There is no love without loss. I hear the drums that vibrate to the heartbeat of the earth. They set me dancing. I see the clouds that wreathe the su… - N. Scott Momaday

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There is no love without loss. I hear the drums that vibrate to the heartbeat of the earth. They set me dancing. I see the clouds that wreathe the summits. They set me dreaming. I know the wonder of waves that shake the headlands. They awaken my soul. I hear the screams of eagles on the wind. And I ponder, what are these things to me who loves and does not reckon loss? Do I not keep the earth?

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About N. Scott Momaday

N. Scott Momaday (February 27, 1934 – January 24, 2024) was a Kiowa novelist, short story writer, essayist and poet. His novel House Made of Dawn was awarded the Pulitzer Prize for Fiction in 1969, and is considered the first major work of the Native American Renaissance. His follow-up work The Way to Rainy Mountain blended folklore with memoir. Momaday received the National Medal of Arts in 2007 for his work's celebration and preservation of indigenous oral and art traditions. He held twenty honorary degrees from colleges and universities and was a fellow of the American Academy of Arts and Sciences.

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Also Known As

Birth Name: Navarre Scott Momaday
Alternative Names: Navarre Scott Mammedaty
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Shorter versions of this quote

There is no love without loss. I hear the drums that vibrate to the heartbeat of the earth. THey set me dancing. I see the clouds that wreathe the summits. They set me dreaming. I know the wonder of waves that shake the headlands. They awaken my soul.

Additional quotes by N. Scott Momaday

The Kiowas... For a hundred years... they ruled an area... from the Rocky Mountains to the Gulf of Mexico... But by the time Mammedaty was born the Kiowas had been routed in the Indian wars, the great herds of buffalo had been destroyed, and the sun dance prohibited by law.

He had a strange feeling there, as if some ancestral intelligence had been awakened in him for the first time. There is the wild growth and the soft glowing of the earth, in the muddy water at his feet, was something profoundly original. He could not put his finger on it, but it was there. It was itself genesis, he thought, not genesis in the public domain, not an Old Testament Tale, but his genesis. He wanted to see his father there in the shadows of the still creek, the child he once was, himself in the child and the man. But he could not. there was only something like a photograph, old and faded, a shadow within a shadow,

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