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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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named Bird, a duck called Amos, and <strong>the</strong> perplex<strong>in</strong>g fish who<br />

magically appear and disappear from <strong>the</strong> filthy river. Most<br />

significantly, he is required to consider <strong>the</strong> place of tradition <strong>in</strong><br />

his life. Tradition, for him, comes through his grandparents, as it<br />

does <strong>in</strong> most tribal traditions, and his grandmo<strong>the</strong>r’s death at <strong>the</strong><br />

end of <strong>the</strong> novel signifies that he has <strong>in</strong>corporated <strong>the</strong> traditions<br />

she represents <strong>in</strong>to his own psyche, mak<strong>in</strong>g her transition from<br />

<strong>the</strong> material to <strong>the</strong> nonmaterial world possible and proper.<br />

<strong>The</strong> novel follows <strong>the</strong> ritual tradition <strong>in</strong> structure as well as <strong>in</strong><br />

<strong>the</strong>me, for it <strong>in</strong>corporates dream/vision, <strong>the</strong> clown (or trickster),<br />

reflection or meditations, seek<strong>in</strong>g, adventure, humiliation,<br />

suffer<strong>in</strong>g, desire, ritual accoutrements (such as <strong>the</strong> stolen gun, <strong>the</strong><br />

razor, and <strong>the</strong> tobacco pouch his grandmo<strong>the</strong>r was never<br />

without), humor, <strong>in</strong>sight, ancient lore, and tribal history. Like<br />

stories from <strong>the</strong> oral tradition, it meanders through time with<br />

little regard for chronology, beg<strong>in</strong>n<strong>in</strong>g <strong>in</strong> <strong>the</strong> center, <strong>the</strong> here and<br />

now, and mov<strong>in</strong>g around it <strong>in</strong> widen<strong>in</strong>g circles. By <strong>the</strong> end of <strong>the</strong><br />

story, <strong>the</strong> <strong>in</strong>terrelationships of <strong>the</strong> events chronicled <strong>in</strong> <strong>the</strong><br />

narrative have become clear. <strong>The</strong> reason for <strong>the</strong>ir occurrence is<br />

largely a matter of <strong>the</strong>ir <strong>in</strong>terrelationships and <strong>the</strong> significance of<br />

<strong>the</strong> events taken as a whole rests on <strong>the</strong>ir relationship to <strong>the</strong><br />

nonrational or “mysterious” aspects of be<strong>in</strong>g as tribal people see<br />

it, so readers can understand <strong>the</strong> significance of <strong>the</strong> events and<br />

can see how <strong>the</strong> narrator has located himself, has found a center<br />

of balance from which he can move <strong>in</strong>to adulthood.<br />

Like W<strong>in</strong>ter <strong>in</strong> <strong>the</strong> Blood, Welch’s second novel, <strong>The</strong> Death<br />

of Jim honey (1979), is based on vision ritual. Like a questor<br />

who seeks his vision alone and far from his community, Loney is<br />

isolated, abandoned, neglected. He is mutilated, thirsty, and<br />

starv<strong>in</strong>g, is entirely poverty-stricken <strong>in</strong> m<strong>in</strong>d, body, and heart. In<br />

this condition he obta<strong>in</strong>s a vision that becomes <strong>the</strong> guid<strong>in</strong>g force<br />

<strong>in</strong> his life and his death, and he dies like a warrior <strong>in</strong> a place and<br />

at a time of his own choos<strong>in</strong>g.

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