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He has been out there somewhere for a while now, a poet at large in America.
Simon Ortiz, one of our finest living poets, has been a witness, participant, and observer of interactions between the Euro-American cultural world and that of his Native American people for many years. In this collection of haunting new work, he confronts moments and instances of his personal past—and finds redemption in the wellspring of his culture.
A writer known for deeply personal poetry, Ortiz has produced perhaps his most personal work to date. In a collage of journal entries, free-verse poems, and renderings of poems in the Acoma language, he draws on life experiences over the past ten years—recalling time spent in academic conferences and writers' colonies, jails and detox centers—to convey something of the personal and cultural history of dislocation. As an American Indian artist living at times on the margins of mainstream culture, Ortiz has much to tell about the trials of alcoholism, poverty, displacement. But in the telling he affirms the strength of Native culture even under the most adverse conditions and confirms the sustaining power of Native beliefs and connections: "With our hands, we know the sacred earth. / With our spirits, we know the sacred sky."
Like many of his fellow Native Americans, Ortiz has been "out there somewhere"—Portland and San Francisco, Freiburg, Germany, and Martinique—away from his original homeland, culture, and community. Yet, as these works show, he continues to be absolutely connected socially and culturally to Native identity: "We insist that we as human cultural beings must always have this connection," he writes, "because it is the way we maintain a Native sense of existence." Drawing on this storehouse of places, times, and events, Out There Somewhere is a rich fusion taking readers into the heart and soul of one of today's most exciting and original American poets.
- Sales Rank: #1161648 in Books
- Brand: Brand: University of Arizona Press
- Published on: 2002-01-01
- Original language: English
- Number of items: 1
- Dimensions: 9.00" h x .50" w x 6.13" l, .56 pounds
- Binding: Paperback
- 172 pages
Features
- Used Book in Good Condition
From Publishers Weekly
Combining Native American history, personal confession and social critique in a clear, conversational style, Ortiz tends to avoid metaphor and elaborate language or fixed poetic structures. The first of five sections centers on time spent in diverse institutions: the academy, writers' colonies, various academic conferences, jail and detox centers. In "Headlands Journal," an essay that mixes poetry and prose, Ortiz begins with a meditation on Native populations in prison, moves to tell a story about three visiting Chinese artists and then by the end of the essay addresses his anger when someone calls the Acoma Pueblo language "foreign." The series "What Indians?," written for the Venice Biennale, addresses with humor and anger the control that the dominant culture has over Native American self-representation: "Real or unreal. Real and or unreal. They were made up. It didn't matter." Those who turn to Ortiz's work for its mixture of insightful, no-nonsense political analysis and poetry rooted in Acoma culture will be more interested in the last three sections of the book. There are numerous poems about the importance of the land and of the continuing struggle to regain the land, such as "Telling and Showing Her" and "Acoma Poems," printed in both the Acoma Pueblo language and English. If, as in poems like "Beauty All Around: A Moment on the Lakota Prairie," Ortiz moves too easily from the sunset ("beauty all around me") to a series of questions about cultural appropriation, this book still asks crucial questions as much as it argues for beauty. (Mar. 14)
Copyright 2002 Reed Business Information, Inc.
From Booklist
"I don't want a lot. Just enough," writes Ortiz, and what he wants, what his poems ask for, is respect for Native Americans and inclusion within mainstream society. He longs for justice for his people and for everyone. He wants all children to be loved and raised to love others. He wants everyone to appreciate the earth's splendor. The much-awarded author of many books of poetry and the magnificent short story collection, Men on the Moon (1999), Ortiz expresses anger and despair in poems that nonetheless are permeated by gentleness and in which silence is every bit as eloquent as words. His meticulous use of repetition and rhythm ensure that the reader feels the pulse of his words and therefore understands them with more than mere intellect. Given the displacement and marginalization of Native Americans, Ortiz explains, he writes in perpetual exile, and, indeed, as he moves from sharp social critique to lyric metaphysical reflections, from lament to prayer, he is searching for home, for peace, for a better future. Donna Seaman
Copyright © American Library Association. All rights reserved
Review
"Ortiz expresses anger and despair in poems that nonetheless are permeated by gentleness and in which silence is every bit as eloquent as words. His meticulous use of repetition and rhythm ensures that the reader feels the pulse of his words and therefore understands them with more than mere intellect." —Booklist
"Combining Native American history, personal confession and social critique in a clear, conversational style . . . insightful, no-nonsense political analysis and poetry rooted in Acoma culture . . . asks crucial questions as much as it argues for beauty." —Publishers Weekly
"Although his words often seem innocent, the observations he makes could only come from one who has known the harshness of the experience. . . . This work ultimately shows us those moments of heightened awareness in which we finally know why we say yes to the private journeys we take through our various geographies and landscapes." —Southwest Book Views
"An accomplished veteran poet at the height of his powers. . . . Ortiz's extraordinary command of his material and authority of voice makes Out There Somewhere a major work. His personal engagement with a state of exile in the larger culture, of being Acoma, is compelling and energetic." —MultiCultural Review
"As always, Ortiz's work is beautiful, profound in its simplicity and sincerity." —North American Review
Most helpful customer reviews
10 of 10 people found the following review helpful.
Secret Pleasures
By Mick McAllister
The "stars" of American Indian literature--James Welch, Leslie Silko, Scott Momaday--are only the beautiful surface of the genre. Dive deeper, and you will find treasures like Peter Blue Cloud, Ray Young Bear, Anita Endrezze, and the incomparable Simon J. Ortiz.
Ortiz writes with a brilliance and clarity all Americans could aspire to, and this little collection of pieces, modulating from the grim depths of alcoholism and prison to the open spaces filled with joyful children, is representative of his work. His meditation on a sparrow's nest is worth the cover charge, discussion of the place of English in the mind of the Indian artist ("Beauty All Around") is a model of deeply felt exposition, and the cycle of poems on whether Indians exist is both witty and tragic.
Taste the best, a literary flavor perhaps too exotic for the general reader, but worth the adventure. This is a writer to remember and return to.
0 of 0 people found the following review helpful.
5/5 Stars, and here's my goodreads review
By Michelle Boyer
Simon Ortiz remains one of the most well-known American Indian (Acoma Pueblo) poets living today. He began writing during the American Indian Literary Renaissance and is quite prolific. His poetry weaves real-life events, oral stories, history, and Pueblo culture together, creating experiences that allow both Native and non-Native readers insights into Ortiz's world.
Out There Somewhere is divided into six parts. Part I (Margins) contains numerous politically driven statements that discuss colonization and post-colonization effects on Native peoples. Many of the poems are also written as if they are journal entries, and several reveal personal past experiences that Ortiz himself faced. This includes instances where individuals call the Pueblo language "foreign"--which of course it cannot be, as it is a language that is Indigenous to the North Americas and is not "foreign."
Part II (Images) deals with self-identity issues. I believe that one of the strongest poems in the entire book--"What Indians?"--is found in this section. This poem discusses the way in which colonized peoples are often forced into a certain identity by those that have colonized them. The poem states:
Like other colonized Indigenous peoples, cultures, and communities throughout the world, Native Americans have experienced and endured identities imposed upon them by colonial powers, most of which originated in Europe. This imposition as resulted to a great extent--more than we admit and realize--in the loss of a sense of a centered human self and the weakening and loss of Indigenous cultural identity.
Part III (Gifts) delves into small daily gifts that people have in their lives. This includes family for many. For Ortiz, he also counts a special garden that he and his family tend. Part IV (Horizons) includes several key poems that discuss knowledge, especially Pueblo language, and how it can be used. This section includes the "Acoma Poems" which are written entirely in Acoma Pueblo language--a special treat!--and they are then translated. I find it quite significant to see Indigenous authors writing in their own language; this section is beautifully written. Part V (Ever) includes several pieces that deal with ceremonies and Part VI (Connections After All) has some wonderful poems that are to be read more like songs.
Overall, all of these poems leave an impression on the reader. Ortiz masterfully uses different types of poems to relay information to the reader, sharing with us what it means to be Acoma Pueblo, Native, American, and a human. The imagery is fascinating and poems like "What Indians?" will leave you reflecting. Highly recommended!
0 of 0 people found the following review helpful.
Five Stars
By Vickster
required school
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