Set in the form of a novel, Waterlily is a masterful expression of tribal life for Plains Indians of the mid-19th century. The story traces four generations of Dakota Tetons as they make their way through the grasslands and hunting grounds of what is presently South Dakota. Written by a Dakota woman in the 1940s, the story conveys immediate integrity and authenticity.
The central figures of the story are all women -- and this distinguishes Waterlily from other Native American literature which concentrates on roles like shamans and warriors. At the heart of the story is Waterlily, through whose eyes we experience daily life. We come to know her mother and grandmother, and, ultimately, her daughter. While a number of significant male figures appear in the story, the narrative quality is distinctly feminine. For instance, when courtship arises, the reader sees what men do, but feels what the women feel.
What emerges most dramatically from the story is the intricate and subtle kinship system that anchors the tribe. Sacrifice abounds, as characters freely offer their possessions, their industry, and, at times, their lives, for one another. In one poignant and gripping scene, Waterlily consents to a “purchased marriage”, in which her hand in marriage means the transfer of two prized horses to a needy relative. Other scenes focus on “the give-away” at which one's finest possessions are lovingly surrendered to others. During a hunka ceremony in which tribe members offer gifts on behalf of the initiates, Deloria notes, “To have something given away in one's name was the greatest compliment one could have” (pg 77).
Binding the family and tribe are two critical elements -- oblique communication and inferred relationships -- and Waterlily gives the reader ample illustrations of both. While speech is plain, it is often indirect. Agreements between individuals and even groups are anchored more in context and convention than in explicit dialog. One marriage proposal is both begun and finalized by a woman simply agreeing to accompany a man on a hunting trip. The presentation of a particular animal or object signifies to everyone a specific intent. Connected to this is the concept of inferred relationships - social arrangements that emerge through action not words. When Waterlily accompanies her new husband into his camp, the various roles of the new clan are enacted, not announced.
Useful to teachers and historians is the wealth of ritual contained in the novel. The reader is invited into events and ceremonies concerning hunting, prayer, meals, initiation into adulthood, marriage, birth, dreams, signs, death, and funerals. Deloria devotes twenty pages to the Sun Dance ritual alone. More commonly known rituals like the pipe ceremony and ghost-keeping are thoughtfully explored, but so are lesser-known events like the Buffalo Ceremony and the Virgin's Fire. Every aspect of tribal life is considered, with each coming to life on the strength of the story.
Deloria's style is straight-forward and unapologetic. Intertribal warfare, for instance, is given the same even-handed treatment as any other dynamic. She presents the behavior and motivation of characters, with no attempt to prettify, diminish, or exalt. Short declarative sentences convey a sense of immediacy. The plot moves at a suitable and enjoyable pace.
This text could be used with students from middle school through college. Teachers of younger students would need to be prepared for several scalping scenes, and a consideration of virginity, though neither is given much attention. While not a dense text, its length (over 200 pages) should be considered (its form as a novel seems ill-suited to “trimming down”, but, with slower readers, exploring the first half to two-thirds may prove useful). Teachers of all ages will appreciate the thoughtful attention to detail, the feminine perspective, and the compelling manner in which the story is told. On balance this is an exquisite choice for those seeking the peculiar advantages a novel offers in presenting sound historical information.
review © 2004 by Eric Mayer and RSiSS
Westtown School
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