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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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Myth may be seen as a teleological statement, a shaped system<br />

of reference that allows us to order and thus comprehend<br />

perception and knowledge, as Mann suggests. <strong>The</strong> existence of<br />

mythic structures supposes a rational order<strong>in</strong>g of <strong>the</strong> universe.<br />

<strong>The</strong> presence of myth <strong>in</strong> a culture signifies a belief <strong>in</strong> <strong>the</strong><br />

teleological nature of existence and <strong>in</strong>dicates that powers o<strong>the</strong>r<br />

than those of material existence, or what Carlos Castaneda calls<br />

“ord<strong>in</strong>ary reality,” guide and direct <strong>the</strong> universe and human<br />

participation <strong>in</strong> it. As such myth stands as an expression of<br />

human need for coherence and <strong>in</strong>tegration and as <strong>the</strong> mode<br />

whereby human be<strong>in</strong>gs might actively fill that need.<br />

Yet myth is more than a statement about how <strong>the</strong> world ought<br />

to work; its poetic and mystic dimensions <strong>in</strong>dicate that it<br />

embodies a sense of reality that <strong>in</strong>cludes all human capacities,<br />

ideal or actual. <strong>The</strong>se, broadly speak<strong>in</strong>g, are <strong>the</strong> tendency to feel<br />

or emotively relate to experience and <strong>the</strong> tendency to<br />

<strong>in</strong>tellectually organize it—<strong>the</strong> religious, aes<strong>the</strong>tic, and<br />

philosophical aspects of human cultures. Human be<strong>in</strong>gs need to<br />

belong to a tradition and equally need to know about <strong>the</strong> world<br />

<strong>in</strong> which <strong>the</strong>y f<strong>in</strong>d <strong>the</strong>mselves. Myth is a k<strong>in</strong>d of story that allows<br />

a holistic image to pervade and shape consciousness, thus<br />

provid<strong>in</strong>g a coherent and empower<strong>in</strong>g matrix for action and<br />

relationship. It is <strong>in</strong> this sense that myth is most significant, for it<br />

is this creative, order<strong>in</strong>g capacity of myth that frightens and<br />

attracts <strong>the</strong> rationalistic, o<strong>the</strong>r-centered m<strong>in</strong>d, forc<strong>in</strong>g it <strong>in</strong>to<br />

th<strong>in</strong>ly veiled pejoration of <strong>the</strong> mythic faculty, alienistic analysis<br />

of it, and counter myth-mak<strong>in</strong>g of its own.<br />

Myth, <strong>the</strong>n, is an expression of <strong>the</strong> tendency to make stories of<br />

power out of <strong>the</strong> life we live <strong>in</strong> imag<strong>in</strong>ation; from this faculty<br />

when it is engaged <strong>in</strong> ord<strong>in</strong>ary states of consciousness come<br />

tales and stories. When it is engaged <strong>in</strong> nonord<strong>in</strong>ary states, myth<br />

proper—that is, mystery mumbl<strong>in</strong>gs—occur. It is of course <strong>the</strong><br />

former relationship between myth and imag<strong>in</strong>ation that has

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