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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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crazy. But I also know, <strong>in</strong> ano<strong>the</strong>r sense, <strong>the</strong>re are worlds <strong>in</strong><br />

which polarity isn’t <strong>the</strong> law. You don’t have good/evil,<br />

sun/moon, light/dark. And I have a sense of that o<strong>the</strong>r place,<br />

sometimes. When I really feel that o<strong>the</strong>r place, this place seems<br />

<strong>in</strong>sane. That’s why I wrote ‘She Had Some Horses.’ I wrote to<br />

name those horses. And <strong>the</strong>n I said, ‘she had some horses she<br />

loved, she had some horses she hated,’ which is a polarity. And<br />

<strong>the</strong>se are <strong>the</strong> same horses.” 1<br />

Interest<strong>in</strong>gly, Harjo believes that <strong>the</strong> view she describes of <strong>the</strong><br />

<strong>in</strong>side be<strong>in</strong>g <strong>the</strong> outside has come to her from <strong>American</strong><br />

fem<strong>in</strong>ists. However accurate that belief may be, it is an<br />

understand<strong>in</strong>g <strong>in</strong>herent to certa<strong>in</strong> of <strong>the</strong> tribes, her people <strong>the</strong><br />

Creek among <strong>the</strong>m. In traditional times <strong>the</strong>y even<br />

<strong>in</strong>stitutionalized that understand<strong>in</strong>g, designat<strong>in</strong>g certa<strong>in</strong> officials<br />

as <strong>in</strong>side chiefs and o<strong>the</strong>rs as outside chiefs. Harjo is obviously<br />

angered at <strong>the</strong> apparent polarity of life <strong>in</strong> <strong>the</strong> modern world, and<br />

her thrust, <strong>in</strong> her work as well as <strong>in</strong> her discussion of it, is<br />

toward reconciliation of <strong>the</strong> polarities <strong>in</strong>to an order that is<br />

harmonious, balanced, and whole. One way she articulates her<br />

understand<strong>in</strong>g of this wholeness is <strong>in</strong> terms of <strong>the</strong> physiology of<br />

<strong>the</strong> female body. “Look at it <strong>in</strong> terms of physiology,” she says. “I<br />

always see it as very spiritual. A woman conta<strong>in</strong>s herself <strong>in</strong>side<br />

herself, and o<strong>the</strong>rs, too. But <strong>the</strong> men—it’s like <strong>the</strong>ir sex roles are<br />

all external. But a woman has to push outward from herself, so<br />

she has to go constantly outside of herself to f<strong>in</strong>d herself.” 2<br />

Ano<strong>the</strong>r way she articulates her certa<strong>in</strong> understand<strong>in</strong>g of <strong>the</strong><br />

spherical unity of <strong>the</strong> universe, its essential “spiritness,” is <strong>in</strong><br />

her poetry. Of particular <strong>in</strong>terest are her poems that use <strong>the</strong> moon<br />

as <strong>the</strong>ir central conceit (if such a term is appropriate with<strong>in</strong> <strong>the</strong><br />

context of uses she selects). She says, “I have this image. It’s not<br />

a generator, it’s not a power plant. But it’s like <strong>the</strong>y have <strong>the</strong>se<br />

different po<strong>in</strong>ts <strong>in</strong> between. So it’s a place, it’s a poem, like a<br />

globular, like a circle with center po<strong>in</strong>ts all over. And poems

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