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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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understand<strong>in</strong>g of it.<br />

<strong>The</strong> death of Francisco <strong>in</strong> House Made of Dawn 1 underscores<br />

<strong>the</strong> difference <strong>in</strong> perception of time between tribal people and<br />

nontribal ones. Fr. Olgu<strong>in</strong> wants to know what time it is when<br />

Abel wakes him to tell him that Francisco has died. He is<br />

unhappy with be<strong>in</strong>g awakened at that ungodly hour—whatever it<br />

is exactly. “Good lord, what time is it, anyway?” he compla<strong>in</strong>s.<br />

“Do you know what time it is?” <strong>The</strong>n, aware that his response is<br />

improper, out of place, he says, “I can understand how you feel,<br />

but—” As Abel leaves him stand<strong>in</strong>g <strong>in</strong> <strong>the</strong> predawn doorway,<br />

Fr. Olgu<strong>in</strong> shouts after him, “I understand! Oh God! I<br />

understand—I understand!” (p. 190). But he doesn’t, of course.<br />

He does not know that <strong>the</strong> time is Francisco’s death time.<br />

House Made of Dawn revolves around <strong>the</strong> axis of time as<br />

motion. It opens with Abel runn<strong>in</strong>g, and it closes <strong>the</strong> same way.<br />

<strong>The</strong> novel’s epiphany occurs when Abel, maimed and near death<br />

on <strong>the</strong> Los Angeles beach, comprehends <strong>the</strong> po<strong>in</strong>t of <strong>the</strong><br />

Runners-after-Evil (p. 96). Scene after scene revolves around<br />

<strong>the</strong> <strong>the</strong>matic preoccupation with <strong>the</strong> nature of time—<strong>Indian</strong> time,<br />

<strong>in</strong>dustrial time, pastoral time, ceremonial time, <strong>in</strong>stitutional time.<br />

Momaday pursues his story, plac<strong>in</strong>g mov<strong>in</strong>g particle aga<strong>in</strong>st<br />

eternal field and counterpos<strong>in</strong>g still particle aga<strong>in</strong>st mov<strong>in</strong>g<br />

field. When mov<strong>in</strong>g particle and mov<strong>in</strong>g field are <strong>in</strong> harmony,<br />

joy is <strong>the</strong> result: Benally rid<strong>in</strong>g to <strong>the</strong> squaw dance, s<strong>in</strong>g<strong>in</strong>g a<br />

rid<strong>in</strong>g song; Ben and Milly on <strong>the</strong> beach, runn<strong>in</strong>g; Francisco<br />

lead<strong>in</strong>g <strong>the</strong> runners <strong>in</strong> <strong>the</strong> ritual race, drumm<strong>in</strong>g perfect time of<br />

<strong>the</strong> dance. In <strong>the</strong> end, <strong>the</strong> understand<strong>in</strong>g Abel reaches is <strong>the</strong><br />

understand<strong>in</strong>g that all who live <strong>in</strong> harmony and balance with<br />

<strong>the</strong>ir universe must reach. And it is <strong>the</strong> same understand<strong>in</strong>g that<br />

contemporary physicists had to reach as <strong>the</strong>y learned to describe<br />

<strong>the</strong> universe of particles that move with<strong>in</strong> mov<strong>in</strong>g time and<br />

space. Fr. Olgu<strong>in</strong> does not understand, for he confuses emotion<br />

with motion, just as he confuses motivation with season and

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