Cultee & Quinault history courtesy of Jack George Our “true” tribal culture & heritage are told in these stories.
“So I’m rooted to this ground. That’s why I’m supposed to outlive everybody”.
Henry Cultee, Chehalis
“I don’t believe in magic. I believe in the sun and the stars, the water, the tides, the floods, the owls, the hawks flying, the river running, the wind talking. They’re measurements. They tell us how healthy things are. How healthy we are. Because we and they are the same thing.”
One day in 1975, Henry Cultee, whose mother and mother’s father were powerful “Indian doctors”, told me he wanted to show me something. He beckoned me aboard the boat he kept moored by his fishing shack at Samamanauwish on the Humptulips River. Samamanauwish was also Henry Cultee’s traditional name, inherited along with his luck in fishing from his grandfather’s brother. It meant “between two channels.” In explaining the name he shared with the land, Cultee said, “I’m living right here”, as he pointed out the channels of the Humptulips that ran on either side of his cabin.
Eighty-five year old Cultee stood erect as he poled the river to guide us over the riffles for which the original people here named this river Hum-m-m-m-p-tulips, the name humming along with water running so fast it cleaned itself out in three days after a rain.
As Grays Harbor opened before us, modern frame houses and mill stacks dissolved from view. We entered a world composed of water and sky. The wind danced paths of light on the water. That was the wind that lives here, the one that Henry Cultee’s mother told him to run against with his arms outstretched, measuring its gaping mouth, so it would be ashamed of itself and calm down. As we moved on into ancient memory, that nearby lone sentinel of a rock shrugged off the name of James Rock (for the pioneer) and relived its history as Sme’um– the place where Wildcat stole fire, singeing his tail with the mark he still wears as a result. The urbanized jumble along the Aberdeen River evaporated on the milky mist behind us, giving way to its more lively self: the Wishkah River (”stink water,”) –where Thunderbird dropped a rotting whale carcass. Across the harbor from us was no longer the Cosmopolis named by pioneers, but Khaisáləmish: named after the character of the sandbar where the Transformer Xwane Xwane kept himself from being swept out to sea in the story that depicted the origin of the Chehalis way of life.
Power lived in this place. It was also here that Henry Cultee’s mother’s father obtained his Indian doctor power that was as famous as it was dangerous. After he found his power, his grandfather took the name of the place where it lived: Khaisáləmish. He had a white name too, but he never dropped his Indian one. Thus he was known as Khaisáləmish Pete- or as pioneers anglicized it, Cosmopolis Pete.
Cultee and I slid smoothly down the harbor channel until we came to a dense dense array of shell mounds exposed by the action of the water on the shore beside us. Cultee laughed as he pointed out these signs of the generations of sweet feasting of his people here. This was what he wanted me to see: how the land recalled the lives of his people.
The land trades stories with us this way. If we know its stories, it keeps our own. The stories Henry Cultee told me expressed this ancient reciprocity with “the eyes of the world” that sees “what is in our hearts”, even if we hide it from other humans. In his tradition, it was how the land’s eyes see us that determine the length of our lives.
Stories belong to a live land: and if that land becomes only an object of development, those stories can be lost. There is a place in Upper Chehalis territory, where the old winter dances and later Shaker dances were held. This prairie is perfectly encircled by hills, like a bowl offered up to the sky and time. The stuttering lines of hills to the west hold the story of the swinging door between the worlds that the salmon jump through when they go back to their own lives in the sea.
I could hear ancient voices of people singing here, etched onto the waves of hills and playing back again like the grooves of a record playing back a song.
That was in 1976. Today the prairie where the people danced has become a gravel pit. The hills that encircle it don’t sing anymore. I can only hope that they keep their music inside somewhere where dreamers may still find it. Perhaps this music is another thing, as Grandma Aggie sees happening with mistreated water, that the earth is taking back to her womb.
Henry Cultee’s fishing cabin is also gone now. There is a “no trespassing” sign where visitors drove in as his little dog ran out barking to meet them, while Cultee laughed, “Just don’t speak English to him. He gets awful mad when he hears English!”
We can still tell the story of Samamanauwish, so that, as Cultee put it, “what’s in my heart won’t die with me”. But I’m not quite sure how to tell the land’s story without the land. It’s not so easy to tell this story to those who have never stood on this point and watched the Humptulips rushing single-mindedly toward the harbor in a flamboyant expression of its name.
There were some members of pioneer families- ones who lived as true neighbors to the Chehalis– who understood how land and stories go together as well. One ninety seven year man (Sandy Ames) whose Chehalis neighbors were like an “aunt and uncle” to him, were very particular when they taught him how to roast salmon. From them and from somewhere in his own heart, he also learned how to hear the “words that come through the air”. Those are the words that live on the land’s own breath, like the ones that he shared with me when I arrived at his door as a seeker.
If for no other reason than this, we must safeguard the places that have elder status in the natural world. Without them we lose the ability not only to tell their stories but our own.
Driving back from Oakville the day after I went out on the Harbor with Henry Cultee, I was hit by severe dizzy spells that caused the world to spin ruthlessly around me whenever I moved. A local RN told me it was an inner ear infection, but I dreamt that night that it was my uncried tears for all that was lost of our human belonging to this land, rolling like a rough unbidden tide against my sense of balance.
Surely if we all shed the tears waiting behind our eyes to mark the disappearance of the land’s stories, we would not allow them to be replaced by a gravel pit– or a highway or a high rise. We would still need to shelter and feed ourselves, but we would do so in a way that is in concert with the land– in a way that would allow the land to “recognize us” as innovative architect William McDonough put it.
Riding with Cultee that day on the waters he knew so well he called them by name, I entered a world in which the land did not belong to people by way of deed and title-but instead a people belonged to their land. What made a man, Cultee once asked me, think he could come along and put his name on the land? To him, it was a rhetorical question. No man by rights could do such a thing. Cultee’s people did not name the land for themselves. As in the case of himself, his uncle, and his grandfather, they named themselves for the land.
In Henry Cultee’s wise tradition, if we ignore the “eyes of the world”– the eyes of those who sustain our lives–we are liable to construct a way of life that is decidedly short-lived. That tradition thus anticipated the report came out last week indicating that the average US lifespan is continuing to decrease.
one more to come