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"Angulo, Jaime de."
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Tracks along the Left Coast : Jaime de Angulo & Pacific Coast culture
\"More than an immersive tale of the picaresque life of cowboy linguist, doctor, ethnographer, and author Jaime de Angulo--the Old Coyote of Big Sur--but an exploration of the persecuted Native Californian cultures and languages that had thrived for millennia and endured into his day. Jaime de Angulo's linguistic and ethnographic work, his writings, as well as the legends that cloak the Old Coyote himself, vividly reflect the particulars of the Pacific coast. His poetry and prose uniquely represented the bohemian sensibility of the twenties, thirties and forties, and he was known for his reworkings of coyote tales and shamanic mysticism. So vivid was his writing that Ezra Pound called him 'the American Ovid,' and William Carlos Williams claimed that de Angulo was 'one of the most outstanding writers I have ever encountered.' In each retelling, through each storyteller, stories are continually revivified, and that is precisely what Andrew Schelling has done in Tracks Along the Left Coast, weaving together the story of a life with the story of the land and the people, languages, and cultures with whom it is so closely tied\"--Provided by publisher.
Book
Prefaces to Jaime de Angulo's Music of the Indians of Northern California
Garland discusses the Song of Los Pesares, a collection of songs Jaime de Angulo created by and for himself. It is a cycle of songs, or visual poems, from his last years of solitude at his ranch, Los Pesares (The Sorrows), high atop a ridge in Big Sur. Most, if not all, of the songs appear to come from the years 1948-1950, the very end of his life. Though it bears a title page in his handwriting, Song of Los Pesares was not a fixed and finished manuscript; rather, it is a loose jumble of notes. No doubt de Angulo meant them for personal reference and use only, and they were never intended for publication.
Journal Article
\Singing with my Antennae\: Jaime de Angulo's Outside Poetics
Jaime de Angulo's modernist poetics stem from his ethnographic praxis, which acknowledged that his subjectivity was open to transformation. Just as de Angulo was an outsider to the cultural anthropology of his era, so too was he an outsider to modernist poetry. This marginalization allowed him to be open to personal transformation and to create poetry deeply influenced by the spirituality of the Achumawi people of Northern California. From this marginal position, de Angulo became an influential figure for West Coast Modernist poetics. Here, Eyre discusses de Angulo's unique contribution to poetics.
Journal Article
Jaime de Angulo, Modernity, and the Living Voice
Jaime de Angulo's eccentric academic career as an ethnographer and linguist of far-western Native America has obscured a matter of importance: that he is a twentieth-century American literary figure of great consequence. Here, McGann discusses the problems on de Angulo's work.
Journal Article
For Gui
Garland features Gui Mayo, Jaime de Angulo's daughter. She was the third and youngest of Jaime's children. She grew up apart from her half sister, Ximena, whose mother, Jaime's first wife, Cary Fink, took her away with her when she and Jaime divorced. Gui grew up an only child in a wildly dysfunctional family, with a brilliant but extremely eccentric father. Her mother, Nancy Freeland, a linguist like Jaime, separated from him when Gui was twelve, and subsequently divorced him. Gui and Jaime maintained a tense, on-again, off-again relationship until Jaime's death in 1950, shortly before her twenty-third birthday. All through her life Gui had complex and conflicted feelings toward her father, so much so that in her later years she dropped the de Angulo name altogether, and adopted the last name of Jaime's mother, Mayo-and became Gui Mayo.
Journal Article
Land that Has Been Here Since the First Coyote Gathered It Up: Tracking the Old Time Stories
Schelling discusses Jaime de Angulo's work of oral and written storytelling. He locates traces of what de Angulo had learned of the Old Ways, which lie just beneath our highways, cities, suburbs, and under our current assumptions about culture and history. He distinguishes three separate but related works. First there is a tangled-up collection of Indian Tales manuscripts, existing in several different states or conditions, some carrying the handwritten title, indian tales for a little boy and girl. By 1949 and 1950, the final year or two of de Angulo's life, the tales were turned into a brilliantly elaborate manuscript.
Journal Article