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Motorcycles And Sweetgrass Symbolism Analysis

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Symbolism Representing Dual Cultures in Motorcycles & Sweetgrass Symbolism allows the reader to go beyond what is known or seen by creating connections between otherwise very different concepts and experiences. In the novel, Motorcycles and Sweetgrass by Drew Hayden Taylor, symbolism defies the natural evolution of Native Anishnawbe culture to the current Canadian culture. Three examples illustrate this change. First, the reader is witness to the replacing of Sweetgrass, a symbol of Ojibway culture, to the worship of holy crosses and holy water. Secondly, the reader is exposed to the adaptation of names from the mythical Ojibway figure, Nanabush to those that represent English explorers. Finally, the raccoons that have a profound conflict with the man whose name continues to change. The Sweetgrass, the changing names and the raccoons is symbols that emphasize the theme, dual cultures, which shines a light to the transformation taking place on Native reserves. Sweetgrass is a core representation of Ojibway culture, and the replacing of Sweetgrass for symbols of Christianity is evidence that dual cultures are transforming Native reserves. After the death of Lillian Benojee, Maggie, Lillian’s daughter, and John go on a date. During the date, John asks about Maggie’s mother, which causes Maggie to reminisce about the beloved elder, Lillian. She then comments, “my mother would love that. Sweetgrass and holy water. That was my mother. You know, she was as devout as any old Italian lady. She told me I shouldn’t be Chief. She thinks there should be more magic in this world” (181). The struggles Lillian has confronted in her life shapes her into the Christian - Anishnawbe woman that she now identifies. Lillian’s transformation began during her youth when she was sent to a residential school. This started the conflict between the Christian and Anishnawbe beliefs that she had. This is later proven when Jesus and Nanabush, mythological demigods from Christian and Anishnawbe culture, meet and regard Lillian as a woman in the hearts of both demigods. When Maggie visits her dying mother, Lillian, who is on her deathbed, they talk about several topics around the community. In the last days of Lillian’s life, Maggie Second,

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