Assignment 2.6: Harry Robinson’s Interfusional Literature
Question 1:
In his article, “Godzilla vs. Post-Colonial,” Thomas King describes an interfusional genre of Native literature that blends oral and written literature. The only complete example of this genre are Harry Robinson’s stories. King explains how interfusional literature is written down, but utilizes “patterns, metaphors, structures as well as the themes and characters” that originate in oral literature and Indigenous methods of story-telling (186). Robinson manages to work within the “confines of written language” yet, ingeniously, creates an “oral voice” (King 186). Through these written tricks, or “oral syntax,” Robinson compels readers to read the stories aloud, rather than silently (King 186). Interfusional literature recreates in an instant both “the storyteller and the performance” (King 186).
In reading and listening to Robinson’s “Coyote Makes a Deal with the King of England” numerous times, in numerous fashions, I experienced what King was describing in his article.
First, it was uncomfortable to try and read the story completely silently. It was impossible to skim the phrases; rather, I had to voice every word within my head. It felt wrong to read the story rather than hear it. The style, the spacing, the colloquialisms and individual quirks of speech made it seem far more of an oral tale than a written one.
Reading it out loud felt far more natural. Yet, an odd feeling overcame me. I felt that, although it was my voice I was hearing, it was not my natural manner of speaking. I felt that Harry Robinson had channelled himself through me, and was using my voice as a medium for his message and his experiences. This feeling was even stronger when I read the story aloud to a friend. The audience encouraged me to include gestures, and to focus more on the performance of the tale. Questions like “Who? What is it?” only felt real when asked to my listener (65). Through his clever oral syntax, Robison has woven a full performance into printed words upon a page. The indentations, short sentences, and paragraph groups lead my voicing. Every pause felt natural and I even felt the inflections of oral storytelling were conveyed through Robinson’s writing style. The story came alive through a voice. Or, even, Harry Robinson himself was revived through the act of storytelling as his manner of speaking and sharing was evoked through me.
When my friend read the story to me, I was slightly shocked by how similarly our verbal performances were. It could have been, perhaps, that he was influenced by how I had performed the tale to him. But, I feel that the more prominent reason why our manner of reading was so similar was because Robinson had pressed us to read in his manner of storytelling through his interfusional writing style.
Robinson’s story was so powerful because it made me an agent of the storyteller. I felt connected not only to Robinson, but to the generations of people that taught him how to be a storyteller, and the culture in which these tales were shared and given power. Part of me struggled with whether I should even be taking part of this history and culture, as a settler of this land we call Canada. Another part of me felt humbled by and appreciative of the opportunity to explore my relationship with “Coyote Makes a Deal with the King of England” and Robinson’s larger cultural history of oral storytelling. I don’t think I will be able to reconcile these conflicting responses, and I think that is okay.
Works Cited
“How to Tell a Story.” TED Talks, www.ted.com/playlists/62/how_to_tell_a_story.
“Syilx/Okanagan Nation.” Okanagan Nation Alliance, www.syilx.org/about-us/syilx-nation.
Hanson, Erin. “Oral Traditions.” Indigenousfoundations, indigenousfoundations.arts.ubc.ca/oral_traditions/.
Robinson, Harry. Living by Stories: a Journey of Landscape and Memory, edited and compiled by Wendy Wickwire. Talonbooks, 2005.
Hi Georgia, as we both picked the same question to answer, I thought it would be fun to see your response! It was interesting and I found that we both agreed with King in his explanation of how the style of Robinson’s writing encourages the reader to express this in oral form and produce reactions through our voices and body language. The part when you discoursed the similarity of how your friend read the story with how you did, you said think this is because of the way Robinson wrote it, I agree that the pauses and quotations help define the story in a style that is understandable and able to be produced by others. But do think that the stories you both told might not be similar to the ones me and my friend told? In this case what do you think makes the most impact? The oral telling or the written text?
Hi Nargiza,
Thanks for your lovely comment! I’ll have to go read your post now and see what you thought about the experience.
In regards to your question, I do think that you and your friend probably shared Robinson’s story in a similar manner to my friend and me. While our gestures and facial expressions probably varied, I think, through his writing, Robinson largely controlled our manner of speaking in terms of pace and inflection.
In terms of impact, I’m unsure! There’s something almost magical about the way that Robinson is able to capture a spoken voice in written text. So in that way, I see it impossible to talk about the written or oral versions of this particular story, because it’s both at the same time. However, I think that the unique interfusional quality of Robinson’s text has an impact because it is so rare to encounter.
Do you think similarly?
Hi Georgia,
This sounds like such an impactful way to have experienced the story! I feel inclined to recite it to someone now, and have them recite it to me. And I agree – the story is written in such an oral way that not only does it feel like it’s being told organically, but it forces you to slow down when you read it. I found that each page of the story I read was scarcely read any faster than a full page of text from a novel or article. This “interfusional literature” was wholly effective, and something I’ve never experienced before.
What you’re describing when you say you felt like Robinson was being channeled through you reminds me of how Indigenous storytellers pass down stories for generations and are essentially channeling their ancestors which each performance they give. You also mention that you feel humbled yet unsure whether you should be partaking in this story in such an intimate way. Do you feel like stories like this should continue to be written and published as to share them with a wide audience, or maybe their authenticity should be cherished and shared with only those who are more connected to the history and the culture? Maybe is it settler guilt keeping you from fully appreciating it (because I felt that same thing reading through it the first time), but maybe if this is the only outlet that we have to share in this culture it is something we as settlers can learn to graciously accept. I’m also conflicted about it because reading this Coyote story reminded me of when I studied Beowulf in a class and heard it performed in Old English with musical accompaniment . I loved reading the story in Modern English so I could understand it, but there was something about a passionate oral telling with music (as it was originally told) that made it really special and something I did not get when simply reading it.
Hi Jacob,
You really captured my feelings and struggles with accepting this story and reciting it myself. Especially with your connection to Beowulf. I’ve studied that piece as well and felt similarly. I also feel similar anxiety when I read translated texts. For instance, I love Haruki Murakami’s books and find his writing so imaginative and his figurative language stunning. Sometimes I need to remind myself that I’m not reading his books in the language they were composed in. When I remember this language divide, a million questions flood my mind: how is the book been changed? what meanings am I missing due to cultural differences? has his tone and message been distorted through translation? Perhaps I should just devote the next few years to learning Japanese and then these anxieties will go away. (How easy.)
But, regarding Robinson’s story, and Indigenous stories more generally, I suppose it really depends on the story and whether or not the Indigenous community wants to share it, or keep it private. I think I could graciously accept hearing and learning Indigenous stories if the community is willing to share it with me. I think consent in gathering and sharing stories is the most important issue. Beyond that, everything is fuzzy to me.
Wish I could provide a more in-depth answer to your question! I think it will always be something that I struggle with.