The central conflict of Leslie Marmon Silko’s Ceremony is Tayo’s struggle to gain psychological wholeness in the face of various traumatic experiences, ranging from a troubled childhood to cultural marginalization and combat experiences during World War. Throughout the novel, the key to Tayo’s psychological recovery is his rediscovery of Native American cultural practices.

A narrative of loss, struggle, and redemption in the wake of World War II, Ceremony (1977) ranks among the defining works of Native-American poet and novelist Leslie Marmon Silko. Although Ceremony is normally classified as a novel, the text is in fact a combination of styles and genres that defies easy categorization.
Ceremony Poem by Leslie Marmon Silko. Read Leslie Marmon Silko poem:I will tell you something about stories,' he said They aren't just entertainment.

Most of the crucial turning points in the novel occurs when Tayo listens to, takes part in, or learns more about Native American cultural traditions. He progresses towards recovery when he visits medicine men, returns to traditional customs and practices, or develops an intimate relationship with someone like Ts’eh who lives according to traditional ways. As he develops an increased understanding of native cultural practices and ritual ceremonies he finds psychological peace, which he quickly loses whenever he seeks other sources of healing-whether he seeks them in the glories of war, the pleasures of alcohol, or the medical practices of the army psychiatric hospital.

Leslie Marmon Silko is often known as the first Native American woman author published in the United States. She is of Laguna, Mexican, and Anglo-American heritage, and in her work often explores multicultural themes exploring the intersection and tensions inherent in her background. Ceremony Returning home to the Laguna Pueblo reservation from World War II, via a Veteran's Hospital, Tayo must find a way to cure himself of his mental anguish, and to bring the rain back to his community. Combining prose and poetry, Ceremony interweaves the individual story of Tayo and the collective story of his people.

The novel’s opening poem describes the incredible powers that language, stories, and rituals have in Native American cultures: ceremonies are the only cure for human and cultural ailments, and stories and language have the power to create worlds. As the novel progresses, it demonstrates this power by showing how rituals are more effective than anything else in helping Tayo heal.

Moreover, Tayo’s struggle to return to indigenous cultural traditions parallels Silko’s own struggle as a writer who wants to integrate Native American traditions into the structure of her novel. Instead of simply following the literary conventions used by other American and European writers, Silko develops new literary conventions that draw upon Native American cultural traditions. For example, her narrative plot follows a cyclical sense of time, like that found in Native American myths and legends, instead of a western linear sense of time. It is also open to non-rational spiritual experiences instead of limiting itself to scientific logic and reason. In addition, her general focus is more on the community as a whole and Tayo’s relationship to that community than it is on Tayo’s personal individuality.

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Even more importantly, she structures the entire novel itself as a sacred ritual or ceremony. Throughout the novel, she repeatedly switches back and forth between the main plot and a series of interconnected poems based on various Native American legends.

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These interspersed poems create a second mythic narrative that runs parallel to the realistic narrative about Tayo. Even though these mythical poems take up less space than the realistic narrative, they are equally, if not more, important than the realistic narrative. They provide additional insight into Tayo’s various struggles, they outline the pattern for his recovery, and they are placed at both the beginning and the end of the novel. In addition, Betonie’s healing ceremony encapsulates the central themes and struggles developed throughout the novel, and it marks the central turning point in Tayo’s recovery.

By making these mythic poems and ritual ceremonies such a significant part of the novel, Silko extends her authorial voice beyond first-person and third-person narration to include the ritualistic voice of a shaman or storyteller. Thus, Silko expresses the Native American belief that ritual healing and art are intimately connected because stories and rituals have the power to heal.

Nevertheless, both Silko’s description of Native American healing ceremonies and her own artistic use of Native American narrative forms are unorthodox. For example, Ku’ oosh’ s traditional rituals partially cure Tayo, but Betonie’s new complex, hybrid ceremonies are even more effective. By making Betonie’s rituals more potent than Ku’oosh’s, Silko suggests that recovering one’s cultural roots does not always mean being stuck in the past and endlessly repeating only what has been done before. Instead, Silko argues that even traditional cultures need to evolve and change, modifying to meet new circumstances and enlarging to create a broader dialogue with other cultural traditions. In this sense, Silko’s sense of ritual is not narrowly Native American but broadly multicultural.

Native American traditions make up an essential part of that multicultural mosaic, but they are not the whole of it. This multicultural sensibility is further demonstrated by Silko’s frequent attempts to develop connections between different cultures within her novel. In particular, Silko develops several relationships between Native American and Japanese cultures. Tayo believes that the Japanese soldier is his Native American uncle because he has a spiritual sensitivity to the interconnectedness of all peoples and cultures. Tayo cannot stand Emo’s hatred toward the Japanese because he realizes that violence toward any part of this multicultural mosaic inevitably hurts everyone. In fact, Tayo eventually realizes that even his own anger toward Emo must be overcome because violence cannot be prevented with more violence.

Ceremony Leslie Marmon Silko Plot

The novel’s conclusion makes this connection between Native Americans and the Japanese even clearer because both Native Americans and the Japanese were victims of World War II. Native American lands were destroyed through uranium mining in order to destroy the Japanese with bombs built from the mines on native reservations. Thus, Silko demonstrates that there are more connections between cultures than one might recognize at first glance. While this multicultural vision derives from traditional Native American beliefs about the interconnectedness of all beings, it extends beyond Native American cultures to include all of the world’s many cultures.

In addition, Ceremony also links Native American cultural traditions to the land and people’s relationship to it. The novel is full of beautiful descriptions of the natural landscape, philosophical discussions about the essential nature of land, and ritual ceremonies connected to the landscape.

In particular, Silko’s sense of the land functions in two ways. First. the ceremonies heal Tayo by reconnecting him to the land. They orient him according to sacred geographies, they teach him the importance and meaning of particular places, and they endow the earth with spiritual significance. Throughout the novel, Silko repeatedly reminds the reader that Native American cultures see the land and ceremonial rituals as inseparably connected and mutually reinforcing sources of spiritual well being. Drawing closer to the land helps Tayo better understand Native American ritual cerem