Simon J. Ortiz, 1941-present
By Melanie Stephens
Student, University of North Carolina at Pembroke
Simon Ortiz is a contemporary writer who continues
to be successful today. His talents include creating poems, short stories,
essays, and children's books. Biographer A. Walton Litz suggests that as
a child, Ortiz would listen to adults telling traditional stories and gossip
and ,therefore, gained the nickname of “the reporter” by his father
(American Writers 500). This interest in culture and history fueled his
passion for writing. Having grown up in the Acoma Pueblo community in Albuquerque,
New Mexico, Ortiz experienced the hardships of Native American and English
cultures colliding. According to biographer A. Walton Litz, “at most of
the Bureau of Indian Affairs and mission schools, the children were punished
by a sharp crack on the knuckles if they were caught speaking their native
language” (American Writers 501). As a result, he found literature as a
way to express his frustration and passionate beliefs. This medium provided
a way to embrace his Acoma culture while sharing it with others. According
to an article by A. Walton Litz in the American Writers Supplement series,
Ortiz is unlike most Native American contemporary writers in that he is
full blooded Native American and his first language was his native tongue
of Keresan (500). By learning English, he found a way to reach virtually
all Americans. His writing was first supported by teaching at several institutions
such as the University of New Mexico and the University of Iowa. A. Walton
Litz tells of how Ortiz entered writing in the 1960’s when equal rights
and social justice were at the roots of everyday life (American Writers
497). This timing proved fruitful because it provided a foundation of readers
that wanted to “fix” our nation, both environmentally and socially.
Simon Ortiz’s writing is a success because
it describes events in everyday life. Readers can relate to his works because
they reveal that by life review and experiences, anyone can learn from
past experiences and gain personal growth. He writes about everyday life
and how colonization has effected environment and socialization. These
issues not only affect Native Americans, but all Americans and cultures.
Biographer Kathy Whitson suggests that “Ortiz has used the language of
the colonizers to fight against oppression” (Native American Literature's
178). His works provide a reader with a sense of self respect to stand
up for the right of preserving their way of life. A theme of traveling
emerges in Ortiz’s work. In the Norton Anthology of American Literature,
Nina Baym, suggests that this theme symbolizes the struggles of Native
American tribes moving across the country in earlier times (2788). This
idea further develops into a theme of displacement and alienation. Henry
L. Wilson states that it shows how an individual that moves, whether by
choice or circumstance, experiences “separation from the land, from family,
and historical roots” (Encyclopedia of American Literature 858). Ortiz
experienced his own separation during military service which provided his
own movement across the country. In an article in the Encyclopedia of American
Literature, Henry L. Wilson suggests that the theme of alienation and separation
can be seen in the short story “Kaiser and the War” in Ortiz’s book called
Fightin’
(Encyclopedia of American Literature 858). The story tells of a man who
spoke little English and resisted being drafted into the American army.
When the county sheriff and draft board agents came to get Kaiser, he fled
to the Black Mesa mountains. After many years, Kaiser turned himself
in and was sent to prison for avoiding the draft. Henry L. Wilson also
suggest that “the ultimate result of this clash of cultures is that Kaiser
is unable to function in either the Native American or the white culture;
after his long delayed release from prison” (Encyclopedia of American Literature
858). Kaiser then returns to the mountains wearing the old gray suit the
government issued him. This struggle alienated Kaiser from both worlds
and ,therefore, he lived alone until his death. This story does have some
of the same characteristics of Ortiz’s life. He experienced struggles as
a child because of the limited English he knew and he also was in military
service. The story seems to connect the past and the present with respect
to the feelings of separation and alienation.
Another theme that arises from Ortiz’s work
is that America is no longer one with the earth or the spirits of it. People
have lost their spirit with God and self by developing every available
space of land. For example, in “The Wisconsin Horse,” Ortiz tells of a
frightened horse who can not break free either physically or spiritually.
The vivid image of a horse “across the road” that “stands within a fence,
silent in the hot afternoon” sees that “a mile north is some construction.
That's America building something” (Woven Stone 93). This symbolizes
how Ortiz feels that people are constrained by the world around them. Ortiz
writes about wondering “if the horse still stands silent in the dark night,
dreamless and stifled, having no resources left except to hope his silence
will soon go away and the meaningfulness enter” (Woven Stone 94).
Ortiz’s writing expresses a desire for people to return to their roots
through family, culture, and spirit. Current society tears an individual
away from the spirit of the land to areas filled with shopping malls and
parking lots. Ortiz can remind us all that not material wealth, but spiritual
well-being is the heart of us all and needs to be preserved.
Simon Ortiz uses imagery extensively throughout
his work. He paints vivid pictures with words to make a point. This scenery
is used to illustrate passionate feelings. Henry L. Wilson points out that
Ortiz “often focuses on distinctive Western landscapes” (Encyclopedia of
American Literature 858). An example provided by Henry L. Wilson is in
the poem “The Boy and Coyote.” Ortiz writes about a boy standing on a riverbank
seeing “the rippled sand rifts” and “all
of a sudden” the boy hears “reports of a shotgun, muffled flat by salt
cedar thickets. Everything halts for several moments, no sound; even the
wind holds to itself” (Woven Stone 124-125). This image holds a
deeper significance than the eyes can behold. Ortiz wants a reader to see
and feel what it is like to be free, both physically and spiritually, on
undamaged land. He wants a reader to feel the stillness and heightened
sense of awareness at that moment. These types of imagery give the words
life for a reader to see a picture in their mind and feel the emotions
of the particular situation. Simon Ortiz will continue to reach many readers.
American society is always dealing with issues of the struggles of change.
Ortiz’s work might provide a reader with a temporary escape from a situation
or hope in dealing with it.
Bibliography
Litz, A. Walton. "Simon J. Ortiz." The American Writers. Supplement
IV. Part 2. New York, N.Y.: Charles Scribner's Sons, 1996. 497-514.
Secondary source that is relatively timely. This subject encyclopedia
provides an extensive discussion of Ortiz's life, work, and career. This
source provides a researcher with insights to Ortiz's childhood, education,
and interpretation of his works. A. Walton Litz aims to point out that
Simon Ortiz is a modern writer who draws from past experiences to shape
his work. By referencing selected works and discussing Ortiz's childhood,
A. Walton Litz's article shows how Simon J. Ortiz's life has developed
his writings.
Ortiz, Simon. J. Woven Stone. Ed. Larry Evers and Ofelia Aepeda.
Tucson, A.Z.: University of Arizona Press, 1992.
A fairly recent source which contains a letter of introduction
from Simon Ortiz, as well as, a collection of his poems. This book has
a personal touch because Ortiz begins by telling readers important events
of his life. A researcher can discover how Ortiz uses language, culture,
and experience to give meaning to his works. Ortiz traces the
path
of his life from birth to the present time of this book, 1992. The book
then continues to display the collection of poems. By reading the introduction
and poems, a researcher can discover the man and how his struggles in life
were used in a positive way to develop writings to share with others.
Study Questions
1. Analyze what type of literary techniques
are used to apply deeper meaning to
a poem in Woven
Stone and support conclusion with references from the
text.
2. Examine the theme of alienation and separation
in a poem in Woven Stone
and discuss the significance.
3. Identify a theme in a poem in Woven
Stone and discuss how it is developed.
4. Find at least three examples of imagery
in poem of Woven Stone and discuss
how it contributes
to the meaning the poem.
5. Define figurative language. Provide at
least two examples of figurative
language in a poem
in Woven Stone and discuss its relevance
in that work.
Related Internet Sites
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Major Works
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Naked in the Wind
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Going for the Rain
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A Good Journey
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Howbah Indians
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From Sand Creek
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Fightin'
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Woven Stone
Careers
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Military Service
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Public relations worker
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National Indian Youth Council
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Newspaper editor
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College instructor
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Arts coordinator
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Poet
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Writer
Family
Father: Stonemason
Joe Ortiz
Mother: Potter
Mamie Torimio Ortiz
Siblings: Eight
Ex-Wife: Marlene Foster
Children: Raho, Rainy, Sara
Homes
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Albuquerque, New Mexico
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Rough Rock, Arizona
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San Diego, California
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Mission, South Dakota
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Portland, Oregon
Awards/Honors
National Endowment for the Arts
Discovery Award, 1969
White House Salute to Poetry
Honored Poet, 1981
New Mexico Humanities Council
Humanitarian Award, 1989
Chronology
1941: born on May 27 in
Albuquerque, New Mexico
1961-1962: attends Fort Lewis College
1962-1965: U.S. Army Service
1966-1968: attends University of
New Mexico
1968-1969: fellow in International
writing program at University of
Iowa.
1971: Naked in the Wind
1973: birth of daughter Sara Ortiz
1974: The Killing of a State Cop
1974-1975: treatment for alcoholism
1976: Going for the Rain
1977: A Good Journey
1978: Howbah Indians
Song, Poetry,
and Language
1980: Fight Back
1981: A Poem is a Journey
From Sand
Creek
Toward a
National
Indian Literature
1981: marries Marlene Foster
1982: Blue and Red
The Importance
of Childhood
1982: consulting editor of Pueblo of
Acoma Press
1983: Fightin'
1984: Always the Stories
1984: divorced from Foster
1985: The Creative Press
1988: The People Shall Continue
1991: Woven Stone
1994: After and Before the Lighting
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