"Most religious structures look as if they had descended upon the landscape from above," he observes, looking at a sun-dance arbor and a sweat-lodge frame; "these looked as if they had risen on their own out of the ground." Frazier gets some of his best effects by negating adjectives, as when he describes a friend's wife casting him "an unencouraging look," or a rodeo announcer's "uncomforting folksy commentary" after a young rider takes a spill.An uncharitable reader might find "On the Rez" lacking in structure.We also provide you with powerful online dating tools and online dating tips; working with you to find the perfect match.Sign up today to start meeting South Dakota Catholic Singles.
Except for the recitation of a poem about the Irish martyr Parnell near the end, nothing much happens.
He isn't afraid of the passive voice, or the first person, or any of the other rulemaker's bogeymen that can make every unwritten sentence a paralyzing minefield.
Sometimes it's just a question of looking at the terrain long enough for it to give away its secrets -- of waiting it out.
As an alibi for narrative defects, the Pee-wee Herman defense of "I meant to do that" doesn't work even half the time. Midway through "On the Rez," Frazier describes Pine Ridge underfoot as "a mosaic of pieces of broken brown-glass Budweiser bottles, some of the pieces still held together by the paper labels." Too much of what we know about the American Indian experience still resembles those bottles -- scattered shards held together by thin labels, among which Frazier's personal least favorites are "noble" and "bleak." His honest book peels the labels off and lets the truth cohere -- or not -- as it pleases.
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