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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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summarizes it. 1<br />

<strong>The</strong> dy<strong>in</strong>g savage is <strong>the</strong> major <strong>the</strong>me of Oliver LaFarge’s<br />

Laugh<strong>in</strong>g Boy, Frank Waters’s <strong>The</strong> Man Who Killed <strong>the</strong> Deer,<br />

and James Fenimore Cooper’s <strong>The</strong> Last of <strong>the</strong> Mohicans.<br />

Basically, <strong>the</strong> plot l<strong>in</strong>e is that a tribal person, usually a<br />

traditional, tries to adopt or adapt to white ways or values and<br />

comes to grief as a result. It is about <strong>the</strong> impact of conflict<strong>in</strong>g<br />

cultures on an <strong>Indian</strong>. <strong>The</strong>se writers view that impact as<br />

necessarily destructive to <strong>the</strong> protagonists and any o<strong>the</strong>rs caught<br />

between two worlds with <strong>the</strong>m. Similar to <strong>the</strong> morality tales of<br />

an older tradition <strong>in</strong> western literature and perhaps <strong>in</strong> an attempt<br />

to make contemporary <strong>the</strong> myth of <strong>the</strong> dy<strong>in</strong>g god, <strong>the</strong>se novels<br />

tell of <strong>the</strong> <strong>in</strong>nocent victim who must be sacrificed for reasons<br />

that are putatively historical and political but that are tightly<br />

allied with ancient western ritual literature at its source.<br />

<strong>The</strong>se novels seem to warn <strong>Indian</strong>s aga<strong>in</strong>st try<strong>in</strong>g to make it <strong>in</strong><br />

<strong>the</strong> white man’s world. <strong>The</strong>y often re<strong>in</strong>force <strong>the</strong> belief common<br />

among both <strong>Indian</strong>s and whites that <strong>Indian</strong>s who attempt to adapt<br />

to white ways <strong>in</strong> any sense are doomed to death. Novels that<br />

portray <strong>the</strong> <strong>Indian</strong> as primitive, earth-lov<strong>in</strong>g guru and those that<br />

portray <strong>the</strong> <strong>Indian</strong> as cosmic victim are written out of a white<br />

consciousness, and by and large <strong>the</strong>y reflect white understand<strong>in</strong>g<br />

of tribal culture and <strong>the</strong> impact of white culture on it.<br />

Essentially, <strong>the</strong>y play on <strong>American</strong> notions about <strong>American</strong><br />

<strong>Indian</strong> life and history, and where <strong>the</strong>y are centrally concerned<br />

with <strong>the</strong> devastation wreaked on <strong>Indian</strong>s by white people or<br />

white society, <strong>the</strong>y highlight white guilt, rage, or grief at <strong>the</strong><br />

supposed disappearance (always about to happen) of <strong>American</strong><br />

<strong>Indian</strong>s. Written for a white readership, <strong>the</strong>se are white novels<br />

that take on <strong>Indian</strong>s and <strong>Indian</strong> history, politics, cultures, and<br />

<strong>in</strong>dividuals as characters and <strong>the</strong>mes <strong>in</strong> a white drama that<br />

descends from <strong>the</strong> ancient ritual and literary traditions of <strong>the</strong><br />

west. <strong>The</strong>y focus on culture conflict and its devastat<strong>in</strong>g impact

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