6) Find three examples of names that need to be spoken aloud in order to catch the allusion. Discuss the examples as well as the reading technique that requires you to read aloud in order to make connections. Why does King want us to read aloud?

I was drawn to this question due to the tied-in nature of popular figures in culture and their combination with Native story-telling methods. After reading Harry Robinson’s story aloud for a previous question I had the mindset that internalized reading would not be sufficient to grasp the content of this novel. Based on Thomas King’s motivation from Robinson’s oral story method I can see similar aspects for why the stories should be spoken. Green Grass Running Water reads at times like a traditional Western book, it appeases to a silent audience. The difference lies in the interruptions of stories via dialogue, and the inability for stories to reach an end (they combine into the next). King wants us to read aloud because it creates a dialogue; whether or not someone is present to participate as an audience member, the person reading must simultaneously think about what’s being said. In a similar way to Robinson’s style of story-telling, the words are unimportant (the derived message is what is significant). Reading something out loud also makes us more connected to the material; we become a reader, and a presenter.

The first name to strike me was included in Chester Blanca’s report (Blanca, 50): Dr. Joseph Hovaugh (King, 16). I hadn’t understood the nature of the allusion at first, trying to evaluate the last name separately from the first (Joe). Finding out that it was related to Jehovah made me cringe at how oblivious I was (Hoe-voh was how I pronounced it aloud, Joe Hoe-voh). After realizing the name clearly referenced the Israeli god, I connected the employees with biblical figures as well: Mary (Jesus’ mother) and John (one of Jesus’ disciples) work for Dr. Hovaugh (King, 17). Their employment makes sense because from a biblical standpoint Mary served as the vessel for a form of God, and John served as an apostle to learn from Jesus and carry on his teachings.

While not as entertaining from a phonetically comprehended standpoint, Polly Johnson and Sue Moodie (King, 156) were interesting to note because I knew of Pauline Johnson through her poetry (which I read in high school), and Susanna Moodie, whose book we read recently. These didn’t require any special vocalization. Another humorous allusion is that of N. Bates (desk clerk of Blossom Lodge) [King, 153], which I instantly recognized and cringed that he would be assigned that job. His name is related to Norman Bates, the desk clerk/owner of the Bates Motel in the movie Psycho (spoiler: he’s a murderer).

Another interesting name mentioned was Sally Jo Weyha (King, 182), which I knew from “Night at the Museum” (unfortunately). The name alludes to Sacajawea, a Shoshone guide for Lewis and Clark’s expedition in Missouri (served more as a translator). This allusion is noted when the name is read quickly, but requires prior knowledge of her name. Louis, Ray, and Al (Louis Riel) [334] just required knowledge of his name, and was identifiable when read quickly.

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Works cited:

Chester Blanca. “Green Grass Running Water: Theorizing the World of the Novel.” Canadian Literature 161-162. (1999). Web. April 04/2013.

Flick, Jane. “Reading Notes for Thomas King’s Green Grass Running Water.” Canadian Literature 161-162. (1999). Web. 3 July 2015.

King, Thomas. “Green Grass Running Water.” Toronto: Harper Collins, 1993. Print.

Night at the Museum. Dir. Shawn Levy. Perf. Ben Stiller and Robin Williams. 20th Century Fox Home Entertainment, 2007. DVD.