The Wild Girl: The Notebooks of Ned Giles, 1932 (The Last Apache Girl) PDF
Preview The Wild Girl: The Notebooks of Ned Giles, 1932 (The Last Apache Girl)
THE WILD GIRL The Notebooks of Ned Giles, 1932 a novel by jim fergus d NEW YORK Copyright © 2005 Jim Fergus All rights reserved.No part ofthis book may be used or reproduced in any manner whatsoever without the written permission ofthe Publisher.For information address Hyperion,77 West 66thStreet,New York,New York 10023-6298. First eBook Edition:May 2005 ISBN:1-4013-8242-8 To Guy “I love three things.I love a dream oflove I once had,I love you,and I love this patch ofearth.” “And which do you love best?” “The dream.” Knut Hamsun,Pan Ifthe ways ofseeing in different communities are in conflict because their interpretative practices reflect incommensurable presuppositions about the human situation,can such communities understand each other? Can one culture use its own terms to say something about another culture without engaging in a hostile act ofappropriation or without simply reflecting itselfand not engaging the otherness ofthe Other?...Can we ever escape our provincial islands and navigate between worlds? Paul B.Armstrong,“Play and Cultural Differences,” Kenyon Review 13 (Winter 1991) Until I was about ten years old,I did not know that people died except by violence. James Kaywaykla,Warm Springs Apache In the Days of Victorio, Eve Ball THE WILD GIRL PROLOGUE d in the autumn of 1999, a small retrospective ofthe Depression-era photographs of a little-known photographer from New Mexico named Ned Giles was held at the Beaux Arts Gallery in Manhattan’s SoHo neighborhood. At the time, the Beaux Arts was considered to be an im- portant gallery, and the show created a brief flurry of interest in Giles’s work,a few favorable reviews in the mainstream press,and some high-dollar sales to influential collectors. Ned Giles had never achieved the same degree of success in his life- time as such other Depression-era photographers as Dorothea Lange and Walker Evans, whose haunting images of hard times came to be consid- ered an essential part of the American narrative.Although Giles’s photo- graphs were technically and artistically comparable,they had been largely ignored by the art world,an oversight at least partly attributable to the fact that much of his early work was shot on Native American reservations in the Southwestern United States.This was neither a region nor a subject matter ofmuch interest to the American public in those days,even less so
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