Anpao Book

Can one always trust what one hears? How much verification is needed to guarantee a fact's indubitable reliability? Jamake Highwater's Anpao: An Indian American Odyssey, although restrained by the binds of a questionable past, presents itself as a piece of indigenous literature. The claim is due to uncertainty of Highwater's origins and background, and is often viewed skeptically by those who do their research. However, after further analysis and evaluation of the text, Anpao can be justified through its accuracy and loyalty to many traditional themes of Native American literature.
For one, the plot line of Anpao is clearly cyclical, unlike the majority of mainstream literature, which moves without sense of both forwards and backwards through time. There are countless side stories, stories within stories. So many, in fact, that it becomes difficult to clearly distinguish each sub plot's role and path in the book. One minute Anpao is on his journey, longing for the beautiful Ko-ko-mi-ke-is, and the next, a recount of the birth of the world is just picking up speed. Why, the entire novel is simply an extensive myth narrated by the old and wise Wasicong, a myth pulling together different stories from different times, weaving them all together into one thick, knotted web of a tale.
Another characteristic to which Anpao is loyal is the ability in indigenous literature to laugh at oneself, to play with one's traits in a lightheartedly comical fashion. A perfect example of this aspect being tied into the novel is a giggle-inducing tale by the name of Farting Boy. In this chapter, Anpao comes across a shy young man who, rather unfortunately, emits a loud squelching noise at every motion. This seemingly insignificant side-story is used as a pleasant release from the overall solemn atmosphere of the novel, an opportunity to ease up and let loose by good naturedly singling out and exaggerating a humorous characteristic of one's own people. This act of playfully making fun of an aspect of one's culture is often seen in Native American texts, very much in contrary to a European sense of humor. Possibly the largest difference, however, has to do with the collision and horrendous clashing of these two cultures, and the gruesome ongoing battle rooted centuries ago between them.
A huge topic raised throughout indigenous culture and literature is the critique of colonialism. Countless tales voice their opinions of colonization in the age of exploration through recounts of the Europeans' mad savagery and sadistic treatment of natives, whom they murdered or otherwise forced into slavery. In Anpao, the presence of the white man is only just beginning to come into the light, and these mysterious creatures and their mystical possessions are a source of great confusion and fascination among informed natives. This undetermined group of beings is nicknamed simply the Big Knives, due to their gargantuan, lethal-tipped swords of iron. They are described in the book to possess fireboats and great powers beyond the knowledge of Indians, and use these powers to destroy all that falls into their path. The Big Knives, fantastical as they may be, are viewed as destructive demons sent to terrorize the native peoples.
Provided the evidence above, it can be seen that the overlap of typical indigenous literature and the text Anpao is great in many regions. No matter the origins of its creator, the novel is loyal to the traditional aspects of Native American culture, including sense of time, humor, and society. In order to understand and infer the reliability of a person, fact, or source, you must thoroughly examine and analyze every speck of information, every hint that could be used as a clue to your answer. We need to stop seeing everything as skin-deep, and realize that the key to trusting and understanding is simply delving deeper into the hidden meanings lurking beneath the surface. As we travel further and further down, the world becomes richer, and we must learn to grasp this richness behind everyday life. It is a great gift to live, and since we have only got one shot at life, we must love much and worry little, and embrace every moment like it is our last.