But how is it that this ascription takes on a specifically narrative form?Boas has argued that the "fundamental problem" <strong>of</strong> the anthropologist isthe description <strong>of</strong> the progress <strong>of</strong> cultures, <strong>and</strong> that the West Coast Nativesprovide remarkably favourable "conditions" for the fulfilment <strong>of</strong> this task(Race, Language <strong>and</strong> Culture341). The Kwakwaka'wakw provide a nearlyideal context for the writing out <strong>of</strong> an anthropological master-narrative, thestory <strong>of</strong> the discovery <strong>of</strong> these human fundamentals. But these "conditions,"in so far as they require the manifest traces <strong>of</strong> pre-White civilizations, arethemselves constructions <strong>of</strong> the anthropological mind. The collation <strong>of</strong>Kwakwaka'wakw tales occasions the potential solving <strong>of</strong> a narrative problem:the heroic, scholarly task <strong>of</strong> solving this "fundamental problem," <strong>of</strong>doing anthropology, through the creation <strong>of</strong> anthropological fictions <strong>of</strong> the'"basic tendencies" <strong>of</strong> humankind. Furthermore, Boas imposes on his collection<strong>of</strong> tales another narratological sequencing, a meta-narrative whichoverwrites the individual narratives he translates <strong>and</strong> recounts, a masterplot<strong>of</strong> anthropological discovery <strong>of</strong> which he himself is the protagonist. Inhis zeal for human (that is, chiefly American) "progress" <strong>and</strong> liberation,Boas uses the tales to tell his own story <strong>of</strong> how these tales lead him towardpersonal enlightenment, through a productive conflict with <strong>and</strong> assimilation<strong>of</strong> cultural difference, with otherness. The gaps <strong>of</strong> difference, <strong>of</strong> differentiation,whether merely cultural or essentially human, are closed byanthropology itself, as it seeks a positive productivity in its Western contextby turning a relative cultural liberation into a holistic human enterprise.The anthropological becomes what Boas sees as the fully human, as theanthropologist assimilates <strong>and</strong> underst<strong>and</strong>s the differences <strong>of</strong> the peoples hestudies. Boasian anthropology, despite its provisos, aims then to determinewhat this humanity is, <strong>and</strong> to impose its st<strong>and</strong>ards, as if they were universal,on those for whom it purports beneficently to speak. Boas's scientific commentarieson the tales are not static or atemporal, not strictly "objective,"but narrate a progress toward the liberating resolution promised by Boas'sown westernized anthropological ideals.Boas's collation <strong>of</strong> two instances <strong>of</strong> the same Kwakwaka'wakw tale providesa clear example <strong>of</strong> this narrative in motion. In his second series <strong>of</strong>Kwakiutl Tales, Boas <strong>of</strong>fers a 1932 re-telling by the same narrator, CharlieWilson, <strong>of</strong> the story <strong>of</strong> "Scab," which he had already collected in 1900 for hisfirst series <strong>of</strong> tales. In a note on the versions, Boas compares the two to eachother <strong>and</strong> to an unrecounted version <strong>of</strong> the same story (a version to which
he alone has access) which he heard <strong>and</strong> transcribed in Alert Bay in 1890(229). The purpose <strong>of</strong> this comparison, for Boas, is to <strong>of</strong>fer, at a geographical<strong>and</strong> historical separation, evidence <strong>of</strong> cultural continuity. Continuity <strong>of</strong>occurrence, he argues in his 1910 essay on ethnological problems in Canada,is a key to the determination both <strong>of</strong> cultural traits <strong>and</strong> <strong>of</strong> deeper humanpsychological laws (the "fundamental tendencies common to humanity"),both essential goals <strong>of</strong> anthropology itself (Race, Language <strong>and</strong> Culture 342-3). The collation is an attempt to fill in the gaps, to overwrite differencewith continuity, <strong>and</strong> to write his own efforts at achieving his goals acrossthe texts <strong>of</strong> the Kwakwaka'wakw stories."The two versions," Boas tells us, "are essentially the same in contentexcept on two points," which he goes on to list (Kwakiutl Tales New Series 229).Boas attempts to construct a narratology <strong>of</strong> the folk-tale <strong>and</strong> to establish, ina localized abbreviated form, an essential structure for this tale; one mightcompare similar efforts, conducted on a much larger scale, <strong>of</strong> VladimirPropp in Eastern Europe or <strong>of</strong> Claude Lévi-Strauss in his tristes tropiques.Boas <strong>of</strong>fers a page-long schematic for the two stories, suggesting non-essentialdivergences <strong>and</strong> deeper continuities. At certain points, he even alludesto a more general morphology <strong>of</strong> the "Kwakiutl tale," as when, for instance,he notes that a particular figure in the later version is a man, while by "analogywith all other tales she should be a woman" (230). Boas's emerging narratologybecomes a narrative itself, a meta-narrative, as he intrudes into hismaterial, commenting on <strong>and</strong> modifying its essential elements to suit hisown synthesizing purpose. "I presume in a more complete version [<strong>of</strong> thestory]," he interjects, "that [Scab] would have hidden in a tree <strong>and</strong> been discoveredby the reflection in the water. Here the remark that the water waslike a looking glass seems uncalled for" (230). This commentary is not, as itmight initially seem, a passing critique by an erudite anthropologist, butinvolves a wilful, deliberate intrusion into the body <strong>of</strong> the texts, a presumptuousre-narration <strong>of</strong> these same texts in terms more amenable to theanthropological mission <strong>of</strong> underst<strong>and</strong>ing <strong>and</strong> progress. Boas announceshis own presence, asserts himself in the first person—no longer as mereshadow—in order to assume direct control <strong>of</strong> the process <strong>of</strong> discovery.Boas intrudes into the stories themselves as well, as translator <strong>and</strong> as akind <strong>of</strong> stylistic mediator. In most <strong>of</strong> his prefaces to the various collections<strong>of</strong> tales <strong>and</strong> verbal artifacts collected from the Kwakwaka'wakw, Boas clearlypositions himself as transcriber, translator, editor, <strong>and</strong> even author; it was
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