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Analysis of N. Scott Momaday's The Way to Rainy Mountain The Way to Rainy Mountain includes a distinct pattern in its shape. In each section, it has three components, each of whose separateness is clearly marked by its own place in every webpage and its own typeface: the legend, the background, and also the personal memory. The pattern, however, never makes it simple for the readers to understand the novel. Instead, it disturbs and bothers the readers by placing them where the dual borders of reality meet. On the 1 hand, there's a fact as the result of the dominant ideology, which has come to be a priori in many circumstances, and which has concealed that there's another reality (or perhaps, multiple realities). On the flip side, there is another reality, which can be present (consequently, actual) but absent (or buried), and which makes the prominent "fact" possible but, at the identical time, continuously undermines it. In The Way to Rainy Mountain, the patterned kind brings about both distinct realities: first, there is a discursive, or ideological reality, that separates legend from history and the personal from the cultural; secondly, there is a lived-way-of fact, where history, legend, and the personal experience can never be split. Along the journey to the Rainy Mountain Cemetery, where the memory (that is, "experience of thoughts that is legendary in addition to historical, private as well as cultural" p.4) has been buried, the viewers are contested to create a connection between the three kinds of memory, that has been consistently obvious in Native American oral tradition. It is tough to trace all 3 forms at the same time; hence, focusing on the private account of knowledge and memory, I will examine how it is related with an...