In Green Grass, Running Water, traditional systems of justice often fail to serve the Indian characters and even contribute to their oppression. One of the novel’s main plot lines, for example, centers on how the government has forced four old Indians (Lone Ranger, Ishmael, Robinson Crusoe, and Hawkeye) to live locked up in a psychiatric hospital against their will, despite the fact that they don’t seem to be dangerous. This parallels how Lionel gets imprisoned after a misunderstanding with some police officers who think he’s holding a gun. The consequences of Lionel’s arrest continue to reverberate throughout the story, with him losing his university job and having to move back to the small town of Blossom, showing how the justice system has oppressed him rather than protect him.
Another symbol of authority in the novel are the soldiers who appear in all of the creation stories and send First Woman, Changing Woman, Thought Woman, and Old Woman to a fort in Florida where they must stay. The soldiers stop these women from moving freely through nature, similar to the actions of the U.S. and Canadian governments, who forced Indians to live on reserves, often through the use or threat of violence. This theme of restricting the movement of Indians also comes up with the many border guard characters in the story. In one symbolic interaction, when Amos, Ada, and Alberta are trying to cross the U.S.–Canada border, the border guards disrespect the traditional dancing clothes they have with them, confiscating the clothes and returning them in tatters. Green Grass, Running Water thus shows how the justice systems in Canada and the United States has failed Indians, and instead of providing justice, these systems have attempted to limit their free movement and their culture.
Oppression and the Justice System ThemeTracker
Oppression and the Justice System Quotes in Green Grass, Running Water
Sergeant Cereno leaned back in the chair and slowly swung it from side to side. “All right, Ms. Jones. These four Indians . . . what did they look like?”
“Like I said. They were Indians. Old ones.”
“How old would you say?”
“I don’t know . . . four, five hundred years . . .”
Bursum doubted that even Lionel understood the unifying metaphor or the cultural impact The Map would have on customers, but that was all right. Lionel, at least, would be able to appreciate the superficial aesthetics and the larger visual nuances of The Map.
The Map. Bursum loved the sound of it. There was a majesty to the name. He stepped back from the screens and looked at his creation. It was stupendous. It was more powerful than he had thought. It was like having the universe there on the wall, being able to see everything, being in control. Yes, Lionel might just appreciate it.
And then again, he might not.
The older guy and the skinny kid made Amos take everything out of the truck. They unwrapped the dance outfits and laid them on the asphalt.
“Shouldn’t put the outfits down like that,” said Amos. “It isn’t right.”
“Guess we’re the ones to say what’s right and what’s not right,” said the guard. “Isn’t that right?”
“That’s sacred stuff,” said Amos.
“No,” said the guard. “What we have here are eagle feathers.”
“Your ancestors were slaves, were they not?” said Dr. Hovaugh.
“Nope,” said Babo. “But some of my folks were enslaved.”