American Indian Literature and Critical Studies
1 primary work • 2 total works
Book 64
Adopted into the Cherokee tribe as a teenager, William Holland Thomas (1805-1893), known to the Cherokees as Wil Usdi (Little Will), went on to have a distinguished career as lawyer, politician, and soldier. He spent the last decades of his life in a mental hospital, where the pioneering ethnographer James Mooney interviewed him extensively about Cherokee lifeways. The true story of Wil Usdi's life forms the basis for this historical novella, the final published work of fiction by the late award-winning Cherokee author Robert J. Conley.
Conley tells Wil's story through the recollection of the old man's memories. Wil learns the Cherokee language while working at a trading post. The chief Yonaguska adopts the fatherless Wil, seeing to it that the boy dresses like a Cherokee and, for all practical purposes, becomes one. Later, representing the Eastern Band of the Cherokees in their negotiations with the federal government, Wil helps them remain in their ancestral lands in North Carolina when most other Cherokees are sent off on the Trail of Tears to the Indian Territory. Thus, Wil becomes popularly known as the white chief of the tribe. He continues making money as a merchant and in 1848 is elected to the North Carolina state senate, where he assists in the creation of a railroad system to serve the copper mines in neighboring Tennessee. During the Civil War, he leads a Cherokee battalion in the Confederate Army and tries to persuade his cousin Jefferson Davis to expand the battalion of fierce warriors into a regiment. His achievements make his admission into an insane asylum all the more tragic.
The Wil Usdi of Conley's story is in increasingly bad health, mistreated in a mental institution that to twenty-first-century readers is little more than a jail. He dreams of women and warfare and boyhood games of stickball. Yet even in his demented state, Wil is proud of his accomplishments and never loses his conviction that Indians are ""more human than whites."" Weaving together the disconnected stories of Wil Usdi's life, Conley's blend of thorough research and imaginative prose gives readers a deep sense of post-removal Cherokee history.
Conley tells Wil's story through the recollection of the old man's memories. Wil learns the Cherokee language while working at a trading post. The chief Yonaguska adopts the fatherless Wil, seeing to it that the boy dresses like a Cherokee and, for all practical purposes, becomes one. Later, representing the Eastern Band of the Cherokees in their negotiations with the federal government, Wil helps them remain in their ancestral lands in North Carolina when most other Cherokees are sent off on the Trail of Tears to the Indian Territory. Thus, Wil becomes popularly known as the white chief of the tribe. He continues making money as a merchant and in 1848 is elected to the North Carolina state senate, where he assists in the creation of a railroad system to serve the copper mines in neighboring Tennessee. During the Civil War, he leads a Cherokee battalion in the Confederate Army and tries to persuade his cousin Jefferson Davis to expand the battalion of fierce warriors into a regiment. His achievements make his admission into an insane asylum all the more tragic.
The Wil Usdi of Conley's story is in increasingly bad health, mistreated in a mental institution that to twenty-first-century readers is little more than a jail. He dreams of women and warfare and boyhood games of stickball. Yet even in his demented state, Wil is proud of his accomplishments and never loses his conviction that Indians are ""more human than whites."" Weaving together the disconnected stories of Wil Usdi's life, Conley's blend of thorough research and imaginative prose gives readers a deep sense of post-removal Cherokee history.
So what does it mean to be a Cherokee?"" asks Cherokee author Robert J. Conley at the start of this delightful collection of his writings. Throughout his prolific career, Conley used his art to explore Cherokee identity and experience. With his passing in 2014, Native American literature - and American literature in general - lost a major voice. Fortunately, this posthumous publication, edited by the author's wife, Evelyn L. Conley, offers readers the opportunity to appreciate anew the blend of humor, candor, and creativity that makes his work so exceptional.
Best known as a novelist, especially for his beloved Real People series, Conley was also a masterful writer of short stories, essays, plays, and speeches. The breadth of his talents is on full display in this wide-ranging collection, which begins with his very last public address, delivered in North Carolina in 2013. Following that speech, the reader is treated to what may be Conley's most famous short story, ""Plastic Indian,"" the hilarious tale of three Cherokee youths who try to take down a giant plastic Indian located along Highway 51 between Tahlequah and Tulsa.
Like many of Conley's works, ""Plastic Indian"" is set in contemporary times, but as we discover through the stories that follow, the author drew inspiration from traditional Cherokee folktales and oral storytelling. His delight in the spoken word is evident in the single play featured in this volume, based on the writings of ethnographer James Mooney and originally performed for radio.
Conley is also celebrated for his accurate depictions of the Old West (it is no accident that he was the first American Indian president of the distinguished Western Writers of America association), so the collection would not be complete without two of his cowboy stories, namely ""The Execution"" and ""Nate's Revenge.""
The volume concludes with four of the author's speeches. Laced with the author's typical dry humor, these personal testimonies serve as a moving coda to the author's extensive and illustrious career.
Best known as a novelist, especially for his beloved Real People series, Conley was also a masterful writer of short stories, essays, plays, and speeches. The breadth of his talents is on full display in this wide-ranging collection, which begins with his very last public address, delivered in North Carolina in 2013. Following that speech, the reader is treated to what may be Conley's most famous short story, ""Plastic Indian,"" the hilarious tale of three Cherokee youths who try to take down a giant plastic Indian located along Highway 51 between Tahlequah and Tulsa.
Like many of Conley's works, ""Plastic Indian"" is set in contemporary times, but as we discover through the stories that follow, the author drew inspiration from traditional Cherokee folktales and oral storytelling. His delight in the spoken word is evident in the single play featured in this volume, based on the writings of ethnographer James Mooney and originally performed for radio.
Conley is also celebrated for his accurate depictions of the Old West (it is no accident that he was the first American Indian president of the distinguished Western Writers of America association), so the collection would not be complete without two of his cowboy stories, namely ""The Execution"" and ""Nate's Revenge.""
The volume concludes with four of the author's speeches. Laced with the author's typical dry humor, these personal testimonies serve as a moving coda to the author's extensive and illustrious career.