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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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multitud<strong>in</strong>ous, and so are <strong>the</strong> <strong>the</strong>mes of <strong>the</strong>ir novels. But more<br />

and more, <strong>American</strong> <strong>Indian</strong> novels by Native <strong>American</strong> writers<br />

are concerned with tribal and urban life and have taken up<br />

<strong>the</strong>mes that characterize and def<strong>in</strong>e that life <strong>in</strong> Native <strong>American</strong><br />

terms. Most of <strong>the</strong>se contemporary novels are ritualistic <strong>in</strong><br />

approach, structure, <strong>the</strong>me, symbol, and significance, even<br />

though <strong>the</strong>y use an overlay of western narrative plott<strong>in</strong>g. <strong>The</strong>y<br />

are <strong>the</strong> novels most properly termed <strong>American</strong> <strong>Indian</strong> novels<br />

because <strong>the</strong>y rely on native ra<strong>the</strong>r than non-<strong>Indian</strong> forms, <strong>the</strong>mes,<br />

and symbols and so are not colonial or exploitative. Ra<strong>the</strong>r, <strong>the</strong>y<br />

carry on <strong>the</strong> oral tradition at many levels, fur<strong>the</strong>r<strong>in</strong>g and<br />

nourish<strong>in</strong>g it and be<strong>in</strong>g fur<strong>the</strong>red and nourished by it.<br />

<strong>American</strong> <strong>Indian</strong> novelists use cultural conflict as a major<br />

<strong>the</strong>me, but <strong>the</strong>ir work shows an <strong>in</strong>creas<strong>in</strong>g tendency to b<strong>in</strong>d that<br />

<strong>the</strong>me to its analogues <strong>in</strong> whatever tribal oral tradition <strong>the</strong>y write<br />

from. So while <strong>the</strong> protagonists <strong>in</strong> Native <strong>American</strong> novels are<br />

<strong>in</strong> some sense bicultural and must deal with <strong>the</strong> effects of<br />

colonization and an attendant sense of loss of self, each is also a<br />

participant <strong>in</strong> a ritual tradition that gives <strong>the</strong>ir <strong>in</strong>dividual lives<br />

shape and significance.<br />

<strong>American</strong> <strong>Indian</strong>s are tribal people who def<strong>in</strong>e <strong>the</strong>mselves<br />

and are def<strong>in</strong>ed by ritual understand<strong>in</strong>gs, that is, by spiritual or<br />

sacred ceremonial shap<strong>in</strong>gs. What <strong>the</strong>y choose of <strong>the</strong> options<br />

offered to or forced on <strong>the</strong>m and how <strong>the</strong>y shape those options<br />

and <strong>in</strong>tegrate <strong>the</strong>m <strong>in</strong>to <strong>the</strong>ir lives are determ<strong>in</strong>ed by <strong>the</strong> form<br />

those choices can take with<strong>in</strong> <strong>the</strong> ritual context of <strong>the</strong>ir tribal and<br />

personal life. Ritual ra<strong>the</strong>r than politics or language forms <strong>the</strong><br />

basis of <strong>the</strong> tribal world and contemporary novels by <strong>American</strong><br />

<strong>Indian</strong> writers reflect this ground<strong>in</strong>g. This is not to say that <strong>the</strong><br />

novels are rituals; ra<strong>the</strong>r, <strong>the</strong>y derive many of <strong>the</strong>ir structural and<br />

symbolic elements from certa<strong>in</strong> rituals and <strong>the</strong> myths that are<br />

allied with those rituals. 2<br />

Traditional tribal narratives possess a circular structure,

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