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Bertrand Westphal, a French geo-critic, asserts, “everything is now relative, even the absolute,” and thus “the ideas of unity, teleology, and a clear hierarchy of values are no longer conceivable.” He highlights the need to spatialize narrative time “enabling us to de-territorialize the stereotypical views of place and the illusion of permanence suggested by received wisdom and hegemonic discourses.” The central tenets of geo-criticism can be summed up in four propositions: geo-centrism, multi-focalization, poly-sensoriality, and stratigraphic perspective; fictional texts are to be taken as part of a body of evidence that will lead to a better understanding of the place. Geo-critical theories accurately illuminate the elusive but quint-essential significance of what Gerald Vizenor does with his Dead Voices which, focusing on the space rather than any specific observer, de-constructs homogeneous boundaries, reproducing all its possible heterogeneous complexity. In his Native American text, Vizenor achieves the geo-critical goal, to be open to the auditory, olfactory, and tactile dimensions of place and to develop a polyphonic or dialogical understanding of the place in question. To analyze Vizenor’s using ‘trickster’ and re-conceptualizing ‘family’ and ‘home’ by means of the story of the stone further vivifies the implication of de-constructed space in his fiction in the twenty first century academia. The geo-critical light lucidly discloses one of the key intent of Vizenor’s writing, to steer his readers as well as himself to peace and harmony beyond conflicts due to any artificial demarcation.