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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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In his early thirties, Loney, who was one of <strong>the</strong> abandoned<br />

children of a full-blood mo<strong>the</strong>r and an Irish fa<strong>the</strong>r, has lived<br />

alone s<strong>in</strong>ce high school. He has a girlfriend, a Texas<br />

schoolteacher, and though he knows most of <strong>the</strong> people <strong>in</strong> <strong>the</strong><br />

small town <strong>in</strong> Montana where he grew up, he has no close<br />

friends. He is isolated from all <strong>the</strong> communities he might be<br />

connected to: <strong>the</strong> small town community he lives <strong>in</strong>, <strong>the</strong> <strong>Indian</strong><br />

community his mo<strong>the</strong>r came from, <strong>the</strong> Catholic community he<br />

was raised by, even <strong>the</strong> men’s community of ex—basketball<br />

stars and <strong>the</strong>ir onetime fans. <strong>The</strong> novel makes it clear that ritual<br />

does not necessarily lead to a sense of community; <strong>in</strong>deed,<br />

Loney’s quest for understand<strong>in</strong>g of himself, his history, and his<br />

life leads him away from community. And his quest is largely<br />

ritually embraced and prescribed. He makes his search because<br />

he is hav<strong>in</strong>g visions and wak<strong>in</strong>g dreams that he cannot control or<br />

change and that he does not understand. His desire to understand<br />

<strong>the</strong> significance of his visions leads him to <strong>the</strong> wilderness pass<br />

where he dies, killed by a high school classmate, a full-blood<br />

who has become a tribal cop.<br />

Welch f<strong>in</strong>ds his resolutions <strong>in</strong> self-knowledge ga<strong>in</strong>ed <strong>in</strong><br />

traditional ways that are adapted to modern contexts. His<br />

characters go through a period of <strong>in</strong>tense self-exam<strong>in</strong>ation and<br />

reflection about <strong>the</strong>ir lives and <strong>the</strong> universe <strong>the</strong>y live <strong>in</strong>. In <strong>the</strong><br />

end, after a series of magical and extraworldly encounters, <strong>the</strong>y<br />

come to terms with <strong>the</strong>ir existence and with <strong>the</strong>ir personal<br />

histories. Welch’s novels are best understood <strong>in</strong> <strong>the</strong> context of<br />

<strong>the</strong> dream/vision ritual structure of Pla<strong>in</strong>s tribal life, for <strong>the</strong>y are<br />

structured along <strong>the</strong> l<strong>in</strong>es of <strong>the</strong> vision ra<strong>the</strong>r than on <strong>the</strong><br />

chronological l<strong>in</strong>es of mundane or organizational life, and <strong>the</strong><br />

structure of <strong>the</strong> works holds <strong>the</strong> major clue to <strong>the</strong> nature of <strong>the</strong><br />

novels as primarily tribal documents.<br />

Like Momaday, Welch follows <strong>the</strong> accretive narrative<br />

structure of <strong>the</strong> oral tradition. <strong>The</strong>ir novels weave <strong>in</strong> and out of

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