January 27th, 2011

recognizing home

I drove up to Campbell River today. I pulled over at a Starbucks not far from the harbour and went in to write the Bron Taylor post. I was working away, mostly oblivious of others coming and going but then suddenly I felt a sense of “home.” It was strong and delicious, like bitter/sweet hot coffee after digging roots all day and so I stopped writing and looked up. I was surrounded by Indians.

Hah. Teach me to leave the Rez.

Over at Letter from Hardscrabble Creek there is a comment relating to Clifton’s sense of hilarity about “earnest” Pagans that lecture “about ‘cultural appropriation’.” Clifton’s right of course. No Pagan got to be one without appropriating the hell out of history. But it’s really the comment (@Karen A. Scofield) that I want to address. In in she says “not all cultural appropriation is bad. Some is, like doing sweat lodges without enough knowledge and background.”

To talk about this I need to tell you just a little about my “lineage.” A big part of my family are from the Salishan language group. Then there’s some Kootenai, some Blackfoot, some Shoshone, some Yakima and others too. Racially/ethnically I’m mostly Briton, with Jew, Gypsy, Saxon and probably some Welsh (if what I know of the family history is correct.) I’m not an Indian, I’m what, in Rez speak, would be called a “breed.” Then so are we all.

We humans are a travelling species and have been since we were properly not even human but Homo erectus. And I bet those “cousins” weren’t so different from us. When human women travel we tend to collect bodily secretions from some of those we meet along the way and when human men travel they tend to leave a decent sized sample of theirs for the edification of the locals. Some of those travel exchanges ended up as kiddies, and so our “breedness” is continued.

So that’s that. We travel, we exchange goods, ideas and bits of our selves and have been doing that from before we were human at all. And really, that kind of takes some of the “oh, so awful” out of the charge of cultural appropriation. And in Indian Country: I mean if you go to a big Powwow today you are going to see some Ojibwa dancing in a plains style outfit, to a drum that might be from one of the southwest tribes, and likely carrying some beadwork style that originated with the Cree (and they were mixed Indian and French.) So there is no “pure” anywhere. “Pure” is a narrative, an idea that has a BIG ideological baggage train behind it. It has nothing whatsoever to do with the facts of human history.

However, there is something to be said about what Karen had to say about the sweat. The man that is the head of my family tells us that the sweat is to be used. He invites anyone who wants to listen to the spirits, who wants to heal themselves, to come and sweat. According to him there is no “wrong” way, except if you are “told” by the spirits what to do and you ignore that. There are no “rules” exactly—except for basic respect. That whole thing about the “right” way is largely from a specific set of cultures that are big on hierarchy anyway. And it is a political device that was born out of the need to survive white contact, but that’s another whole post and one I’m unlikely to write.

What’s true is that if you claim to be running an “authentic Sioux sweat”, I don’t care if you’re Sioux or not, you probably got it mixed up and I doubt your Aunty would approve. The sweat is a methodology, a known way of getting the body, the mind, the spirit, ready to listen to the songs, to the spirits, the animals, the other powers. It’s a technology for getting humans in the “place” where they can listen to what is already shouting in their ear. It’s like Zen. The “right” way to practice zazen is to sit still and listen. You don’t need a fancy anything, the seat cushion doesn’t have to be the right colour or the right size. Just so, the right way to do a sweat is to go in with respect for the wood, the rocks, the willow, the water, the fire, the blankets, your skin (I not glad to be around people who try to burn you out of a sweat as a kind of one-up-manship), the songs and each other. Go in with respect, sing, get hot and listen. Then come out and get clean. And don’t brag around about how holy you are, not even to yourself. That’s it.

What you don’t want to do is think that this makes you an Indian. It doesn’t. I don’t care how many lessons some Indian charged you for, or how many real Indian names you got in some weekend ceremony, none of that makes you Indian. It may be important, the names you got. Those times may have taught you wonderful things, but all that means is that you are what you are with some additional knowledge, and hopefully, wisdom. The presumption of so simple an identity change, the most egregious kind of identity theft, that’s really the only kind of “appropriation” you want to avoid. Mostly that’s because it is dangerous to you, because it is an illusion, but also, it is essentially and deeply disrespectful of the long-term alliance between the Earth of their homeland and the People who have listened to It for countless generations. And I would have thought being a Pagan is really about that respect, that alliance. Learn from it, sure. But don’t mock it by claiming it for your own. Build your own alliance. That way it’ll be real and true.

November 16th, 2010

A singer who speaks

I have a new book of poetry. This one is called Horse Tracks and is by Henry Real Bird.  Here’s an example:

Thought

"Thought is like a cloud
You can see through shadow to see nothing
But you can see shadow
When it touches something you know,
Like that cloud's shadow
Touching the Wolf Teeth Mountains.
When the clouds touch the mountain's top
Or where it is high
The wind is good
When you're among the clouds
Blurred ground among fog,
You are close to He Who First Did Everything,"
Said my Grandfather Owns Painted Horse.
We are but nomads asking for nothing
But the blessings upon our Mother Earth.
We are born as someone new
So then
We have to be taught
The good from the bad.
What is good, we want you to know.
What is good, we want you to use,
In the way that you are a person.

This is one of those books of poetry that I read outside. I went to the coffee shop this morning and sat outside in the wind and sun. The heat of the sun on my shoulder, the cold wind around my knees was a perfect partner to Real Bird’s poetry.

Sitting there reading, then putting the book down and listening for the poem’s echo, I could hear stick game songs, the sounds of the sweat, the winter dance, like sniffing smudge smoke from far off.

Hal Cannon (of the Western Folklife Centre) has a blurb that decorates the back of the book. It says:

Henry Real Bird’s poems are of the moment and thus timeless. We look to Henry for a check of the pulse of things coded in words that work to decipher what he often calls “feelings.” But are they more like sounding of the heart and of the earth? And then again are they poems, songs, or prayers? All I know is I’m glad they are preserved.

The thing is that just based on what I know, that song, poem and prayer are really the same thing. In my part of Indian Country there is a person called a “singer.” This person is someone who has at least one song that has power. When the singer (and only the singer) sings the song, the power of the song is shared. These songs are thus prayers of a sort, and their rhythmical nature, with or without words, makes them act like the metrics of a poem. So how I see Real Bird’s book, it is like a song shared in the ceremony that is our acknowledged personhood. I don’t know Henry, will almost certainly never meet him, but by his book, it is like he has reached out a hand to shake mine as we do when we enter the longhouse for winter dance.

Vision

The promise of love and life in the moon
Beckons our rider to cinch real loose
For an easy day of riding through Yellowstone.
The mountain woman of Pueblo
Wore a pair of elk teeth
For the feeling that she is.
The beautiful Woman-of-the-Mountain
Told our rider to meet her on the Wind River
In the moon when the birds return.
Early morning's empty streets
Haunt as do late night road crosses,
All I can remember today are the losses.
Alone, traveling to celebrate winter's end,
People routinely work and wish for better.
He was a tarnished sun that rose
Rendering all of the reflection's pose.
Then I remembered myself, as feeling in wind,
The vision of a feeling drives the heart
Slowly through a life where people hide
From themselves in thick underbrush,
In the shadows of their hearts.
I want nothing to cling to your heart
As you go riding in life.
That is what I have asked for you.

I have a lot to learn from this guy.

October 30th, 2010

Dangerous poetry

One of my recent book purchases was a copy of Pima Road Notebook by Keith Ekiss. I haven’t written about it yet for two reasons. The first: I have been rather under the weather again (you may have noticed from the lack of posts). The second: I find the book beautiful but disturbing.

In the last several days I’ve taken to dreaming of very large animals and water. The animals (a very large albino python was last night’s character, and a 15 foot tall morphing meerkat was the night before) are always in a wonderful wild place and always near water. They mean me no harm but I am afraid. Their power is such that, like the python, an inadvertently powerful embrace, for all its loving quality, will be my end.

The reason I tell you this—because Ekiss’ book gives me the same sensation.

Pima Road Notebook

In desert light, in thirsty light, out past the houses.
Out past the idea of roads toward the dry wash.
Always the abandoned mattress springs in the arroyo.
And sunlight dusting tattered afternoon curtains.
Her medicine cabinet a cave of tints and scents.
I twisted her lipstick, a spiral root.
Smelled the sweet clay of Sunset Red emollient.
Who broke the necklace of the river?
Blue relief, our chlorinated swimming pool.
I straightened my dive through infertile water.
My body's better use, casting a shadow for a dove.
I watched the tame hawk return to its hooded wrist.
She dropped me off at school, Cherokee Elementary.
Heat pulsing in my temple and sweat.
I found a nest of rabbits hidden in the cholla.
The young are born helpless, naked, and blind.

Do you feel the same thing? The danger, the threat?

It’s not just the tame hawk, the talons and the young born helpless, there’s a promise here that this is not a peace but a truce, the quiet is at once permanent like death, and ephemeral. For all its apparent domestication, the hawk has a beak and talons designed for ravaging.

Then there are the poems where the other, the native, appears, peeks through the words.

Pima Houses (c.1910)

The house stands finished when it's laid with brick—
brush huts receive no government wagon.
Soldiers keep order: settle the natives,
no burning home to mark the newly passed.
The body lies dressed in the man's finest clothes,
pastors demand Christian burial. Pima women
sever their hair, singed in ritual mourning.
When asked if the soul is any color, a child
observes: it flies into the breast of an owl.
This explains a boy climbing trees. One hand
stretches up into the nest, collecting feathers,
a gift to help the dying man cross over.
Others claim the soul returns to the east,
the house of evil, from where the soldiers come.

It’s a good choice, the presentation of such pain with that dispassionate voice. The distance, the fact that we can only see them through the photograph-like image that develops, it delivers quietly, like an inoculation. But against what? Me?

I feel the poems working like the meerkat and the albino python. I have not been free of them since I first opened the book and as dangerous as it feels, this is exactly what one wants from a book of poetry. And this a “first collection”? Well done Mr Ekiss, well done.

August 28th, 2010

Memory and death

I am in Spokane, in the motel where I always stay. Asleep still are my son and one of my nieces. I have already been out to get my coffee and some bread, cheese, fruit, etc for breakfast. Apple juice for the niece, and coke for the son.

I am sore from walking yesterday, the powwow at Riverfront was being set up and I was looking for another one of my nieces. She of the Washington School of the Deaf. It turned out that she had already left for the Reservation with her dad. Nevermind. I’m going up there this morning.

Still, I was glad I walked the grounds. It’s been several years now since I lived here and so there is a an almost ethereal quality to my walking here. I went by my old apartment to gather some seeds from a kind of Lunaria that grows here. It has bigger, whiter seed pods than the kind that I’ve seen up in Vancouver so I am going to plant some at home. I was there just after dark and the stands that I went for are at the edge of a badger’s wood. There are coyotes near by too since it is within easy reach of the river. And I visited the witch’s house. Her place is always really beautiful and verdant.  But it was the powwow grounds that really seemed dense with the past and the odd thing is that I’m not much of a powwow person. Love stick game because of the songs but powwows have never been my favourite. Still this time it was different.

I suppose it is because Thyra is dead and she used to be a part of this powwow. Walking around was a bit like walking through the liminal zone where the shades and living intermingle. I kept “seeing” people that were once busy getting ready to dance, or sitting together in their camp chairs talking, and through them would hustle the current powwow workers setting up for grand entry at 7PM.

Today should be interesting because Wellpinit powwow is next weekend and Thyra’s camp is being set up today on the grounds. I’m heading up there in about an hour to exchange one niece for another. I’ll get a chance to walk around Wellpinit powwow grounds then. I’ll also go get some mugwort and buckbrush that grows near there.

I need juniper too and every morning when I burn it I suppose it will continue to keep the shades fed and therefore the memories sweet. At least I don’t use blood like Odysseus, and like Homer (I presume) I know it is a story, even if a compelling one.

August 21st, 2010

track bear track

Years ago I knew a woman who told me a story about a Salish woman we both knew. Briefly, the Salish woman would say “track bear” when she was pointing (or referring) to a bear track. She was a Salish speaker and the underlying sense of reality that was instilled in her early years (and was recorded in the rhythms and syntax of her first language) stayed with her. She explained (to the woman I once knew) when asked, that to say “track bear” is obvious since you see the track first and then you see the bear.

Little bits of knowledge like this are like prisms. Turned this way and that they break up what we thought was a singular modality. The relationship between what our bodies receive from the world and what we perceive, and then communicate to ourselves (let alone others) is like white light. It isn’t singular.

For humans there isn’t a case where the world is either about objects and subjects or about events. Demonstrably it is about both. The decision about what to make central (either the subject/objects or the events – the space between) is a cultural decision made in the development of a group of people in space over time. What interests me is the movement a mind can make between bear track and track bear. This is the world of the liminal, the cultural translator, the mind that slips on its own (un)certainties.

I’ve been rather sick for several days. Bad, bad headache and since my daughter is also sick, it’s been frustrating. Can’t think, but still have to operate. Can’t even read much because it ratchets up the pain after not very long. Still, I did read “The Noble Rider” which is an essay by Wallace Stevens from his collection of essays called The Necessary Angel.

I mentioned this book in the August 17 post on Phenomenology, poetry and sense when I felt a connection between the “thing” and what Stevens’ thinks about poetry, imagination and reality. Mind slippage of the sort that track bear track represents is what happens (or what enables) when the certainties of event/or/subject-object are fractured. The slivers left, the “questioning” I talk about in the last thing-post is like the rainbow the prism enables us to see. It is important to remember that the prism doesn’t create it, by the way, it just makes visible to us the constituent frequencies of what normally appears as “white.”

This is why I think that the rock is just as real as the thing-in-itself (last paragraph of that Aug 17 post). White light is not unreal. Neither are the constituent frequencies the “really real” light. They are just as much a product of our visual equipment and our resultant interpretation as is white light. What seems critical to me is that our visual equipment obviously includes eyes, nerves, cerebral processing modules as well as the world of electro-magnetic frequencies and photons: what we perceive is a result of the relationship between what we have evolved to be and what we have evolved within. What I question is where does track bear track come into it? Where does this cultural imagination – the various cultures’ certainty of correct and obvious interpretation of what is seen – obtain? I suppose it must be in the “processing” that imagination has its abode.

All this has led me to question imagination. What is it? I mean there are the Romantics who are sure they know, and Stevens (and other poets/artists of course) has things to say about its relationship to reality and to the mind, as do the Philosophers and Cognitive Scientists. So that’s what I’m exploring.

For me, all of it is still tethered to the idea of “thing”/”thing-in-itself” and in my head “thing”/”thing-in-itself” and “imagination” relate, but how? No idea yet. Just a feeling. It’s a bit like a Tarot card I’m not quite sure where to place relative to others already chosen, and if you read symbols of any sort, you know that position is critical. A new card can seriously derange what one thought was (finally) understood.

In late October of 1885 Johannes Brahms, in a town in central Germany, introduced his deeply allusive Symphony No. 4 to the world for the first time. At the same time, the Mayor of Tacoma, Jacob Robert Weisbach, his police force, and the Noble and Holy Knights of Labor decided that all the Chinese in town had to go. These European immigrants (the mayor had recently immigrated from Germany, according to The Ledger) said “the Chinese must go.”

So there I was, driving south late on this rainy Friday night. I was about 8 miles north of Tacoma when, flipping the radio, Brahms’ 3rd movement of his 4th symphony comes belting out. My head slipped sideways; the juxtaposition of what was here that fall of 1885 and what Brahms was trying to do with his 4th set off a sort of interior historical image and sensation slide that feels a bit like having multiple theaters running different films simultaneously from inside my head. I know where I am, but when is here exactly?

Of course part of my response was because I was really pretty tired my then and my imaginative filters begin to degrade under certain circumstances. It was dark, and the river of red light running up ahead of me felt, in that moment, as if it were organic, a huge powerful living thing – living in such a way that my requiem might be sung sooner than planned.

I don’t suppose a river of receding cars counts as a mob but I suppose it could feel that way if your life was threated by the power of its current and I did feel threatened. I was tired enough to know I had to stop driving soon. I wonder what the Chinese of late fall 1885 felt being herded out and forced to leave for Portland?  (And what the people in Portland felt upon receiving them.) There was talk of just killing them and thereby ending “the Chinese problem” and I suppose there were many unsolved Chinese murders during those years.

I found myself wandering through the historical and cultural landscapes so oddly intertwined by the advent of Brahms on the road past Tacoma. I was wondering if the Mayor had ever heard Brahms. Perhaps seen him at the market one day?  Did he come from the same region in Germany? Wasn’t Albert Einstein  already born then? Do beauty and civilized behaviour ever join hands? Wasn’t that the time Germany was colonizing Africa? How many people in Arizona want to end “the Mexican problem”? Did the anyone in Tacoma get the irony that their expulsion of unwanted immigrants came only a few years after the then president decided to deal with the “Indian problem” by the Indian Appropriations Act? Did they ever get that they were uninvited, unwanted immigrants? Is Starbucks still open?

Then there was this bad accident, slow traffic and Brahms ended. Starbucks was not open, my head returned to more or less normal-tired, and once past the accident scene, I drove the last 15 minutes to my friend’s house, and, in just a few minutes, will crash on her couch.

Night.

The last two days in the archives have furnished me with several treasures. One of them is a book published in 1930 called Red Heroines of the Northwest by Byron Defenbach. The second of three parts is dedicated to “The Dorion Woman.” Otherwise known as Marie Dorion, she was a 25 year old woman that traveled with 2 children from Oklahoma  to Missouri to northern Wyoming all the way to the Pacific. Along the way she had another child – he died 2 days into his life. Madame Dorion ended up near Salem Oregon where she died in 1850 at the age of about 67.

If you read about this woman on the net and in the texts produced about her, what you get is often the bones of the Astoria trek to the mouth of the Columbia, and a lot about her apparently abusive husband, and the stuff about her bearing her third son on the trail, but mostly what you get is the author’s view of what all this means. “Marie” makes a perfect canvas for our views about women and the qualities we assign them because so little is known about who she, in fact, was. I mean we don’t even know her actual name. She is called Dorion Woman because her husband’s paternal name was “Dorion” and she was his woman.

We know this, at least in part, because of Washington Irving and his “Tragical Story Told by the Squaw of Pierre Dorion.” Much emphasis is given in Irving’s account to her “presence of mind and force of character” and certainly her survival seems, from the story, due in part to her attention to her household duties. This is why, for example, she had all the supplies that she would need in the near future if she and her children were to survive the winter. The story she tells, and that Irving would relay, about the fate of the Astoria party is what made her memorable to the public but no one, it seems, thought to ask her name.

Time tells much about women’s interpreters. Irving published his story in 1836. Defenbach published his in 1929 0r 30.  Both accounts pay attention to Pierre Dorion, Irving calling him the “hybrid interpreter” as a way of describing his bi-racial heritage. Irving doesn’t mention the drunkenness as far as I know. There is a section when he is describing the French boatmen and how they lift their flagging spirits – by song, nary a drop of spirit is mentioned. But at that time alcohol might have been seen as a problem with respect to trading with Indians (their abode being the destination of the boatmen, trade goods being the cargo) and granted as a necessity to those water-haulers whose spirits needed lifting, but no one had come up with the idea of denying it to civilized white folk yet.

But by Defenbach’s time prohibition and its ideas had taken its toll on the interpretive mind of writers. In his story much attention is paid to Pierre Dorion’s use of alcohol.  However, there is still a touch of admiration: “When sober,” Defenbach says “the stalwart young half-breed was a fellow of recognized ability as a trapper and trader. He had worked for Choteau and other Americans who were beginning to resist the monopoly of the fur trade by the Hudson’s Bay and other British concerns.”  A drunk, yes, but he could hunt, trap, shoot and, on top of that, was on the right side politically. But when it comes to Marie…

(Pierre’s) proved himself faithful and serviceable. His occupation called for almost constant travel up and down the Big River, and in these journeyings he usually dragged the squaw with him. Nor was this his only encumbrance. The couple’s first son, the sturdy Baptiste, was born in 1806, and two or thee years later another lad arrived at the tepee. This latter was a frailer type of boy, with snake-like eyes and a mouth that extended from ear to ear; they named him “Paul.”

To these two children the Woman clung with the savage devotion of a mother-wolf, bringing them up after the Indian fashion. There was no discipline, the few instructions given having to do only with the children’s physical requirements. The only virtues inculcated were those of fortitude and courage, and even these traits were warped into ferocity and thirst for blood. Such ideals as those of morality, gratitude, truthfulness, unselfishness and honesty were not sought to be conveyed by the Woman to her children, primarily because she had no such ideals herself or any conception of them. The first precepts she instilled into those young hearts were those of cruelty, murder, and rapine.

Jeez.

Shortly after this little exploration of the Woman’s character and moral rectitude (compare Irving’s and Defenbach’s ideas about the ideal woman), he talks about Pierre’s accidental fall into the trip to the Pacific, which he would not survive but his wife and children would. This fall, the story leads us to believe, came because of alcohol.

The processes of evolution have never produced anything more averse to solitude than is whiskey, even a quart of it…Pierre found himself surrounded by, or perhaps one might better say surrounding, a whole flock of quarts. He passed through alternating stages of hilarity, amiability, deep melancholy, and extreme irritability. Several days and nights passed in the enjoyment or suffering of these various emotions.

(Aside: the use of the word “evolution” adds a nice little sparkle from the conceptual bounty that is Social Darwinism – also something alive and well during Defenbach’s time. I wonder if he was a eugenicist?)

What follows is a rendition of what Defenbach thinks happened when a drunk, angry and now without the salary due him by the Spaniard, Manuel Lisa, and includes an almost jovial boxing match between husband and wife. The outcome is that Pierre Dorion finds himself working for Lisa and having to cart his wife and two sons along for the ride.

Ultimately, Defenbach (nor Irving for that matter) doesn’t say much about Marie Dorion but what he inadvertently says about how he sees the world is enormous. Apart from the idea of what women are, there is the purchase place for blame. It’s not surprising that in the late 1920s when Defenbach was probably writing this text, that alcohol got much of it. Poor old Pierre, a noble sort with his rustic trade, but reduced to dragging his baggage around, getting hobbled by a treacherous Spaniard, a snake-eyed son and by that morally bankrupt Woman. Think what he could have made of himself if wasn’t for that demon rum!

meh

Would that there was someone who would haunt Oregon’s historical archives for a more accurate view of the woman. I haven’t had time for that yet, so perhaps it already exists. I’ll have to check into it.

May 12th, 2010

Off into the wilds…

I am out of here for six whole days. Heading out early, early to be on the road back to the Rez. Wahooooooooooooooooooooo!

Talk at you from the way.

April 2nd, 2010

Got a new toy


Two of my godkids from about a decade ago.

Two of my godkids from about a decade ago.

One of the many drums I made nearly 20 years ago.

One of the many drums I made nearly 20 years ago.

A detail from the hem of one of my wingdresses.

A detail from the hem of one of my wingdresses.

The toes of my favourite pair of moccassins

The toes of my favourite pair of moccassins

A bit of my really early beadwork (nasty isn't it)

A bit of my really early beadwork (nasty isn't it)


and yes, I bought a scanner today.