Fluent Essays

Read this article and write a 400 words response paper.Instruction:1) What propels the story, and how does the writer achieve this through various craft elements? 2) Inner and outer story summary and interplay. 3) In-depth look at how point of view influences the overall effectiveness of the story. 4) Analysis of the interplay between summary, scene, reflection, and dialogue in the story. 5) What gripped you about the story? How? Why? silko_essay.pdf Unformatted Attachment Preview l! LESLIE MARMON SILKO Language and Literature from a Pueblo Indian Perspective Poet and fiction writer Leslie Marmon Silko grew up on the Laguna Pueblo Reservation in New Mexico. She is author of a collection of poetry, several novels, and a collection of essays, Yellow Woman and a Beauty of the Spirit: Essays on Native American Life Today (1996), which addresses the cultural and social contexts that shape her poetry and fiction. The following essay began as a speech and first appeared in print in English Literature: Opening Up the Canon (1979), edited by Leslie A. Fiedler and Houston A. Baker. As you read, notice how Silko organizes her analysis and incorporates sample narra­ tives to demonstrate the web like, nonlinear pattern of Pueblo narratives. W HERE I COME FROM, the words most highly valued are those spo­ ken from the heart, unpremeditated and unrehearsed. Among the Pueblo people, a written speech or statement is highly suspect because the true feelings of the speaker remain hidden as she reads words that are detached from the occasion and the audience. I have intentionally not written a formal paper because I want you to hear and to experi­ ence English in a structure that follows patterns from the oral tradition. For those of you accustomed to being taken from point A to point B to point C, this presentation may be somewhat difficult to follow. Pueblo expression resembles something like a spiders web - with many little threads radiating from the center, crisscrossing each other. As with the web, the structure emerges as it is made and you must simply listen and trust, as the Pueblo people do, that meaning will be made. My task is a formidable one: I ask you to set aside a number of basic approaches that you have been using, and probably will continue to use, and instead, to approach language from the Pueblo perspective, one that embraces the whole of creation and the whole of history and time. What changes would Pueblo writers make to English as a language for literature? I have some examples of stories in English that I will use .......­ Chapter 59 LITERARY ANALYSES to address this question. At the same time, I would like to explain the importance of storytelling and how it relates to a Pueblo theory of language. So I will begin, appropriately enough, with the Pueblo Creation story, an all-inclusive story of how life began. In this story, Tseitsinako, Thought Woman, by thinking of her sisters, and together with her sisters, thought of everything that is. In this way, the world was created. Everything in this world was a part of the original creation; the people at home under­ stood that far away there were other human beings, also a part of this world. The Creation story even includes a prophecy, which describes the origin of European and African peoples and also refers to Asians. This story, I think, suggests something about why the Pueblo peo­ ple are more concerned with story and communication and less con­ cerned with a particular language. There are at least six, possibly seven, distinct languages among the twenty pueblos of the southwestern United States, for example, Zuni and Hopi. And from mesa to mesa there are subtle differences in language. But the particular language spoken isnt as important as what a speaker is trying to say, and this empha­ sis on the story itself stems, I believe, from a view of narrative particu­ lar to the Pueblo and other Native American peoples ~ that is, that language is story. I will try to clarify this statement. At Laguna Pueblo, for example, many individual words have their own stories. So when one is telling a story, and one is using words to tell the story, each word that one is speaking has a story of its own, too. Often the speakers or tellers will go into these word-stories, creating an elaborate structure of stories­ within-stories. This structure, which becomes very apparent in the actual telling of a story, informs contemporary Pueblo writing and storytelling as well as the traditional narratives. This perspective on nar­ rative - of story within story, the idea that one story is only the begin­ ning of many stories, and the sense that stories never truly end ­ represents an important contribution of Native American cultures to the English language. Many people think of storytelling as something that is done at bed­ time, that it is something done for small children. But when I use the II -roc: .!:: 0 o+i ...,ro QJ ::l .r:..t:: ... V1 ~ c: QJ 0\ QJ QJ v ...a. 0 QJ 01 ...ro QJ ...,... V> .r:.ro va. ... ro ro ....... QJ ro ~E ~§.. V1 QJ ti ro -a .- E~ 0\ c: ~ ->t. 0 0 ..c -a c: ro .r:. Silko / From a Pueblo Indian Perspective term storytelling, Im talking about something much bigger than that. Im talking about something that comes out of an experience and an under­ standing of that original view of creation - that we are all part of a whole; we do not differentiate or fragment stories and experiences. In the beginning, Tseitsinako, Thought Woman, thought of all things, and all of these things are held together as one holds many things together in a single thought. So in the telling (and you will hear a few of the dimensions of this telling) first of all, as mentioned earlier, the storytelling always includes the audience, the listeners. In fact, a great deal of the story is believed to be inside the listener; the storytellers role is to draw the story out of the listeners. The storytelling continues from generation to generation. Basically, the origin story constructs our identity - within this story, we know who we are. We are the Lagunas. This is where we come from. We came this way. We came by this place. And so from the time we are very young, we hear these stories, so that when we go out into the world, when one asks who we are, or where we are from, we immediately know: we are the people who came from the north. We are the people of these stories. In the Creation story, Antelope says that he will help knock a hole in the earth so that the people can come up, out into the next world. Antelope tries and tries; he uses his hooves, but is unable to break through. It is then that Badger says, Let me help you. And Badger very patiently uses his claws and digs a way through, bringing the people into the world. When the Badger clan people think of themselves, or when the Antelope people think of themselves, it is as people who are of this story, and this is our place, and we fit into the very beginning when the people first came, before we began our journey south. Within the clans there are stories that identify the clan. One moves, then, from the idea of ones identity as a tribal person into clan iden­ tity, then to ones identity as a member of an extended family. And it is the notion of extended family that has produced a kind of story that some distinguish from other Pueblo stories, though Pueblo people do not. Anthropologists and ethnologists have, for a long time, differenti­ ated the types of stories the Pueblos tell. They tended to elevate the old, - r Chapter 59 LITERARY ANALYSES sacred, and traditional stories and to brush aside family stories, the fam­ ilys account of itself. But in Pueblo culture, these family stories are given equal recognition. There is no definite, present pattern for the way one will hear the stories of ones own family, but it is a very critical part of ones childhood, and the storytelling continues throughout ones life. One will hear stories of importance to the family -- sometimes won­ derful stories - stories about the time a maternal uncle got the biggest deer that was ever seen and brought it back from the mountains. And so an individuals identity will extend from the identity constructed around the family I am from the family of my uncle who brought in this wonderful deer and it was a wonderful hunt. Family accounts include negative stories, too; perhaps an uncle did something unacceptable. It is very important that one keep track of all these stories - both positive and not so positive about ones own family and other families. Because even when there is no way around it - old Uncle Pete did do a terrible thing _. by knowing the stories that originate in other families, one is able to deal with terrible sorts of things that might happen within ones own family. If a member of the family does something that cannot be excused, one always knows stories about similar inexcusable things done by a member of another family. But this knowledge is not communicated for malicious reasons. It is very impor­ tant to understand this. Keeping track of all the stories within the com­ munity gives us all a certain distance, a useful perspective, that brings incidents down to a level we can deal with. If others have done it before, it cannot be so terrible. If others have endured, so can we. The stories are always bringing us together, keeping this whole together, keeping this family together, keeping this clan together. Dont go away, dont isolate yourself, but come here, because we have all had these kinds of experiences. And so there is this constant pulling together to resist the tendency to run or hide or separate oneself dur­ ing a traumatic emotional experience. This separation not only endan­ gers the group but the individual as well - one does not recover by oneself. Because storytelling lies at the heart of Pueblo culture, it is absurd to attempt to fix the stories in time. When did they tell the stories? III - VI .~..... § 0 ..... ....,co ~ Q) v c Ol VI Q) Q) Q) Ol 0 a. Q) + ...,~ V> ..c.ll v<0 __ 0.. ... ttl Q) ttl ~E ~~ -0 .Q) V> E~ 0, c -0 <0 Q) .... .;,L 0 0 .0 -0 c tV .s::. Silko I From a Pueblo Indian ... Purchase answer to see full attachment