Abstract
During a recent visit to the Beinecke Rare Book and Manuscript Library in New Haven, Connecticut, I spent considerable time sifting through the facility's substantial collection of Laguna Pueblo author Leslie Marmon Silko's personal papers. Amid the bounty of telling news clippings, drafts, and ephemera, I came across a pale blue scrap of paper with two notes scribbled on it. One is a reminder about the ferry schedule from Ketchikan, Alaska, and the other reads last word of the novel?sunrise. It seems that as she was planning the mun dane details of transportation, Silko was struck with the revelation that she must have the narrative structure of her novel Ceremony come full circle to end just as it begins, with the word sunrise. The appearance of this simple-yet-evocative note returned my attention to considering the significance of Ceremony's pervasive penchant for nonlinearity. While I am certainly neither the first reader to notice this tendency nor the first scholar to write about it, the emphasis on nonlinearity in Ceremony?as well as in other native-authored texts?deserves further consideration.
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