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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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“Black-feet, Blood and Peigan Hunters” by James Welch from<br />

Rid<strong>in</strong>g <strong>the</strong> Earthboy, 40 (Harper & Row, 1976), by permission<br />

of Harper & Row, Publishers, Inc., copyright © 1971, 1976, by<br />

James Welch. <strong>The</strong> l<strong>in</strong>es from “W<strong>in</strong>ter <strong>Indian</strong>” by James Welch,<br />

repr<strong>in</strong>ted by permission of <strong>the</strong> author. <strong>The</strong> l<strong>in</strong>es from “Leap <strong>in</strong><br />

<strong>the</strong> Dark” by Roberta Hill Whiteman from Star Quilt (Holy<br />

Cow! Press, 1984), repr<strong>in</strong>ted by permission of <strong>the</strong> author and<br />

publisher. <strong>The</strong> l<strong>in</strong>es from “Bless<strong>in</strong>gs” by L<strong>in</strong>da Hogan, from<br />

Call<strong>in</strong>g Myself Home (Greenfield Review Press, 1978),<br />

repr<strong>in</strong>ted by permission of <strong>the</strong> author. <strong>The</strong> l<strong>in</strong>es from “Morn<strong>in</strong>g:<br />

<strong>The</strong> World <strong>in</strong> <strong>the</strong> Lake” and “<strong>The</strong> Woman Speak<strong>in</strong>g” by L<strong>in</strong>da<br />

Hogan from See<strong>in</strong>g Through <strong>the</strong> Sun (University of<br />

Massachusetts Press, 1985), copyright © 1985 by L<strong>in</strong>da Hogan,<br />

repr<strong>in</strong>ted by permission of <strong>the</strong> author. “Figure <strong>in</strong> Clay” and <strong>the</strong><br />

l<strong>in</strong>es from “<strong>The</strong> Last Wolf” by Mary TallMounta<strong>in</strong> from <strong>The</strong>re<br />

Is No Word for Goodbye (Blue Cloud Quarterly, 1980),<br />

repr<strong>in</strong>ted by permission of <strong>the</strong> author. <strong>The</strong> l<strong>in</strong>es from “I<br />

Expected My Sk<strong>in</strong> and My Blood to Ripen” by Wendy Rose<br />

from Lost Copper (Morongo <strong>Indian</strong> Reservation: Malki Museum<br />

Press, 1981), repr<strong>in</strong>ted by permission of <strong>the</strong> author. “Affirmative<br />

Action, Berkeley, 1977” by Wendy Rose, repr<strong>in</strong>ted by<br />

permission of <strong>the</strong> author. <strong>The</strong> l<strong>in</strong>es from “Toe’osh: A Laguna<br />

Coyote Story” by Leslie Marmon Silko from Storyteller (Vik<strong>in</strong>g,<br />

1981), repr<strong>in</strong>ted by permission of <strong>the</strong> author. <strong>The</strong> l<strong>in</strong>es from<br />

“Contradictions” by Elizabeth Cook-Lynn from <strong>The</strong>n Badger<br />

Said This (Fairfield, Wash<strong>in</strong>gton: Ye Gallem Press, 1983),<br />

repr<strong>in</strong>ted by permission of <strong>the</strong> author. <strong>The</strong> l<strong>in</strong>es from “3 AM” by<br />

Joy Harjo from <strong>The</strong> Last Song (Puerto del Sol Press, 1975),<br />

repr<strong>in</strong>ted by permission of <strong>the</strong> author. <strong>The</strong> l<strong>in</strong>es from<br />

“Moonlight” by Joy Harjo, from What Moon Drove Me to This<br />

(Reed and Cannon, 1979) and She Had Some Horses (Thunder<br />

Mouth Press, 1983), repr<strong>in</strong>ted by permission of <strong>the</strong> author. “<strong>The</strong><br />

Song, <strong>the</strong> Dance, <strong>the</strong> Poem” by Carol Lee Sanchez, repr<strong>in</strong>ted by

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