By Eric Gary Anderson

Culture-to-culture encounters among "natives" and "aliens" have long past on for hundreds of years within the American Southwest—among American Indian tribes, among American Indians and Euro-Americans, or even, based on a few, among people and extraterrestrials at Roswell, New Mexico. Drawing on quite a lot of cultural productions together with novels, motion pictures, work, comedian strips, and ancient stories, this groundbreaking publication explores the Southwest as either a true and a culturally developed website of migration and come upon, within which the very identities of "alien" and "native" shift with every one act of travel.

Eric Anderson pursues his inquiry via an extraordinary variety of cultural texts. those contain the Roswell spacecraft myths, Leslie Marmon Silko's Almanac of the Dead, Wendy Rose's poetry, the outlaw narratives of Billy the child, Apache autobiographies by means of Geronimo and Jason Betzinez, work by way of Georgia O'Keeffe, New West heritage by way of Patricia Nelson Limerick, Frank Norris' McTeague, Mary Austin's The Land of Little Rain, Sarah Winnemucca's Life one of the Piutes, Willa Cather's The Professor's House, George Herriman's modernist sketch Krazy Kat, and A. A. Carr's Navajo-vampire novel Eye Killers.

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Rose and Harjo embody and exemplify these migratory relationships and so does N. Scott Momaday, who has long held the conviction that this dynamic is central to his identity as a Kiowa. Although Momaday imaginatively supports the Bering land bridge theory, he has written that ‘‘It is tempting to associate the hollow log [of Kiowa origin stories, through which Kiowa people migrated into this continent] with the passage to America, the peopling of the Americas, to find in it a metaphorical reflection of the land bridge’’ (‘‘Becoming of the Native,’’ 17).

He was born in Lawton, Oklahoma, and grew up in a variety of places: Navajo country, Jemez Pueblo, Santa Fe and Albuquerque, and Fort Defiance, Virginia. D. from Stanford University, he has held teaching positions in Santa Barbara, Berkeley, Palo Alto, and Tucson; he has exhibited his paintings in the United States, Switzerland, Germany, and elsewhere; he spent the spring semester of 1974 as visiting professor of American literature at the University of Moscow. All of this information is worth considering in the context of trans-world migrations in the creation stories Momaday returns to as well as in the interconnections, in his life and art, between routes and roots.

Already under way’’ (Yellow Woman, 122), and impossible to stop. She works toward disempowering the border, which ‘‘is fast becoming a militarized zone’’ (Yellow Woman, 107), and those who attempt to control this border; she participates in an intertribal political and cultural resistance that creatively links forms of prophecy, migration, and narrative. On Silko’s map Tucson, Arizona, is clearly a major convergence point, its name duly capitalized and printed in boldface. Tucson is a place people go from and (more frequently, in this novel) go to, but for some of those people, it lies north by northeast or east rather than southwest.

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