Darryl Babe Wilson

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I I\G ) 1111 Si ii ( I P)\ 1 ,uld ask Grandfather a question about .orj what would you ask? Why? 2 .,r ild tell a future generation a story from yo ir )uth, what would it be? Explain. 3, H v did Grandfather learn the story of his fam s s ape from Alcatraz—an event that took p ace en he was a small boy? 4, Accord ng to the story, what does the “dia mond of Diamond Island represent? 5, lrterpret the narrator’s comment on page 98, Tht episode, that sailing and that recording was only a moment ago” What does the com ment uqqest about the history of Alcatraz island? 6. Why did Grandfather ask the narrator to visit? 7, In your words, explain why the author’s gener ation coeds “original knowledge” in order to survi C. 8. What do people in your culture do to preserve their heritage—their identity—as a culture? I • Al. 11ZLG LHFRAItJRF 1 11 A first person narrator tells mainly what he or she thinks, feels, and observes. As a result, the narrators attitudes shape the story. In addition to communicating his own attitudes, the narrator of this story also conveys his grandfather’s beliefs and obseriations. He does this by recording a story that his grandfather told him nearly twenty years efore. 1 D ccss two ways in which first-person narra on rnbles the author to use Grandfather’s storj most effectively. 2. What does the narrator reveal about his feel ings toward Grandfather and Alcatraz island? I IIII\KIG \I) I An author who writes in the first person wants the reader to know the narrators thoughts and feelings. Exploring these thoughts and feelings can provide insight into the author’s motives for writing a story. In the case of “Diamond Island: Alcatraz,’ the author is the narrator. What do the emotions and ideas that Wilson expresses reveal about his purpose in writing ‘Diamond Island: Al catraz”? Refer to passages from the story to sup port your answer. I THINKING N1) WiunG ii SI What stories do you know that you think should be preserved for future generations? Choose one, and write about it in the first person. Like Wilson, you might choose to write about a story that was shared with you and affected you deeply. You could also write about a story from your life, your family, your school, or your com munity. Try to interview someone who can give you his or her first-hand observations of the events in your story. Finally, in your narration, in clude hints to the reader about your purpose for writing the story. J LRNG Orl IoN Art. Draw a map of Grandfather’s return to Pit River country from Alcatraz. In order to begin, consult a map of the areas described by Grand father. On your map, illustrate Grandfather’s story at key locations. For example, you might want to draw a necklace at the point where Grandfather pulls at his mothers necklace as they struggle through the icy currents. Diamond Island: Akatiaz 10.3
I 4 I— 104 Short Stories beautiful history” of Native Americans. our right to exist—a right that was a gift to The Storytelling Gift For many gener us from the moment the stars were scattered ers such as Darryl Babe Wilson have begun through what Wilson calls his “thought plains it this way: “When it is time for the prepared to record that thought at the mo down by word of mouth. More recently. writ in the vastness and songs were given us to in hand, place the proper words in the exact Babe Wilson’s inspiration comes from his de Americans to ‘fInd’ us and to acknowledge sing that awesome power. We must take pen catraz” was the result of an impulse flitting processor.” How does this work? Wilson ex story or poem to appear, it does. If I am not A Writer’s Inspiration Much of Darryl A “Lost” History Wilson insists that Na tive American writers “cannot wait for the to “take pen in hand.” “Diamond Island: Al DRAFTING lowed. “Al this point I did not pursue com ever. “There is always the search for a bet- put it down in words with enough velocity to has made itself ‘visible’ enough so that I can must he on guard to ‘capture’ a thought thai insure its survival.” PREWRITNG sire to preserve what he calls “the long and sequence. and move this society to awaken.” came in three parts,” he recalls. The first portion to appear was the body of Grandfa ther’s story. Then a period of waiting fol ations, Native American history was passed ment of its appearance. then it vanishes. I The Story Approaches “The manuscript that “often a story beginning with the clos Searching for the Better Word Wilson patiently waited for more ‘instruction’ from the element within me that places the words beginning three pages arrived.” upon the page. The following morning the the creation of the story took patience. Yet Releasing Your Voice As you can see, Of course, not all stories begin at the be Beginnings and Endings Once the vari like allowing a curious fawn to approach, I idea how or when it would be complete. And. arrived. Wilson began to sense how to fit them together. He realized that the three pages de ing line is more effective.” Atwam formed the story’s beginning. “And how much more appropriate it is that the be REVISING ergy surges through you. . . , It is all a mat out your effort as you rewrite and earth’s en Wilson stresses that when inspiration ar rives. the writer must seize upon it. “Do not write, splash your words upon the paper by pletion of the manuscript—since I had no scribing Grandfather’s letter and his house in ginning of the story began at the beginning!” ginning. Wilson points this out by noting doubt,” he says. “Do not hesitate. When you ous pieces of “Diamond Island: Alcatraz” had the bucketful, and sprinkle ideas through ter of listening to the voice that is within you whispering. singing. clamoring to be re narrative. He does revise the language, how leased, Release it!” seldom tinkers with the broad outline of a Danyl Babe Wilson and “Diamond island” ONE WRITER’S PROCESS
Page 1 and 2: home. ‘ hwest I’luseum . — -
Page 3 and 4: Grandfather lived at Atwam, 100 mil
Page 5 and 6: * 100 Short Stories 4. crevassed (k
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Darryl Babe Wilson

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