Alexie, Sherman

The Absolutely True Diary of a Part-Time Indian

In his first book for young adults, bestselling author Sherman Alexie tells the story of Junior, a budding cartoonist growing up on the Spokane Indian Reservation. Determined to take his future into his own hands, Junior leaves his troubled school on the rez to attend an all-white farm town high school where the only other Indian is the school mascot. Heartbreaking, funny, and beautifully written, The Absolutely True Diary of a Part-Time Indian, which is based on the author's own experiences, coupled with poignant drawings by acclaimed artist Ellen Forney, that reflect the character's art, chronicles the contemporary adolescence of one Native American boy as he attempts to break away from the life he was destined to live.

The Lone Ranger and Tonto Fistfight in Heaven

Flight: A Novel

Reservation Blues

Ten Little Indians

Sherman Alexie, a gifted poet and storyteller, plows familiar yet fertile ground in his third collection of short stories, Ten Little Indians. The book contains nine stories populated by at least one American Indian (usually of Alexie's Spokane heritage, and mostly living in Seattle), but "little" is a bit of a misnomer; the book addresses human (not necessarily Indian), rituals, ceremony, love, loss, insecurity over life choices, and personal sacrifices. A lot of intense basketball is played, too.

When Alexie is at his best, his stories function at a profoundly sad level, where broken down characters are broken down even more, but are fierce-willed enough to attempt Phoenix-like transitions. Unfortunately, the weakest stories appear first, where characters and situations seem far too contrived or forced, the dialogue wooden, and questions or exclamatory sentences appear annoyingly in bunches. In the last half of the book, a married couple, once intensely in love but now lost in life's routines, deal with infidelity ("Do You Know Where I Am?"); a bright basketball prospect attempts a comeback--twenty years after giving up the game ("Whatever Happened to Frank Snake Church?"); and a transient Indian finds his grandmother's regalia in a pawn shop and seeks to quickly raise the lofty purchase price ("What You Pawn I Will Redeem"). Brilliant turns of phrase abound, such as ceremonies being "pitiful cries to a disinterested God," or when a gym rat plays against "Basketball-Democrats who came to the court alone and ran with anybody and Basketball-Republicans who traveled in groups of five and only ran with each other." Ten Little Indians is an uneven collection, but contains some significant, memorable stories. --Michael Ferch

The Toughest Indian in the World

Call Sherman Alexie any number of things--novelist, poet, filmmaker, thorn in the side of white liberalism--just don't call him "universal." Aside from his well-documented distaste for the word, its fuzziness misses the point. The Toughest Indian in the World, Alexie's second collection, succeeds as brilliantly as it does because of its particularity. These aren't stories about the Indian Condition; they're stories about Indians--urban and reservation, street fighters and yuppies, husbands and wives. "She understood that white people were eccentric and complicated and she only wanted to be understood as eccentric and complicated as well," thinks the Coeur d'Alene narrator of "Assimilation," who's married (unhappily) to a white man. And yet the issue of race has taken up permanent residence inside her house: the marriage survives, but it's love that's the most thorough assimilation of all.

Like The Lone Ranger and Tonto Fistfight in Heaven, much of The Toughest Indian in the World combines deft psychological realism with the kind of narrative logic more commonly found in dreams. In "South by Southwest," a white drifter finds love on a "nonviolent killing spree" with an overweight Indian he calls Salmon Boy; in "Dear John Wayne," the cowboy actor falls in love with a young Spokane woman and proves himself a charmingly feminist hero. ("Oh, sons, you're just engaging in some harmless gender play," he tells his boys when he finds them trying on lipstick.) But for every bear hibernating on top of the Catholic church, there's also a GAP-wearing, Toyota-driving urban Indian on a quest for his roots. In both realist and surrealist modes, Alexie writes incantatory prose--as well as the kind of dialogue that makes even secondary characters leap into sudden focus: "'What?' asked Wonder Horse, as simple a question as could possibly be tendered, though he made it sound as if he'd asked Where's the tumor?"

Alexie is sometimes guilty of painting his white characters with too broad a brush. (Is any anthropologist truly as obtuse as the one in "Dear John Wayne"? Could any reader really want Mary Lynn, the narrator of "Assimilation," to stay with her boorish white husband?) Yet his kind of firebrand politics still has the power to shock. A harrowing fable about whites kidnapping Indians for the medical properties of their blood, "The Sin Eaters" could be dismissed as paranoid if it weren't so hauntingly written:

On that morning, the sun rose and bloomed like blood in a glass syringe. The entire Spokane Indian Reservation and all of its people and places were clean and scrubbed. The Spokane River rose up from its bed like a man who had been healed and joyously wept all the way down to its confluence with the Columbia River. There was water everywhere: a thousand streams interrupted by makeshift waterfalls; small ponds hidden beneath a mask of thick fronds and anonymous blossoms; blankets of dew draped over the shoulders of isolated knolls. An entire civilization of insects lived in the mud puddle formed by one truck tire and a recent rain storm. The blades of grass, the narrow pine needles, and the stalks of roadside wheat were as sharp and bright as surgical tools.

Indian Killer

Native American Sherman Alexie's new novel is a departure in tone from his lyrical and funny earlier work, which include The Lone Ranger and Tonto Fistfight in Heaven and Reservation Blues. The main character is an Indian serial killer who incites racial tension by murdering whites in retribution for his people's history. The killer leaves clear signs of his motives by scalping his victims, and leaving feathers as gestures of Indian defiance. The killer is a conflicted creation--raised by loving white parents, but twisted by loss of his identity as an Indian. Alexie layers the story with complications and ancillary characters, from a rabid talk show host, to vengeance seeking whites, to liberals who find their patronizing espousal of Indian causes no longer so easy.

Native American Sherman Alexie's new novel is a departure in tone from his lyrical and funny earlier work, which include The Lone Ranger and Tonto Fistfight in Heaven and Reservation Blues. The main character is an Indian serial killer who incites racial tension by murdering whites in retribution for his people's history. The killer leaves clear signs of his motives by scalping his victims, and leaving feathers as gestures of Indian defiance. The killer is a conflicted creation--raised by loving white parents, but twisted by loss of his identity as an Indian. Alexie layers the story with complications and ancillary characters, from a rabid talk show host, to vengeance seeking whites, to liberals who find their patronizing espousal of Indian causes no longer so easy.

The Business of Fancydancing: Stories and Poems

stories & poems -- "He's making myth" (Joy Harjo)

Smoke Signals

First Indian on the Moon

prose & poetry