I think about other Native people who may read that piece and can, through the piece, feel a connection to those lands...feel that they are there.
I decided early on that I was going to write my stories...in my own voice, my own words, with my own sense of humor and my own actual grammar and peculiarities of speech… everything exactly the way I would tell it.
It's really important to have this kind of representation for our culture, because there's not a lot of it out there.
I have, frankly, had a sort of self-aggrandizing sense of my own importance since I was a young child. So I've been writing this book all my fucking life.
You never know what the next scenario is going to be, is it going to be something innocent like, oh, the parents let their kids play in the snow and let them live joyfully, or is it going to be nature wiping out humanity?
Sacrifice can be this totally joyful choice that people make, which is something that I've come to terms with more, recently.
This explanation of my relationship with racial memory and inherited trauma, I think, started coming in.
I did feel like I was sort of peering into their brain and trying to pluck out what they thought was the most important part.
I think in the literature that I've read, sight as a bit of a metaphor for knowledge, for awareness, and for identity, is pretty well suffused and embedded into this collective recognition.
I wanted to bring water into these places that are sterile or dry or drought-ridden.