Cat’s Cradle
Ambassador Minton went to the seaward parapet with his memorial wreath still in its case. And he delivered an amazing speech in honor of the Hundred Martyrs to Democracy. He dignified the dead, their country, and the life that was over for them by saying the “Hundred Martyrs to Democracy” in island dialect. That fragment of dialect was graceful and easy on his lips.
The rest of his speech was in American English. He had a written speech with him—fustian and bombast, I imagine. But, when he found he was going to speak to so few, and to fellow Americans for the most part, he put the formal speech away.
A light sea wind ruffled his thinning hair. “I am about to do a very un-ambassadorial thing,” he declared. “I am about to tell you what I really feel.”
From the archives
·
1996
How to Write the Great American Indian Novel
All of the Indians must have tragic features: tragic noses, eyes, and arms.
Their hands and fingers must be tragic when they reach for tragic food.
The hero must be a half-breed, half white and half Indian, preferably
from a horse culture. He should often weep alone. That is mandatory.
If the hero is an Indian woman, she is beautiful. She must be slender
and in love with a white man. But if she loves an Indian man
then he must be a half-breed, preferably from a horse culture.
If the Indian woman loves a white man, then he has to be so white
that we can see the blue veins running through his skin like rivers.
When the Indian woman steps out of her dress, the white man gasps
at the endless beauty of her brown skin. She should be compared to nature:
brown hills, mountains, fertile valleys, dewy grass, wind, and clear water.
If she is compared to murky water, however, then she must have a secret.
Indians always have secrets, which are carefully and slowly revealed.
Read more of this excerpt...
How to Write the Great American Indian Novel
All of the Indians must have tragic features: tragic noses, eyes, and arms.
Their hands and fingers must be tragic when they reach for tragic food.
The hero must be a half-breed, half white and half Indian, preferably
from a horse culture. He should often weep alone. That is mandatory.
If the hero is an Indian woman, she is beautiful. She must be slender
and in love with a white man. But if she loves an Indian man
then he must be a half-breed, preferably from a horse culture.
If the Indian woman loves a white man, then he has to be so white
that we can see the blue veins running through his skin like rivers.
When the Indian woman steps out of her dress, the white man gasps
at the endless beauty of her brown skin. She should be compared to nature:
brown hills, mountains, fertile valleys, dewy grass, wind, and clear water.
If she is compared to murky water, however, then she must have a secret.
Indians always have secrets, which are carefully and slowly revealed.
Read more of this excerpt...
WORDS TO LIVE BY
2011 ·
NON-FICTION
NEW MUSIC