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is a professor of English at William Rainey Harper College. Her prior publications include book chapters on postmodern American literature and composition, as well as reference essays on various figures in twentieth–century American literature.
Erdrich’s own storytelling powers, they are on virtuosic display in this novel.
She has given us a fiercely imagined tale of love and loss, a story that manages to transform tragedy into comic redemption, sorrow into heroic survival.
Erdrich grew up in North Dakota, where her parents taught at a school run by the Bureau of Indian Affairs.
Erdrich attended Dartmouth College, part of the first class of women admitted to the college; her freshman year also coincided with the establishment of the Native-American studies department.
She has given us a wonderfully sad, funny and affecting novel.” Though many of Erdrich’s novels involve the same revolving cast of characters, in (2003), Erdrich focused on the European half of her ancestry, telling the stories of a World War I veteran, his wife and a large cast of characters in a small North Dakota town.
The book was a finalist for the National Book Award finalist.Kurup’s analysis of Louise Erdrich’s culture, identity, and intellect will enrich the study of her work for years to come.”—Anton Treuer, author of “Seema Kurup frames the work of Louise Erdrich within the context of the Ojibwe experience, yet simultaneously conveys its archetypal significance.Louise Erdrich was born in Little Falls, Minnesota in 1954.A writer himself—Dorris would later publish the best-selling novel —he decided then that he was interested in working with Erdrich.Though Dorris left for New Zealand to do field research while Erdrich moved to Boston, the two began collaborating on short stories, including one titled “The World’s Greatest Fisherman.” When this story won five thousand dollars in the Nelson Algren fiction competition, Erdrich and Dorris decided to expand it into a novel—center on the conflict between Native and non-Native cultures, but they also celebrate family bonds and the ties of kinship, offer autobiographical meditations, dramatic monologues and love poetry, as well as showing the influence of Ojibwa myths and legends.Many critics claim Erdrich has remained true to her Native ancestors’ mythic and artistic visions while writing fiction that candidly explores the cultural issues facing modern-day Native Americans and mixed heritage Americans.An essayist for observed that “Erdrich’s accomplishment is that she is weaving a body of work that goes beyond portraying contemporary Native American life as descendants of a politically dominated people to explore the great universal questions—questions of identity, pattern versus randomness, and the meaning of life itself.” In addition to her numerous award-winning novels and short story collections, Erdrich has published three critically acclaimed collections of poetry, (2003).Erdrich’s novels (2004) encompass the stories of three interrelated families living in and around a reservation in the fictional town of Argus, North Dakota, from 1912 through the present.The novels have been compared to those of William Faulkner, mainly due to the multi-voice narration and non-chronological storytelling which he employed in works such as Erdrich’s works, linked by recurring characters who are victims of fate and the patterns set by their elders, are structured like intricate puzzles in which bits of information about individuals and their relations to one another are slowly released in a seemingly random order, until three-dimensional characters—with a future and a past—are revealed.After receiving her master’s degree, Erdrich returned to Dartmouth as a writer-in-residence.Dorris—with whom she had remained in touch—attended a reading of Erdrich’s poetry there and was impressed.