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“Part thriller, part magical realism, and part social commentary, Indian Killer . . . lingers long past the final page.”—Seattle Weekly
A national best seller, Indian Killer is arguably Sherman Alexie’s most controversial book to date—a gritty, racially charged literary thriller that, over a decade after its first publication, remains an electrifying tale of alienation and justice. A serial murderer called the Indian Killer is terrorizing Seattle, hunting, scalping, and slaughtering white men. Motivated by rage and seeking retribution for his people’s violent history, his grizzly MO and skillful elusiveness both paralyze the city with fear and prompt an uprising of racial brutality. Out of the chaos emerges John Smith. Born to Indians but raised by white parents, Smith yearns for his lost heritage. As his embitterment with his dual life increases, Smith falls deeper into vengeful madness and quickly surfaces as the prime suspect. Tensions mount, and while Smith battles to allay the anger that engulfs him, the Indian Killer claims another life. With acerbic wit and chilling page-turning intensity, Alexie takes an unflinching look at what nurtures rage within a race both colonized and marginalized by a society that neither values nor understands it.
- Sales Rank: #77933 in Books
- Brand: Alexie, Sherman
- Published on: 2008-07-01
- Original language: English
- Number of items: 1
- Dimensions: 8.20" h x 1.20" w x 5.50" l, .86 pounds
- Binding: Paperback
- 432 pages
Amazon.com Review
Native American Sherman Alexie's new novel is a departure in tone from his lyrical and funny earlier work, which include The Lone Ranger and Tonto Fistfight in Heaven and Reservation Blues. The main character is an Indian serial killer who incites racial tension by murdering whites in retribution for his people's history. The killer leaves clear signs of his motives by scalping his victims, and leaving feathers as gestures of Indian defiance. The killer is a conflicted creation--raised by loving white parents, but twisted by loss of his identity as an Indian. Alexie layers the story with complications and ancillary characters, from a rabid talk show host, to vengeance seeking whites, to liberals who find their patronizing espousal of Indian causes no longer so easy.
From Publishers Weekly
In a startling departure from his earlier, more lyrical fiction, Native American novelist Alexie (Reservation Blues) weighs in with a racially charged literary thriller. Seattle is rife with racial tension as the city is terrorized by a serial murderer nicknamed "Indian Killer" because the victims, all white, are scalped and their bodies topped with a pair of white owl feathers. At the center of the novel stands the mentally disintegrating John Smith, a 6'6" Native American ignorant of his tribal roots because he was adopted and raised by white parents. As the city's racial divide increases, Marie Polatkin, a combative Spokane activist and scholarship student, organizes demonstrations and distributes sandwiches and sedition to homeless Indians, while reactionary shock-jock Truck Schultz rails on the air against casinos on reservations. Three white men with masks and baseball bats (compatriots of a murdered University of Washington student) prowl the downtown area beating any Native American they find; a trio of Indians similarly beat and knife a white boy. Through it all float a number of psychological half-breeds, among them a mystery writer who's an Indian wannabe and a buffoonish white professor of Native American literature who is forced to re-evaluate his qualifications. Over the last few years, Alexie, who is Spokane/Coeur d'Alene, has built a reputation as the next great Native American writer. This novel bolsters that contention. It displays a brilliant eye for telling detail, as well as startling control, as Alexie flips points of view among a wide array of characters without ever seeming to resort to contrivance. The narrative voice can sound detached and affectless, and some readers will miss the lyricism and humor of the author's earlier work, but this novel offers abundant evidence of a most promising talent extending its range. 75,000 first printing; $75,000 ad/promo; author tour; rights: Nancy Stauffer.
Copyright 1996 Reed Business Information, Inc.
From Library Journal
Alexie (The Lone Ranger and Tonto Fistfight in Heaven, LJ 9/1/93) was recently cited by Granta as one of today's best young American novelists. In his latest novel, a quasi-thriller, a mysterious Indian is killing and scalping white men in Seattle. The most obvious suspects are John Smith, an Indian who was adopted and raised by white parents, and Reggie Polatkin, the product of a marriage between a Spokane woman and an abusive white man. The novel's appeal, however, lies not in our drive to detect the killer's identity but in the sheer wonder of Alexie's fabulously sketched minor characters: Marie, a young, idealistic Spokane woman who befriends John; Wilson, a celebrated white mystery writer a la Tony Hillerman, who mistakenly believes he can elucidate the Native experience; and Dr. Mather, a "Wannabe Indian" who teaches Native American literature and clashes with Marie. Unfortunately, the humor that made the bleak stories in The Lone Ranger and Tonto so enjoyable is missing here, and the grinding of Alexie's axe is sometimes a bit loud. Still, this is a fine novel by an up-and-coming writer and, given the 75,000-copy first printing, there should be ample demand. For most fiction collections.?Mark Annichiarico, "Library Journal"
Copyright 1996 Reed Business Information, Inc.
Most helpful customer reviews
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... this for my college course but it was a great book none the
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Indian Killer -- John Wayne Flipped Around
By Roseanne E. Freese
Alexie is a riveting writer who can make the heart pound and the breath freeze. He's also refreshingingly honest about the disconnect between the violence and suffering and soul-destroying abandonment forced upon First Nations people and the absence of recognition of that destruction by its perpetrators. As a mystery, it's a terrific read, a Dean Koontz or Steven King' telling of the wicked gone awry.
As a well-rounded retelling of what goes on inside people's hearts -- and how they run or wallow in their fears -- it's more like a gothic murder mystery dressed up in Indian clothes. If you don't know any of the history or the people, it's fascinating reading. But once you've finished the book, you realize, excepting the African American characters, everyone body else is one-dimensional -- even if exotic. All the "wannabee Indians" are reduced to being hypocrites or fools. Why must this be? Go into Asian or French studies, and one gains respect as a sinologist or diplomat. Similarly, the book is full of white boys and Indian boys who's only emotion is getting revenge. Yawn.
However, if you do read the work as an expose of how little we do know of the past and what masquerades as authority, the work is powerful. First off, we're tremendously ignorant about our own history. The word redskins became prominent in the 19th century because European Americans no longer could tell the First Nations apart. Take a 1,000 books on First Nations and 980 of them are the same old coffee table book on "Indians of North America" just getting recycled. Of the 20 remaining titles, 15 may provide information at the tribal level, and only 1 will be an actual biography. That leaves only 4 titles that were written by people who knew the languages. These could be reprints of a French of British work from the sixteenth to eighteenth centuries, or, if your damn lucky, your bookstore will carry something by contemporary First Nations writers, such as Mary Harjo, Simon Ortiz or Joseph Bruchac. Sadly, Alexie does not quote these people in his book. However, Alexie is right, if you don't know your past, it will come back to haunt you.
The second reason why the book is so compelling is that though the story is about the infant who is all but ripped from his mother's uterus to be raised by others, it is really about the mother -- who in order to survive herself must cut herself off from her own flesh in blood. She must become invisible in order to survive, which her son mirrors by learning the chants to make himself invisible as he carries out his deeds -- not all of which are evil. Although Alexie doesn't overtly raise it, we all know from history that First Nations families had been split apart and murdered for centuries. While Lincoln issued the Emancipation Proclaimation in 1863, the northern midwestern states publicly paid bounties on Indian scalps -- at least African slaves had value as living beings. Within a few years of the Battle of Little Bighorn, Canada and the United States in 1881 both passed NATIONAL laws that forced the surviving native peoples into internal exile -- to live on lands where they did not come from; banned them from speaking their own languages; and, forbidding them to practice their own religion. It took nearly a century before these human rights were restored to First Nations people. The path of repression and assimilation is also forced on the lead character of Alexie's novel.
Ironically, the stolen little boy gets renamed John Smith, the most non-descript name among European Americans. Poor John Smith has not only lost his inheritance, but he has no identity even in his adoptive parents' culture. Alexie's description of the loss of self, loss of relationship, and the grandiose fears that grow in the poor boy's heart is phenomenal. John Smith is clearly afraid to be himself -- and what's worse, he doesn't know how. He doesn't even know which Nation he comes from and in this sense, he is as ignorant as the European Americans around him.
Alexie doesn't resolve the disconnect between the past and the present, the chasm between John's birth parents and adoptive parents, and the break between the wannabees and the bloods (which, by the way, is another 19th century myth from European culture). However, in bringing this pain to mind and heart, Alexie has achieved no small or easy thing. While Alexie is not asking us to bury the hatchet, he does do a remarkable job of asking us to walk in another man's shoes.
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