O’Brien, Susie. “‘Please Eunice, Don’t Be Ignorant’: The White Reader As Trickster In Lee Maracle’s Fiction.” Canadian Literature 144.(1995): 82-96. MLA International Bibliography. Web. 8 Aug. 2015.

In her article, O’Brien uses Lee Maracle‘s cannon or work to elucidate the changing perception of native writing in contemporary discourse, and to articulate the place in which Metis authors locate themselves, or are located, within this frame. She draws from tropes and elements such as the Trickster, as well as engages in other author analysis of the nature of the value of native writing on a national scale. O’Brien notes a salient fixture of native writing comes in the form of the Trickster, and Maracle is not immune to that- “ Maracle undermines the freedom to the reader to ‘become the trickster’ by emphasizing the reality of a world so rigidly and unequally divided” (82). Unequally divided. Sound familiar?

Maracle also plays with the idea the Trickster himself is ..” often tricked, usually through an attempt to overreach capabilities” (83). We can therefore use the trickster as a metaphor for the European, or white ethnocentric lens that literature, even world literature (in most cases, especially) is viewed, and how native writers are not ignorant to that. One strategy we see used in a lot of native writing is postmodernism. Gerald Vizenor claims that this literary culture can help First Nation literature as it “ liberates imagination and widens the audience for tribal literatures”. Indeed, by breaking works down into story, therefore stripping back the anthropology readers preconceive “ frees up a much needed space for compelling narratives” (87). In this way, native writing can become more digestible, and act as a catalyst for the movement of native writing for public consumption and credibility. It is said that the writer “ trust [the audience] will draw useful lesson from this story” (88) and, native writers are no different. As the title of the article suggests, the fact the Maracle puts the average white reader in a trickster position is indicative of an attempt at social didacticism. Usually, Tricksters are led to demise through “…their own image and reflection the see and love” (87). This can suggest the negative aspects of a history of colonialism, xenophobia and appropriation, and “ may be seen as a metonymic of the subsumption of native culture into European..literary theory” (88).

I found this article particularly applicable to our topic as it showcases strategies used by Metis writers to get their voices heard, not just for them, but for First Nation artists and other artists that challenge to white washed libraries the still prevail today. By blending magical realism, postmodernism and gumption, Maracle is able to locate herself in a domain overpowered by many Tricksters. I’ll leave you with this quote, that I think O’Brien uses to perfectly highlight Maracle’s intention: “ In order to become empowered by Maracle’s writing, the reader, too, has the relinquish the comforts of safety” (94).

Works Cited

“Gerald Vizenor.” Poetry Foundation. Poetry Foundation. Web. 8 Aug. 2015.

Gruber, Eva.”Humor in Contemporary Native North American Literature.” Google Books. Web. 9 Aug. 2015.

Hancock, Brendan. “An Interview with Lee Maracle.” CWILA Canadian Women In The Literary Arts. 23 Mar. 2015. Web. 8 Aug. 2015.

Lavoie-Mathieu, Genevieve. “CANADA’S FIRST NATIONS: A HISTORY OF INEQUALITY.” The Media Co-op: Independent Local News. Web. 8 Aug. 2015

“Poem | Lee Maracle | Aboriginal Apology | Residential Schools.” YouTube. YouTube, 11 Apr. 2014. Web. 9 Aug. 2015.

Fagan, Kristina. “‘Well Done Old Half Breed Woman’: Lydia Campbell And The Labrador Literary Tradition.” Papers Of The Bibliographical Society Of Canada/Cahiers De La Société Bibliographique Du Canada 48.1 (2010): 49-76. MLA International Bibliography. Web. 8 Aug. 2015.

This essay is taken out of a larger anthology called The Papers Of The Bibliographical Society of Canada, which deals with the history, description and transmission of texts in all media throughout the country. Fagan chronicles the life of maritime writer Lydia Campbell, and her rise to posterity in her home province. What is of particular interest though, is that while well known and influential in Labrador, Campbell is virtually unknown throughout the other provinces. Fagan describes Campbell’s stories as becoming “founding stories that define what it is to be Metis “ (72), and instrumental in many individual’s upbringing in her community. Mostly a celebration of her life and career, Fagan also converses with the many people Campbell has influenced, whether they be writers or not, to represent how an artist can touch the lives of anyone. This is particularly important when talking about diaspora and the denial of importance in a community: here we have evidence of community wide influence, “a long time and profound impact in terms of local identity, sense of history and practices of reading and writing “ (50) but we don’t see evidence of that on a larger scale due to the failure to comply with the majority’s idea of commendable, significant literature.

Of course, today many Metis authors who would have been considered esoteric are making their mark on international literary consciousness, Joseph Boyden being one of them. Yet we still have a long way to go in terms of striking he balance between what voices are considered to matter. This essay reminds us of the many native writers in the past, and today, who are making strides but still struggling to find their voice amidst oppression and attempts at making them invisible.

Works Cited

Bibliographical Society of Canada. Web. 9 Aug. 2015.

Bland, Jared. “Joseph Boyden Tackles Native Torture, Colonial Amnesia and Ongoing Racism.” The Globe and Mail. Web. 9 Aug. 2015.

“Lydia Campbell.” Wikipedia. Wikimedia Foundation. Web. 8 Aug. 2015.