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 JOBS BOARD CONTACT CALIE LINKS |   DEBORAH MIRANDA PhD. in English, University of Washington (2001)M.A. in English, University of Washington (spring 2001)
 B.S., Teaching Moderate Special Needs Children, Wheelock College (1983)
 Deborah A. Miranda is an enrolled member of the Ohlone-Costanoan Esselen Nation of California, and is of Chumash ancestry as well.   Dr. Miranda is currently finishing "Bad Indians: A Tribal Memoir," a collection of stories, poems, Mission documents, her Esselen grandfather's tape-recorded histories, government records, newspaper articles, and her own experiences as a mixedblood California Indian woman in the 21st century, as well as a book of poems titled "Written on the Bark of Trees: Praise Poems." American Indian PoetDeborah Miranda also authored two poetry collections:  Indian Cartography [Greenfield Review Press, 1999] which won the Diane Decorah Award for First Book from the Native Writer's Circle of the Americas, and The Zen of La Llorona, nominated for the Lambda Literary Award [Salt Publishing, 2004].  As Associate Professor of English at Washington and Lee University, Deborah teaches Creative Writing (poetry and memoir), composition, and a variety of literatures concerned with race, gender and ethnicity. WLU biographical profile PDF — (original source). NATIVEWIKI profile WHEN TURTLES FLY Here is one of Deborah's most famous American Indian poems: 
									
										|  Indian Cartography excerpts
 by Deborah A. Miranda, Ohlone-Costanoan Esselen
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										| Indian Cartography My father opens a map of California— traces mountain ranges, rivers, county borders
 like family bloodlines. Tuolomne,
 Salinas, Los Angeles, Paso Robles,
 Ventura, Santa Barbara, Saticoy,
 Tehachapi. Places he was happy,
 or where tragedy greeted him
 like an old unpleasant relative.
 A small blue spot marks Lake Cachuma, created when they
 dammed the Santa Ynez, flooded
 a valley, divided my father's boyhood: days
 he learned to swim the hard way,
 and days he walked across the silver scales,
 swollen bellies of salmon coming back
 to a river that wasn't there.
 The government paid those Indians to move away,
 he says; I don't know where they went.
 In my father's dreams after the solace of a six-pack,
 he follows a longing, a deepness.
 When he comes to the valley
 drowned by a displaced river
 he swims out, floats on his face
 with eyes open, looks down into lands not drawn
 on any map. Maybe he sees shadows
 of a people who are fluid,
 fluent in dark water; bodies
 long and glinting with sharp-edged jewelry,
 mouths still opening, closing
 on the stories of our home.
 I Am Not a Witness I found Coyote, Eagle, and Momoyin a book, but cannot read
 the Chumash words. I found
 photographs of bedrock slabs pocked by
 hundreds of acorn-grinding holes,
 but the holes are empty, the stone
 pestles that would curve to my grip
 lie dead behind museum glass.
 Mountains and rivers and oaks rise
 in Spanish accents: San Gabriel,
 Santa Ynez, Robles.
 These are not real names.
 Some of our bones rest in 4000 gravesout back behind the Mission.
 Some of our bones are mixed into mud
 to strengthen cool thick walls
 where smallpox and measles came and stayed.
 Some of our bones washed down the river
 whose name I do not know
 past islands I cannot name
 to the sea where
 I have never sailed.
 Mixed-blood, I lay claim by the archof my eyebrows, short nose, dark hands.
 1 am not a witness. I am left behind, child
 of children who were locked in the Mission
 and raped. I did not see this:
 I was not there—but I am here.
 Where is the place that knows me?
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