Contrasting Notions of Victimhood and Perpetration in Leslie Marmon Silko's Ceremony and Art Spiegelman's Maus: The Psychological Legacy of Euro-American Colonialism
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Self-created title for an essay for the English and Comparative Literature module '20th Century North American Literature' at the University of Warwick
Originaltitel
Contrasting notions of victimhood and perpetration in Leslie Marmon Silko’s Ceremony and Art Spiegelman’s Maus: the psychological legacy of Euro-American colonialism
Self-created title for an essay for the English and Comparative Literature module '20th Century North American Literature' at the University of Warwick
0 Bewertungen0% fanden dieses Dokument nützlich (0 Abstimmungen)
88 Ansichten22 Seiten
Contrasting Notions of Victimhood and Perpetration in Leslie Marmon Silko's Ceremony and Art Spiegelman's Maus: The Psychological Legacy of Euro-American Colonialism
Self-created title for an essay for the English and Comparative Literature module '20th Century North American Literature' at the University of Warwick
Contrasting notions of victimhood and perpetration in Leslie Marmon
Silkos Ceremony and Art Spiegelmans Maus: the psychological legacy of Euro-American colonialism
Both Silko and Spiegelmans texts present victims of genocide remembering their peoples destruction and viewing the perpetrators of that destruction. There are several contextual differences to first acknowledge before viewing contrasting victim/perpetrator paradigms in Ceremony and Maus to demonstrate the psychological legacy of modern-day Euro-American colonialism.
The first difference is the narratives historical timeframes compared with when their respective genocides occurred. Spiegelmans frame narrative and his fathers recount of his Holocaust experience takes place in 1978 and 1979 and only 34 years after the event itself. Silkos characters remember the Native American Holocaust that took place, militaristically at least, centuries before they were born. Notions of victimhood and perpetration in Maus (1991) originate from first-hand experience and surviving a militaristic genocide. Ceremonys (1977) characters however recall a historical genocide and its victim/perpetrator paradigm through a lense that, despite tribal attempts, has for centuries been conditioned by the perpetrators.
Secondly, Vladek remembers and presents his Holocaust experience from a historical context where it has ended. Spiegelman produces his text and victim/perpetrator paradigm from an identical context. Silkos Native characters are however still colonised by the federal government and their Euro-American worldview. The genocide continues not militaristically but culturally. She produces her text and victim/perpetrator paradigm from a similar, and in comparison to Spiegelman, less secure colonial, and crucially not post-colonial, context.
The final fundamental contextual difference is in the historical metanarratives surrounding the genocides. This has two distinct aspects. Firstly, the global metanarrative of the Jewish Holocaust recognises it as one of the worst, if not the worst, war crimes ever committed and an example genocide at its most inhumane. The Native American Holocaust however suffers from a lack of validation from the world community and its failure to offer an escape route (Fogelson 66) as it continues. The dynamics of experience are similar in 2 Connor Neilson
both Holocausts (Duran 62. Cook-Lynn 190/191) with the crucial exception that the world has not acknowledged the Holocaust of native people within the North-Western hemisphere (Fogelson 30). Secondly, the acceptance of responsibility for the genocide by the perpetrators differs and is vital. The German state and, aside from a tiny minority, the German people have widely and publically accepted German guilt for the Holocaust (Barkan 15). Since Adenauer, reparation has been viewed as a moral, legal and political commitment despite the fact that the enormity of the ethical and moral crimes made a comprehensive restitution impossible (Barkan 27). Vergangenheitsbewaeltigung (the struggle to come to terms with the Nazi past) and Wiedergutmachung (literally the making of good again but meaning reparations for the Holocaust) are creative compound nouns revealing that the active process of accepting responsibility permeates even the peoples language. The American government and people have neither admitted nor recognised the unexamined crimes at the core of a great nation developed since 1776 on the provocative principles of capitalist democracy (Cook-Lynn 187) as criminal (Cook-Lynn 52, 93, 94, 194. Silko 76). This difference is clearest in the countries capitals. Washingtons main monument commemorates the federal governments first president, that governments establishment and by extension the genocide that it required. Berlins equivalent is The Monument to the murdered Jews of Europe. By erecting the visibly striking monument in its centre, the German state publically accepts its role as perpetrator and literally sets its guilt in stone. This affords Spiegelman a perpetrator/victim paradigm that is, ideologically speaking, officially unavailable to Silko.
A brief history of Native American injustices should substantiate the claim that Native Americans are victims of various forms of genocide. Genocidal violence by European settlers is well documented from first contact to the closing of the frontier and Wounded Knee Massacre in 1890. The concept of reservations gained popularity after 1790 (Janke 157) and led to the Indian Removal Act of 1830 and forceful relocations westwards in The Trail of Tears. What followed can only be described as governmental administrative policy implemented to systematically eradicate Native American culture and consequently the Native American. The General Allotment Act of 1887 assimilated Indians by means of individualising them and destroying their collective tribal identity (Janke 158. Porter 53). 86 million acres of Indian land was lost over the next forty seven years (Janke 159) as a tribal 3 Connor Neilson
cosmology considering land to be used by all and owned by nobody (Fogelson 48) was replaced. Reservations where Indians could be confined, controlled, civilized, and Christianized (Fogelson 50) were never adequate for economic and cultural survival (Porter 52). Three quarters of tribally owned land is hot desert (Janke 159, 160) and classified as arid or semi-arid (Janke 161). Indian Boarding schools formed part of a pattern of erosion of Indian family life (Porter 50). The forced Euro-American assimilation of children aimed to eradicate Native American culture internally as future generations would be unwilling, if not unable, to preserve it. The Indian Reorganisation Act of 1934 marginally empowered Native Americans but between 1945 and 1950, federal policy was in a period of transition from the old policy of Indian self-determination to the new policy of termination (Ronald 165). House Concurrent Resolution 108 saw criminal and civil law override tribal law (Ronald 165). The post-war Native American population movements from reservations to urban areas (Ronald 165) proved traumatically disastrous (Janke 167) and between 1952 and 1962, sixty-one tribes, groups, bands, and communities were stripped of federal services and protection (Porter 57). The government denying responsibility for Native American issues continued under Reagenomics. Spending on both Native health care services and funding for Indian higher education were halved and the Bureau of Indian Affairs budget suffered an $80 million dollar cut (Janke 156). This policy pushed tribes towards relationships with multi- national corporations seeking to extract resources from reservation lands (Porter 61). American policy towards Native Americans has moved from the absence of programs for changing Indian culture to a program of replacement (Janke 170) as their cosmology is seen as incompatible and largely valueless within a Euro-American free market economic structure.
I therefore view Ceremony as a colonial text with its Native Americans continuing to exist under and in opposition to a colonial power and its conditions of politically sustained subalternity (Krupat 73). Ceremony focuses on the Laguna Pueblo and despite the colossal variations between tribes, their individual histories, cultures and interactions with Europeans, this essays focus is relevant to most modern Native Americans regardless of geographical location and tribal background.
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Firstly, Silkos characters present notions of victimhood and perpetration that contrast Spiegelmans. They appropriate perpetration, responsibility and guilt for their genocide to themselves as Natives and to their Native cosmology and indicate the psychological impact of their successful colonisation in accordance with Duran and Duran. Maus features less prominently because it is a text that despite framing its narrative in the United States largely concerns a historical event featuring Europeans and taking place in Europe. It initiates to present a clear yet problematic victim/perpetrator paradigm and demonstrate the contrasting psychological clarity that comes with a post-genocidal historical metanarrative of absolute victimhood and perpetration. What further complicates Native American notions of victimhood and perpetration then is that European settlers were, unlike the Third Reich, incredibly and unwaveringly successful in their imperialistic takeover. They are thus unrecognised as colonisers and criminals.
Secondly, the invading force remains and reminders of total colonial subjugation are constant through visual reminders of how Europeans use the novels natural environment. This conflicting use of space furthers psychological complications as Native American cosmology is constantly undermined and proven to be incompatible with the Euro-American culture that dominates it.
Third and finally, Silko attempts to reclaim tribal identity within a colonial and post- tribal context through her texts overarching form, chronology, and structure. Ceremonys hybridity of Native American and European literary traditions replicates the colonial experience for the benefit and understanding of readers outside of it. They must culturally assimilate themselves to understand the text and complete Silkos ceremony. Rather than acknowledge a victim/perpetrator paradigm based on Native/European binary opposition, Silko, her text and her characters rely on and adopt aspects of European culture. The reason for this is that under the post-tribal context of 20 th century Euro-American colonialism and with the available historical metanarrative, there is no other choice.
Art Spiegelman presents his fathers memory of his Holocaust experience as well as his own memory of textual construction in Maus through strikingly visual and iconic, colourless imagery. The focus here is how Spiegelman the author and not the character 5 Connor Neilson
portrays Germans and Jews to reflect notions of victimhood and perpetration from a Jewish perspective.
All characters in Maus are visually anthropomorphised. Germans are cats and Jews are mice. Spiegelmans victim/perpetrator paradigm is straightforward. He invokes an iconic and natural predator and prey relationship that is well known even amongst children. It characterises Germans as active, predators and perpetrators and Jews as passive, prey and victims. It is unambiguously emphatic and, whether disregarding or using historical context, creates predisposed sympathy and opposition within the reader. It creates an explicit and absolute victim/perpetrator paradigm between Jews and Germans that is easily available to Spiegelman because of the Holocausts historical metanarrative. This contrasts Silkos in its simplicity and Manichean and binary nature.
Allocating victim status to Jews who died in or survived the Holocaust is undebatable and it is with Mauss portrayal of Germans that problems arise. Spiegelman presents victim and perpetrator as fundamentally dissimilar and, more importantly, two homogenous groups. This is so important when focusing on perpetrator status, and therefore responsibility and guilt, because the German people are without exception and regardless of their role in the Holocausts orchestration all cats. In its homogenous totality, the symbolism attaches an equal degree of predatoriness, perpetrator status and responsibility and guilt for the Holocaust regardless of situational circumstance.
As Vladek stumbles upon a garage (Spiegelman 269) he meets a non-uniformed civilian, perhaps the owner, who is portrayed as a cat. Shortly after he encounters a non- uniformed woman, also represented by a cat (Spiegelman 273). Female civilians then are given the exact same perpetrator status as the Auschwitz guards, the Wehrmacht and the SS. Whether these civilians are direct or indirect perpetrators of genocide through either collaboration or compliancy with a genocidal regime is irrelevant here. What is vital is that no differentiation in the nature or extent of their perpetration and that of Germans directly involved in the extermination process is made. Homogenously allocating guilt and responsibility to an entire nation regardless of individual participation and circumstance seems at best careless and at worst deceptive. Spiegelmans victim/perpetrator paradigm 6 Connor Neilson
ignores masses of discourse surrounding civilians and the allocation of responsibility, the degree to which individual guilt differed amongst Germans, forced participation and the relationship between responsibility and autonomy under the Nazi state. It is an absolutely unhelpful and inaccurate way in which view the relationship between every German and every Jew during the Holocaust. With his masks (138-157), Spiegelman has a device that would allow him to implicate individuality and role performing within homogenous groups. It therefore appears either deliberate or careless to characterise all Germans as absolute perpetrators without differentiation and simply because they are German. The German housewife should not be viewed as equally responsible for the Holocaust as the SS soldier or Kommandant.
Spiegelmans victim/perpetrator paradigm then reveals in its flawed simplicity how available an absolute historical metanarrative is to victims of this particular genocide. It can be argued that Spiegelman simply portrays Germans and Jews according to his fathers stereotypes. He nonetheless has a responsibility to clarify this or present history and the individuals acting within it accurately. He uses the historical metanarrative available to create a paradigm where Germans hold perpetrator status not based on their actions and circumstance but their German nationality. Maus perpetuates the inaccurate and damaging stereotype that Germans and Germanism and Nazis and Nazism are synonymous. As a graphic novel this is incredibly problematic. The form is highly accessible and more likely than others to be read by children and viewed as an objective representation of the Holocausts perpetrators.
Mauss, Vladeks and Spiegelmans notions of victimhood and perpetration are directly contrasted in Ceremony. Silkos characters homogenously impose genocidal responsibility, guilt and perpetrator status on themselves rather than the perpetrators. The text operates under a context where the perpetrator of its respective genocide is victorious rather than defeated, internationally supported rather than detested and continues to impose its imperialism. What results is a completely different type of victim/perpetrator paradigm that is more accurate than Spiegelmans in its psychologically complexity.
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In criticising and providing alternatives to therapy based on Western European psychological healing practices, Duran and Duran in Native American Postcolonial Psychology (1995) highlight psychological results of the colonisation process. Ceremonys characters reflections on Native Americans and Native culture and Europeans and Euro-American culture emanate internalized oppression. Unlike Spiegelmans dissimilarity between two homogenous groups, they express a desire to emulate the perpetrators and their culture. Duran and Duran state that, following a continuous genocidal assault and its success, with the complete loss of power comes despair, and the psyche reacts by internalizing what appears to be genuine power the power of the oppressor (Duran 29). Self-worth also sinks to a level of despair tantamount to self-hatred. (Duran 29). Native Americans then adopt facets of Euro-American culture and aggressively reject tribal culture and cosmology. This blurs the distinctions between perpetrator and victim from victims perspective. This colonial despair sees Rocky emulate the Euro-American to harness his power in displays of self-hatred. Academically successful and athletically talented, he is told that only the Natives on the reservation will limit his success (Silko 47). Auntie sees his and her own success bound to him being what white people wanted in an Indian (Silko 47). The consequences of forced acculturation and the constant pressure to assimilate to the lifeworld of the perpetrators of the Holocaust (Duran 32) resonate through his embarrassment at Indian hunting rituals (Silko 47) and advocation of scientific objectivism at the expense of tribal custom (Silko 48). His scientifically logical concern for biological contamination of meat overpowers the century long traditions of the tribal preparation process. Adopting a scientifically objective and post-Enlightenment European world view over tribal cosmology extends to cattle rearing. He scorns at Tayo and Roberts amusement at potentially contributing to the official body of knowledge surrounding cattle rearing from an Indian perspective and praises science as omniscient (Silko 69). For Rocky, ignorance is the trouble with the way people around here (the reservation) have always done things they never knew what they were doing (Silko 69/70). Rockys self-hatred manifests itself in the aggressive rejection of Native cosmology and adoption of a Euro-American worldview as he emulates the perpetrators of forced acculturation and genocide. 8 Connor Neilson
Emo also rejects Native cosmology when considering the reservations drought and mocking the Native American creatrix as an old dried-up thing! ( Silko 23). Thing here is vital. Emo objectifies the natural world. He therefore adopts the Euro-American view of the natural world as inanimate rather than an animate organism intertwined with the existence of man (Duran 15, 17, 33). He effectively kills the Creatrix, demeans Native cosmology and adopts the dominant Euro-American culture in an act of self-hatred. Self-hatred is externalised by Emo and Leroy as they torture Harley. Duran states that Native on Native violence often serves a dual purpose (29). It achieves momentary catharsis for an attacker whilst they simultaneously destroy a part of themselves that reminds them of their helplessness and lack of hope within the colonial context (29). In essence, the individual attacks his or her own projection in a person close by (29) without realising that he/she would really like to vent this rage on the oppressor. (29). Emo attempts to goad his original target by calling Tayo a white son of a bitch (Silko 234). He does so whilst torturing Harley and reminding him of his Nativism through forced alcohol consumption (Silko 234). He utilises the drunken Indian stereotype whilst reflecting how problems plaguing the Native community have become part of the Native American heritage (Duran 35) and also reveals the externalised self-hatred behind the aggression. He attacks Harley whilst reminding him of his Nativism in order to attack Tayo for his Euro- American hybridity. Forced cultural assimilation here has created perspectives associating success with the Euro-American and his world view and irrelevance and failure with Nativism. This self- hatred blurs the lines between victim and perpetrator from the characters perspectives as they internalise the oppression of the coloniser because of his omnipotence. Mauss notions of victimhood and perpetration are contrastingly clear concepts that are attributed to groups homogenously in accordance with a concretely Manichean historical metanarrative. Certain Natives in Ceremony are unable to view themselves, other Natives and Nativism in terms of absolute victimhood and Euro-Americans as responsible for their peoples genocide. This is because the genocide was and is seen as inevitable and unstoppable and is therefore unacknowledged. Spiegelmans paradigm is simple because the way in which his genocidal victims and perpetrators are viewed and view each other is fairly uncontested. 9 Connor Neilson
Such a Manichean paradigm is unavailable both to Silko and her characters who experience a colonial and imperialistic process that remains unacknowledged as one. This lack of recognition leads to Native American inability to construct a victim/perpetrator paradigm and is juxtaposed against constant visual reminders of colonialism that manifest themselves in Euro-American use of the natural world and reservation land. Such use is a continuous visual reminder that Americas dominant culture acts ideologically and spiritually in opposition to Native cosmology and, in its unwavering presence, that this tension cannot be challenged. The world existing for the purpose of human domination and exploitation the core of most Western ideology is a notion that is absent in most Native American thinking (Duran 15) and results in the Soul Wound (Duran 24) or the spiritual damage caused to Native Americans through the colonisation process. Judeo-Christian belief systems include notions of the Creator putting humans in charge of all creations (Duran 17). This creates a narcissistic worldview that decreates and destroys much of what is known as culture within Native cosmology (Duran 17). Josiah telling a young Tayo this is where we come from, see. This sand, this stone, these trees, the vines, all the wildflowers (Silko 42) reflects Native comsologys interconnectedness between man and nature and reflects how reservation land is the site of origination in narratives of ethnogenesis (Fogelson 48). Character descriptions based on natural imagery function similarly to connect man and nature. Tayos belly was smooth and soft, following the contours of the hills and holding the silence of the snow (Silko 191) and Betonies cheekbones were like the wings of a hawk soaring away from his broad nose (Silko 109). As Tayo penetrates Night Swan, he feels how the warmth closed around him like river sand, softly giving way under foot, then closing firmly around the ankle in cloudy warm water (Silko 168). This sensually natural simile indicates Native American psychology towards the natural world. Tayos sexual encounter with the ambiguous Night Swan who resembles the Earth Mother connects the creative processes of humans and nature. Intercourse is as fundamentally necessary for the creation of human life as water, along with sunlight, is for new life in nature. The two processes are interconnected throughout Ceremony as the 10 Connor Neilson
Laguna Pueblo will ultimately become extinct and unable to retain their culture if the drought continues. This spiritual rather than sexual encounter then reminds the reader of tribal holism by relating human and natural life and death. Silko provides Tayo with a narrative perspective that is incredibly connected to the functioning of natural life forces. Tayo observes how a spider drank from the edge of the pool, careful to keep the delicate eggs sacs on her abdomen out of the water (Silko 87) and shiny black water beetles pushed across the bottom of the pool, leaving trails of tiny air bubbles twisting to the surface (Silko 206). Tayos perspective is hyper-observant of natural life and its functions. He not only recognises the presence of miniscule life but also its microscopic processes at an imperceptible level. He must therefore sense rather than observe what is happening underwater on the pools bottom and the specific cautions of the spider. He shares a consciousness with the natural world. The difference between the Euro-American and Native view on mans relationship and interconnectedness with nature is exemplified with the mountain lion. Tayo respects the mountain lion and performs a ritualistic offering as he laces its footprints with yellow pollen (Silko 182). The white hunters hunt the lion (Silko 188), probably for its fur or status as a trophy because they comment on its size. It is non-coincidently the footprints that the hunters notice and that lead to their decision to hunt. Silko then presents an obvious cultural contrast as Tayo and the white hunters react absolutely antithetically to the same stimulus. Tayo offers something symbolically to the mountain lion and pragmatically to the natural world through the eventual distribution of pollen. He reaffirms the connections and symbiosis between himself, the animal and the pollen and its germination process. The hunters however simply take and alter the natural world with no regard for contribution or sustainability. Through this ideological difference, the Euro-American physical imposition on the land equates to a psychological imposition on Native Americans (Duran 25) and constant visual reminder of their colonised status. Tayo admits how Native Americans had seen the cities, the tall buildings, the house and the lights, the power of their weapons and machines. They were never the same after that: they had seen what the white people had made from the stolen land (Silko 156) and now every day they had to look at the land, from horizon to horizon, and every day the loss was with them; it was the dead unburied, and the mourning 11 Connor Neilson
of the lost going on forever (Silko 157). Gallups railroad functions similarly as its sight forces Betonie to recall that when the railroaders came and the white people began to build their town, the Navajos had to move (Silko 108). Land ownership is a direct reminder of colonisation. Floyd Lees fence, erected to lock the mountain in steel wire, to make the land his (Silko 174) is as ideologically restrictive and imposing as it is physically. Tayo cuts into the wire as if cutting away at the lie inside himself. The liars had fooled everyone, white people and Indians alike; as long as people believed the lies, they would never be able to see what had been done to them or what they were doing to each other (Silko 177). The physical barrier is a reminder of the Euro-American colonialism dominating the landscape and Native psychology. Tayo recognises colonial internalisation and the culturally dominant view or lie of how to interact with the nature and rejects them both in cutting the wire. An artificial spacial boundary then permanently reminds how Euro-American culture dominates and undermines Native cosmology. The legitimacy of this dominance and the genocide it required and still requires is the lie that Tayo challenges. The Jack-pile site best represents the tension Euro-American colonial presence creates with Native American cosmology. Tayo traces the connections between the siting of Trinity atomic test site on colonised Native lands and the vast human costs of the bombs exploded at Hiroshima and Nagasaki (Tillett 61) and the governments occupation when extracting uranium (Silko 226). Grandmothers reaction to the tests however presents greater tension. The light resulting from the release of atomic energy was so big, so bright even my (her) clouded-up eyes could see it (Silko 227). She thought she was seeing the sun rise again (Silko 227). Silko aligns sunrise and the unnaturalness of atomic energy as the ultimate expression of deliberate unbalancing of natural forces (atomic energy is released when the nucleus of a heavy atom is split not a naturally occurring phenomenon on earth) (Rainwater 132). She juxtaposes the utterly destructive, Frankenstein-esque perversion of nature with the natural worlds regular function that provides life, rather than death, to its organisms. Sunrise is vital in Ceremony and Laguna Pueblo culture. The word opens and closes the texts orally poetic frame and forces the reader to recognise and in completing the text pay homage to Native American storytelling. By comparing and replacing natural sunrise with the release of atomic energy, Silko makes abundantly clear the contrast in how the Laguna Pueblo and the federal government use and view natural resources and the 12 Connor Neilson
sacredness of natures energetic processes. The flash and the Jackpile mines sight causing Tayo to trace the connections reflects how Euro-American use of space in the novel is not only antithetical to Native American cosmology but culturally destructive in what it symbolises. It acts as a psychological attack based on ideological incompatibility to remind Native Americans of their helplessness and their colonisers omnipotence. Ceremony then is rich in examples of the difference and resulting tension between how Euro-American culture and Native cosmology view the natural world through Euro and Native Americans use of the novels space. This difference is visible to Native Americans through physical changes to the land in numerous forms that, in their constant and unchallenged presence, remind Natives that they are colonial subjects to a coloniser and his antithetical world view that cannot be challenged. This ultimately leads to a greater sense of hopelessness and self-hatred as Native American cosmology is undermined as valueless. The desire to emulate the Euro-American and rejection of Native cosmology increases as a result. The colonisation of externally natural space then results in the colonisation of internally psychological space and makes creating a clear victim/perpetrator paradigm even more difficult. Natives fail to see their culture as having value in the country they live in and fail to see themselves as victims of genocide. Mauss victim/perpetrator paradigm is simpler because Vladek reflects on his Holocaust experience from within a space that is not visually shaped according the antithetical values of his genocides perpetrators. Indeed, it can be argued that Americanism and Nazism are seen by Vladek as Spiegelman as as polar as Jews and Germans in Americans representation as dogs (Spiegelman 272). Natives see their continuing subjugation in a use of the natural world that contradicts and undermines their cosmology. This forces them to reject their tribal identity because it has no place in a society shaped by the Euro-American coloniser and makes constructing an accurate victim/perpetrator paradigm impossible. Unlike Maus, Ceremony suggests a Manichean victim/perpetrator paradigm based on Euro-Americanness and Nativism is impossible. Instead Silko forces her reader to understand the psychological legacy of Euro-American colonialism by imposing Native cosmology on readers familiar with European literary tradition to mimic colonialism. She creates and legitimises cultural hybridity to present Native American cosmology as meaningful within the dominant Euro-American society. 13 Connor Neilson
Her and her characters position is what Giorgio Mariani terms post-tribal. She is able to acknowledge that the cultural universe of their (her) ancestors has only imperfectly survived (Mariani 2) and indicates the advent of a neo-colonial power whose existence has affected and will inevitably continue to affect, the destinies of what once was an independent Native American tribalism (Mariani 16). The effort to retain a pre-capitalist, non-individualistic, communally-orientated culture has been dealt a severe blow by the encounter with the dominant society, and no longer holds (Mariani 17). She mimics the colonial process by imposing a Native cosmological view on her reader who then recognises that it can still generate meaning and value. This process is Silkos real ceremony and is achieved by nativising chronology, form and structure. Ceremonys chronology is based on a temporality that is not, as with Euro-American concepts, strictly linear (Tillet 58). Silkos novel regularly flits between the pre- and post- war periods, the war itself, Tayos childhood and the mythically ancient chronological setting of the analogous stories. Transitions are often unmarked in terms of chronological setting and are thus chronologically ambiguous. Silko utilises that Western thought conceptualizes history in a linear temporal sequence, whereas most Native American thinking conceptualizes history in a spatial pattern (Duran 14) to create a sense of unease within her reader who cannot deduce when the passage they are reading takes place. Where, rather than when, events take place is important. Ceremonys unlinear understanding of time also speaks not just to a history of the past but to a consciousness that is ongoing (Porter 42). As with the Native American view on nature, holism connects different points and people in the past with those in the present. Chronological ambiguity heightens this interconnectedness. It contrasts Euro-American notions of time and mimics the colonial process within the reader who feels anxiously unacquainted with an opposing world view that is forced upon them through the texts chronology. A reader unfamiliar with Native cosmology must culturally assimilate themselves to fully understand the novel. Silko taps into what Taylor calls the Eurocentric strategy for possessing what cannot be understood if not mastered, and not mastered as long as it is not understood (25) to force the reader to view the text through a Native lense to understand and complete or conquer it. Ceremony has no chapters but a series of natural breaks that emulate the pauses of oral storytelling (Tillett 58). Absent chapters reaffirm holistic 14 Connor Neilson
interconnectedness in the avoidance of the traditional method of dividing narrative into clear and individual sections. Silkos visually-clear chapterlessness and lack of chronological clarity creates a chronologically and geographically confusing (Nelson 249) narrative that forces readers to confront an overpowering and dissimilar world view. The defining form and structure of English prose interspersed with Native poetic narrative however is more indicative of Native interconnectedness and Silkos attempt to mimic the colonial processs. The novel opens and closes with poetry from the Laguna Pueblo oral tradition. Native poetry framing a European invention antithetical to a tribal vision of the world (Mariani 2) in the novel reflects its overarching importance in understanding the story. Tribal poetry breaks up prose and the transitions in form are clear. Stanzas replace prose and Silkos characters and plot are analogised with stories and characters from tribal cosmology. It is the readers task to create meaning from the mythical stories to find comparisons between Ceremony and tribal myth to explain why events happen the way that they do and what they mean. Understanding that Tayo and the other characters rejection of the legitimacy of Native cosmology and the fascination with Kygo magic in the story parallel one another is vital to understand the drought and Tayos loss of tribal identity. That understanding the tribal poetry is vital in making sense of the text legitimises tribal cosmology in a 20 th century Euro-American context. Tayo and the reader must realise the value still carried in Native myth. This is Silkos ceremony. Tayo embraces his tribal identity and avoids witchcraft whereas the reader accepts the meaning in the mythic poetry and applies it to the historically real narrative. Just as Tayo is assisted by Kuoosh and Betonie, so is the reader assisted by the text (Rainwater 131). Ceremony seems to have a European and a tribal narrative, and it is Silkos requirement of the reader to blur the lines between both to legitimise Native cosmology. And from her post-tribal position, legitimisation is all Silko can do. Simply through its ability to generate meaning, Native cosmology becomes meaningful and of value within the 20 th century Euro-American colonial context. In the texts hybridity, Silko recognises that Native superiority is an irrelevant concept against the omnipotence of the Euro-American world view. The semiotics of the hybridity reflect Silkos call for the necessity of assimilation between both the Euro- American worldview and Native world view. That Silko realises the necessity for assimilation reflects the difficulty with which Native Americans create victim/perpetrator paradigms. She 15 Connor Neilson
rejects the notion of a Euro-American/Native perpetrator/victim paradigm because the psychological legacy of 20 th century Euro-American colonialism would make it pointless to do so. Nothing is that simple, he said, you dont write off all the white people, just like you dont trust all the Indians (Silko 118). Betonies advice to Tayo exemplifies the contrast between how Silko and Spiegelman choose to present homogenous notions of genocidal victimhood and perpetration. As a result of differing authorial context and historical metanarrative, Silko and her characters ability to form binary oppositions between themselves and their genocidal perpetrators is hugely more complex than in Maus. The psychological legacy of 20 th century Euro-American colonialism differs from that of the European Holocaust because imperialistic subjugation continues under the guise of America as the great democratizer, the great assimilator, all-knowing and all-powerful, organizer of the world (Cook-Lynn 154). Silko must embrace the world view of the genocidal perpetrator. Spiegelman must not. As a result, Ceremonys notions of victimhood and perpetration cannot be binary because of lacking psychological clarity.
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Fogelson, Raymond D.. Perspectives on Native American Identity. Studying Native America: Problems and Prospects. Ed. Russell Thornton. Madison: The University of Wisconsin Press, 1998. 40-59. Print. Janke, Ronald A.. Population, Reservations, and Federal Indian Policy. Handbook of Native American Literature. Ed. Andrew Wiget. New York: Garland Publishing, Inc., 1996. 155-173. Print. Krupat, Arnold. Postcolonialism, Ideology, and Native American Literature. Post-colonial Theory and the United States Race, Ethnicity and Literature. Eds. Schmidt, Peter and Amritjit Singh. Mississippi: University Press of Mississippi, 2000. 73-94. Print. Mariani, Giorgio. Post-Tribal Epics The Native American Novel Between Tradition and Modernity: Lampeter: The Edwin Mellen Press Ltd., 1996. Print. 17 Connor Neilson
Porter, Joy. Historical and cultural contexts to Native American Literature. The Cambridge Companion to Native American Literature. Eds. Porter, Joy and Kenneth M. Roemer. Cambridge: Cambridge University Press, 2005. 39-69. Print. Rainwater, Catherine. The Semiotics of Dwelling in Leslie Marmon Silkos Ceremony. Leslie Marmon Silkos Ceremony: A Casebook. Ed. Allan Chavkin. New York: Oxford University Press ,Inc., 2002. Print. Tillett, Rebecca. Contemporary Native American Literature. Edinburgh: Edinburgh University Press Ltd, 2007. Print.
Secondary literature Babckock, Barbara and Jay Cox. The Native American Trickster. Handbook of Native American Literature. Ed. Andrew Wiget. New York: Garland Publishing, Inc., 1996. 99-105. Print. Barkan, Elazar. The Guilt of Nations: Restitution and Negotiating Historical Injustices. Baltimore: The John Hopkins University Press, 2001. Print. Bell, Robert C.. Circular Design in Ceremony. Leslie Marmon Silkos Ceremony: A Casebook. Ed. Allan Chavkin. New York: Oxford University Press ,Inc., 2002. 23-39. Print. Biedler, Peter G.. Animals and Theme in Ceremony. Leslie Marmon Silkos Ceremony: A Casebook. Ed. Allan Chavkin. New York: Oxford University Press ,Inc., 2002. 17-22. Print. Bruchac, Joseph. Contemporary Native American Writing: An Overview. Handbook of Native American Literature. Ed. Andrew Wiget. New York: Garland Publishing, Inc., 1996. 311-337. Print. Coltelli, Laura. European Responses to Native American Literatures. Handbook of Native American Literature. Ed. Andrew Wiget. New York: Garland Publishing, Inc., 1996. 339-345. Print. Cook-Lynn, Elizabeth. Anti-Indianism in Modern America: A Voice from Tatekeyas Earth. Chicago: University of Illinois Press, 2007. Print. Dennis, Helen May. Native American Literature: Towards a spatialized reading. Abingdon: Routledge, 2007. Print. 19 Connor Neilson
Duran, Bonnie and Eduardo Duran. Native American Postcolonial Psychology. Albany: State University of New York Press, 1995. Print.
Duran, Bonnie, Eduardo Duran and Maria Yellow Horse Brave Heart. Native Americans and the Trauma of History. Studying Native America: Problems and Prospects. Ed. Russell Thornton. Madison: The University of Wisconsin Press, 1998. 60-76. Print.
Fogelson, Raymond D.. Perspectives on Native American Identity. Studying Native America: Problems and Prospects. Ed. Russell Thornton. Madison: The University of Wisconsin Press, 1998. 40-59. Print. Jahner, Elaine A.. Leslie Marmon Silko. Handbook of Native American Literature. Ed. Andrew Wiget. New York: Garland Publishing, Inc., 1996. Print. Jahner, Elaine. An Act of Attention: Event Structure in Ceremony. Leslie Marmon Silkos Ceremony: A Casebook. Ed. Allan Chavkin. New York: Oxford University Press ,Inc., 2002. 41- 50. Print. Janke, Ronald A.. Population, Reservations, and Federal Indian Policy. Handbook of Native American Literature. Ed. Andrew Wiget. New York: Garland Publishing, Inc., 1996. 155-173. Print. Konkle, Maureen. Indian Literacy, U.S Colonialism, and Literary Criticism. Post-colonial Theory and the United States Race, Ethnicity and Literature. Eds. Schmidt, Peter and Amritjit Singh. Mississippi: University Press of Mississippi, 2000. 151-175. Print.
Krupat, Arnold. Postcolonialism, Ideology, and Native American Literature. Post-colonial Theory and the United States Race, Ethnicity and Literature. Eds. Schmidt, Peter and Amritjit Singh. Mississippi: University Press of Mississippi, 2000. 73-94. Print. Mariani, Giorgio. Post-Tribal Epics The Native American Novel Between Tradition and Modernity: Lampeter: The Edwin Mellen Press Ltd., 1996. Print. Nelson, Elizabeth Hoffman and Macolm A. Nelson. Shifting Patterns, Changing Stories: Leslie Marmon Silkos Yellow Women. Leslie Marmon Silko: A Collection of Critical Essays. Eds. 20 Connor Neilson
Barnett, Louise K. and James L. Thorson. Albuquerque: University of New Press, 2001. 121- 133. Print. Nelson, Robert M.. A Laguna Woman. Leslie Marmon Silko: A Collection of Critical Essays. Eds. Barnett, Louise K. and James L. Thorson. Albuquerque: University of New Press, 2001. 15-22. Print. Nelson, Robert M.. The Function of Landscape in Ceremony. Leslie Marmon Silkos Ceremony: A Casebook. Ed. Allan Chavkin. New York: Oxford University Press ,Inc., 2002. 139-173. Print. Nelson, Robert M. Leslie Marmon Silko: storyteller. The Cambridge Companion to Native American Literature. Eds. Porter, Joy and Kenneth M. Roemer. Cambridge: Cambridge University Press, 2005. 245-256. Print. Owens, Louis. The Very Essence of Our Lives: Leslie Silkos Webs of Identity. Leslie Marmon Silkos Ceremony: A Casebook. Ed. Allan Chavkin. New York: Oxford University Press ,Inc., 2002. 91-116. Print. Porter, Joy. Historical and cultural contexts to Native American Literature. The Cambridge Companion to Native American Literature. Eds. Porter, Joy and Kenneth M. Roemer. Cambridge: Cambridge University Press, 2005. 39-69. Print. Purdy, John. The Transformation: Tayos Genealogy in Ceremony. Leslie Marmon Silkos Ceremony: A Casebook. Ed. Allan Chavkin. New York: Oxford University Press ,Inc., 2002. 63- 70. Print. Rainwater, Catherine. The Semiotics of Dwelling in Leslie Marmon Silkos Ceremony. Leslie Marmon Silkos Ceremony: A Casebook. Ed. Allan Chavkin. New York: Oxford University Press ,Inc., 2002. Print. Ruoff, A LaVonne Brown. Native American Writing: Beginnings to 1967. Handbook of Native American Literature. Ed. Andrew Wiget. New York: Garland Publishing, Inc., 1996. 145-154. Print. 21 Connor Neilson
Shanley, Kathryn W. Writing Indian: American Indian Literature and the Future of Native American Studies. Studying Native America: Problems and Prospects. Ed. Russell Thornton. Madison: The University of Wisconsin Press, 1998. 130-151. Print. Silko, Marmon Leslie. Yellow Woman and a Beauty of the Spirit: Essays on Native American Life Today. New York: Touchstone, 1996. Print. Silko, Marmon Leslie. Interior and Exterior Landscapes: The Pueblo Migration Stories. Speaking for the Generations: Native Writers on Writing. Ed. Simon J. Ortiz. Arizona: The University of Arizona Press, 1998. Print. Taylor, Paul Beekman. Silkos Reappropriation of Secrecy. Leslie Marmon Silko: A Collection of Critical Essays. Eds. Barnett, Louise K. and James L. Thorson. Albuquerque: University of New Press, 2001. 23-62. Print. Teuton, Sean Kicummah. Red Land, Red Power: Grounding Knowledge in the American Indian Novel. London: Duke University Press, 2008. Print. Tillett, Rebecca. Contemporary Native American Literature. Edinburgh: Edinburgh University Press Ltd, 2007. Print. White, Richard. Using the Past: History and Native American Studies. Studying Native America: Problems and Prospects. Eds. Russell Thornton. Madison: The University of Wisconsin Press, 1998. 217-243. Print. Wiget, Andrew. Oral Literature of the Southwest. Handbook of Native American Literature. Ed. Andrew Wiget. New York: Garland Publishing, Inc., 1996. 53-63. Print. White, Richard. Using the Past: History and Native American Studies. Studying Native America: Problems and Prospects. Eds. Russell Thornton. Madison: The University of Wisconsin Press, 1998. 217-243. Print. Wiget, Andrew. Oral Literature of the Southwest. Handbook of Native American Literature. Ed. Andrew Wiget. New York: Garland Publishing, Inc., 1996. 53-63. Print.