# data[].attributes.body
A common theme throughout our reading is that A cultural narrative is the shared story or set of stories that a group of people tells about their relationship with nature, the environment, and the land. These stories can shape how societies view nature, whether as something to protect, control, exploit, or live in balance with. In environmental literature, cultural narratives help explain why different communities act the way they do toward the environment. They show how beliefs, values, history, and traditions influence environmental attitudes and actions

# data[].attributes.body
In Woven Stone, Simon J. Ortiz presents storytelling as a vital cultural narrative that preserves Indigenous identity and history. Through poems that reflect on colonization, land, and community, Ortiz shows how stories are not just memories—they are acts of survival and resistance. His line, “Our stories are our survival,” emphasizes that cultural narratives carry the wisdom, trauma, and resilience of a people. This text reminds us that for many marginalized communities, storytelling is not only a way to remember but a way to heal, resist, and pass on truth across generations.

# data[].attributes.headline
Cultural Narratives; From lecture/discussion 

# data[].attributes.subject
Cultural Narratives; From lecture/discussion 

# data[].attributes.body
Common story templates known as cultural narratives influence how the public and the media perceive the world. These narratives have tangible, tangible effects on societal structures like the legal system as well as individual beliefs. For instance, the "wilderness" narrative frequently presents the writer or activist as the hero seeking solace and atonement in nature, nature as something pristine and in need of rescuing, and civilization as the force endangering it. As demonstrated by ecofascist ideology, which uses nature to defend racism by asserting that "whites need to be protected with their own border, like an endangered species," this structure can be manipulated. Ecofascist, which has its roots in Nazi ideology, links nature to racial purity and demonstrates the perilous nature of cultural narratives that are distorted to further violent or exclusionary ends. Environmental justice movements, on the other hand, oppose these narratives by promoting inclusivity, equity, and a more comprehensive view of how humans interact with the natural world.

# data[].attributes.body
The article "It is going to be terrible" from The Guardian in February 2025 highlights the social and environmental injustices that the people of Louisiana's "Cancer Alley," especially the town of Reserve, must deal with. Robert Taylor, 84, is the main character of the article. He believes that emissions from a nearby chemical plant caused his wife's cancer. Taylor's story serves as an example of how political decisions and systemic environmental racism have sustained health disparities in communities that are predominantly Black.

The article emphasizes how the current health crises in these communities could worsen the effects of the Trump administration's repeal of environmental protections. The administration ignores the health issues and lived experiences of locals like Taylor by tearing down reforms meant to reduce industrial pollution. This story illustrates a larger cultural trend in which underprivileged groups suffer the most from environmental dangers, frequently with little help or recognition from those in positions of authority.​

The article essentially clarifies the relationship between public health, racial inequality, and environmental policy by showing how cultural narratives of systemic injustice and neglect still affect communities in Cancer Alley.

# data[].attributes.attachment_link.title
‘It is going to be terrible’: a senior in Louisiana’s ‘Cancer Alley’ prepares for Trump’s dismantling of hard-won environmental progress

# data[].attributes.attachment_link.description
Robert Taylor recently lost his wife to a long-term illness he linked to chemicals produced by a nearby plant, and now the Trump administration is preparing to scrap pollution reforms in the area

# data[].attributes.body
The conflict between economic interests and environmental health is a prominent cultural narrative in the United States, as highlighted in the March 27, 2025, New York Times article. It talks about how coal-fired power plants and other industrial polluters are being granted exemptions from rules restricting the emissions of harmful substances like arsenic and mercury by the Environmental Protection Agency (EPA) under the Trump administration. This action is indicative of a larger cultural narrative that places industrial and economic expansion above public health and environmental preservation.

This story is based on the idea that deregulation promotes economic growth, even if it means that communities, especially those close to industrial sites, may face greater health risks. Environmental organizations have denounced these exemptions as part of a "polluters-first agenda," claiming that they enable businesses to evade regulations intended to protect the environment and public health.

The article emphasizes how policy choices shaped by this cultural narrative can result in environmental injustices that disproportionately impact communities that are marginalized. It also demonstrates how cultural values and priorities influence the continuous discussion in American society regarding how to strike a balance between environmental preservation and economic growth.

# data[].attributes.attachment_link.title
E.P.A. Offers a Way to Avoid Clean-Air Rules: Send an Email

# data[].attributes.attachment_link.description
Referring to a little-known provision, it said power plants and others could write to seek exemptions to mercury and other restrictions and that “the president will make a decision.”

# data[].attributes.body
Cultural narratives from our readings

In the three texts- The Clan of the One-Breasted Women, Nature Poem, and Woven Stone, cultural narratives are significant because they show how the stories that societies tell shape identity, power, and resistance. Williams argues that victims of nuclear testing are silenced by cultural narratives of religious obedience and patriotism that conceal environmental injustice. By rejecting colonial linguistic conventions and claiming a contemporary, fluid Native identity, Pico's Nature Poem subverts stereotypes about Indigenous authors. Through storytelling, Ortiz's Woven Stone upholds ancestral wisdom and resists erasure, preserving Pueblo cultural narratives. When taken as a whole, these texts demonstrate how cultural narratives control the power to both oppress and empower people, influencing their perception of who they are and where they fit in the world.

# data[].attributes.body
In Woven Stone, Simon J. Ortiz writes, “What we see and feel and know to be true is what we must speak.” This quote powerfully reflects the role of storytelling in shaping and preserving cultural narratives. Ortiz shows that for Indigenous communities, speaking truth through story is both a personal and political act. His poetry becomes a way to resist erasure, affirm lived experience, and uphold ancestral knowledge. Cultural narratives, as Ortiz presents them, are not passive—they demand voice, presence, and action. By sharing what is seen and felt, storytelling becomes a way to survive, remember, and reclaim identity.

# data[].attributes.body
In Nature Poem, Tommy Pico writes, “I can’t write a nature poem bc English is some Stockholm shit.” This striking line critiques how colonial language distorts Indigenous relationships with land and identity. Pico resists traditional “nature poetry” that romanticizes the environment through a Western lens, instead exposing how language itself can be a tool of cultural oppression. His refusal becomes a cultural narrative—one that reclaims Indigenous voice, challenges stereotypes, and redefines nature from a lived, urban, and Native perspective. Pico’s work shows that storytelling doesn’t have to follow expected forms to carry deep cultural meaning.

# data[].attributes.body
Tommy Pico writes, “I carry this rez grief on my shoulders like a velvet cape.” This line reflects a powerful cultural narrative of intergenerational trauma, pride, and survival. By describing grief as both a burden and something soft or royal like velvet, Pico captures the complexity of Indigenous identity—woven with pain, but also beauty and resilience. Rather than hiding his emotions or background, he wears them openly, making his story part of the larger narrative of Native life in a colonized world. This poetic image challenges dominant narratives by centering lived Indigenous experience on its own terms.

# data[].attributes.body
Terry Tempest Williams addresses the catastrophic impacts of nuclear testing on her family and community in The Clan of One-Breasted Women, providing a potent critique of institutional trust and blind patriotism. "Tolerating blind obedience in the name of religion or patriotism ultimately takes our lives," is a quote that strikes a deep chord.

This quotation captures a cultural narrative in which silence, nationalism, and faith are all entwined, especially in the context of Williams's Mormon upbringing. Despite her family's strict adherence to the church's health code, many women suffered from breast cancer. These cases, which were first ascribed to genetics, were later connected to government-approved nuclear tests in the Nevada desert, demonstrating how state policies and religious doctrine can combine to stifle critical thought and put lives in jeopardy.

# data[].attributes.body
Terry Tempest Williams questions cultural narratives that emphasize obedience and downplay systemic harm in The Clan of the One-Breasted Women. According to most statistics, breast cancer is inherited, she writes. They fail to mention the potential health risks associated with residing downwind from the Nevada Test Site. This quotation illustrates how prevailing narratives frequently attribute disease to inherited or personal factors while neglecting environmental factors linked to governmental actions. Williams emphasizes how such harm went unchallenged because of religious obedience and patriotic silence. She challenges these stifling influences and draws attention to the negative effects of unquestioning faith in authority by sharing her family's story. In the face of institutional neglect, her essay is a potent act of resistance, promoting accountability and the truth.

# data[].attributes.body
Tommy Pico challenges preconceived notions about Native American identity and expression in Nature Poem by utilizing cultural narrative. He exposes how colonialism is the source of these limited perspectives by criticizing the requirement that Indigenous writers concentrate on nature or tradition. Pico reimagines what Native poetry can be by fusing humor, popular culture, and personal experience. His use of English reflects the difficulties of juggling multiple cultures and serves as a tool for both self-expression and resistance. Pico asserts a modern, complex Indigenous identity that defies the static or idealized representations frequently found in popular narratives by rejecting imposed roles and expectations.

# data[].attributes.body
Terry Tempest Williams reveals in The Clan of the One-Breasted Women how deference to authority and patriotism can stifle truth and prolong harm through cultural narratives. Being raised in a patriotic, religious family, she was taught not to question the actions of the government. Her family and others were able to endure the consequences of nuclear testing without protesting because of this cultural expectation of compliance. By linking her family's cancer diagnosis to environmental injustice, Williams breaks the taboo imposed by nationalism and religion and challenges these narratives. Her essay addresses the perils of unquestioning institutional loyalty while reclaiming both individual and group voice.

# data[].attributes.body
(Ortiz_Woven Stone - ENGL-2635E-Literature and the Environment-SEC001-1253 - PerusAll, n.d.)

(Williams_the Clan of One-Breasted Women - ENGL-2635E-Literature and the Environment-SEC001-1253 - PerusAll, n.d.)

B, B. (2018a, May 14). “The Clan of One-Breasted Women”: A Story of Nuclear Contamination and Human Bodies. Medium. https://medium.com/@somethinghere1988/the-clan-of-one-breasted-women-a-story-of-nuclear-contamination-and-human-bodies-f587ba749f87

B, B. (2018b, May 14). “The Clan of One-Breasted Women”: A Story of Nuclear Contamination and Human Bodies. Medium. https://medium.com/@somethinghere1988/the-clan-of-one-breasted-women-a-story-of-nuclear-contamination-and-human-bodies-f587ba749f87

Terry Tempest Williams | Harvard Divinity School. (n.d.). https://www.hds.harvard.edu/people/terry-tempest-williams

Terry Tempest Williams :: Coyote Clan. (n.d.). http://terrytempestwilliams.com/

Tommy Pico. (n.d.). The Poetry Foundation. https://www.poetryfoundation.org/poets/tommy-pico

Tommy Pico - The Poetry Project. (2017, May 22). The Poetry Project. https://www.2009-2019.poetryproject.org/articles/tommy-pico/

The Indianapolis Star subscription offers, specials, and discounts. (n.d.). https://subscribe.indystar.com/restricted?return=https%3A%2F%2Fwww.indystar.com%2Fstory%2Fnews%2Fenvironment%2F2020%2F04%2F28%2Fepa-to-change-limits-mercury-could-put-pollution-controls-risk%2F5153044002%2F&gps-source=CPROADBLOCKDH&itm_source=roadblock&itm_medium=onsite&itm_campaign=premiumroadblock&gca-cat=p&gca-uir=true&gca-epti=z119089e006200v119089b00xxxxd11xx65&gca-ft=113&gca-ds=sophi

Terry Tempest Williams quote. (n.d.). A-Z Quotes. https://www.azquotes.com/quote/1303163

Juhasz, A. (2024). “We’re dying here.” In Human Rights Watch. https://www.hrw.org/report/2024/01/25/were-dying-here/fight-life-louisiana-fossil-fuel-sacrifice-zone

# data[].attributes.body
In order to protect Indigenous identity and restore readers' connection to their land and community, Simon J. Ortiz employs cultural narrative in his writing. He shares Native people's lived experiences in Woven Stone by referencing Pueblo history, oral tradition, and storytelling. His art emphasizes reverence for the land, family, and ancestors' knowledge, reflecting cultural values and collective memory. Ortiz challenges prevailing narratives that minimize or romanticize Native life by elevating Indigenous voices and perspectives. His cultural narratives emphasize interconnectedness, survival, and continuous resistance rather than separating people from nature or treating history as something static. His tales serve as a living repository of his people's truth and are both intimate and collective.