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Sanaaq is an intimate story of an Inuit family negotiating the changes brought into their community by the coming of the qallunaat, the white people, in the mid-nineteenth century. Composed in 48 episodes, it recounts the daily life of Sanaaq, a strong and outspoken young widow, her daughter Qumaq, and their small semi-nomadic community in northern Quebec. Here they live their lives hunting seal, repairing their kayak, and gathering mussels under blue sea ice before the tide comes in. These are ordinary extraordinary lives: marriages are made and unmade, children are born and named, violence appears in the form of a fearful husband or a hungry polar bear. Here the spirit world is alive and relations with non-humans are never taken lightly. And under it all, the growing intrusion of the qallunaat and the battle for souls between the Catholic and Anglican missionaries threatens to forever change the way of life of Sanaaq and her young family.
Sanaaq is an intimate story of an Inuit family negotiating the changes brought into their community by the coming of the qallunaat, the white people, in the mid-nineteenth century. Composed in 48 episodes, it recounts the daily life of Sanaaq, a strong and outspoken young widow, her daughter Qumac, and their small semi-nomadic community in northern Quebec. Here they live their lives hunting seal, repairing their kayak, and gathering mussels under blue sea ice before the tide comes in. These are ordinary extraordinary lives: marriages are made and unmade, children are born and named, violence appears in the form of a fearful husband or a hungry polar bear. Here the spirit world is alive and relations with non-humans are never taken lightly. And under it all, the growing intrusion of the qallunaat and the battle for souls between the Catholic and Anglican missionaries threatens to forever change the way of life of Sanaaq and her young family.
In an age where southern power-holders look north and see only vacant polar landscapes, isolated communities, and exploitable resources, it is important to note that the Inuit homeland encompasses extensive philosophical, political, and literary traditions. Stories in a New Skin is a seminal text that explores these Arctic literary traditions and, in the process, reveals a pathway into Inuit literary criticism. Author Keavy Martin considers writing, storytelling, and performance from a range of genres and historical periods—the classic stories and songs of Inuit oral traditions, life writing, oral histories, and contemporary fiction, poetry and film—and discusses the ways in which these texts constitute an autonomous literary tradition. She draws attention to the interconnection between language, form and context and illustrates the capacity of Inuit writers, singers and storytellers to instruct diverse audiences in the appreciation of Inuit texts. Although Eurowestern academic contexts and literary terminology are a relatively foreign presence in Inuit territory, Martin builds on the inherent adaptability and resilience of Inuit genres in order to foster greater southern awareness of a tradition whose audience has remained primarily northern.
Published fifty years ago under the title Harpoon of the Hunter, Markoosie Patsauq's novel helped establish the genre of Indigenous fiction in Canada. This new English translation unfolds the story of Kamik, a young hero who comes to manhood while on a perilous hunt for a wounded polar bear. In this astonishing tale of a people struggling for survival in a brutal environment, Patsauq describes a life in the Canadian Arctic as one that is reliant on cooperation and vigilance. In collaboration with the author, Valerie Henitiuk and Marc-Antoine Mahieu return to the original Inuktitut text to provide English readers with a more accurate translation. With a preface by Patsauq and an afterword from the translators, this edition offers a fresh and contextualized interpretation of a cultural milestone. Whether revisiting this classic or discovering it for the first time, readers will find in Hunter with Harpoon a sophisticated coming-of-age tale illustrating a way of life not as it appeared to southerners, but as it has survived in the memory of the Inuit themselves.
"Words of the Inuit" is an important compendium of Inuit culture illustrated through Inuit words. It brings the sum of the author’s decades of experience and engagement with Inuit and Inuktitut to bear on what he fashions as an amiable, leisurely stroll through words and meanings. Inuit words are often more complex than English words and frequently contain small units of meaning that add up to convey a larger sensibility. Dorais’ lexical and semantic analyses and reconstructions are not overly technical, yet they reliably evince connections and underlying significations that allow for an in-depth reflection on the richness of Inuit linguistic and cultural heritage and identity. An appendix on the polysynthetic character of Inuit languages includes more detailed grammatical description of interest to more specialist readers. Organized thematically, the book tours the histories and meanings of the words to illuminate numerous aspects of Inuit culture, including environment and the land; animals and subsistence activities; humans and spirits; family, kinship, and naming; the human body; and socializing with other people in the contemporary world. It concludes with a reflection on the usefulness for modern Inuit—especially youth and others looking to strengthen their cultural identity —to know about the underlying meanings embedded in their language and culture. With recent reports alerting us to the declining use of the Inuit language in the North, "Words of the Inuit" is a timely contribution to understanding one of the world’s most resilient Indigenous languages.
This fable of an indigenous Arctic people “offers profound considerations about stewardship of and people’s relationships to the natural world” (Publishers Weekly). Nau cannot remember a time when she was not one with the world around her: with the fast breeze, the green grass, the high clouds, and the endless blue sky above the Shingled Spit. But her greatest joy is to visit the sea, where whales gather every morning to gaily spout rainbows. Then one day, she finds a man in the mist where a whale should be: Reu, who has taken human form out of his Great Love for her. Together these first humans become parents to two whales, and then to mankind. Even after Reu dies, Nau continues on, sharing her story of brotherhood between the two species. But as these origins grow distant, the old woman’s tales are subsumed into myth—and her descendants are increasingly bent on parading their dominance over the natural world. Buoyantly translated into English for the first time by Ilona Yazhbin Chavasse, this new entry in the Seedbank series is at once a vibrant retelling of the origin story of the Chukchi, a timely parable about the destructive power of human ego—and another unforgettable work of fiction from Yuri Rytkheu, “arguably the foremost writer to emerge from the minority peoples of Russia’s far north” (New York Review of Books). “We have so little intimate information about these Arctic people, and the writer’s deep emotional attachment to this landscape of ice (today melting away under global warming forces) makes every sentence seem a poetic revelation.” —Annie Proulx
Life Among the Qallunaat is the story of Mini Aodla Freeman’s experiences growing up in the Inuit communities of James Bay and her journey in the 1950s from her home to the strange land and stranger customs of the Qallunaat, those living south of the Arctic. Her extraordinary story, sometimes humourous and sometimes heartbreaking, illustrates an Inuit woman’s movement between worlds and ways of understanding. It also provides a clear-eyed record of the changes that swept through Inuit communities in the 1940s and 1950s. Mini Aodla Freeman was born in 1936 on Cape Hope Island in James Bay. At the age of sixteen, she began nurse's training at Ste. Therese School in Fort George, Quebec, and in 1957 she moved to Ottawa to work as a translator for the then Department of Northern Affairs and Natural Resources. Her memoir, Life Among the Qallunaat, was published in 1978 and has been translated into French, German, and Greenlandic. Life Among the Qallunaat is the third book in the First Voices, First Texts series, which publishes lost or under appreciated texts by Indigenous writers. This reissue of Mini Aodla Freeman’s path-breaking work includes new material, an interview with the author, and an afterword by Keavy Martin and Julie Rak, with Norma Dunning.
Rose Okanese, a single mother with two kids, has been pushed into a corner by Rez citizens to claim some self-respect, and decides that the fastest way to do that would be for her to run the reserve's annual marathon. Though Rose hasn't run in twenty years, smokes and initially has little motivation, she announces her intention to run the race. One quality Rose doesn't lack is spontaneity which sometimes clashes with her iron will and though she has initial regrets about opening her mouth, her life begins to dictate that she must follow through. But as fate will dictate, one rather huge unforeseen outcome of her decision is that she will have to do battle with an old inadvertently conjured demon that feeds off the strength of women. She is a truly mean old spirit who can invade other women and have them do her bidding and in no time has the Rez in an uproar. As Rose discovers, the old demon has been unintentionally called forth by Rose's teen daughter, Sarah, which complicates Rose's life just a little more. The spirit woman creates a reign of fear and havoc by appearing to people on the reserve and freaking them out, all of which leads to incidents of extreme humour and plot-twisting bemusement, liberally sprinkled with some jittery acts of valour. With a cast of unusual and unfamiliar characters, Dumont interweaves a tale of motherly love, friendship, lustful longing, wîhtikow lore, and Rez humour and keeps the hoopla going until the race is done. At the story's vortex is Rose, a woman destined to face her fears and provide some rich laughter while doing so. Will she send the demon back to where it came from before the spirit claims her teen daughter? Will she get back together with her philandering, rock musician husband before her girls grow up? Will she sort out her best friend's winter pregnancy? But more importantly, will she get this all done before her big, face-saving race with Dahlia Ingram, a woman whom God has designed for one purpose: to run long distances at high speeds with effortless grace.
Over the course of the last twenty years, Native American and Indigenous American literary studies has experienced a dramatic shift from a critical focus on identity and authenticity to the intellectual, cultural, political, historical, and tribal nation contexts from which these Indigenous literatures emerge. The Oxford Handbook of Indigenous American Literature reflects on these changes and provides a complete overview of the current state of the field. The Handbook's forty-three essays, organized into four sections, cover oral traditions, poetry, drama, non-fiction, fiction, and other forms of Indigenous American writing from the seventeenth through the twenty-first century. Part I attends to literary histories across a range of communities, providing, for example, analyses of Inuit, Chicana/o, Anishinaabe, and Métis literary practices. Part II draws on earlier disciplinary and historical contexts to focus on specific genres, as authors discuss Indigenous non-fiction, emergent trans-Indigenous autobiography, Mexicanoh and Spanish poetry, Native drama in the U.S. and Canada, and even a new Indigenous children's literature canon. The third section delves into contemporary modes of critical inquiry to expound on politics of place, comparative Indigenism, trans-Indigenism, Native rhetoric, and the power of Indigenous writing to communities of readers. A final section thoroughly explores the geographical breadth and expanded definition of Indigenous American through detailed accounts of literature from Indian Territory, the Red Atlantic, the far North, Yucatán, Amerika Samoa, and Francophone Quebec. Together, the volume is the most comprehensive and expansive critical handbook of Indigenous American literatures published to date. It is the first to fully take into account the last twenty years of recovery and scholarship, and the first to most significantly address the diverse range of texts, secondary archives, writing traditions, literary histories, geographic and political contexts, and critical discourses in the field.