Johnson leaves his guitar behind because it rules “its possessor like a drug” (Pasquaretta, 2003, p. the devil’s son-in-law, too lazy and too proud to work for a living” (Pearson, 1984, p. The historical Johnson was the paradigmatic blues artist: a “trickster, hoodoo man. The visitor is bluesman Robert Johnson, not dead in 1938 as advertised, but alive and seeking an “ld woman lives on a hill.” He needs her help because he “sold soul to the Gentleman so could play. “At the crossroad,” the black man said (pp. Characters, scene, and their conversation intimate the novel’s trajectory: Sherman Alexie’s (1995) (Spokane/Coeur d ‘Alene) Reservation Blues ( RB), the saga of the rise and fall of an American Indian blues band named Coyote Springs, opens as a “black stranger” with a “guitar slung over his back” stands at a “crossroads,” waving “at every Indian that by” until Thomas Builds-the-Fire, the “misfit storyteller of the Spokane Tribe” (pp. In the one hundred and eleven years since the creation of the Spokane Indian Reservation in 1881, not one person, Indian or otherwise, had ever arrived there by accident.
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