Friday, April 3, 2015
(Thomas-Jacob Publishing, 2015), ISBN: 978-0989572989
Frequent readers of my book reviews and creative writing are well aware of my belief that mythology, folktales, and multicultural tales, and storytelling in general, are an all-too-often missing and yet vitally important element of a healthy mind and well-functioning society (I am in the process of writing a new book about it), so when I got the opportunity to read and review this book, I jumped at the chance.
I was not disappointed.
Smoky Zeidel is not a Native American, as she tells us in the book’s Afterword. And yet she captures the syntax, symbolism, and simple beauty of the Native American expression of human experience with an artistry that makes for almost hypnotic reading.
The Storyteller’s Bracelet is the story of two young people, Otter and Sun Song, from The Tribe (more on the nonspecificity of exactly which tribe later) who are sent East to an Indian School to be trained in the ways of the Others, the Whites.
The history of the subjugation, the conquering, of the Native Peoples of North America is hopefully known to the reader of this review, so it will suffice to say that in the process of Education, there was no small amount of derision and humiliation directed at these students—forbidden to speak their language, to practice their rituals, to wear their traditional clothing—they were expected to Assimilate. There are countless other examples of this practice on the global scale—the English engineered this very thing against the Scots.
Zeidel has done her research and has woven both Native and White practices seamlessly into her story. Having been a longtime student of Lakota practices and having participated in vision quests and sweat lodge, I can say with some confidence that Zeidel gets it right. And this accuracy undergirds the more mythological and magical parts of the story.
I hesitate to say too much about the story itself—I found myself surprised on more than one occasion by the twists and turns the story took, and I would hate to ruin them for another reader. Instead, I’d like to spend the rest of my allotted space talking about some of the larger thematic issues at work in The Storyteller’s Bracelet.
It is clear that Zeidel’s decision to pull traditions and myths from numerous tribes instead of focusing on a specific group was an excellent one. It gives her freedom to combine the strongest elements available to reinforce her story and it guards her against offending or otherwise misrepresenting any given group. It is also then easier for the reader to get inside the symbols and freely swim around inside of them.
Zeidel also does a fine job of telling the story with balance and multiple viewpoints. As she says in the Afterword, not all Indian Schools were the vicious, disrespectful, and dangerous place as this book’s Oak Tree School is, but in the pursuit of telling an engaging and edgy story that will keep the reader’s attention (especially in our desensitized, visually and aurally overwhelmed modern world) this “heightening and compressing” (as writing theory calls it), is both appropriate and necessary.
The Whites and Native Peoples represent a broad spectrum of beliefs and actions. Zeidel has confidence enough in the tale she wants to tell to let the circumstances speak for themselves. Because all points of view are given equal weight in the core story, there is no agenda on the author’s part, and that is to be applauded. Agenda-ism is killing healthy dialogue in modern America, to our collective peril.
The notion of the bully within the educational system is an important one to examine, again falling under the umbrella of agenda-ism. What version of History or Science is being taught? How are our other social institutions, such as churches, feeding into and shaping the curriculum? How does socioeconomic status and ideas of the Privilege of the Wealthy shape our society?
An albeit rare yet connected element of this is the privileged predator in a position of power who targets children through sexual abuse. There is a character in The Storyteller’s Bracelet that is chillingly close to the convicted child predator Jerry Sandusky.
All of these pressing social issues aside, though, The Storyteller’s Bracelet is first and foremost about our collective experiences and histories as a single, whole Humanity, no matter our color, our gender, our religious beliefs, or our socioeconomic status. It is here that our Myths are most important and most resonant. When we consider that the Hopi word for the moon is the Tibetan word for the sun and vice versa, and that all ancient peoples assigned one of four colors—white, red, black, and yellow—to the four cardinal directions in their own unique patterns, then it is hard to rationalize our pervasive attitude of Other, for it seems we all started from the same central point, the Axis Mundi, as philosophers, anthropologists, and comparative mythologists call it.
I applaud Smoky Zeidel for keeping story and myth alive and radiant in our darkened modern world, and for doing it with such splendid skill, craft, and heart.