Abstract

Turning to Indigenous genre theory, this article interprets Blake M. Hausman's Riding the Trail of Tears (2011) as a work of both Indigenous science fiction and Cherokee historical fiction. By defying the temporal constraints of science fiction and historical fiction, as conventionally defined, the novel imagines Cherokee people effectively resisting Removal via digital, Cherokee-made technology and reclaiming Cherokee historical lands. To understand how historical and tribal specificity combine in the novel's imagination of these possibilities, the authors apply Cherokee literary history and definitions of Cherokee Beloved Path and Chickamauga consciousness to explain how the novel's science fictional framework and historical narrative enable characters to resist settler-colonial technologies of dominance and survive the novel's seemingly infinite loop of Removal. To describe how the novel uses Native-made technologies to connect elements of Cherokee historical fiction to elements of Indigenous science fiction, we combine Allison Adelle Hedge Coke's use of the term throughways with Grace L. Dillon's definition of the genre Native slipstream. The article concludes that discussions of genre, and specifically historical fiction, should pay careful attention to the way that multiple cultural contexts inform definitions of history, time, and space.

中文翻译：

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切诺基的历史小说和本土科幻小说

摘要

转向土著体裁理论，本文阐释了布莱克·豪斯曼的《眼泪小径》（2011）作为土著科幻小说和切诺基历史小说的作品。通过克服常规定义的科幻小说和历史小说的时间限制，这部小说想象切诺基人通过数字，切诺基制造的技术有效地抵抗了迁徙，并开垦了切诺基的历史土地。为了解历史和部落的特殊性如何将小说对这些可能性的想象结合在一起，作者运用切诺基文学史以及切诺基心爱之路和奇卡莫加意识的定义，来解释小说的科幻小说构架和历史叙事如何使人物抗拒殖民者殖民技术。并在小说看似无限的移除循环中生存。throughways与流派本土滑流格雷斯L.狄龙的定义。本文的结论是，关于体裁的讨论，尤其是对历史小说的讨论，应格外注意多种文化背景对历史，时间和空间的定义所起的作用。