indig.lit.paper2.hooloolgender
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Auden Granger
Prof. Kelderman
Self and Sovereignty in Global Indigenous Literatures
13 March 2016
Paper 2: The Performance of Gender in Johnson’s Hoolool of the TotemPoles
“Big Joe had left her with but three precious possessions ‘Tenas,’ their boy, the warm,
roomy firwood house of the thrifty Pacific Coast Indian build, and the great Totem Pole that
looked outside at its northwestern corner like a guardian of her welfare and the undeniable
hallark of their child’s honorable ancestry and unblemished lineage” (Johnson 81). In lines such
as these, Hoolool of the TotemPoles , written by E. Pauline Johnson, presents a clearly gendered
narrative that identifies the role of women as a maintainer and protector of cultural traditions
rather than their creator. The main character, Hoolool, is defined in terms of the masculine
figures in her life, and maintains social power only in the gap between her husband’s death and
her son’s maturation into adulthood. This emphasis on masculinity even in the life and work of
women is echoed by the authorship and dedication of the work itself.
The primary social role that Hoolool plays in Hoolool of the TotemPoles is as a
protector. Her efforts in the story are as a protector of cultural emblems, tribal traditions, cultural
narratives, the home, and her young son. This social role corresponds to a definition of
femininity specifically ordered in relation to the masculinity of her husband and her son. This is
an example of what Judith Halberstam describes in her Keywords for American Cultural Studies
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piece as gender defined in terms of kinship (117), suggesting this gendered definition also rests
in the generational binaries of familial roles.
Hoolool lives as a widow with the “three precious posessions” her husband had left her.
The home she lives in and maintains and the son she gave birth to and raised are both defined as
gifts from her deceased husband. Her son is further defined in terms of her husband and his
ancestry in the description of the totem pole as a sign that Tenas “shall be a great man some day”
(83), which is physical evidence of his descendency as “the honorable son of a long line of
honorable sons” (83).
Hoolool works tirelessly for her young son, acting as breadwinner and provider as well as
caretaker. Even so, her capable work is still attributed to a masculinecreated object. “After Big
Joe died Hoolool would have been anchorless without that Totem Pole” (81), the narrative
describes. She is reliant upon the phallic symbol of her son’s paternal line, the ideas of her
young son, and the demand of a male audience. Rather than creating something herself, her
accomplishments are seen as the result of her interpretation of her son’s dream and her
replication in miniature of the malecreated totem pole. In fact, her son’s idea is even further
attributed outward towards a specifically male and white figure, as Hoolol states, “I know little
of the white man’s God… except that He is good,” declaring that surely He must be who gave
her son this idea (85). Hoolool is able to support herself and her son through his call for her to
make him a plaything, and the totems are even specifically described as “young” (86), drawing
further attention to her role as a woman in giving birth and raising children.
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Hoolool would be unable to support herself and her son by crafting miniature totems
without the maledominated market for Indian “curios” (81). Thusly, Hoolool’s works of
cultural replication are enacting work based in the desire of a maledominated, maledefined
European market economy that benefits primary by exchanging hard currency for
feminineassociated products like jewelry or weaving, described as “leaving their white man’s
coin in lieu of old silver bracelets… or finelywoven cedarroot baskets” (81). While in some
ways tourism and “curiohunting” enabled female entry into the marketplace (already dominated
by Pacific northwest maledriven industries like logging and fishing) as a cultural producer,
Hoolool is still acting in a system based in the oppression of cultural appropriation and racism
coupled with the gendered “mode of oppression that sorts human bodies into binary categories in
order to assign labor, responsibilities, moral attributres, and emotional styles” (118).
Subsequently tourism is both a dominative and penetrative act in both gendered and racialized
terms.
These elements all conclude in the production of a role of social power for Hoolool that
exists exclusively as a temporary placeholder between two positions of masculinity. There is
never any doubt that Hoolool will transfer the role of breadwinner to her son when he is old
enough, and the creation of the small totem poles are intended not so much as a longterm
method of sustaining her family as a way to provide “...a pile of coin that would fill all her needs
until Tenas was old enough … to take his father’s place at the hunting, the fushing, and above all,
in the logging camps up the coast” (82). This is emphasized by the conclusion of the story,
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which draws attention to the fact that by this point, her son “has supported his mother in comfort
for two years, and he isn’t full grown yet” (87).
It is also noteworthy that this story was dedicated to the Boy Scouts of America. Doing
so seems to define the female author in terms of her value to young men and the nature of
masculinity, just as Hoolool is defined. Johnson creates a narrative that emphasizes the values of
the Boy Scouts, who use masculine language and association to describe traditionally
feminineassociated values, like those of cleanliness, obedience, thriftiness, and courtesy. At the
same time, the Boy Scouts often approached a performance of rugged masculinity through
culturally appropriative and dismissive acts such as “playing Indian.” Performing the role of
Indian meant performing masculinity for these young men, suggesting perhaps an attempt in the
structure of this story to encourage values like the thriftiness and helpfulness of Tenas.
While this reading certainly lends itself to a gendered analysis, it is striking that gender is
traditionally explored in narratives written by women and remains unexplored in those written by
men. As Halberstam states, “...Scholars use the term “gender” when they wish to expose a
seemingly neutral analysis as male oriented and when they wish to turn critical attention from
men to women” (116). The gendered implications of stories written by men are considered
neutral, while those stories by women are often considered to be a distinct reflection on gender.
Doing so defines female authors in opposition to the neutral terms of masculinity just as
thoroughly as Hoolool is defined in Hoolool of the TotemPoles .
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Hoolool is defined in her accomplishments and capability to support herself and her son
(even in traditionally femaleassociated roles) in her relation to her deceased husband and her
young son. She holds social power only in the space between her husband’s death and the
maturation of her son, at which point she is content to be supported by him. Even creations that
seem original to Hoolool are in fact based in several layers of masculine influence and are thusly
attributed to or dependent upon others, including Big Joe, Temas, God, and the ‘curiohunters.’
This connection to masculinity in feminine social roles and work is reflected in the perception of
gender in works by female writers, like this one, particularly in the dedication of this story by a
Native female author to an organization for white young men, the Boy Scouts of America.