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The Sacred Hoop: Recovering the Feminine in American Indian Traditions

by Paula Gunn Allen

by Paula Gunn Allen

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its way takes up <strong>the</strong>mes that pervade later Native <strong>American</strong><br />

fiction proper. Ridge’s novel, while not about <strong>Indian</strong>s, is about<br />

native response to <strong>in</strong>vasion and conquest. Joaqu<strong>in</strong> Murieta is a<br />

California Mexican who avenges <strong>the</strong> murders of his people that<br />

occur as a result of <strong>the</strong> gold rush, <strong>the</strong> Mexican-<strong>American</strong> War,<br />

and <strong>the</strong> takeover of California by <strong>the</strong> United States. <strong>The</strong> novel<br />

contributed to Chicano/Lat<strong>in</strong>o protest lore more than a hundred<br />

years after its writ<strong>in</strong>g. Oskison’s three novels do not treat<br />

identifiably <strong>Indian</strong> <strong>the</strong>mes, but <strong>the</strong>y are each set <strong>in</strong> <strong>Indian</strong><br />

Territory and <strong>in</strong>clude <strong>Indian</strong>s as m<strong>in</strong>or characters. In his last<br />

novel, Bro<strong>the</strong>rs Three, <strong>Indian</strong>s (breeds like himself) appear as<br />

major characters, and <strong>the</strong> futile struggle to function <strong>in</strong> <strong>the</strong> white<br />

world is that book’s major <strong>the</strong>me. In Bro<strong>the</strong>rs Three, Oskison is<br />

<strong>the</strong> first Native <strong>American</strong> writer to take as a <strong>the</strong>me <strong>the</strong> prejudice<br />

experienced by breeds. In various guises, that <strong>the</strong>me would<br />

pervade Native <strong>American</strong> novels throughout <strong>the</strong> twentieth<br />

century.<br />

Some <strong>Indian</strong> novels, such as James Fenimore Cooper’s<br />

Lea<strong>the</strong>rstock<strong>in</strong>g series, James Rafferty’s Okla Hannali, Frank<br />

Waters’s <strong>The</strong> Man Who Killed <strong>the</strong> Deer, and Oliver LaFarge’s<br />

Laugh<strong>in</strong>g Boy, are about Native <strong>American</strong>s but are written by<br />

non-<strong>Indian</strong>s. Many novels by white, Black, and Hispanic<br />

novelists have <strong>Indian</strong> characters or <strong>the</strong>mes. <strong>The</strong>se treatments are<br />

generally historic, center<strong>in</strong>g around cultural conflict. Some, such<br />

as Lynn Andrews’s or Carlos Castaneda’s mystic series,<br />

<strong>in</strong>corporate ritual <strong>the</strong>mes as a basis of <strong>the</strong>ir plot, but by far <strong>the</strong><br />

most favored <strong>the</strong>me <strong>in</strong> novels about <strong>Indian</strong>s by non-<strong>Indian</strong>s is <strong>the</strong><br />

plight of <strong>the</strong> noble <strong>Indian</strong> who is <strong>the</strong> hapless victim of civilized<br />

forces beyond his control. In a way, <strong>the</strong>se are novels that<br />

underscore General Sherman’s observation that “<strong>the</strong> only good<br />

<strong>Indian</strong>s are dead” or that reflect America’s view of <strong>the</strong> <strong>Indian</strong><br />

“as a noble red man, ei<strong>the</strong>r safely dead or dy<strong>in</strong>g as fast as could<br />

reasonably be expected,” as A. LaVonne Ruoff succ<strong>in</strong>ctly

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