Susan power author biography outline

Vision

I flagged the dream as remarkable for its totalomission of plot. So empty of the usual narrativeclutter. No action. A single static image: four silverjets lined up on a runway, parked in neat diagonals asif craning their long necks to view the distant east.What little story there was came as words in my head,though the view never changed. Four planes. Waiting. There is a group of men, foreign men, who hate us so much they want to bring about our complete economic collapse. The last four words hung apart fromthe rest, like a banner strung in the sky. Our complete economic collapse.

Then I woke up and dutifully recorded the dream in my journal. The date was 31 August

 

I am the unlikely interlacing of two families who never thought their histories would braid together. My father’s family arrived in North America from England in the ’s and its members became early educators, politicians and ministers of a new nation that aggressively trampled the thousand ancient nations preceding it. On the other side, my mother’s family are Yanktonai Dakota, whose territory ranged from the Minnesota border in the east to the Missouri River in the west, including

The Grass Dancer

Introduction
Author Biography
Plot Summary
Characters
Themes
Style
Historical Context
Critical Overview
Criticism
Sources
For Further Study

Introduction

The Grass Dancer grew out of a series of stories that Susan Power wrote while she was in the creative writing program at the University of Iowa. The novel was published in by Putnam and received immediate critical acclaim, and also won the PEN/Hemingway Award for best first fiction of that year.

The book tells the story of Harley Wind Soldier, a young Sioux, and several generations of his ancestors. The novel includes non-human as well as human characters; the spirit world is an important part of all the stories, and ghosts and magical powers are part of the characters' everyday lives. Long-dead ancestors, such as lovers Red Dress and Ghost Horse, who lived in the nineteenth century and saw the first impact of European-American culture on their own, are still vital figures in Power's twentieth-century characters' lives.

The book's title refers to a traditional Native-American dance, and there are two kinds of grass dancing. A character in the book explains: "There's the grass dancer who prepares the field

Native in the Twenty-first Century

Native Nations Rise protest. Photo by Victoria Pickering/Flickr

I’m mixed but that doesn’t mean I’m mixed up—it just means my parents fell in love across a racial and cultural divide that split my blood. When I was young I looked like my dad, my brown hair tipped red in summer—anyone could think I was white, only white, and never Yanktonai Dakota and a little Hunkpapa. But as I get older I look more like Mom, which means I’m mistaken for a variety of ethnicities (people placed bets on their guesses in front of me and never guessed right), which means in small towns or small-minded neighborhoods I experience a taste of Ye Old-School Racism—the kind that shadowed my mother from her first steps, the kind my father couldn’t believe until he saw it in action when they traveled to Rapid City after my aunt’s murder. 

I’ve always been Native first and American second, but in youth people forgot that when they looked at me, so I traveled in circles beyond circles—felt like a Dakota spy perched at my listening post to gather information on what the dominant society really felt about us, whatever term it is we’re using now, “minorities,” “peo

A Conversation With Mona Susan Power—WSR Contributing Fiction Editor

Mona Susan Power is the contributing fiction editor for Volume Below is an interview conducted with her via email exchange. 

What are the types of stories you would like to see in Volume 25? 

Authenticity is so important to me. When I used to teach writing I would encourage students to find the truth of their fiction. Sometimes we have great plans for our characters, we show up with agendas, specific thematic ground we want to cover. But then as we put our plans into action on the page, some events ring hollow and don&#;t quite work. To serve the fiction we have to set aside our own choices and allow characters to dictate what they&#;ll do, what they want to say. I&#;ve learned to grant my characters a kind of agency that exists beyond my original intentions. I&#;m most impressed with fiction that feels so true; the world around me falls away and I step into the pages with the utter conviction that what&#;s happening there is real, and couldn&#;t have happened any other way.

What is an ideal submission for you? What would set a submission apart from the others for you?

There has to be “juice,” urgent

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