This second edition of Stripah is bettah.
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Arthur Gordon doesn't get it. After a string of successful films his latest opus is reviled as sexist and politically incorrect. Emotionally wounded, he retreats to the sanctity of a summer cottage where carefree recollections buffer him from his self-inflicted firestorm. Only after running headlong into the realities of changing times does he decide that redemption will be his only if he can catch a big fish on a little feather.

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In which our hero (Artie) has achieved success, but then it's withdrawn from him summarily, arbitrarily, and unfairly. The lady of our tale, Shea, has achieved success, only to find that it exists in close proximity to the law of the jungle. Cuzzin, who never bothered, is much closer to being happy with his place in life than the others.

The process of becoming whole, for Artie, calls for him to re-establish connection with his culture through his tumbledown shack and with nature by getting a fish to chomp on his artificial feathers. Only when he gives himself entirely to this pursuit does obscene success, in the form of wealth, find him. He uses it wisely by enabling his cousin to pursue his dream. And love finds them all, just like in Shakespeare where each Jack has his Jill (and nought shall go ill).

Set within this story is confrontation of the tribal and the dominator cultures. In this instance, the tribal (the Injuns) has checkmated the dominator by adopting their own manipulative, and threatening, tactics. It's the only way a tribal culture can avoid being devoured by the dominator.

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cover: Stripah Love by Stephen Morris
Stripah Love
by Stephen Morris
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