Ceremony by Leslie Marmon Silko

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 II. Throughout the novel, the key to Tayo's psychological recovery is his rediscovery of Native-American cultural practices.

Most of the crucial turning points in the novel occur 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.

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.

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.

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...