I have great friends. One of them recently found a copy of Iroquois Supernatural: Talking Animals and Medicine People by Michael Bastine and Mason Winfield at a yard sale and was kind enough to pick it up for me as a gift. Bastine is an Algonquin healer and elder. Winfield is a European American who describes himself as a “supernatural historian.”
This is a really neat, informative book. It is chock-full of fascinating tales, keen historical and cultural insights, and a pervasive sense of respect for the Iroquois culture(s) as a whole. I’m mentioning it not to provide a thorough review. My review can be summed up thusly: If you’re the sort of person who is interested in Native American cultures and particularly Native American mythology and folklore, get this book!
I’m bringing this book up, rather, for the guidance it may provide for writers wanting to handle mythological material from outside their culture with reverence and sensitivity. This is a topic that has recently come up in an article at Fantasy Faction by Brian O’Sullivan with respect to Celtic, and particularly Irish cultural artifacts. (You can also read my observations.)
As when I wrote about the uproar over J. K. Rowling’s handling of Native American mythology, I still believe that there are situations where leaving elements of Native American or African mythology out of a story can be more colonialistic than including them. I’m thinking particularly of stories in the contemporary fantasy genre that are set in North America—which happens to be what I write. Populating North America with unicorns and griffins rather than naked bears and great horned serpents strikes me as a lazy and Euro-centric way to tell a story.
Still, the challenge remains to handle these cultural artifacts with care and not treat them as mere commodities. Here is where Bastine and Winfield’s concerns in writing Iroquois Supernatural intersect with my own admittedly different concerns. First and most basically, writers who want to include these kinds of cultural artifacts need to read lots of books like this one, written from a clearly sympathetic viewpoint.
Second, the authors draw a distinction between what they classify as “the sacred” and “the spooky.” This is a distinction that especially writers from outside a given culture need to keep in mind. In the introduction, they write:
Figuring out what to include in this book has been tricky. Where do you draw the line between miracle and magic? Between religion and spirituality? Between the sacred and the merely spooky? This book doesn’t try to choose. How could anyone? (p. 2)
But then they proceed to explain their preference for the spooky over the sacred:
All religions are at heart supernatural. Throughout history most societies have had both a mainstream supernaturalism and others that are looked upon with more suspicion. The “out” supernaturalism is often that of a less advantaged group within the major society. What the mainstream calls “sacred” is its supernaturalism; terms like “witchcraft” are applied to the others. Someone’s ceiling is another’s floor, and one culture’s God is another’s Devil. To someone from Mars, what could be the objective difference? (p. 2)
This comment reminds me of the privileged place Judeo-Christian supernaturalism has in my own culture. Perhaps it will remind you of something else in your own frame of reference. But the writers go on to admit that within Iroquois society itself there are distinctions between the sacred and the spooky. They conclude,
This book is not about the sacred traditions of the Iroquois. It is a profile of the supernaturalism external to the religious material recognized as truly sacred. This is a book largely about the “out” stuff: witches, curses, supernatural beings, powerful places, and ghosts. (p. 3)
Even so, the authors admit that it isn’t always easy to draw firm lines between sacred and spooky. The fact that one of the authors is a practicing traditional healer within a neighboring Native American community is bound to help in this regard! Later on, we hear Winfield explaining further about their approach to this cultural material:
This is not a book about Iroquois religion or anything else we knew was sacred enough to be sensitive. Not only is that not our purpose, but, as a Mohawk friend said recently to me, “If it’s sacred, you don’t know it.” And coauthor Michael Bastine would not reveal it. (p. 22)
So perhaps we can isolate the following touchstones as the beginning of an approach to including cultural material from marginalized or minority groups within our society:
- Aim for the spooky, not the sacred. Frankly, I’m not interested in writing philosophical or theological treatises on the spirituality of marginalized peoples. (I will admit to a certain interest in reading such studies.) But I love stories about ghosts, monsters, trickster figures, or what have you. As Bastine and Winfield themselves note numerous times, these sorts of things are common to every culture. That suggests to me that, with suitable awareness, writers can fruitfully explore them. If something gets too close to the lived faith commitments of others, however, I tend to want to shy away from it in terms of worldbuilding and storytelling,
- If it is sacred enough to be sensitive, leave it out. I’m well aware that one reaches a point of sensitivity sooner in some cultures than others, and with different topics in some cultures than in others. Still, is there a better place to start?
- Strive to understand as much about the culture as a whole as possible. I don’t want to add a cultural element to a story without a firm grasp of how that element relates to others in its “native” environment. Understanding the ins and outs of a culture and its history is a great inoculation against a grab-bag approach.
Do you think it’s possible for writers to handle other world cultures with sensitivity? When have you seen a writer handle well the artifacts of a culture to which he or she was an outsider?