorris).
395:
Sense of Place.” In it, Erdrich articulates a traditional tribal view of place, where generations of families inhabit the same land, and in doing so, imbue the landscape with history, identity, myth and reality. Erdrich contrasts this relationship with
Western culture’s mutable, progressive view of geography: “nothing, not even land, can be counted on to stay the same.”
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can be considered a novel at all. Instead, Wong quotes Robert
Luscher’s definition of “the short story sequence”: “a volume of stories, collected and organized by their author, in which the reader successively realizes underlying patterns of coherence.” Yet, Wong argues, even that definition fails to
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ends with the word “home,” and how every character in the novel has a different idea of what home is, Robert
Silberman argues that “home is an embattled concept, as ambiguous as June Kashpaw’s motives in attempting her return;” June’s interrupted homecoming is the subtext that haunts the entirety of
407:
In multiple interviews, Erdrich has commented on the importance of humor as a mechanism for
Indigenous survival and resistance. She states: “when it’s survival humor, you learn to laugh at things it’s a different way of looking at the world, very different form the stereotype, the stoic, unflinching
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Rushes Bear (Margaret)====Kashpaw ________|_________ | | Marie
Lazarre=.=.= Nector Kashpaw Eli Kashpaw ____________________|_________________ ! | | | |
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as a competition between personal narratives: no one voice demonstrates a privileged relationship with the truth, and readers can only catch a glimpse of the real story by “puzzling right along with them to the end.” Sands writes, “the source of her story telling technique is the secular anecdotal
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Hertha D. Sweet Wong points to
Erdrich's simulation of Indigenous oral forms in her short story "webs" as a key narrative innovation. Wong argues that the egalitarian pluralism that is embedded in Native American oral traditions offers new artistic possibilities for writers of multivocal narratives;
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identifies "the search for cultural reconnection" as a driving force of Native
American fiction, arguing that "self-recovery is achieved through cultural recovery." Speaking of her own mixed-blood heritage, Erdrich has explained in an interview that “one of the characteristics of being a mixed blood
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warrior who is unable to escape the ghosts of his vanquished enemies. Likewise, Rainwater argues, Gordie’s encounter with June’s ghost is either a drunken hallucination or a metamorphosis of June’s spirit that forces Gordie to confront his past abuses. In
Rainwater’s words, this in-between position
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For example, Uncle Eli, with his deep connections to the land, is described as being healthy and robust in his old age, unlike his senile brother Nector, who grew up off-reservation. The primacy of land finds formal expression in Louise
Erdrich’s artistic manifesto, “Where I Ought to Be: A Writer’s
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and
Catherine Rainwater have noted that the positionality of Native Americans and writers both coincide on the margins, as people that must observe from the outside. Owens states that “the seemingly doomed Indian, or tortured mixed-blood caught between worlds surfaces in Erdrich’s fiction, but such
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as a kind of permanent unhoming arising out of irresolvable conflicts between opposing codes, Sarris focuses on Albertine’s return to the reservation and Lipsha’s return to his familial roots to illustrate how his own personal relationship with home is simultaneously made universal and particular
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conventions bring with them opposing codes that make two entirely different interpretations of the same text possible. Ruppert and Rainwater cite multiple such examples: for example, it is entirely possible to read Henry Lamartine’s story as either a tragic story about a soldier suffering from
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in the novel: Lipsha complains of his head being “screwed on backwards,” in response to a startling revelation from his grandmother, while Marie employs trickery and dark, aggressive wit to survive in the convent. Gleason argues that laughter isn’t simply a product of Indigenous longevity in
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is made explicit in the Nanapush family name; the revealed patrilineal link between Gerry Nanapush, a fugitive culture hero seemingly capable of shape shifting, and Lipsha, who always has a few tricks up his sleeve, ensures the transmission and survival of Indigenous values in the text.
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reflects the book’s complexity as a meeting site for multiple forms and conventions. The most prominent themes of the novel are those that are relevant to various literatures and discourses, such as contemporary Native American literature,
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and naturalness of Erdrich’s characters, as evinced in their colloquialisms and in their first-person present tense narrations, is “as much a construction as the skill at creating a convincing voice that led Hemingway to see in Twain’s
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that is devoid of Indigenous cultural context; to the contrary, Treuer argues, Erdrich's genius is in summoning an "idea of culture," and expressing Indigenous yearning for such culture, in a literary environment that is not its own.
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superimposes such ambiguity and anxiety surrounding homecoming onto moments of his own personal life to explore a possible reading of text that transcends Native borders. Unlike Catherine Rainwater, who views the experience of reading
620:. Fittingly, in effort to counter Marie’s intimacy with the devil, Sister Leopolda is seen variously hurling her "lance" and attempting to kick Marie into an oven, actions that, according to Jaskoski, are reminiscent of
207:
follows the intertwining lives of three central families, the Kashpaws, Lamartines, and Morrisseys, and two peripheral families, the Pillagers and the Lazarres. Members of the families variously reside on the fictional
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Critics such as Lorena Stookey have commented on Erdrich's unique view of publication as a means of providing the writer with "temporary storage," instead of a "final word." Erdrich has issued two major revisions of
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praised the book, stating " this is a notable, impressive book of first fiction: the unique evocation of a culture in severe social ruin, yet still aglow with the privilege and power of access to the spirit-world."
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what was experienced, under conventional post-modern explanations, as an alienation from both self and society, and the indeterminacy of language, can now be reimagined as a vivacious expression multivocal unity.
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stories together. On an intratextual level, Wong states, there exist many connective devices, from recurring symbolism to coinciding paths. Hertha D. Sweet Wong points out the loosely chiasmic structure of
522:, the storytelling sanction toward proper behavior that works so effectively in Indian communities to identify membership in the group and ensure survival of group values and its valued individuals
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characters tend to disappear behind those other, foregrounded characters who hang on in spite of it all and, like a story teller, weave a fabric of meaning and significance out of the remnants.”
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the start of a genuine American literary tradition - an antiliterary, seemingly informal American style.” Erdrich’s “literary antinomianism” has no shortage of precedents, Silberman claims, from
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is to underscore each character’s enduring place within the tribal community. Furthermore, in Owen's formulation, Just as the trickster transcends time and space, June’s death, which occurs on
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the novel; simultaneously, her family members each express a desire for a home of their own. While homecoming is a common theme in Native American literatures, Silberman notes that the way
747:, Erdrich penned several short stories and poems and submitted them to publishers. Two of the stories that she penned, titled "Scales" and "The Red Convertible", later became chapters of
719:
represents one component of a series of narrative sequences in the Love Medicine Sequence, with each narrative sequence being assigned its own natural element as a dominant image: Water (
791:"catapulted to the front of what Kenneth Lincoln describes as the 'Native American Renaissance' Lincoln suggested that she stands alongside the greats of American letters." In 1984,
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herself. She achieves symbolic victory over sister Leopolda when she catches a sense of the pitiful person at the core of Leopolda’s persona, much like when the vanquishing heroines of
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herself in order to defeat the monster.” Jaskoski points to several passages of “Saint Marie” where Marie demonstrates childlike intimacy with a supernatural being reminiscent of the
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manner. According to Sands, the novel is concerned as much with the process of storytelling as with the story itself. Hertha D. Sweet Wong, on the other hand, questions whether
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Regardless of differences in critical and theoretical approaches, many scholars such as Wong, Ownes, and Rainwater agree that there exists an underlying structure that link
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Treuer argues that the what readers experience as "polyvocality" is actually a proliferation of personal symbols, and that on the level of language, all the narrators of
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adequately capture the inherent nonlinearity of Native American narratives, which are often multivocal and achronological. Consequently, Wong arrives at a description of
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as a metafictional novel that consists of “hard edges, multiple voices, disjointed episodes, erratic tone shifts incomplete memories” that are spliced together in a
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Award for Fiction, the American Book Award from the Before Columbus Foundation and the Great Lakes Association Award for best work of fiction. Marco Potales of the
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553:"use a mixture of fact and fancy, a mixture of the figure and the figurative, to create its tensions and to resolve them." Thus, according to Treuer,
715:, where symmetrically positioned chapters mirror each other on subject matter. Wong, along with Owens, also notes that on an intertextual level,
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is printed and marketed as a novel. He writes: "the return to the literary is inevitable." Silberman and Catherine Rainwater both discuss how
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requires that the reader “consider perceptual frameworks as the important structural principle in both textual and non-textual realms.”
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engages with the subject evades easy classification, since home represents freedom for some, but entrapment for others. In his essay,
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755:, discussed merging and expanding upon those two stories which resulted in "The World's Greatest Fisherman", the opening chapter of
350:, a peripatetic trickster and world-creator, as a key intertextual reference in Erdrich’s text. Owens points to the first chapter of
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Wong, Hertha D. Sweet. "Louise Erdrich's 'Love Medicine': Narrative Communities and the Short Story Cycle" 'Love Medicine A Casebook
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stories is to challenge listeners and to obversely remind them of their roots, Owens argues, then the purpose of June’s absence in
228:, and each chapter is told from the point of view of a different character, using first-person and third-person limited narration.
176:. Erdrich revised and expanded the novel in subsequent 1993 and 2009 editions. The book follows the lives of five interconnected
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cautions against imposing unqualified notions of Native American "polyvocality" and narrative egalitarianism on the text of
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Bruchac, Joseph. "Survival This Way: Interviews with American Indian Poets," University of Arizona Press, 1987, pp 77, 79
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in fact, inhabit the same consciousness. Treuer points to a tension between the "language of event," marked by stark
140:
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Erdrich, Louise. "Where I Ought To Be: A Writer's Sense Of Place" New York Times Book Review, 28 July 1985, pp 23-24
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Erdrich, Louise and Dorris, Michael.Interview with Laura Coltelli. "Winged Words: American Indian Writers Speak"
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On a contrasting note, citing a bias towards culturalism in the textual critiques of Hertha Sweet Wong and
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has received a handful of awards since it was first published in 1984. Kurup and Wagner-Martin state that
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Jaskoski, Helen. "From the Time Immemorial: Native American Traditions in Contemporary Short Fiction,"
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632:,” respectively. When Marie enters the convent, Jaskoski argues, she is the child that becomes the
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Meditations on land as a formative and nurturing source of tribal identity feature prominently in
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affirms identity, provides information, and binds the absent to the family and the community.”
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Considerable attention has been devoted to the varied genres and forms that Erdrich employs in
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Rainwater, Catherine "Reading Between Worlds: Narrativity in the Fiction of Louise Erdrich"
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and the Virginia McCormick Scully Award. In the following year, it went on to receive the
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can take possession of human souls and cause cannibalistic cravings. In many stories the “
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narratives. Treuer takes pain to note that he is not advocating for an understanding of
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for the best work of fiction, the Susan Kaufman Award for best first fiction from the
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For Helen Jaskoski, the “Saint Marie” chapter is notable for its reflexive use of
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Gleason, William. "'Her Laugh An Ace':The Function of Humor in Louise Erdrich's
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is searching…all of our searches involve trying to discover where we are from.”
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Erdrich, Louise. "Love Medicine" Holt, Rinehart, & Winston, 1984, pp.212
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Erdrich, Louise. "Love Medicine" Holt, Rinehart, & Winston, 1984, pp.255
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In the vein of contemporary Native American literatures, many characters in
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Owens, Louis. "Erdrich and Dorris's Mixedbloods and Multiple Narratives,"
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Kathleen Sands further refines critical understanding of the oral form in
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edited by Hertha D. Sweet Wong. Oxford University Press, 2000, pp 179-210
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edited by Hertha D. Sweet Wong. Oxford University Press, 2000, pp 136-154
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edited by Hertha D. Sweet Wong. Oxford University Press, 2000, pp 155-158
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edited by Hertha D. Sweet Wong. Oxford University Press, 2000, pp 163-178
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edited by Hertha D. Sweet Wong. Oxford University Press, 2000, pp 115-135
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mythological narratives and images onto her characters. Owens identifies
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edited by Hertha D. Sweet Wong. Oxford University Press, 2000, pp 85-106
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Potales, Marco (December 3, 1984). "People With Holes In Their Lives".
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edited by Hertha D. Sweet Wong. Oxford University Press, 2000, pp 67-84
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edited by Hertha D. Sweet Wong. Oxford University Press, 2000, pp 35-42
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edited by Hertha D. Sweet Wong. Oxford University Press, 2000, pp 27-34
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edited by Hertha D. Sweet Wong. Oxford University Press, 2000, pp 35-42
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Sands, Kathleen M. "'Love Medicine': Voices and Margins" 'Love Medicine
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edited by Hertha D. Sweet Wong. Oxford University Press, 2000, pp 53-66
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garnered critical praise and won numerous awards, including the 1984
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is a product of literary techniques that derive predominantly from
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James Ruppert and Catherine Rainwater argue that Native forms and
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literary strategies (for instance, multiple narrative voices) and
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To illustrate Indigenous cultural endurance, Erdrich superimposes
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stories discover a person hidden inside the monster’s icy shell.
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Edited by Hertha D. Sweet Wong. Oxford: Oxford UP, 2000 pp. 3-10
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meets defeat at the hands of a child who must become the
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The diversity of critical and theoretical approaches to
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as a “web” of short stories that is “informed by both
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reservations of Little No Horse and Hoopdance, and in
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time and interweaves it with cyclic/accretive time.
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284:Major themes
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200:Plot summary
189:
186:North Dakota
164:
163:
162:
1130:A Casebook,
657:family saga
624:legend and
456:Greg Sarris
445:Noting how
336:Louis Owens
247:Family Tree
214:Minneapolis
68:Family Saga
1327:Categories
841:References
739:Background
727:), Earth (
626:fairytales
570:Wenabozaho
547:naturalism
242:Characters
84:(rev. ed.)
780:Reception
702:Structure
628:such as “
622:chivalric
598:fairytale
505:Oral form
495:modernist
430:Nanabhozo
422:Nanabhozo
379:Nanabozho
372:Christian
360:Nanabozho
348:Nanabozho
311:mythology
182:Minnesota
119:Paperback
115:Hardcover
74:Publisher
670:Faulkner
327:identity
307:folklore
156:10483004
128:275 pp.
47:Language
661:realism
638:Windigo
634:Windigo
614:Windigo
610:Windigo
606:Windigo
602:Windigo
594:romance
590:Windigo
299:realism
255:Legend
218:St.Paul
55:Subject
50:English
729:Tracks
695:Ojibwe
587:Ojibwe
567:Ojibwe
524:Gossip
520:gossip
426:Heyoka
418:Heyoka
344:Ojibwe
309:, and
222:Fargo.
210:Ojibwe
178:Ojibwe
117:&
37:Author
618:Satan
468:Style
125:Pages
94:1984
63:Genre
1315:: 6.
691:PTSD
596:and
428:and
220:and
184:and
174:1984
150:OCLC
136:ISBN
672:to
168:is
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216:-
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