10.06.2022 Views

The Sacred Hoop: Recovering the Feminine in American Indian Traditions

by Paula Gunn Allen

by Paula Gunn Allen

SHOW MORE
SHOW LESS

You also want an ePaper? Increase the reach of your titles

YUMPU automatically turns print PDFs into web optimized ePapers that Google loves.

supernatural and ritual practices of <strong>the</strong> tribe and simultaneously<br />

assimilat<strong>in</strong>g white Christian attitudes required by white presence<br />

and white colonization? Abel’s personality, his alcoholism, and<br />

his rejection of tribal ways lead him to violence as a response to<br />

<strong>the</strong> dilemma, a response that characterizes him as<br />

psychologically disturbed among a people who do not condone<br />

<strong>in</strong>terpersonal violence as a means of resolv<strong>in</strong>g difficulties,<br />

however arcane those difficulties might be.<br />

Charged <strong>in</strong> <strong>the</strong> white courts with murder, Abel is sent to<br />

federal prison. On his release, he is relocated by <strong>the</strong> parole<br />

board to Los Angeles, where he tries unsuccessfully to hold a<br />

job and f<strong>in</strong>d companionship among <strong>the</strong> <strong>Indian</strong>s <strong>the</strong>re. This is<br />

impossible, partly because of Abel’s <strong>in</strong>transigent traditionalism<br />

and partly because that traditionalism arouses <strong>the</strong> scorn of <strong>the</strong><br />

community’s leader, a highly assimilated Kiowa named<br />

Tosamah. Abel reverts to dr<strong>in</strong>k<strong>in</strong>g and is beaten nearly fatally by<br />

a Mexican-<strong>American</strong> police officer named Mart<strong>in</strong>ez. Ly<strong>in</strong>g on<br />

<strong>the</strong> Los Angeles beach where he crawled after <strong>the</strong> beat<strong>in</strong>g, he<br />

understands, f<strong>in</strong>ally, his own place <strong>in</strong> <strong>the</strong> universe. After he is<br />

released from <strong>the</strong> hospital, he returns to Walotowa, still<br />

wounded and mutilated, <strong>in</strong> time to watch over his grandfa<strong>the</strong>r’s<br />

death. When <strong>the</strong> old man is dead, Abel smears himself with<br />

ashes and jo<strong>in</strong>s <strong>the</strong> ritual runners. So marked, he participates <strong>in</strong><br />

<strong>the</strong> ancient “race of <strong>the</strong> dead” (195) and takes his place beh<strong>in</strong>d<br />

his grandfa<strong>the</strong>r <strong>in</strong> <strong>the</strong> long l<strong>in</strong>e of “hombres negros” (175) <strong>in</strong><br />

<strong>the</strong>ir eternity-long run that keeps evil <strong>in</strong> its place. He runs beh<strong>in</strong>d<br />

<strong>the</strong>m <strong>in</strong>to clear see<strong>in</strong>g and <strong>in</strong>to <strong>the</strong> ritual song of heal<strong>in</strong>g that<br />

Benally, Abel’s Navajo friend <strong>in</strong> Los Angeles, sang for him so<br />

often: “House made of pollen, House made of dawn” (191).<br />

From <strong>the</strong> beg<strong>in</strong>n<strong>in</strong>g to <strong>the</strong> end of <strong>the</strong> novel, Momaday focuses<br />

on rituals and traditions of <strong>the</strong> Walotowa, Navajo, and Kiowa.<br />

<strong>The</strong> plot loosely follows a conflict-crisis-resolution pattern, but<br />

<strong>the</strong> novel is more deeply structured to match <strong>the</strong> Navajo

Hooray! Your file is uploaded and ready to be published.

Saved successfully!

Ooh no, something went wrong!