Myumi Lee
IB English HL I
2023-24
Dr. Malashewski
Dialectical Journals: There There
Dialectical Journal #1:
Selected passage
(inc. page #)
“Maxine makes me read her
Indian stuff that I don't
always get. I like it, though,
because when I do get it, I
get it way down at that place
where it hurts but feels
better because you feel it,
something you couldn't feel
before reading it, that makes
you feel less alone, and like
it's not gonna hurt as much
anymore.” (Orange 20)
“What tribe are you/we? I
write.
Cheyenne. Southern. Out of
Oklahoma. Enrolled with the
Cheyenne and Arapaho
Tribes of Oklahoma. We’re
not Arapahos.
Thanks! I type, and then,
Gotta go! As if I do. All of it
is suddenly too much for
Analysis
Within these pages of Orange’s “There There,” there is
contemplation arising in terms of Maxine immersing herself in
indigenous writing. The impact of Maxine’s curiosity assists in
the development of learning for both Tony and Maxine. The
text’s ability to resonate with Tony on such a profound
emotional level refers to Thomas Foster’s exploration of
literature’s transformative power, as discussed in “How to Read
Literature Like a Professor.” The historical significance,
touched by the ongoing issue of cultural obliteration and
colonialism, highlights the significance of the disconnect to their
culture. Orange uses languages that weave a narrative that
involves both pain and solace. The metaphorical depth of feeling
“way down at that place where it hurts but feels better”
describes the paradox between the pain being experienced in
contrasting ways. Tony describes this feeling of not fully
understanding the narratives he’s taking in, but deeply
resonating with it because it’s still a part of him. This text
highlights the desire to be a part of something inclusive that
makes Tony feel less alone, and Maxine exploring her self
identity through her readings.
In this excerpt within the novel, the question “What tribe are
you/we?” resounds with the idea of cultural identity and
heritage. Edwin’s father’s reply “Cheyenne. Southern. Out of
Oklahoma. Enrolled with the Cheyenne and Arapaho tribes of
Oklahoma. We’re not Arapahos.” uncovers the many layers of
history and belonging and the feelings of relief as he finally
finds where he came from.The specific way in which he
mentions their tribe highlights that indigenous people’s identity
is like a unique detailed picture, reminding readers that it's not
simple and can't be singled into one category. After gaining this
 me.”
(Orange 71)
Pp. 3-78
Dialectical Journal #2:
Selected passage
(inc. page #)
"I told you I'd have it. Why
you gotta come
unannounced and shit. And
keep acting like you didn't
have something to do with
that shit at the powwow. I'd
gotten robbed in the parking
lot before I could even go in.
I shouldn't have brought the
shit with me. The pound I
had then. But then I wasn't
sure if I did bring it. Or did
Charles put it in my glove
box? I was smoking too
much then. My memory was
a fucking slide shit that
happened to me went down
and didn't come back up
from.” (Orange 90)
“Listen, baby, it makes me This paragraph explores the concepts of heritage, privilege, and
happy you want to know, but identity, "Listen, it brings me joy that you seek knowledge, but
knowledge, Edwin’s sudden desire to leave the conversation
“Gotta go!” carries tangible feelings of internal conflict and
resentment. The quick nature of this interaction between him
and his father hints at a reluctance or fear to find any further
information into his background and identity. Essentially, this
passage explores the intricate details of cultural identity,
revealing the depth of history and the emotional connection to
rediscovering his own heritage.
Analysis
In this section of Orange’s novel, Calvin is expressing a troubled
mind dealing with the aftermath of a powwow robbery. The
language being used highlights his frustration and paranoia,
reflecting the disorder in his memories. This line serves as a
rhetorical question, "Why you gotta come unannounced and
shit," which acts like a tool, emphasizing the speaker's anger and
frustration while hinting at a hidden responsibility. The chaos in
Calvin’s memories show the broken identity of being a Native in
urban life, a present theme throughout this novel. The stolen
pound not only represents a small loss, but becomes a symbol of
real loss and the weight of cultural displacement.
Connecting to Foster's exploration of intertextuality, Orange has
created a story where memory can resemble a dysfunctional
projector that isn’t able to project essential scenes. The dimly lit
parking lot acts as a backdrop, representing the unclear
connections between individual and communal history.
As Calvin moves through a maze of hazy memories, readers
explore the psychological differences between these characters.
The repeated reference to smoke, which is a symbol of
intoxication and substance abuse, metaphorically represents the
haze covering and intoxicating Calvin’s mind. The damaging
effects of substances highlight Calvin’s internal conflicts,
revealing the difficulties experienced by urban Native
communities.
 learning about your heritage
is a privilege. A privilege we
don't have. And anyway,
anything you hear from me
about your heritage does not
make you more or less
Indian. More or less a real
Indian, Don't ever let anyone
tell you what being Indian
means. Too many of us died
to get just a little bit of us
here, right now, right in this
kitchen. You, me. Every part
of our people that made it is
precious. You're Indian
because you're Indian
because you're Indian," she
said, ending the conversation
by turning back around to
stir.” (Orange 119)
Pp. 81-155
Dialectical Journal #3:
Selected passage
(inc. page #)
“Almost all I know about
my birth mom is that her
name is Jacquie Red Feather.
My adoptive mom told me
on my eighteenth birthday
what my birth mom's name
is and that she’s Cheyenne.
I knew I wasn't white. But
not all the way. Because
while my hair is dark and
my skin is brown, when I
look in the mirror I see
understanding your heritage is a privilege. A privilege we lack."
The sophisticated way Opal speaks to her grandson with
historical undertones, dives deeper into the history of Native
American identity. The protective impulse Opal has while
teaching impacts the message by sounding passionate and
persuasive. The use of the word “privilege” highlights the
disconnect from culture and the ability to learn. This also
emphasizes and roots from the issue of not having enough
knowledge given because of colonialism in America.The
recurring phrase, "More or less a real Indian, Don't ever let
anyone tell you what being Indian means," acts as a repeated
motif, a literary element highlighting the primary message. This
shows signs of protest from outside forces, urging their sense of
self identity to grow despite societal pressures. The
juxtaposition of "more or less" and "real Indian" dismantles the
concept of authenticity, protesting against established ideas that
try to categorize the diverse variety of Indianness.
The stirring of the pot at the end of the conversation can be a
symbolic act of combining the different ideas of heritage,
privilege, and identity into a cohesive narrative. It represents a
larger theme of cultural blending, and preserving the unique
qualities of culture while partaking in this idea.
Analysis
Within this excerpt from the novel "There There” by Thomas
Orange, the character Blue explores her Cheyenne heritage and
the concept of identity and self perception. The revelation of
Jacquie Red Feather as her birth mother introduces a new aspect
of cultural heritage, encouraging the development of Blue’s
racial identity from a reader’s perspective. The comparison of
external and internal attributes creates disharmony in
understanding the concept of identity. The physical
characteristics, such as brown skin and dark hair, are telling
signs of a non white background. However, there lies a paradox
with Blue feeling different inside than what is on the outside.
This disconnect between the external and internal identity
myself from the inside out.
And inside I feel as white as
the long white pill-shaped
throw pillow my mom
always made me keep on my
bed even though I never
used it.”
(Orange 198)
“You were two halves of a
thousand different kinds of
possibilities, a million heads
or tails, flip-shine on a spun
coin. Before you were born,
you were the idea to make it
to California for gold or
bust. You were white, you
were brown, you were red,
you were dust. You were
hiding, you were seeking
Before you were born, you
were chased, beaten, broken,
trapped on a reservation in
Oklahoma.” (Orange 208)
challenges the thought of racial identity and physical identity
being one. The imagery of the "long white pill-shaped throw
pillow" and the mirror become symbolic anchors in the
exploration of identity. The adoptive mother persuading Blue to
keep the pillow on her bed highlights the societal pressures Blue
might face. Drawing connections to other works of literature,
the themes of identity and self perception are shown in the
works of authors such as Toni Morrison and Zora Neale
Hurston. The struggle to understand outside expectations and
connect to inside truths goes beyond cultural and racial
boundaries, forming a universal theme that extends across many
literary landscapes. This passage also resonates with Foster's
ideas from How to Read Literature Like a Professor, more
specifically the concept of a symbolic journey. The revelation of
Jacque Red Feather’s name becomes a key point in Blue’s
journey of self discovery with her Cheyenne identity, similar to
the literary archetype of the “hero's quest.” The journey towards
self identity, tainted by internal conflicts and external pressures,
shows the universal human quest for identity and belonging.
This text from Orange’s novel implies that there is an endless
amount of possibilities that appear in each individual’s
existence. The metaphorical coin toss explores the idea of being
“two halves of a thousand different kinds of possibilities”
showing the complicated nature of human identity. The imagery
of a “spun coin” inspires a sense of uncertainty and chance,
highlighting how unpredictable life can be. The reference to
make it to California for gold during the Gold Rush era dives
into the historical context behind this paragraph, blending
personal narratives with broader historical significance. The
mention of being “chased, beaten, broken, trapped on a
reservation in Oklahoma” references the painful history of the
native people and the lasting effects of cultural oppression. This
portrayal lines up with themes discussed in How to Read
Literature Like a Professor, pushing readers to explore the
social and cultural implications incorporated into this novel. The
diverse cultures and skin colors represented by “white, brown,
red, dust” delve into the concepts of race and heritage. The
repetition of “Before you were born” acts as a literary device,
reflecting on the impact of ancestral experiences and how they
change the present generation through this poetic message. In
this passage Orange integrates historical context, literary
devices, and character exploration to spread his message.
Pp. 159-225
Dialectical Journal #4:
Selected passage
(inc. page #)
“Before she acknowledges
to herself that it's him,
before she can feel or think
or decide anything, she's
already moving toward her
grandson. She knows the
risk of walking out there.
She's walking toward the
gunfire. It doesn't matter.
She keeps an even pace. She
keeps her eyes locked on
Orvil. His eyes are closed
when she gets to him. She
puts two fingers to his neck.
There's a pulse. She screams
out for help.” (280)
“The center's center. There
is a bird for every hole in
him. Singing. Keeping him
up. Keeping him from going.
Tony remembers something
his grandma said to him
when she was teaching him
how to dance. "You have to
dance like birds sing in the
Analysis
This meaningful excerpt from Orange’s “There There” portrays
moments of conflict, high tension, and emotional turmoil
as Orvil’s grandmother, Jaquie, acts as the matriarch and rushes
into this dangerous situation without a moment of hesitation.
Jaquie’s advancement to save her grandson represents a
significant message and impact that Orange seeks to convey. In
using the phrase “Before she acknowledges to herself that it’s
him” acts as a literary device known as foreshadowing, making
readers anticipate more danger or revelations ahead. This further
heightens the suspense gathering towards the end of the novel.
Jaquie’s strength is reflected in the author's words “She keeps an
even pace.” This choice of diction highlights not only her
courage but acts as a metaphor for the resilience of Native
Americans described in the novel. The continuous rhythmic
steps she takes become a symbol of cultural resilience and
endurance, exploring themes that occurred in How to Read
Literature Like a Professor, where literature acts as a reflective
mirror reflecting the collective hardships of people. Jaquie
interestingly isn’t the one who raised Orvil, she left the
responsibilities to her sister Opal, however she is still his
grandmother and would do anything to protect him. The
mention of “walking toward the gunfire” becomes a
metaphorical expression of confronting the intense realities of
life. The history behind Native American struggles resonates
with the idea of defiance against diversity. This paragraph
weaves ancestral ties and familial bonds in the idea of what
sacrifice and familial love is.
Throughout this novel, dance is a recurring motif that weaves
through the narrative like a feather dancing in the wind. The
motif of dance surfaces as a powerful metaphor, highlighting the
importance of dance as an art form that imparts a sense of
identity and purpose. Tony’s recollection of his grandmother
Maxine’s teachings “You have to dance like birds sing in the
morning," she'd said, and showed him how light she could be on
her feet.” signifies how important dance is to cultural heritage,
tradition, and can symbolize resilience. The juxtaposition of
morning," she'd said, and
showed him how light she
could be on her feet. She
bounced and her toes
pointed in just the right way.
Dancer's feet. Dancer's
gravity. Tony needs to be
light now. Let the wind sing
through the holes in him,
listen to the birds singing.
Tony isn't going anywhere.”
(290)
Pp. 229-290
Maxine’s agile movements and the airy bouncing of her feet
conveys a sense of grace and fragility, the gravity of a dancer
that has now become a lifeline for Tony is this scene. Thomas
Orange’s elevated diction, including “Dancer’s feet” and
“Dancer’s gravity” highlights dance’s importance and power,
changing it into a representation of tradition and strength.
Drawing on Thomas Foster’s idea of transformative symbols,
dance has become one that embodies Tony’s cultural
background and strengths. The birds don't just represent birds,
but can symbolize hope and healing. The broader themes of
Native American resilience despite many history injustices, this
paragraph reflects a sense of intergenerational wisdom.