Blooms Literary Themes - THE TRICKSTER.pdf - ymerleksi - home

House Made of Dawn 99
94). What we must not forget is that the source of this vision is the
creative power of the trickster.
NOTES
1. Th e subaltern is a member of an oppressed, typically colonized
group, such as Native Americans.
2. Momaday integrates Kiowa and Navajo references throughout
the novel.
3. Roemer points out that Tosamah’s sermon “links Abel’s disease
and potential forcuring to the absence and the development of
a voice” (7).
WORKS CITED
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American Literature: A Multicultural Perspective. Hanover: UP
of New England, 1994.
Bartelt, Guillermo. “Hegemonic Registers in Momaday’s House Made of
Dawn.” Style 39:4 (Winter 2005): 469–478.
Carroll, Michael P. “Levi-Strauss, Freud, and the Trickster: A New Perspective
upon an Old Problem.” American Ethnologist 8:2 (May 1981): 301–313.
Coltelli, Laura. Winged Words: American Indian Writers Speak. Lincoln: U of
Nebraska P, 1990.
Elias, Amy J. “Fragments that Rune Up the Shores: Pushing the Bear, Coyote
Aesthetics, and Recovered History.” Modern Fiction Studies 45:1 (1999):
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Evers, Lawrence J. “Words and Place: A Reading of House Made of Dawn.”
Critical Perspectives on Native American Fiction. Ed. Richard F. Fleck.
Washington, D.C.: Th ree Continents Press, 1993. 114–133.
Evers, Lawrence J. and Paul Pavich. “Native Oral Traditions.” A Literary
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Horne, Dee. Contemporary American Indian Writing; Unsettling Literature. New
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Hyde, Lewis. Trickster Makes Th is World: Mischief, Myth and Art. New York:
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Jameson, Frederic. Th e Politically Unconscious: Narrative as a Socially Symbolic
Act. Ithaca: Cornell UP, 1981.