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DOI: 10.1353/bio.0.0027
AN INTRODUCTION
KATHLEEN MCHUGH AND CATHERINE KOMISARUK
viii
has observed that paper is colonialism. The technology of writing supplants and overrides the materiality of precolonial American cultures; print
and paper disallow evidence, accounts, objects, and voices that fall outside
of and cannot be converted to the colonizing regime of the literate. If, as
Lord asserts, paper and writing are modes of colonialism, the life-narratives
discussed in this cluster attempt to register a materiality that has not been or
could not be written, though kept alive by oral and embodied transmission.
Thus the lives featured in the essays are of the marginalized, but their narrative forms require collaboration with technologies of literacy.
We use the term collaborative life-narrative instead of autobiography
to signal our emphasis on the circumstances from which these narratives
arose. We are concerned especially with how these circumstances challenge
conventional rubrics of analysis and clear ascriptions of author, narrator, protagonist, narrative, and genre.2 While collaboration has arisen fairly recently as a critical concern in studies of Native American autobiography, and
also, somewhat differently, in Latin American testimonios,3 we believe that
collaborative forms of life-narrative in the Americas have ranged across historical moments, media, and subject positionsfrom the Mesoamerican dynastic glyphs and the conquerors crnicas to contemporary installation art
and self-narration in experimental lm and video. Examples of this form
include indigenous codices and annals, slave narratives, Inquisition records
and judicial depositions, captivity narratives, religious confessions, commonplace books, as told to accounts, testimonios, ethnographies, oral histories,
and genealogies. Contemporary writers, artists, and critics working in prose,
installation art, cinema, video, and visual and performance art frequently
choose collaborative modes of working, often to put forth and simultaneously
render ambiguous their representations of subjectivity, cooperation, history,
and/or authenticity within the life-narratives they construct.
As these examples indicate, we interpret collaboration broadly, in ways
that include all the nuances and interpretations of the word as well as aspects
of its history as a critical term. With labor nestled in its middle, collaboration calls forth both positive and negative senses of working together. It
can mean variously to work together in a joint intellectual or aesthetic activity, and also treasonable cooperation with an enemy. The ambiguity
of the term apprehends the diverse possibilities of and/or constraints upon
expression often within hostile contact zones that this cluster of essays addresses. Collaboration can apply to life-narratives produced jointly by two
or more people (in as told to or ghostwritten productions), as well as
those articulated within political circumstances that compelled the narrators
to cooperate or collude with governments, people, ideas, images, stereotypes,
ix
xi
1.
2.
3.
4.
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the Klamath River Indian Country in 190809. Lincoln: Bison Books/U of Nebraska P,
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xii
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