Poetry. Native American Studies. Sherman Alexie's poems, fiction, and essays have won him an international following since his first book, THE BUSINESS OF FANCYDANCING, was published to great acclaim in 1992. SMOKE SIGNALS, the film he adapted from one of his stories and coproduced, enlarged his audience still further. Alexie's honors include awards from the NEA, the Lila Wallace-Reader's Digest Foundation, and the Washington State Arts Commission, and a citation as One of the 20 Best American Novelists Under the Age of 40 from GRANTA magazine. An enrolled Spokane/Coeur d'Alene Indian, Alexie lives in Seattle with his wife and son.
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Sherman Alexie's poems, fiction, essays and films have won him an international following since his first book, THE BUSINESS OF FANCYDANCING, was published in 1992. SMOKE SIGNALS, the film he adapted from one of his short stories and co-produced, enlarged his audience still further. Alexie's awards include the Stranger Genius Award in Literature, the Boston Globe-Horn Book Awards for Excellence in Children's Literature in Fiction, and the National Book Award for Young People's Literature as well as honors and awards from the National Endowment for the Arts, the Lila Wallace Reader's Digest Foundation, and a citation as "One of 20 Best American Novelists Under the Age of 40" from Granta magazine. An enrolled Spokane/Coeur d'Alene Indian, Alexie lives in Seattle with his wife and sons.
Distinguishing poems from prose in this mixed-genre collection is simple: the poems feature line breaks and copious repetition. To readers who require further elucidation, Alexie offers this inane equation: "Poetry = Anger x Imagination." Even if that were true, much of his anger about the mistreatment of Indians (not, he firmly declares, "Native Americans") in America is diluted (divided?) by sentimentality. The material, often about reservation life, appears to be autobiographical, although Alexie seems to enjoy challenging readers' perceptions of reality-especially white readers. "Why Indian Men Fall in Love with White Women" (a frequently recurring theme, incidentally) is set in a donut shop, although "it wasn't / a donut shop but something else entirely." The desired effect of such a gesture must be irony-Alexie avers elsewhere that "Indians recognize irony when [they] see it." But the author himself must not see it when he sarcastically rebukes a critic for inquiring about the oral tradition ("It doesn't apply at all because I typed this. And when I'm typing, I'm really, really quiet"), since almost none of the poems works effectively on the page. This is the stuff of slams. Still, there is much welcome humor in Alexie, and many of the prose passages about his reservation childhood are imbued with a touching lyricism. One wishes for more poems like the fine, if ponderously titled, "A Poem Written in Replication of My Father's Unfinished Novel Which He Would Read to His Children Whenever He Was Drunk."Novelist Alexie (The Toughest Indian in the World, p. 400, etc.) ultimately has two things to declare in this book: he is a poet and an Indian. But the evidence supports only the latter claim. -- Copyright © 2000 Kirkus Associates, LP. All rights reserved.
Alexie, author most recently of the short story collection The Toughest Indian in the World [BKL Ap 1 00], expresses an anger as large and molten as the earth's core; but like the earth, which conceals its heat beneath forests and oceans, he cloaks his with mordant humor and a rough-and-ready lyricism. In this bracing collection of poems and poem-tight prose pieces, he targets lies and hypocrisy. Alexie mocks the mealymouthed cant of the politically correct and, in a lashing poem titled "Open Books," the arrogance of a certain ilk of poet, then, elsewhere, tempers his rage with tenderness. His hard-hitting poems are loosely knit and suitable for performance, but his prose pieces are constructed as diabolically as barbed wire, especially the clever yet emotionally resonant essay "The Warriors," in which musings on baseball segue into thoughts on friendship and such frank disclosures as his confession that although television once had him convinced that white women were sexier than brown women, life taught him the truth about love. Donna Seaman
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