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Living Memory in Ceremony and the Bone People

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Living Memory in Ceremony and the Bone People Living Memory in Ceremony and the bone people A thesis submitted in partial fulfilment of the requirements for the Degree of Master of Arts in American Studies in the University of Canterbury by Charles R. E. Dawson ::::: University of Canterbury 1994 1:S 35b4 ILllf CONTENTS CA Abstract/Preface !):L77- I cr9 if Acknowledgments CHAPTER ONE 'To tum around a terrible silence': Memory and the Power of Storytelling...................................................................................................................... 1 The Maori Understanding of Language and Tradition........................................ 7 Weaving Reality: Story, Memory and Homeplace .............................................. 12 Home: Silko's mixedblood identity....................................................................... 16 The Power of Storytelling....................................................................................... 19 CHAPTER TWO The Story Will Never End: Ceremony's Living Memory......................................... 28 Institutional 'care' in Ceremony and the bone people ............................................ 39 Language and Story: Two potent forces in Ceremony ......................................... 44 Betonie: Keeper of Vision and Memory................................................................ 51 Matrilineal Vision and the Evolution of Stories .................................................. 69 Counter-Ceremony: Witchery, Colonisation, and Love ..................................... 74 CHAPTER THREE The Web of Story and Memory: Reading Keri Hulme's the bone people ........................................................................ 91 "The silence is music": Attending to the Silences ............................................... 93 Simon: The Horror of Memory............................................................................ 100 Weaving the past into the future: the bone people and ancestral memory.................................................................................................................... 125 Towards A Conclusion.............................................................................................. 135 Works Consulted ........................................................................................................ 138 "'5 JIll. 1~g~0 ABSTRACT/PREFACE Focusing on two novels, Leslie Marmon Silko's Ceremony and Keri Hulme's the bone people, this thesis attends to the enduring power of stories, and the influence of personal and cultural memory on the lives of the main characters in both novels. This is a comparative study of the wisdom these two indigenous women writers share with their reading audience. It affirms the necessity of heeding their wisdom. Chapter One traces the presence of living indigenous memory and belief in the approach to writing taken by Silko and Hulme. It attends to the connections between land, memory and stories by drawing on published and unpublished interviews with both authors, and other Maori and Native American writers. Chapter Two focuses on Ceremony and the influence of personal and mythic memory on the protagonist Tayo. He comes to regard memory and love as constructive forces which balance evil and incoherence. This chapter also traces Tayo's experience of hospitalisation and compares it with Simon's experience in the bone people. Chapter Three crosses the ocean back to New Zealand and the bone people. Here, the focus shifts to the three main characters Simon, Joe and Kerewin, and their individual responses to personal and ancestral memory. Like Tayo, each of them comes to see that an open, constructive response to the past builds community in the present, potentially enriching the future. In Ceremony and the bone people the reader is invited to reflect on the varied consequences of remembrance. Both novels address the way memory shapes a process of healing. In doing so, they draw the reader into consideration of the interconnections between individual, communal and global healing, a fragile process encouraged by Silko and Hulme in their creative weaving of language and story. ACKNOWLEDGMENTS Many people have helped me with this thesis. My first heartfelt thanks go out to Keri Hulme and Leslie Marmon Silko for bringing their stories into this world, and my own life. Keri Hulme was a gracious, generous and entertaining host when I interviewed her at her homeplace Okarito. The only thing she didn't give me was her cold - though I may have treasured it in any case! The memory of her company certainly is cherished. My supervisor Yvonne Reineke stuck with me through all my hesistations, and pulled me back to earth when my metaphors got too wild. Some tines she had to tug very, very hard! Her enthusiasm for literature has taught me a lot about being a reader and a scholar; her patience and encouragement have taught me about teaching. I sometimes thought I was beginning literary studies anew during this project. That novelty and challenge stemmed, in part, from the prompting she gave me in a way no other teacher has. At this point it is also appropriate to thank John Purdy, who came to New Zealand and shared his integrity and knowledge with many students. He generously gave valuable advice during earlier stages of this project, as well as emptying his pantry into mine when he left! Both my supervisors have been role models for me. It has been a privilege to work with them. David Riley offered advice, challenge and support throughout my studies in Christchurch. My learning, and my life, has been all the richer for it. My good friend Michael Lee proofread drafts at important points, and gave me the bluntest and most faithful encouragement. Another special friend, Cassandra Fusco helped to bring this thesis to fruition with her insightful reading and editing (not to mention her warm house and exquisite baking!) My stepmother Tricia Laing gave me important advice when I most needed to hear it. Last and by no means least, I would like to acknowledge Te Iwi 0 Te Ati Haunui-A-Paparangi and their Awa, the Whanganui, and Michelle. Arohanui. 1 CHAPTER ONE 'To turn around a terrible silence': Memory and the Power of Storytelling Keri Hulme lives at Okarito, a settlement that has seen a recent increase in year-round population to about twenty two people.! In Okarito, Hulme has found a place that reflects her abiding awareness of the land. She has written about this coast, and two other Southern coasts, Moeraki and Rakiura, in her book Homeplaces. This chapter will discuss the connections between land, storytelling and memory in the work and life of Hulme and Leslie Marmon Silko, before moving on to the respective cultural antecedents of such connections. A homeplace embraces and identifies a community in tribal contexts; it is the foundation for the stories that gather and help define the people. Bonding with the land is not erased through time or colonisation. The connection endures, as Hulme states: "domination by another culture does not mean that erstwhile love/cherishing/treasuring of the place stops .... you remember, according to your ability to remember, how appearances were."2 Here 1 Coates, K. "Bowed, but not Broken" An Interview with Ked Hulme. The Press, 8 August 1992. Weekend section, p. 1. 2 Hulme, K. "An ancient moko" New Zealand Listener (October 16,1993, p. 49- 50.) p. 49. 2 Hulme makes a crucial statement concerning the interrelationship of memory, land and cultural survival. Ones "ability to remember" determines the response to the past and the present. If memory is kept alive it can survive "domination by another culture./I The novels the bone people and Ceremony are paramount examples of the enduring power of memory. Hulme and Silko articulate and re­ member the sacred past through story, In doing so they bring that remembrance into the present world of their readers, keeping memory alive there. Hulme demonstrates the link between traditional practice and the contemporary world, when she comments (in the review quoted above) "on the whaktauki [proverb] which acts as the sub-subtitle: 'Whenua i maharatia, haehae nga takata', This is translated as 'Land of memories, scarred by people', One of my elders, after hearing the phrase and translation, spontaneously said, 'Oh no, land remembered although people scar,"'3 Her elder affirms the connections between memory and survival. Memory provides a depth of vision in the present. It affirms change and flux as a process of life, and also reminds one of earlier ways of being. Memory of the past may transcend the scars of the present. This is evident in Hulme's statement about her homeplace Moeraki. Much of the bone people was written at Moeraki, another small coastal settlement on the Southeast coast of the South Island. Writing in this place of the land and heart, Hulme clarifies her place in time: I have, one way or another, always been here all my life, I am not often here in the physical sense of occupying Moeraki-space and Moeraki-time, 3 t'b'd l f p. 50. 3 but I never leave it. It sometimes seems that I am swept by two tides, one the here and now which is the inexorable, bringing me to death, and the other a wave burgeoning forever out of the past, bearing me aloft and away from any future shore.4 There is continuity in the land, there is continuity in the blood, there is continuity in stories. For Hulme, memory of the past provides a solidity in the present. This is particularly true of her relationship with her Maoritanga, as we shall see. Stories from
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