Abstract
Abstract Scholars of modernism have recently redefined the field in ways that privilege cultural rather than aesthetic considerations, a move that has encouraged attention to texts by Native American authors and has brought imperialism into a more central role in the history of modernist writing. This move is not without its problems, however, and this essay explores the implications of the shifting conception of modernism. Focusing on N. Scott Momaday’s The Way to Rainy Mountain (1969), this essay suggests the work both supports and troubles some of the central contentions of New Modernism.
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