http://www.imageandnarrative.be/inarchive/painting/Rick_mott.htm
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Online Magazine of the Visual Narrative - ISSN 1780-678X |
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Issue 14. Painting / portrait |
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Digitizing Leslie Silko's Laguna Landscape |
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Author: Rick Mott Abstract (E): This essay explores the advantages to offering contextual material about
the subject of landscape in the multimedia environment of the internet. Abstract (F): Cet article analyse les avantages de l'informations contextuelle dans la présentation du thème du paysage dans le cadre multimédia de l'intérêt. Les lecteurs de "Ceremony" (Leslie Silko) qui s'adressent à un site web destiné à orienter le public dans le paysage, les coutumes et les croyances de Laguna, seront en mesure d'explorer de manière plus profonde le paysage décrit dans le roman de Silko, et ce par des voies que les documents traditionnels ne sont pas capables d'offrir. keywords: Leslie Silko, Laguna Pueblo, landscape, ceremony, Native American |
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- Leslie Marmon Silko
At the beginning of Leslie Silko's seminal Native American novel Ceremony, the protagonist, Tayo, returns to the Laguna Pueblo from the Phillipines where he has been a prisoner of the Japanese during World War II. Because he has been seriously and fundamentally affected by his painful experiences as a soldier and prisoner, he returns as a shadow of his former self, suffering from what we now call post-traumatic stress syndrome. Importantly for Tayo's health, he has returned to his homeland, the place of his birth and upbringing. From the depths of his physical, psychic, and spiritual disease, Tayo recovers his health throughout the course of the novel in a ceremony of accretion and remembrance. Symbolic of revitalizing his awareness and consequent appreciation of the interconnectedness of all life, Tayo re-learns how to interact with the landscape in healthy and holistic ways. In this essay, I begin by briefly investigating Tayo's improving relationship with nature and demonstrate why that relationship is so important to his health. I then explore the advantages to offering contextual material about the subject of landscape, specifically Tayo's landscape, in the multimedia environment of the internet. Ultimately, my goal is to prove that if readers of Ceremony have the opportunity to consult a website entitled WebCeremony during the course of their reading and analysis- a website designed to orient readers to Laguna landscape, customs, and beliefs - readers will be able to more richly explore landscape in Silko's novel in ways they could not using traditional, textual documents.
Dominant Native American Perspectives
In order to better understand Tayo and his relationship to the landscape in Ceremony, we should first explore more general Native American perspectives on the environment. Many of the indigenous cultures of North America perceive their relationship with the natural world - with the landscape - far more similarly to believers in Eastern philosophy and religion than to the dominant stream of Western philosophic tradition. While these Native Americans acknowledge the uniqueness of each individual, they simultaneously perceive humans as equal, intimate, and integral parts of the natural world. This perspective contrasts with the historically predominant Euroamerican viewpoint of human domination and control over the environment, which begins at least with Genesis, runs through Plato, and continues as a dominant influence throughout the development of Western philosophy (Gunter 210). Most closely identified in the modern philosophical period with Descartes, this position asserts that humans are distinct, separate, and superior to the rest of the natural world. On the other hand, the dominant Native American attitude towards nature, or Mother Earth as it is often termed, strongly supports the conjoinment of self with non-self; humans are not some distinct entity separated from or superior to the organic, physical world. The ethnohistorian Raymond Demallie comments on this human/nature relationship in his study of Sioux Indian kinship and spirituality: In a very real sense, humankind and nature were one, just as the natural and supernatural were one. The distinction between natural and supernatural, so basic to European thought, was meaningless in Lakota culture.... Humankind existed not outside of nature but as part of it. (28) Many Native Americans, including the Sioux, the Navajo, and the Pueblo Indians, neither construct a hierarchy of natural elements or entities, nor do they perceive a "boundary" between humans and the rest of the natural world.
Similar to the Indians of the plains, the Laguna People consider themselves intimately connected to the environment. In her influential work "The Feminine Landscape of Leslie Silko's Ceremony," the Laguna critic Paula Gunn Allen contrasts the dominant Western perspective of authority and control with the Laguna Pueblo people's more equitable relationship claiming "the earth is being as all creatures are also being: aware, palpable, intelligent, alive" (Feminine 234). Allen places the supposedly inanimate rocks and soil at the same level of awareness and vitality as plants, animals, and, most importantly, humans. If, as Allen declares, "we are the land, and the land is mother to us all" (Landscape 234), then we cannot consider humans somehow separate, superior to the ground upon which we live. Silko herself collapses any inferred separation between characters and landscape pointing out that "the land and the sky, and all that is within them-the landscape-includes human beings" (Interior 29). Adding that "interrelationships in the Pueblo landscape are complex and fragile," Silko points to the vagaries of the weather and the harsh New Mexican desert as primary reasons her Laguna ancestors had been so aware of, involved with, and curious about their homeland (29). "Survival," Silko claims, "depended upon harmony and cooperation not only among human beings, but also among all things-the animate and less animate, since rocks and mountains were known on occasion to move" (29). Because the Laguna people have lived in the difficult landscape of west-central New Mexico, they have learned to work together with their surroundings in order to sustain life, striving to maintain balance and harmony.
Equipped with some background information about the Lagunas and their relationship with the land, we now turn to Tayo and investigate his journey in Silko's novel. In order for Tayo's ritual of healing to be successful in Ceremony, he must re-acquire an understanding of his and the Laguna Peoples' interconnection with the landscape. Thus, the story can be viewed as an extended commentary on Tayo's initial disassociation from and eventual reconnection to his immediate environment. As sick as Tayo may be in these early pages of Ceremony, the reader encounters him in his homeland, the place of his origin and childhood. As William Bevis notes in "Native American Novels: Homing In," Tayo's passage to health will be mapped within the immediate geography of his native soil. In contrast to the traditional hero's mythic quest - so elegantly explicated in many of Joseph Campbell's works - in which the hero leaves home to overcome demons and learn lessons in a foreign place, Tayo's journey, Bevis claims, is "'incentric,' centripetal, converging, contracting. The hero comes home" (582). Because the Laguna homeland plays an integral part in Tayo's quest for wholeness and wellbeing, he cannot regain his health at some distance from this land but must recover his sense of belonging in the geography of New Mexico. Other literary critics besides Bevis also focus on Tayo's relationship to the land of the Laguna. In his exhaustive study on the role of landscape in Ceremony, the critic Robert Nelson notes that "Tayo must re-visit the land itself in order to reestablish contact with the power of healing that he may find there" (14). The recuperative powers of the land, in fact, essentially move Tayo towards a place of vitality. Influencing a generation of critics, Allen reinforces this connection with the landscape declaring that "Tayo's illness is a result of separation from the ancient unity of person with land, and his healing is a result of a recognition of this oneness" (Feminine 234). "Symbolically and literally," Edith Swan adds, "Tayo heals only through a reconnection with the natural world" (7). Similarly, Jennifer Brice asserts that Tayo's return to the drought-stricken New Mexican landscape from the rainsoaked jungles of the Phillipines is "literal as well as metaphoric" (128). Because he must return from the jungle and re-connect with the landscape of New Mexico before he can begin healing, Tayo's literal homecoming sets the stage for his eventual spiritual and emotional homecoming. Whereas Tayo begins the novel disconnected from all things including the earth, his growing awareness of his intimate interconnection with the landscape, indicates his journey towards health. At the end of the story, Tayo's return to health and beauty is reflected in his understanding of the world around him.
Using WebCeremony to Understand Tayo's Landscape
In order to understand Tayo's relationship with the landscape more clearly, readers of Ceremony would do well to learn all they can about the terrain surrounding the Laguna pueblo. For example, readers will become better acquainted with the physical surroundings described in the novel if they study maps and photographs of the area. Because of its multimedia capabilities, the internet provides an excellent medium through which to disseminate these informative documents. By providing an accessible source of maps and photographs, as well as video and audio clips, animation, and 360-degree panoramas, the internet can familiarize readers with a particular landscape. WebCeremony, a website designed specifically to familiarize readers with the Laguna pueblo and its surroundings, takes advantage of these tools to educate readers about the landscape intimately described in Silko's novel. In order to effectively communicate the functional capabilities of the Landscape section of WebCeremony, I have broken down the digital formats into five categories: • Text • Pictures • 360-degree Panoramas • Video and Audio • Maps Using these five media as a means of organization, I will demonstrate the various digital tools available on WebCeremony that help orient readers to the landscape of the Laguna. Although the fit would be obvious - because, after all, the Lagunas are an oral culture that relies on storytelling - I do not include audio as a separate category in this list because I have not yet utilized it effectively on WebCeremony. My delay in presenting audio on the website stems primarily from difficulty in obtaining permissions.
The text on WebCeremony offers definitions of terms and ideas, explanations of processes and events, and traditional literary scholarship all of which is augmented by the connective linking function of hypertext. When WebCeremony visitors follow the Landscape button, they are presented with a page that includes an epigraph and links to three primary Landscape subsections. Taken from The Delicacy and Strength of Lace, a series of letters Leslie Silko and poet Richard Wright exchanged before his death, the epigraph hints at the deep complexity of Tayo's physical, emotional, and spiritual landscape (see Figure 1). Leslie Silko composed the early drafts of Ceremony while she was living in Ketchikan, Alaska. As users can see in her correpondence, the writing of the novel was a re-creation of place for her. The epigraph also serves to alert users to the representation of landscape in the novel. Far more than a place where things happen, landscape is integral to everything that occurs. After reading the epigraph, users will find three categories from which to choose if they scroll down the Landscape page (see Figure 2): • Maps - Interactive and Otherwise • Place Names • Literary Criticism - or, What does all this mean?
Figure 1 - Top half of the Landscape homepage of WebCeremony
Figure 2 - The three categories available on the Landscape section of WebCeremony
If visitors have theoretical or philosophical questions about the role of landscape in the novel - or if they want a summary of what other critics have written about the subject - they can choose to follow the third of the three links, Literary Criticism (see Figure 3). Literary Criticism summarizes for the WebCeremony user a variety of critics' published commentaries on the role of Landscape in the novel. Designed as a beginning point for readers of Ceremony interested in exploring critical issues raised by the novel, users will eventually be directed to the Bibliography section of WebCeremony from within Literary Criticism in order to pursue their own research.
Figure 3 - Literary Criticism section of Landscape in WebCeremony
Scholars and WebCeremony users interested in landscape, however, will not always be primarily interested in a philosophical treatise or textual analysis. If a WebCeremony user wishes to answer lingering questions about a specific place that appears in the story, they may discover answers to their questions along a number of different routes. From the Landscape homepage of WebCeremony (see Figure 2), users can follow the link to Place Names if they know the name of the particular place in which they're interested (see Figure 4).
Figure 4 - Place Names section of Landscape
If, for example, the WebCeremony user has been reading about Tayo's interactions with the character the Night Swan and wants to learn more about the town in which the Night Swan lives, that visitor can follow the link under Place Names to Cubero (Figure 5).
Figure 5 - Cubero page under Place Names in Landscape section
The text available on the Cubero page demonstrates a key component of hypertext - the ability to link to related information. For example, in the first two lines of Cubero text quoted in Figure 5, the user can link out to nine other pieces of information related in some way to Cubero. The user can find links to character descriptions of Tayo, Night Swan, Ts'eh, Josiah, and Harley; she can find links to descriptions of the geographical locations Laguna Pueblo and Tse-pi'na (Mt. Taylor); and she can find links to explanations of Tayo's mythical quest, the hunt for the spotted cattle, and the drinking sprees where Tayo and his "friends" go "drinking up the line." In addition to offering primary textual analysis interconnected via internal links, WebCeremony also presents general background text on many important philosophical, environmental, and cultural issues raised in the novel. Grandma's memory of the great flash of light in the southeastern sky that came from the first atom bomb provides a good example of one of these important ethical issues - the development and use of nuclear weapons. Because the world's first atomic bomb was, geographically speaking, primarily a product of New Mexico, the sub-text of nuclear holocaust, the quintessential metaphor for fragmentation and disconnection, runs throughout the novel. Offering a textual overview of the world's first nuclear explosion and its connection to the landscape of Ceremony, the Trinity Site page (see Figure 6) offers users the option to learn more about the Manhattan Project beyond the confines of WebCeremony. Serving as a jumping point from which to conduct an external search for information about the development and construction of nuclear weapons, the Trinity Site page, then, serves as yet another example of how traditional text can be manipulated in a digital environment.
Figure 6 - Background information available on the Trinity Site page includes
The Trinity Site page also serves as a convenient segue into the next part of our description of contextual material available on the Landscape portion of WebCeremony. Pictures offer users of WebCeremony visual background information not available through text. When users see what the landscape looks like, they should better understand the many references to landscape in the novel. This particular type of visual background information gains importance when readers consider Silko's contention that stories have definitive geographical locations. Pictures offer users a link to those physical places. Moreover, because I have included an official picture of the first atomic blast at White Sands on the Trinity Site webpage, WebCeremony users have direct access to important primary historical data. Different from the power of textual representation, pictures graphically communicate symbols, patterns, depth of field, and a special sense of history and relationship to users. Returning to the Place Names page, users can examine a better example of how pictures will be presented in WebCeremony (see Figure 4). In addition to the list of towns and places that appear in the novel, website visitors will notice on the Place Names page an image on the right side of the screen. In this case, the image is one of Tse-pi'na (Mt. Taylor), with Budville in the right foreground and Cubero in the background just off the right margin of the image. Images like this one, which appear throughout WebCeremony, provide contextualization for the reader and can be enlarged by clicking on them (see Figure 7).
Figure 7 - Enlarged picture from Place Names section of WebCeremony
If users follow the link to Cubero from the Place Names page, they can find a link on the Cubero page to a format and presentation of pictures that offers greater variety (see Figure 8). Near the top of the Cubero page, just beneath the header of Landscape: Places: Cubero, users will find a link to Images of Cubero. If users follow that link, they will be presented with a page filled with a series of digital photographs that help define and explain the town in more depth than text-only material (see Figure 9).
Figure 8 - The Cubero page includes a link to a large set of images
Figure 9 - Images of Cubero index page
Users can click on any picture included in this index of Cubero images to view a larger version. In terms of subject matter, users will find a range of cow pictures in the first row, apt subject matter considering Tayo's mythical quest for the spotted cattle, their importance as a symbol of hybrid survival, and because the cattle are intimately tied to Cubero (Beidler). If users click on the second image in the first row, they will open a picture of cattle standing in an arroyo in the middle of town - indicative of the their constant search for water (see Figure 10).
Figure 10 - Cows standing in a wash in Cubero
In the second row of the Cubero image index page, the user can choose from a variety of images, including one of the hungry arroyo that Silko talks about in "Language and Literature from a Pueblo Indian Perspective" and "Interior and Exterior Landscapes" (see Figure 11). Silko states that the arroyo symbolizes peoples' connections with the landscape and claims that she "seldom drives[s] past that wide, deep arroyo without feeling a familiarity and even a strange affection for it, because as treacherous as it may be, the arroyo maintains a strong connection between humans and the earth" (Yellow 40).
Figure 11 - Photograph of the "hungry arroyo" in Cubero that eats cars
Illustrating the importance that narratives play in helping us cope with the ill fortunes that are part of life, Silko tells the story of the young man who parked his new VW Beetle outside the liquor store located right next to the arroyo, ran in to grab some groceries, and returned to find his car had rolled into the arroyo. While he was lamenting his misfortune, he was told that he wasn't the only person to have been the victim of the hungry arroyo. Some time back, in fact, a man had driven to the same store with his family and mother-in-law in the car. He, too, ran into the store. When he returned, he found his car and his entire family had been "eaten" by the arroyo. So the young man who had just lost his new Beetle wasn't so bad off after all. In addition to the several morals in the tale - two being that 1) we're all in this together, and 2) the pain of our misfortunes is relative and can always be compared against something far greater - the story of the hungry arroyo can also be used to support Silko's contention that stories have definitive geographical locations. When Silko asserts in "Language and Literature From a Pueblo Indian Perspective" that "our stories cannot be separated from their geographical locations, from actual physical places upon the land" (58), she emphasizes the connection between the stories and the landscape, consequently strengthening the bond between humans and earth. Certainly, the story of the hungry arroyo exemplifies Silko's claim that "location, or 'place,' nearly always plays a central role in the Pueblo oral narratives. Indeed, stories are most frequently recalled as people are passing by a specific geographical feature or the exact place where a story takes place" (qtd. in Cochran 69). The young man with the wrecked Beetle, indeed, was not the only Laguna with a sad story to tell about a hungry arroyo in Cubero. The setting of that story is as important as the story itself. Returning once again to the index page of images of Cubero (see Figure 9), users can scroll down to see additional choices that help orient them to Laguna geography. The screens shown in Figures 12 and 13 help contextualize the New Mexican landscape for users of WebCeremony because both images include a mesa in the background. Readers of Ceremony who did not grow up in the southwestern U.S. may not understand the many references to mesas in the narrative; WebCeremony helps them better understand the story because seeing a photograph of a mesa that is actually located on the Laguna pueblo helps them visualize the flat, table-like formation.
Figure 12 - Early sunset in Cubero with mesa in background
Figure 13 - Cubero at late sunset with mesa more prominent
Returning one last time to the index page of images of Cubero, a visitor can skip several rows, scroll down to the bottom of the page, and choose from three images taken of Tse-pi'na (Mt. Taylor) while standing at the edge of town (see Figure 14).
Figure 14 - Three choices of Tse-pi'na (Mt. Taylor) on bottom row of Images of Cubero
Perhaps it is fitting to complete this brief tour of Cubero images with one of Tse-pi'na (Mt. Taylor) at sunset, for this is how the Night Swan would have seen the mountain from her room of blue above Lalo's Bar (Figure 15). Several critics - for example, Louis Owens in Other Destinies - have remarked on the Night Swan's northwesterly movement in the story. The Night Swan, a retired flamenco dancer with mythic dimensions, is so intimately connected to the mountain that she has followed a route that started in Las Cruces, continued through Socorro, and has always taken her progressively closer to Tse-pi'na (Mt. Taylor). Sharing with Josiah her journey from the southeast to the northwest, the Night Swan explains how she ended up in Cubero: "'I rode the bus this far. I saw the mountain and I liked the view from here.' She nodded in the direction of the mountain, Tse-pi'na, the woman veiled in clouds" (87). The Night Swan felt some sense of attachment to this landscape - enough attachment, in fact, to warrant getting off the bus and moving into town.
Figure 15 - How Night Swan would see Tse-pi'na (Mt. Taylor) from her room above Lalo's Bar
The Night Swan provides a good example of the way Silko connects characters to the landscape in Ceremony. The Night Swan, through more than her geographical proximity to the mountain, represents Tse-pi'na (Mt. Taylor) and is intimately connected to the earth as a feminine life force and a necessary regenerative affirmation in Tayo's journey of healing (Allen "Feminine"). Because they have access to pictures of this landscape, users of WebCeremony might appreciate more deeply the relationship between the Night Swan and Tse-pi'na (Mt. Taylor). Supplementing the textual descriptions depicting the dialectical relationship between the characters and the earth, the pictures available on WebCeremony enable users from vastly different environmental backgrounds to better understand New Mexican geography and to understand more completely the characters' relationships with that geography. Consequently, readers should better comprehend the novel as a whole.
In addition to traditional text and still images, WebCeremony also orients users to the geography of New Mexico through the use of video and audio. More contextually effective than still imagery, video and audio permit users to see and hear the wind, the rain, the insects, and all the other natural elements as they view the landscape. Video and audio are also the obvious format in which to present interviews with Laguna people, talks given by Silko in which she discusses Ceremony, and stories told by members of the community. If users return to the Place Names page (see Figure 4), they can choose the link to Tse-pi'na (Mt. Taylor). When they are presented with the Tse-pi'na page, they will see a link to Interactive Multimedia just below the header. They will also find text describing the role of the mountain in the novel as well as in Laguna life in general (see Figure 16). When users follow the link to Interactive Multimedia, they are presented with a page showing, among other things, a digital movie taken from the peak of Tse-pi'na (Mt. Taylor). Unfortunately, the medium of paper cannot effectively represent the experience of watching a movie and hearing the sounds of the landscape - especially when, due to format incompatibilities, the screen shot of the video page displays only a black box where the movie should appear.
Figure 16 - (Mt. Taylor) page including text and link to Interactive Multimedia
The movie that is available on the Tse-pi'na (Mt. Taylor) page consists of a slow pan in a complete circle while standing next to the caldera on top of the 11,301-foot extinct volcano. The audio for this 3-minute movie is the sound of the wind howling. Although this audio is appropriate accompaniment to this video of the trees and grass whipping around in the gale-force winds at the top of Tse-pi'na, other videos include audio overlays of Leslie Silko talking about the role of the landscape in Ceremony.
Besides presenting text, still imagery, audio, and video, WebCeremony further orients readers to the landscape of New Mexico by using 360-degree panoramas. Offering a sense of spatiality and control not available in the traditional formats already explored, 360-degree panoramas allow users to direct their own movement across the landscape. To experience the advantages offered by the 360-degree panoramas, users can return to the Place Names page (see Figure 4) and choose the link to Cañoncito. When they are presented with the Cañoncito page, they will see a link to Interactive Multimedia just below the header. They will also find text describing the role of Cañoncito in the novel (see Figure 17). When users follow the link to Interactive Multimedia, they are presented with a page showing a linked scene of 360-degree panoramas (see Figure 18).
Figure 17 - Cañoncito page showing text and link to Interactive Multimedia
Figure 18 - 360-degree panorama of canyon northwest of Cañoncito
This particular scene consists of three nodes, or three different vantage points from which the panoramas were recorded. Unfortunately, similar to the videos discussed in the previous section, paper representations cannot effectively characterize these panoramas. The panoramas work as if one is standing in a particular spot and rotating slowly through all 360-degrees. This movement effectively approximates the practice associated with many Native American tribes of paying respect to the four cardinal directions: east; south; west; and north. The element of control and interactivity is present because the user directs the up, down, left, right, zoom in, and zoom out motions of the image. The element of spatiality comes about because the user can click on certain spots in the field of view and be instantly presented with a new panorama recorded from that new spot. Users, then, can hopscotch across the landscape of a well-constructed panoramic scene, learning details of the geography and topography. Because the panoramas provide users with details of Laguna geography, users may better understand Tayo's movement through and relationship with that landscape. The panoramas, in fact, serve as an excellent tool for orienting readers to the physical landscape presented in the story. The more familiar readers are with the geography of west-central New Mexico, many critics claim, the more likely they are to understand Tayo's ceremony of healing. The critic Robert Nelson asserts the notion that to recognize the land is to understand the story. He says "we do not have to know, in advance of reading the novel, the special patterns of thought that characterize Laguna thinking; it is enough to know only how the land itself is configured in order to gain access into the world of the novel" (13). The 360-degree panoramas help contextualize readers to Tayo's world because they help the user better understand "how the land itself is configured." Using the panoramas to understand the lay of the land more intimately, users might also be more perceptive of Tayo's mental state. When, in the latter stages of the novel, Tayo rediscovers his connection to all that exists, he finds harmony with the landscape, understanding his place in the geography of his belief system. "The pattern, or 'interior landscape,' of Tayo's consciousness is, at last, accurately tuned not only to the pattern of the culture he needs to reenter," Nelson claims in Place and Vision, "but also it is congruent, finally, with the patterns and terrain of the external landscape, that relatively objective place in which these other two subjective patterns take form" (Nelson 13). Thus, because 360-degree panoramas permit WebCeremony users to identify and better understand the Laguna landscape, they serve as excellent supplements to more traditional types of educational materials.
Having explored WebCeremony 's display of hypertext and still images, and then moved on to investigate its advanced digital video, audio, and panoramas, the user can turn to the use of maps to orient themselves to the landscape of the novel. Although not as technologically sophisticated as movies or panoramas, maps geographically orient users in ways no other medium can. For those who think more spatially than textually, understanding the landscape of Laguna by negotiating a sequence of maps may be a more comfortable, and thus a more effective medium in which to learn. Returning to the Landscape homepage, users can pursue their quest for contextual information by following the first link on the list in order to get a spatial perspective on the novel (see Figure 2). Rather than following the links to Place Names or Literary Criticism, WebCeremony visitors can orient themselves geographically by following the link to Maps instead. Since landscape contextualizes Tayo's ceremony of healing, scholars would do well to understand the dynamics of space in the novel. That spatial dynamic, well-served by maps, infuses the story and must be recognized and interpreted by readers because, as Karen Piper notes, " Ceremony neccessitates the reader's reorientation from a text-based reading to a spatially organized reading" (90). Following this advice, the WebCeremony user can follow the link to Maps where they will find four choices (see Figure 19). Organized around four spatial scales, the selection of maps on the page starts from the macro view of U.S. maps in the upper lefthand corner and moves clockwise around the circle as the focus narrows in on smaller and smaller areas of land until it reaches the micro view of the Laguna Pueblo in the lower, lefthand corner.
Figure 19 - Four links available on Maps page
The specific choices available to the WebCeremony user include: • Maps of the United States • Maps of New Mexico • Maps of New Mexico Pueblos • Maps of the Laguna Pueblo Following the order indicated on the list above, I will investigate the Maps section by beginning with the macro view and narrowing my focus until I reach the micro view.
Beginning at the largest spatial level, there are two choices available on the Maps of the United States page (see Figure 20).
Figure 20 - Maps of the United States
The two choices on this page include: • Interactive map showing New Mexico 's location within the U.S. • Map of Linguistic Stocks in the Western U.S. If users want to see where New Mexico is located within the U.S. or if they want to consult an old record of where Native American Indian Reservations are located within the country, they can follow the first link on the page (see Figure 21).
1. Interactive map showing New Mexico 's location within the U.S.While the information about the locations of "Present" Indian Reservations is only marginally helpful (because the map is old and the text is illegible), the map does show where New Mexico is located in relationship to the rest of the country. When the user clicks within the red circle, she is taken directly to an interactive map of New Mexico which I'll explore in more detail in the next section, Maps of New Mexico. If the user does follow the link to the map of New Mexico, she can then follow another link from that map to a map of the Laguna Pueblo. In effect, the user can "fly in from space" - start with a broad overview and keep zooming in closer - to get an idea of spatial relationships and specific locations.
Figure 21 - Old U.S. Map showing Indian Reservations
2. Map of Linguistic Stocks in the Western U.S.If the user would rather learn about indigenous language roots rather than spatial geography, she can choose to follow the link to a Map of Linguistic Stocks in the Western U.S. from the Maps homepage (see Figure 22).
Figure 22 - Native American Linguistic Roots in the Western U.S.
This map provides a broad overview of the Native American language groups that have been documented in the western U.S. Having explored the maps of the U.S. available on WebCeremony, the user can return to the Maps homepage (see Figure 19) and choose to examine maps at a slightly smaller spatial scale.
When users follow the link to Maps of New Mexico from the Maps homepage, they will be presented with four choices (see Figure 23).
Figure 23 - Four links available on Maps of New Mexico page
Moving clockwise and starting in the upper lefthand corner, the four choices available on Maps of New Mexico include: • Interactive Roadmap of New Mexico • Interactive Relief Map of New Mexico • Map of Linguistic Stocks of Southwestern U.S. • Map of Native Population in New Mexico If users want to know where the Laguna Pueblo is located within New Mexico, they can choose to follow the link to the Interactive Roadmap of New Mexico (see Figure 24).
Figure 24 - Interactive Roadmap of New Mexico
1. Interactive Roadmap of New MexicoThe roadmap helps orient users to the layout of New Mexico highlighting the sites relevant to the story. Once they have reached this Interactive Roadmap of New Mexico, WebCeremony visitors can link directly to information about five geographical locations: Gallup, Laguna Pueblo, Albuquerque, Los Alamos, and Trinity Site.
2. Interactive Relief Map of New MexicoIf users would rather orient themselves geographically using an interactive relief map, they can follow the second link on the Maps of New Mexico page and find an Interactive Relief Map of New Mexico (see Figure 25).
Figure 25 - Interactive Relief Map of New Mexico
Noting the large volcanic cone of Tse-pi'na (Mt. Taylor) located just to the northwest of Laguna Pueblo, users can learn more about the topography of the various mountain ranges running through New Mexico. Similar to the Interactive Roadmap of New Mexico, users can link directly to information about Gallup, Laguna Pueblo, Albuquerque, Los Alamos, and Trinity Site.
3. Map of Linguistic Stocks of Southwestern U.S.If users are not interested in roadmaps or relief maps but would rather seek contextual information about indigenous New Mexican language roots instead, they can follow the third link on the Maps of New Mexico page (see Figure 26).
Figure 26 - Linguistic Stocks of New Mexico area;
This map orients users to the distribution of native peoples throughout the southwest. Users may find especially interesting the layout of the Pueblo languages as they follow the Rio Grande as well as the designation of Laguna and Acoma languages as Western Keresan.
4. Map of Native Population in New MexicoFinally, regarding the choice of maps available at the spatial scale of New Mexico, users can follow the fourth link, Map of Native Population in New Mexico, if they want to learn more about the Native American population at the county level (see Figure 27).
Figure 27 - New Mexico map detailing the American Indian
Using the legend, users can determine that whereas Bernalillo county - where Albuquerque is located - is less than 5% populated by people identified as American Indians, Cibola county - the home of Tayo and the Laguna Pueblo - is 40% populated by American Indians, and Mckinley county - which includes parts of the Navajo Reservation - is over 70% populated by American Indians. This contextual material indicates that Tayo lives in a part of New Mexico that remains heavily populated by people of American Indian descent.
Having visited Maps of the U.S. and Maps of New Mexico, users can return to the main Maps page on WebCeremony (see Figure 19) and choose to visit Maps of New Mexico Pueblos (see Figure 28).
Figure 28 - Maps of New Mexico Pueblos
Two choices are available on Maps of New Mexico Pueblos: • New Mexico Pueblos • Rio Grande Pueblos
1. New Mexico PueblosIf users want to discover where the Laguna Pueblo is located in relation to all the other pueblos and reservations in New Mexico, they can follow the link to New Mexico Pueblos (see Figure 29). Locating the Laguna Pueblo in the west-central part of the state, users can see that the pueblo is bordered on the west by the Acoma and the east by the Cañoncito Navajo, important neighbors in the history of Laguna stories and survival.
Figure 29 - New Mexico Pueblos
2. Rio Grande PueblosIf users would rather focus on the pueblos arrayed along the primary source of water for most of the original inhabitants of the state, they can follow the link to Rio Grande Pueblos (see Figure 30). This map also orients users to the location of the many pueblos in the state of New Mexico, showing the position of the Laguna Pueblo to the west of Albuquerque. Having examined maps from the U.S., New Mexico, and the Pueblos of New Mexico, users can also explore maps of the Laguna Pueblo - the smallest spatial scale available in the maps section of WebCeremony.
Figure 30 - Rio Grande Pueblos
Returning to the Maps homepage in the Landscape section of WebCeremony (see Figure 19), users can follow the link to Maps of the Laguna Pueblo (see Figure 31). It is at this intimate spatial scale that users can most effectively determine where elements of the Laguna landscape can be found. Using these maps, they can establish with some accuracy the spatial relationships Robert Nelson refers to when he speaks of "the lay of the real landscape" in Place and Vision: Where Mount Taylor is in relationship to Pa'to'ch Butte, where the sandstone mesas lie in relationship to the red flatlands, where the setting of the opening of the novel lies in relationship to the setting of the ending of the novel: these landmarks in the novel operate to confirm that the subjective-looking pattern of Tayo's vision is constellating with reference to, and in congruence with, the lay of the real landscape. (13)
Figure 31 - Maps of the Laguna Pueblo
In order to explore the layout of the landscape within and around the Laguna Pueblo and thus understand Tayo's condition from another perspective, users have three choices when they reach the Maps of Laguna Pueblo page. To learn more about the geography of the Laguna Pueblo, users can consult: • An interactive map of Laguna Pueblo • An old Spanish map of the Laguna Pueblo • A map of Laguna Pueblo tracts from 1872 In order to save our discussion of the most effective and useful map until last, I'll begin by exploring the old Spanish map (see Figure 32).
Figure 32 - Bottom half of old Spanish map: notice Zuni on the left, Laguna in the middle
1. An old Spanish map of the Laguna PuebloLooking at the bottom half of the old Spanish map, the user can take note of several towns and landmarks including the Rio Grande running down the east side of the map, the town of Albuquerque also on the east side, the town of Laguna with its accompanying Tse-pi'na (Mt. Taylor) in the center of the map, and the town of Zuni in the west. Focusing in more narrowly on the Laguna Pueblo in particular, the user can return to the Maps of Laguna page (see Figure 31) and follow the link to a map of Laguna Pueblo tracts from 1872 (see Figure 33).
Figure 33 - 1872 Tract Map of Laguna: Paguate,
2. A map of Laguna Pueblo tracts from 1872Although the text cannot be discerned on this reproduction of the WebCeremony webpage, the towns of Encinal and Paguate, as well as Mesa Gigante are visible on this map from 1872. Finally, if users return one last time to the Maps of Laguna page (see Figure 31), they can follow the link to one of the most helpful maps available on WebCeremony, an interactive map of the Laguna Pueblo (see Figure 34).
Figure 34 - Interactive Map of the Laguna Pueblo
3. An interactive map of the Laguna PuebloOn this map, WebCeremony users will clearly see the locations of many of the important sites of the novel - Cubero, Old Laguna, Paguate, Jackpile Mine, and Route 66 - and can, if they wish, follow the links to learn more about those places. Using this map, readers can also follow Laurie Piper's advice on reading the novel: "It should not only be read," Piper says of Ceremony, "but also traced - as on a map, placed in the sense of being physically located" (90). If, as Piper suggests, "Ceremony, as the accretive language of the colonized, suggests a new method of literary criticism that would read novels as bundles of stories, inseparable from their territories" (Piper 90), then readers must learn more about those territories - those landscapes - in order to understand the stories. Using the materials available on WebCeremony - including text, pictures, videos, panoramas, and maps - users can become better acquainted with the landscape of the novel. If users become more knowledgable about the geography of west-central New Mexico, they may better understand not only the characters' movements in the story, but also the characters' personalities, thought processes, motivations, and philosophy.
WebCeremony's Multimedia Context
When teachers and students supplement their process of learning about Ceremony with multimedia contextualization on WebCeremony, they benefit because they can choose from a variety of educational materials which stimulate a number of different sensory inputs. When website users - especially those described as "kinesthetic learners," people who respond more favorably to the tactile sense - interact with a variety of multimedia elements affecting a number of sensorial experiences, they are more deeply, more thoroughly, more completely contextualized than those just reading traditional texts (McGann "Radiant"). For example, when scholars read about the topic of landscape in Ceremony, they can certainly create wonderful landscape images in their own minds from Silko's and other critics' textual descriptions. Because the land in Ceremony is not limited to the role of subjugated, exploitable object but instead supplies far more than material sustenance, critics have noted how Laguna people become a more integral part of the world in which they live. Because users now have access to hundreds of digital images and videos of the geographic sites which appear in Ceremony, they will have a more thorough understanding of the specific landscape of west-central New Mexico, the landscape described in the novel. Because those scholars can also negotiate spatial movement across that specific landscape via linked 360-degree panoramic scenes, as well as listen to the wind blowing in the mountains and the ravens cawing in the trees, they will experience a deeper awareness and develop a finer appreciation for the landscape. In effect, readers of Ceremony will be more thoroughly grounded and contextualized with the environment, the geography, and the landscape of the Laguna Pueblo and its surrounding areas if they use WebCeremony as a supplement to text-only critical materials. Hypertext, as illustrated in WebCeremony, is especially useful for reflecting native notions of landscape. Because humans exist as part of nature in Laguna epistemology rather than as some entity separated from and superior to the natural world, Laguna landscape must be understood as something more than a geographic location in order to understand the characters in the novel. Not only do digital tools allow users to collapse vast geographical distances and to experience the Laguna landscape from any internet connection in the world, hypertext allows users to interact with the landscape more intimately, more reverentially, and more holistically than paper-based materials. Because the land works in concert with the Laguna people in the process of creating life, WebCeremony helps users discover how the personality of geography becomes the geography of personality, erasing the difference between humans and earth. When users experience the Laguna landscape via the digital tools on WebCeremony, they become immersed in the various stimuli that help them conceptualize and understand geography's role in the story. Because Tayo's passage to health is mapped within the immediate geography of his native soil, the digital tools available on WebCeremony help users understand Tayo's spiritual, intellectual, and emotional landscapes. WebCeremony effectively represents the healthy Tayo's notions of land because it permits readers to experience the awareness, vitality, and intelligence of the terrain. If, as Jennifer Brice claims, Silko's novel includes "similes, metaphors, images, and juxtapositions [that] flow in both directions, anthropomorphizing the land and landscaping the human body" (128), WebCeremony offers users the tools to help them understand these dialectical relationships.
Bibliography
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American Indian Quarterly: A Journal of Anthropology, History and Literature. 1979, 5, 63-70. Scarberry, Susan J. "Memory as Medicine: The Power of Recollection in Ceremony." American Indian Quarterly: A Journal of Anthropology, History and Literature. 1979, 5, 19-26. Scheninger, Lee. "Writing Nature: Silko and Native Americans as Nature Writers." MELUS: The Journal of the Society for the Study of the Multi-Ethnic Literature of the United States 1992 Summer, 18:2, 47-60. Schweninger, Lee. "A Skin of Lakeweed: An Ecofeminist Approach to Erdrich and Silko." Ed. Barbara Frey Waxman. Multicultural Literatures through Feminist/Poststructuralist Lenses. Knoxville: U of Tennessee P, 1993. 37-56. Sequoya Magdaleno, Jana. "Telling the Differance: Representations of Identity in the Discourse of Indianness." Ed. David Palumbo-Liu. The Ethnic Canon: Histories, Institutions, and Interventions. Minneapolis: U of Minnesota P, 1995. 88-116. Shaddock, Jennifer. "Mixed Blood Women: The Dynamic of Women's Relations in the Novels of Louise Erdrich and Leslie Silko." Ed. Susan Ostroy Weisser and Jennifer Fleischner. Feminist Nightmares: Women at Odds: Feminism and the Problem of Sisterhood. New York: New York UP, 1994. 106-21. Sheldon, Mary F. "Reaching for a Universal Audience: The Artistry of Leslie Marmon Silko and James Welch." Ed. Thomas E. Schirer. Entering the 90s: The North American Experience: Proceedings from the Native American Studies Conference at Lake Superior University, October 27-28, 1989. Sault Ste. Marie: Lake Superior UP, 1991. 114-24. Silko, Leslie. Ceremony. New York: Bantam, 1977. ---. "Language and Literature from a Pueblo Indian Perspective." Yellow Woman and a Beauty of the Spirit. Slowik, Mary. "Henry James, Meet Spider Woman: A Study of Narrative Form in Leslie Silko's Ceremony." North Dakota Quarterly 1989 Spring, 57:2, 104-120. Smith, Patricia Clark and Paula Gunn Allen. "Earthly Relations, Carnal Knowledge: Southwestern American Indian Women Writers and Landscape." Ed. Vera Norwood and Janice Monk. The Desert Is No Lady: Southwestern Landscapes in Women's Writing and Art. New Haven: Yale UP, 1987. 174-196. St. Andrews, B. A. "Healing the Witchery: Medicine in Silko's Ceremony." Arizona Quarterly: A Journal of American Literature, Culture, and Theory 1988 Spring, 44:1, 86-94. Stonestreet, Linda. "Tayo's Ceremonial Quest. " The Bulletin of the West Virginia Association of College English Teachers 1994 Fall, 16, 26-31. Swan, Edith. "Feminine Perspectives at Laguna Pueblo: Silko's Ceremony." Tulsa Studies in Women's Literature 1992 Fall, 11:2, 309-27. ---. "Laguna Prototypes of Manhood in Ceremony." MELUS: The Journal of the Society for the Study of the Multi Ethnic Literature of the United States 1991-1992 Spring, 17:1, 39-61. ---. "Healing via the Sunwise Cycle in Silko's Ceremony." American Indian Quarterly 1988 Fall, 12:4, 313-328. ---. "Laguna Symbolic Geography and Silko's Ceremony." American Indian Quarterly 1988 Summer, 12:3, 229-249. Taylor, Paul Beekman. "Repetition as Cure in Native American Story: Silko's Ceremony and Momaday's The Ancient Child." Ed. Andreas Fischer. Repetition. Tubingen: Narr, 1994. 221-42. Truesdale, C. W. "Tradition and Ceremony: Leslie Marmon Silko as an American Novelist." North Dakota Quarterly 1991 Spring, 59:4, 200-28. Warner, Nicholas O. "Images of Drinking in 'Woman Singing,' Ceremony, and House Made of Dawn." MELUS: The Journal of the Society for the Study of the Multi-Ethnic Literature of the United States 1984 Winter, 11:4, 15-30. Wilson, Norma C. "From Alienation to Reciprocity (Leslie Marmon Silko)." Ed. John R. Maitino and David R. Peck. Teaching American Ethnic Literatures: Nineteen Essays. Albuquerque: U of New Mexico P, 1996. 69-82. |
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Rick Mott is Assistant Professor of Technical Communication at New Mexico Tech. He has a background in professional web design, and his presentations and publications focus on visual design and multimedia. He holds a Ph.D. in English from the University of New Mexico. He is an active member of STC, ATTW, and CPTSC. Contact information: rkmott@nmt.edu |
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This site is optimized for Netscape 6 and higher site design: Sara Roegiers @ Maerlantcentrum |
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