Introduction
Leslie Marmon Silko’s Ceremony follows the healing journey of a man named Tayo who has been devasted by a lifetime of abuse, neglect, and discrimination, and is now a surviving WWII prisoner of war. Silko addresses an important idea about healing that can be applied to many suffering from trauma. People need healing that touches mind, body, soul, relationships, nature, and society. Each strand is like a string of a spider web. Navajo tradition teaches that the world was created in part by a spider spinning a web of thoughts into existence. Tayo’s web strands become entangled due to evil influences and must be carefully untangled. Silko creates a variety of characters who help Tayo along his journey and is asserting that there is no one right way to heal. Tayo must reject the techniques that do not work and continue to search for methods that will bring peace, healing, and wholeness to his life. Integral to his healing will be the recognition of archetypes necessary to unify his self.
Literature Review
Many scholars have addressed different aspects of healing in Silko’s Ceremony, including Kristin Czarnecki’s focus on psychological healing in “Melted Flesh and Tangled Threads…” The trauma of being orphaned, mistreated for his mixed heritage, confused about his loyalty and pride in being Native American when others around are ashamed, and suffering from PTSD after returning home from WWII where he saw his cousin killed are carefully addressed in this piece (Czarnecki). Jude Todd addresses the physical healing Tayo must experience in his essay “Knotted Bellies and Fragile Webs…” Though the illness cannot be explained, it is very real for the protagonist. “Tayo’s ailment…he vomits repeatedly…if he continues this way he will die…”(Todd). Others focus on the spiritual/soul healing that needs to happen for Tayo’s health including Anthony Obst’s “Ceremony Found…” (Obst) and Jin Man Jeong’s “How and What to Recollect…” (Jeong). Gloria Bird explains that Christianity does not work for Tayo in her essay “Towards a Decolonization” (Bird). And others focus on the relationships that must be strengthened or severed, depending on how healthy they are to Tayo. Kurt Caswell addresses those that need to be released in “The Totem Meal…” (Caswell) and Jeong points out the people that should be remembered and embraced (Jeong). Still others focus in on the need to heal the land and claim a rightful place in society that is not subservient to colonial influences. Aaron Derosa’s “Cultural Trauma” (Derosa), Ana Brigido-Corachan’s “Things which don’t grow…” (Brigido), and Martin Premoli’s “His sickness…” (Premoli) are a few that analyze these aspects of healing that are larger than any one individual person. With so many elements necessary for Tayo’s healing, it is clear that there is no one right way to achieve that end. He must search and persevere through as many modalities as necessary until he finds the help and healing he needs. I will also show that part of that process is uncovering the conscious and subconscious archetypes present in his psyche so that he can unify his self.
Theoretical Model
The healing journey Tayo experiences can be viewed through a psychoanalytic lens due to the multiple layers of collective unconscious that he must sift through to find the images that work for him. Carl Jung theorizes that people wear a mask that is an outward representation of self, but must grapple with the shadow that is the inner darker self. Jung’s theories focus on myth, religion, and ritual as well as archetypes that for Tayo show up as people and creatures from his cultural stories. It is only by healing and unifying the disparate parts of himself that Tayo can become whole again and be a true self, which is the term Jung uses to define a whole, healthy human being.
Archetypes are like prototypes or symbols that represent common ways of thinking, behaving, or believing among people. People hold within their unconscious beings multiple archetypes that present themselves in different situations or as the need arises for that particular archetype’s qualities or strengths to be utilized. Jung believed that archetypes “are continually…reproduced in all cultures in all ages” (Mackey-Kallis). Because the stories recorded by humans throughout time have consistently utilized these archetypes, it is believed that they are a part of the collective unconscious for all humans, hardwired like instinct into the human psyche. To have a healthy self, people must find balance between their unconscious and conscious realities. Because Tayo is struggling with this unification, he is unwell, and his personality is fractured. He must embark upon a journey to unify his unconscious and conscious realities while uncovering the strengths of his innate wisdom found in each of his archetypes.
The main archetypes he will access are as follows: the child, the hero, the hunter, the shadow, and the anima. He will also interact and learn from archetypes that affect him including the father, the trickster, the mother, and the wise old man. It is through these various experiences and interactions that Tayo will be able to heal and unify the different aspects of his consciousness so he will no longer be a fractured self.
Analysis – Healing the Mind and Body
In the beginning of Ceremony, Tayo cannot stop throwing up. He is unable to function and remains bedridden most of the time because of overwhelming nausea. Western medicine in the form of medication, sedation, talk-therapy, and hospitalization have been unable to help him get a grip on his illness. The doctor from the military says “No Indian Medicine” but back home on the reservation, his family decides to call in a healer from their community (Silko 31). Silko shows that accepting help from within the community may be crucial in times of crisis. Ku’oosh is called in and reminds Tayo of the rattlesnakes who slither on their bellies near the cave that goes so deep it “enters into the very belly of the earth” (Todd). This memory makes Tayo’s stomach feel slightly better and Ku’oosh can go on to try to heal Tayo the old traditional way, reserved for warriors who have killed. Tayo has not killed anyone whose eyes he could see and cannot find words to explain to Ku’oosh the way modern warfare works, “…white warfare—killing across great distances without knowing who or how any had died” (Silko 33). Yet, he seems to feel better after the healing and keeps down some food. It is one step in his healing, though only the beginning.
He must also heal from the emotional trauma he has suffered throughout his life and especially recently in war time that has created mental anguish in the form of PTSD. Tayo has attempted to self-medicate with alcohol, like the other young veterans on the reservation, but his body often throws up the liquid and it is not the panacea for him that others experience. Silko seems to be addressing the issue with alcoholism that is prevalent in native communities, but does not decide to make that the focus of Tayo’s problems. He finds an unconventional healer Betonie who talks him through the trauma he experienced when the Japanese soldiers were executed in front of him and he saw his uncle Josiah as one of them. Betonie reassures Tayo that he is right and explains it in a way that works with his culture and the stories of his people, showing the collective unconscious that exists for humanity (Silko 114).
Through his interactions with Betonie, Tayo becomes influenced by the archetype of the wise old man. He learns from Betonie and accepts the help he has to offer. Because something deep in his instinct recognizes the wise old man in Betonie, he is finally willing and able to accept that help unlike when it was offered before by others. Not only is the advice in line with what Tayo senses as true to his circumstances, but he follows through with the suggestions of Betonie showing that he develops trust in his ways.
Beonie’s rituals and ceremonies have an impression on Tayo’s healing. An article by Ted Kaptchuk analyzes ways in which Navajo rituals for healing affect the sick. It is couched in the scientific realm of placebo studies that compares rituals, acupuncture, and biomedical healing. After examining multiple ritual healings in which many participants reported improvement of their symptoms, conclusions were drawn that rituals can be affective. “Patient improvement…represents changes in neurobiology…Specific areas of the brain are activated and specific neurotransmitters and immune markers may be released” (Kaptchuk). Also, just as Tayo had to find a healer that was affective for him, the study showed that “different healers can have different effects on patients” (Kaptchuk). Even though Tayo engages in the ceremony and hopes that it will help, he is not completely convinced until he reaches the end and experiences healing. The same study reports that “when engaged in a ritual, patients do not abandon practical sensibilities. Hope, openness and positive expectancy are tempered with uncertainty and realistic assessment” (Kaptchuk). According to the science perspective, or as Silko might label it, the white man’s perspective, “ritual effects are examples of how environmental cues and learning processes activate psychobiological mechanisms of healing” (Kaptchuk).
Over time and through many days of adventures, Tayo begins to build his strength and improve his stamina. By the time he arrives at the apricot tree to encounter Ts’eh, he can keep down food more consistently. She cooks chili with corn and venison, and he eats. They make love and he sleeps peacefully having pleasant dreams. Each of these is a sign that he is improving, healing, gathering the pieces of himself to himself. When he awakens the next morning, he remembers the ritual of singing for the sunrise. His memories are coming alive and he is reconnecting with his people. He is now ready for the most rigorous portion of his adventure.
Analysis – Healing the Soul and Relationships
Tayo has been told terrible things about his mother his entire life. His aunt resents raising him, so he does not receive the motherly love that a child needs. When he returns to the makeshift village on the banks of the muddy river where he lived as a child, he is overcome by memories of pain, starvation, and neglect. His healing cannot begin until he recognizes the wounded child archetype within himself. He must relate to the people who continue to struggle for survival in much the same way he did as a child. The painful memories are nurtured when he gives spare change to several destitute people begging for money. Silko allows each piece of the healing to unfold naturally, as part of a journey or process that cannot be rushed or forced. Tayo also welcomes the reassurance from Betonie that part of his big story is the fact that he is a combination of cultures. Betonie is also mixed blood and is unconventional because he takes imagery and samplings of medicine from different cultures, “the ultimate collector and recycler of Western refuse” (Brigido). He is not afraid to adapt the methods to the person and the changing culture that accompanies the situation. He recognizes that without change, the ways of his people will die. These are lessons that Tayo must learn as well, in order to heal. It is through the ceremonies Tayo experiences that he realizes fully his spiritual place is with the native traditions, not Christianity. He needs the mother he never had, which he can only find in native stories, not Christianity. “Christianity separated the people from themselves…Jesus Christ was not like the Mother who cared for them as her children…” (Silko, Bird). Silko does not shy away from depicting the influence of Christianity as a negative force for the native community.
Tayo also has the opportunity to fall in love with a woman who brings him great comfort and help in his time of need. By embarking on the journey Betonie helps him to begin, he opens himself to the experience and is able to love and be loved in a way that has never happened for him before. The love that Tayo receives from Ts’eh shows him the archetype of the mother. Her archetype provides comfort, is reassuring, and makes Tayo feel secure. Her presence is a key element in the final resolution of Tayo’s healing by helping him to capture the missing cattle he has been searching for and giving him a mission to plant the seeds that will rejuvenate the land. By passing on the task of planting, preservation, and regeneration, Ts’eh is awakening Tayo’s anima archetype. He will now show growth by presenting feminine qualities in a balanced way that was not available to him before. Tayo is only able to experience these things because he decides to accept help from the people who have his best interests at heart including “Old Grandma, Ku’oosh, Betonie,…Night Swan, Ts’eh, and Josiah” (Caswell).
Tayo must come to the realization that Josiah represented the father archetype for him. For years he receives advice, comfort, and companionship from Josiah. Tayo works the land with Josiah, chases the cattle with him, and protects Josiah’s secrets. He struggles with Josiah’s loss more than he can bear and needs help coming to terms with that loss. Because he must come to recognize the father archetype in Josiah, he is unable to heal until he makes right the loss of cattle and plight of the family’s farm. He must take ownership of his part in healing the financial and subsistence aspects of the family.
There are relationships Tayo must sever so he can heal. He can no longer cavort with his war buddies if he hopes to be healthy. Not only do their behaviors lead to negative outcomes regularly for Tayo, but they truly intend evil for him. Silko weaves myth into their final act, which is a ceremonial scene of witchery where two people are murdered. Tayo is the originally intended victim, and he is nearly pulled into the plot by the desire to save one of the victims. It is only after realizing that his involvement would result in a needless sacrifice or in him murdering another that he stays hidden and removed from further traumatizing himself with their evil. Tayo recognizes the trickster archetype in Emo as they are preparing the ceremony to kill the human sacrifice. Only once he sees the trickster for who he really is can he free himself from acting on his instincts. “The witchery had almost ended the story according to its plan…He would have been another victim” (Silko 235). This also required that Tayo recognize his own shadow archetype. He wants to ram the screwdriver he is holding into Emo’s head. He is trembling with the anticipation of being the savior turned martyr of the scene. Knowing he will kill, which will fulfil the witchery and make him implicit in the evil is what stops him from carrying out the murder. In the terms of his cultural stories, he does not participate in the ceremony and thwarts evil’s desire to consume him. This releases the bond he shared with them and will no longer pull him from the healthy path he has embarked upon. After Silko shows Tayo avoiding the evil ceremony, she carefully constructs another ceremony for Tayo to participate in that shows the people he has decided to align himself with. He sits with the Laguna elders and tells “his story of healing” which “counters the witch’s story of destruction” (Caswell). With these people, he breaks bread and drinks healthy water, not alcohol (Silko 239). He is once again the hero archetype. He has broken the cycle of evil and good may bloom.
Analysis – Healing the Land and Society
Tayo’s pain is tied up in the plight of his people after white culture has stolen their resources (including uranium to make their atomic bombs), fenced off their grazing and hunting lands, and contributed to the “degradation of the…landscape” (Premoli). In order to begin to reconnect with the land, Tayo must spend time in nature. Silko uses the movement of Tayo’s journey to undo the curse of witchery by following the sunwise cycle (Swan). He must use his knowledge of the land and the ways of animals to track the cattle, a form of amends to his Uncle Josiah. His experiences observing the stars, clouds, weather patterns, herbs and plants used for healing, animal tracking, and geography remind him of his roots and further his healing. Silko shows the “boundarylessness” that should be when she has him cut open the fencing that white people used to slice up the land. During the scalp ceremony, Tayo first feels this lack of boundaries and realizes that it will take a long time for this type of healing to reach the entire world. Silko opens the door to that possibility, however, and implies that more tellings of stories that bring healing are the way to a future that is no longer bent on destruction.
As Tayo endures the difficulties of inclement weather, exhaustion, physical pain, and fear necessary to track the cattle he is determined to reclaim, he relies on instinct and ritual. When he thinks he can go no farther he receives help in the form of a mountain lion. He has collapsed beneath a tree in the pine needles overwhelmed by fatigue. He is sure his search is over until a mountain lion shows him the direction he needs to go to find the cattle. His rituals teach him that the mountain lion is the helper of the hunter. He sprinkles “yellow pollen into the four footprints” of the mountain lion in honor of the guidance with which he has been blessed (Silko 182). Once he finds the cattle, his instincts tell him that they will follow the fence line and head south. He hopes that their collective consciousness will drive them toward Mexico as their ancestors have always done. His instincts are relying on their instincts and he is right to do so. The animals do exactly as he hopes, and his patience pays off. He reclaims the cattle who have been unjustly stolen from Josiah and strengthens his own hunter archetype in the process.
The story Silko tells of Tayo’s pain demonstrates in one character the ways society has damaged an entire group of people. In English public schools, the native language is discouraged, their religious views and traditional ways of looking at the world are argued to be merely superstition, and the model for a future is to leave the reservation and make something of yourself elsewhere in white society. Tayo must fight back against the lies he has been told throughout his childhood of white superiority, shame for his appearance, language, and culture, and resentment at being used for violence in war by that same culture. He remembers a time in a science class when the teacher presented dead frogs for a lab. They were “bloated with formaldehyde, and the Navajos all left the room” (Silko 181). The teacher does not respect the traditions of the Navajos and is not even apologetic once he understands the offense. Rather, he laughs so hard he cries and makes fun of the children. He tells them their beliefs are “stupid” (Silko 181). These types of interactions occur throughout Tayo’s life. As an adult returned from war, he is told by the army doctors that his beliefs are merely “superstitions” (Silko 181).
When Tayo is caught by the white cowboys for trespassing on a white man’s property, he is treated like a thief. They assume he is poaching deer or trying to steal a cow so he can have beef. Though Tayo does not confirm or deny their accusations, they decide to let him go so they can try to track the mountain lion. Once again, the mountain lion helps the hunter. They believe they have put him in his place and taught him a lesson. The Texan says, “These…Indians got to learn whose property this is” (Silko 188). They do not understand that they are the ones trespassing on Indian land, that they are the ones partitioning with fencing, hindering the natural grazing lands and flow of nature, the hunting grounds for all. When they finally leave, “he lay there and hated them” (Silko 189). He imagines tracking and killing them the way they are planning to harm the mountain lion. They do not understand the significance of the graceful cat they hope to kill. The more Tayo ponders his hatred of the white people, he comes to the realization that “it was the white people who were suffering as thieves do, never able to forget that their pride was wrapped in something stolen.” He comes to understand that the “destroyers had sent them to ruin the world” (Silko 189). He says that the white people had been tricked by the destroyers just as the Indians had. He cannot blame them for succumbing to the very same evil that his own people had.
Rather than devolve into a place of hatred toward white society or trying to figure out who to blame for all the evil, Tayo determines that witchery is the root cause of the evil unleashed on the world. He chooses to believe that people’s trickster archetypes and shadow archetypes have come to the fore. Silko seems to be saying through her text that rather than spend time seeking vengeance, people should put their energies into figuring out how to heal.
Results and Conclusion
The ending of Silko’s novel implies that Tayo has unified his self archetype and will be able to call upon the strengths of each of his archetypes as needed. If he is to heal the land and raise the cattle, he may need to call upon the nurturing of his anima (mother) archetype. If he needs to lead his family in tandem with Robert, he may need to call upon the father archetype (whether his aunt likes it or not.) He will need to continue to be the hero archetype so that he can help to heal his tribe and his family from the pain they have endured. Tayo probably has more healing to continue participating in, as creating a healthy life can take a lifetime, but he is on the right path. His journey is a model for anyone desiring to bring healing into their own lives.
Silko has created a model for analyzing which portions of a journey are ours, which portions belong to others, and which portions are a shared experience. Some aspects of Tayo’s journey are his alone to deal with. He must recognize that he gave his power over to the white government when he signed up to take part in World War II. He reveled in being treated like a war hero when in uniform and liking the way white women wanted him. He tried to escape with alcohol, self-pity, and sleep. He must come to terms with the fact that he survived when his cousin did not. These are his parts in the healing journey that he can take ownership of. The areas that are not his to own occurred at the hands of others. He cannot bear the guilt of his mother’s lifestyle that brought him into the world. He cannot bear the shame of his aunt’s negativity toward him because of his bi-racial genetics. He cannot take on the oppression he suffered at the hands of both Indians and white people who would not accept him as he was. Other people did these acts causing him to be a victim of those circumstances. Tayo must take part in a shared process of healing when it comes to his community, his family, and his relationships. He must be willing to work with his family to keep them provided for and functioning. He must be willing to work with the religious leaders in his community to strengthen their rituals and grow as a people. Ultimately, he must be vulnerable and giving if he hopes to love and be loved in the future.
This is the same for all humans. If we hope to heal from trauma, engage in meaningful relationships, and be part of the community in which we find ourselves, we will have to become empowered to experience a journey much like Tayo. Silko has written a myth and a parable that
is both inspiring and powerful because it examines the pain and recovery that is possible for anyone willing to face their shadow archetypes. If we are willing to examine our own archetypes and see those of others, we can unify our divided selves. Only then can we take responsibility for the ways we and our ancestors have harmed others and begin to rectify those evils.
Works Cited
Bird, Gloria. “Towards a Decolonization of the Mind and Text 1: Leslie Marmon Silko’s Ceremony.” Wicazo Sa Review. Vol. 9, No. 2 (Autumn, 1993), pp. 1-8, www-jstor-org.ezproxy.snhu.edu/stable/1409177?seq=1#metadata_info_tab_contents
Brigido, Anna. “’Things which don’t shift and grow are dead things’: Revisiting Betonie’s Waste-Lands in Leslie Silko’s Ceremony.” Alicante Journal of English Studies. 27(2014): 7-23, eds-a-ebscohost-com.ezproxy.snhu.edu/eds/pdfviewer/pdfviewer?vid=22&sid=280ec025-fedb-4ba3-9945-98d3d1a25659%40sdc-v-sessmgr03
Caswell, Kurt. “The Totem Meal in Leslie Marmon Silko’s Ceremony.” Interdisciplinary Studies in Literature and Environment. 15(2): 175-183; Association for the Study of Literature and Environment (ASLE), 2008, 1 July 2008, eds-a-ebscohost-com.ezproxy.snhu.edu/ eds/pdfviewer/pdfviewer?vid=3&sid=e07b3eb9-ba2a-4fa5-bac1-05895319b975%40sdc-v-sessmgr01
Causey, Tara. “The Only Cure Is a Dance – The Role of Night Swan in Silko’s Ceremony.” Western American Literature. 1 Oct, 2015, eds-b-ebscohost-com.ezproxy.snhu.edu/eds/ pdfviewer/pdfviewer?vid=1&sid=97020738-c912-40a7-9306-bc301c837a14%40pdc-v-sessmgr02
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Premoli, Martin. “’His sickness was only part of something larger’: Slow Trauma and Climate Change in Leslie Marmon Silko’s Ceremony.” American Imago, Volume 77, Number 1, Spring 2020, Johns Hopkins University Press, muse-jhu-edu.ezproxy.snhu.edu/article/753067
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Todd, Jude. “Knotted Bellies and Fragile Webs: Untangling and Re-spinning in Tayo’s Healing Journey.” American Indian Quarterly. Spring95, Vol. 19 Issue 2, p 155-170. 16p. muse-jhu-edu.ezproxy.snhu.edu/article/753067
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