Scott Momaday’s House Made of Dawn (1968), Leslie Marmon Silko’s Ceremony (1977), Gerald Vizenor’s Bearheart: The Heirship Chronicles (1990), James Welch’s Fools Crow (1986) and The Heartsong of Charging Elk (2000), Sherman Alexie’s The Lone Ranger and Tonto Fistfight in Heaven (1993), and Linda Hogan’s Power (1998). His belief that reading can provide a platform for productive intercultural relations is one supported by the texts he discusses: N. To this end, Coulombe crafts thoughtful discussions of indigenous literature and how non-Native readers view it, and in so doing, he situates non-Native habits of reading indigenous texts within the broader historical context of Native and white relations in the United States. Indeed, much of Coulombe’s study is concerned with offering non-Native readers new pathways toward an ethical engagement with Native texts and the tribal cultures from which they stem. Coulombe makes it clear that although the subject of his book is contemporary Native American literature, his text is primarily directed toward those who occupy the space “outside the tepee” (1). From the first pages of Reading Native American Literature, Joseph L.
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