Please, share with friends. In so doing, I hope to elaborate a more complex and more suitable practice of comparison: one that honors the particularities of Deloria, Hurston, and González's historical experiences as well as their similar yet distinct strategies of engagement with neocolonial forms of meaning making. Although many anthropologists fancied themselves creative writers in their spare time, few were willing to step into the breach that divided poetry and science in their scholarly work. Ruth, I am a virgin; as such, I am not supposed to talk frankly on things I must, to be really helpful. In a literary gesture that might have been considered audacious by some of her Anglo friends in the English Department at the University of Texas, Miss González imagined a conversation between two foundational figures in American letters: Sor Juana Inés de la Cruz and Anne Bradstreet. How do we strike a balance between a respect for difference and a search for meaningful similarity that allows for a coherent account of the historical experiences of women of color? Although both Deloria and González actively pursued publishers, neither of their novels was published until well after their deaths (Waterlily in 1988, Caballero in 1996). In her relatively short professional career as a folklorist, González produced numerous articles on the folklore of Texas-Mexican communities for the journal Dobie edited, Publications of the Texas Folklore Society. Her nephew Vine Deloria, Jr., … By all accounts they too were acutely aware of the ways in which their ethnographic and literary representations might be deployed to ends not confined to the scientific or aesthetic realms. In effect, Gambrell's reading of Deloria, though sensitive and nuanced, renders Hurston's interventions more visible while erasing Deloria's unique, tribally based approach to representational politics. 2009 Gloria Anzaldua Book PrizeNational Women's Studies Association. While placing difference at the center of a comparative project may seem an odd, even contradictory, critical gesture, it is one that arises in response to the growing body of feminist scholarship that has sought to uncover the many points of connection between Ella Deloria and Zora Neale Hurston.

It is not merely biculturality that forms the foundation of our lives and work in their multiplicity, aesthetic largeness, and wide-ranging potential; rather, it is the multiculturality, multilinguality, and dizzying class-crossing from the fields to the salons, from the factory to the academy, or from galleries and the groves of academe to the neighborhoods and reservations. These papers were written primarily by students and provide critical analysis of Waterlily by Ella Cara Deloria. In short, by exploring Deloria, Hurston, and González's theoretical affinities with contemporary women of color, I hope to historicize U.S.-third world feminist practice within a much older genealogy than has previously been imagined. According to Sandoval: [T]he cruising mobilities required in this effort demand of the differential practitioner commitment to the process of metamorphosis itself: This is the activity of the trickster who practices subjectivity-as-masquerade, the oppositional agent who accesses differing identity, ideological, aesthetic, and political positions. Waterlily is thus recovered as a feminist novel that rewrites "modesty" and "reticence" as forms of feminist "eloquence." Moreover, Limón adds, González's "eschewal of a unified singular subject of history; the genre mix of literature, popular culture, history, and ethnography; her clear commitment to a complicated assessment of political and cultural contradictions; her critique of several orders of domination beyond but not excluding race, especially gender, . Though the feminist visions that are produced in these departures share a great deal, they also intersect with particular histories of and interactions with colonialism, imperialism, and the nation-state, and thus express distinct and sometimes divergent feminist positionings. As Paula Gunn Allen has noted, the decision to engage publicly with dominant forms of knowledge production often requires that women of color transcend established disciplinary, discursive, and geographical boundaries. In Caballero, González, along with her literary collaborator, Margaret Eimer, documented the lives of women in a Mexicano culture and explored the multiple and divergent strategies for survival initiated by men and women in the borderlands in response to U.S. imperialism. Given this isolation from the very group that might have preserved her legacy, it is not surprising that by the 1970s all of Hurston's major works were out of print. It is a set of principled conversions, informed by the skill of "la facultad," that requires differential movement through, over, and within any dominant system of resistance, identity, race, gender, sex, class or national meanings (emphasis added). Why were they omitted from mainstream texts? Indeed, Gambrell suggests that Ella Deloria was not only familiar with Hurston's published writing (despite the fact that Deloria never mentioned Hurston in her copious correspondence), but also utilized Hurston's work as a kind of theoretical optic for her own feminist interventions. Navigating these limits and contending with both the discursive regimes of ethnographic meaning making and the ideological stakes of self-representation proved to be quite challenging for Deloria, Hurston, and González, early entrants to the field of "native ethnography.". My digression into Gambrell's attempts to bring Hurston and Deloria into conversation with one another is not intended to undermine the efforts of other feminist scholars engaged in the recovery of key figures in our shared history, an impulse that I wholeheartedly support.

"Lyin' Up a Nation": Zora Neale Hurston and the Literary Uses of the "Folk", Chapter Three. In June 1999 1 traveled again to Chamberlain to continue my spellbound research in the Ella Deloria papers, ably assisted by Joyzelle, the director Ron Kjonegaard and his assistant Jan Fischer.

Deming, Marguerite Manuscript (H74-128) 6 typewritten pages

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