“The lives of King’s characters are entangled in and informed by both the colonial legacy in the Americas and the narratives that enact and enable colonial domination. King begins to extricate his characters’ lives from the domination of the invader’s discourses by weaving their stories into both Native American oral traditions and into revisions of some of the most damaging narratives of domination and conquest: European American origin stories and national myths, canonical literary texts, and popular culture texts such as John Wayne films. These revisions are acts of narrative decolonization.” (Cox, qtd. in Paterson, question 4)
This prompt drew me as, more and more throughout my learning this year, I have been reflecting on the impact, and potential, of art and stories in the processes of colonization and decolonization (including through maps, national “myths,” and historic stories/histories). When I first read this quote and the prompt to “[i]dentify and discuss two of King’s ‘acts of narrative decolonization’” (Paterson), a flood of ideas came to mind as I thought of different aspects of Green Grass, Running Water that seemed to re-story not only prominent Western stories, but colonial perspectives and assumptions that underlie these stories, along with many others.
However, while starting to write, I began to reflect on how the concept of “decolonization” itself is diverse in its definitions and interpretations. Defining this term seemed important to being able to write and reflect on it, yet this definition was not as definite as the word might imply. In fact, some suggest that the definition in and of itself is variable, depending on the context of its use (Sium, Desai, and Ritskes ii; Tuck and Yang 5).
Beyond these points, a friend of mine told me once that she had been reflecting on the word “decolonization” in being counter to colonization, yet centered around it by the term itself. This caused our discussion to turn to what other words could be used to “paint the picture” of what is desired instead. We did not come-up with an all-inclusive answer, and, as some suggest, perhaps “Decolonization doesn’t have a synonym” (Tuck and Yang 3). However, the ideas of restorying and highlighting, what is desired was a large part of this conversation.
Still, within the overarching themes of decolonization, I agree with James Cox’s suggestion that throughout the story Green Grass, Running Water, Thomas King contributes to the process of disrupting damaging colonial narratives and prompting his audience to think critically about their assumptions (or, in other words, decolonizing) through his narrative (221). In particular, through his writing, King presents different perspectives and storylines than the hetero-patriarchal ideals that Western culture typically emphasizes (especially compared to many Indigenous relationships with gender and gender roles), shows that Indigenous stories are still being told and lived (counter to myths of “vanishing Indians”), and creates a form of storyline that is not as monologic as traditional Western stories and that highlights the interconnections, and dialogues, between story lines and perspectives (Chester 45). In addition, King inserts threads of story and creates alternate tellings of well known and “damaging” colonial narratives, such as Moby Dick and genesis (Cox 221).
To expand on a few of these themes, one of the first things that struck me in King’s writing was the prominence and power of his female characters. Women in Green Grass, Running Water, such as Alberta Frank, are strong, capable, intelligent, and “successful,” while other characters who are portrayed as women (such as the “four Indians:” Lone Ranger, Robinson Crusoe, Ishmael, and Hawkeye) are shown as powerful entities in the creation stories that are cycle throughout the book. Beyond this, instances such as some interpretations of Moby Jane (Flick 152), and even Albert’s desire for a family structure without commitment to one man (King 65), touch on possibilities of sexuality, gender, and family that go beyond common Western (hetero-patriarchal) structures. Even the four old Indians seem to transcend gender (and gender expectations) in some ways as they are perceived as men or women by different characters and at different times.
In these ways, King plays with assumptions of gender and identity commonly portrayed in Western society, such as what wedlock means in a Western sense, compared to what characters such as Alberta desire (86-87), and what a reader might initially assume when one reads “police officer” before the officer is referred to as “she” (304). These narratives bring awareness to these assumptions and can create a dialogue between these potentially different perspectives (Western and Indigenous), both within the narrative and within the audience.
Along these lines, King’s narrative not only prompts discussion and creates an alternative message to many Western stories, but it creates an alternate telling to and (re)claims some of the well known Western narratives that have impacted society, including views of women. For example, King’s telling of First Woman’s story can evoke the narrative of Adam and Eve in the garden of Eden, even for those relatively unfamiliar with the tale. However, this story is of its own making and is an entirely new perspective on the garden of Eden tale, if they can be said to be the same at all. In King’s version, First Woman (later known as the Lone Ranger) and Ahdamn (later known as Tonto) end-up in a garden made by First Woman (40). Coyote’s rambunctious dream-turned-dog-turned-backwards (GOD), while watching these events unfold, decides that the garden belongs to him and that he does not want to share with anyone (King 68-69). First Woman concludes that he seems to have forgotten his relations, and her and Ahdamn leave the garden to find another location without “a grouchy GOD for a neighbour” (King 69).
Through this narrative, King disrupts colonial stories, and their related assumptions, in a number of ways. For instance, in this version of the story, First Woman chooses to leave the garden and has authority over her own choices and body/location, suggesting a “reclamation of … authority” for Indigenous women (which many had prior to colonization) (Cox 227). In addition, through this storytelling process, King touches on the continuance and adaptability of Indigenous peoples (counter to some colonial myths) as First Woman continues to thrive and problem-solve throughout the story — moving to another place, changing her name, and continuing to “fix things” in a more modern-seeming setting as the Lone Ranger.
Overall, while this only touches the tip of the possible examples of the decolonial narratives and conversations between different paradigms that King provides in his book, King has created a powerful deconstruction and re-storying of damaging Western narratives, while also weaving in ongoing stories and connections. Some storytellers suggest that there is power and significance in creating narratives as they can create another vision for the future (and past) that can impact one’s perception of the world, or even just provide another perspective, a different story, which can be important in and of itself. In Green Grass, Running Water, by showing the interconnectedness of the stories and the lives of his characters throughout the narrative, as well as the connections between colonial and decolonial narratives, King works to create another, decolonizing narrative while inviting the story’s audience to interact with it and ultimately, reflect and inspect their own questions, connections, and assumptions.
—
Works Cited
Chester, Blanca. “Green Grass, Running Water: Theorizing the World of the Novel.” Canadian Literature, vol. 161-162, 1999, pp. 44-61, https://canlit.ca/wp-content/uploads/2015/01/canlit161-162-GreenChester.pdf. Accessed 28 Oct. 2016.
Cox, James. “All This Water Imagery Must Mean Something: Thomas King’s Revisions of Narratives of Domination and Conquest in ‘Green Grass, Running Water.’” American Indian Quarterly, vol. 24, no. 2, 2000, pp. 219-246, http://www.jstor.org.ezproxy.library.ubc.ca/stable/1185872. Accessed 6 Nov. 2016.
Dunbar-Ortiz, Roxanne and Dina Gilio-Whitaker. “This Persistent Myth About Native Americans Needs Debunking.” Alternet, 10 Oct. 2016, http://www.alternet.org/books/persistent-myth-about-native-americans-needs-debunking. Accessed 9 Nov. 2016.
Hanson, Erin. “Aboriginal Women’s Traditional Roles & Power.” Marginalization of Aboriginal Women, Indigenous Foundations UBC, http://indigenousfoundations.arts.ubc.ca/home/community-politics/marginalization-of-aboriginal-women.html. Accessed 9 Nov. 2016.
King, Thomas. Green Grass, Running Water. HarperPerennial ed., HarperCollins, 2007.
NCCAH | CCNSA. “NCCAH Webinar Re-thinking Family Violence Presentation with Dr. Simpson.” YouTube, uploaded by NCCAH | CCNSA, 13 Jun. 2016, https://www.youtube.com/watch?v=nLrlM24hlyI. Accessed 21 Oct. 2016.
Newman, Carey. “The Witness Blanket.” Witness Blanket, http://witnessblanket.ca/#!/blanket/. Accessed 10 Nov. 2016.
Paterson, Erika. “Lesson 3.2.” ENGL 470A Canadian Studies: Canadian Literary Genres Sept 2016, https://blogs.ubc.ca/courseblogsis_ubc_engl_470a_99c_2014wc_44216-sis_ubc_engl_470a_99c_2014wc_44216_2517104_1/unit-3/lesson-3-2/. Accessed 29 Oct. 2016.
Pullin, Zachary. “Two Spirit: The Story of a Movement Unfolds.” Native Peoples Magazine, May-June 2014, http://www.nativepeoples.com/Native-Peoples/May-June-2014/Two-Spirit-The-Story-of-a-Movement-Unfolds/. Accessed 9 Nov. 2016.
Ritske, Eric. “What is Decolonization and Why Does It Matter?” IC Magazine, Centre for World Indigenous Studies, 21 Sept. 2012, https://intercontinentalcry.org/what-is-decolonization-and-why-does-it-matter/. Accessed 7 Nov. 2016.
Simpson, Leanne Betasamosake. “Queering Resurgence: Taking on Heteropatriarchy in Indigenous Nation Building.” Leanne Betasamosake Simpson, 1 Jun. 2012, http://leannesimpson.ca/queering-resurgence-taking-on-heteropatriarchy-in-indigenous-nation-building/. Accessed 7 Nov. 2016.
Sium, Aman, Chandni Desai, and Eric Ritskes. “Towards the ‘Tangible Unknown’: Decolonization and the Indigenous Future.” Decolonization: Indigeneity, Education & Society, vol. 1, no. 1, 2012, pp. i-xiii, http://decolonization.org/index.php/des/article/view/18638/15564. Accessed 7 Nov. 2016.
TED Global. “The Danger of a Single Story.” TED: Ideas Worth Sharing, TED Conferences, 2009, https://www.ted.com/talks/chimamanda_adichie_the_danger_of_a_single_story?language=en. Accessed 9 Nov. 2016.
Tuck, Eve and K. Wayne Yang. “Decolonization is Not a Metaphor.” Decolonization: Indigeneity, Education & Society, vol. 1, no. 1, 2012, pp. 1-40, http://decolonization.org/index.php/des/article/view/18630/15554. Accessed 21 Oct. 2016.
First of all great title Kaylie! As you know, I also wrote on this topic an,d as such, appreciate you writing on your process of trying to define “decolonization.” I went through a similar process finding it hard to pin down an exact definition but, being conscious of your process and making it part of your writing gives an experiential insightful quality to your work. I also enjoy how you have been able to pick out and summarize how Kings stories highlight interconnections between story lines, the assumptions of gender that exist and a strong focus on the reclamation of woman’s authority. I wonder, if having considered narrative decolonization in this depth, you are motivated to read or have read Thomas King’s An Inconvenient Indian: A Curious Account of Native People in North American, in order to experience his possible next steps in narrative decolonization? I certainly am. It sounds as though there is more of an historical rather than literature focus to the narrative, with the same play on subversion, culminating in a rewriting of history.
Hi Allison,
Thanks for your comment! I’m glad to hear that you appreciated my reflection on defining “decolonization.” (I almost didn’t include it, but I’m now glad that I did and that it added to the post!) In response to your question, I actually read King’s “The Inconvenient Indian” over the summer (out of interest) and enjoyed the read! It does have quite a historical focus, but it’s told in King’s thought-provoking and humorous voice, and it draws-out some of the history and perspectives that seem to often be overlooked or missing from general schooling/history courses. I’d be curious to pick it up again at some point, especially after some of my learning and reading this term. On that note, the reading list of books and articles that I’m accumulating this term is one of the things I’m enjoying about this course and some of the others I’m taking! (I’ve added some of King’s and Simpson’s books to my “for later” list.)
Anyhow, I hope you’re enjoying the weekend; thanks again for your comment!
All the best,
Kaylie
Hello Kaylie,
I like your argument considering the effects of King?s writing strategies such as re-storying, which destabilize not only prominent Western stories but colonial perspectives and assumptions that underlie these stories, and their potential impact in the process of decolonization. What struck me as interesting is, how smartly, that you take the initiative to define the concept of ?decolonization? referring to various resources, and ended up ended up finding it ?indefinite? and covering ?overarching? themes. I was just wondering then what is your interpretation of the term of ?decolonization? now with the completion of this blog assignment? What exactly does the term ?narrative decolonization? mean to you? Do you know of any other literary work, then King?s novel, that fits this framework?
What?s more, it seems that, according to your essay, the effort of narrative decolonization that King makes might include the critique into the hetero-patriarchal ideals that Western culture typically emphasizes. I was also wondering if you could elaborate the relationships between King?s characterisation of powerful and independent female figures and his purpose of narrative decolonization? The reason I ask this question is this idea looks particularly intriguing to me and I want to learn more details from you. Of course this question might have something to do with the other question I put forth above. What does the term ?narrative decolonization? mean in relation to King?s characterisation of the female figures?
Thanks,
Patrick
Hi Patrick,
Thanks for your comment and thoughtful questions! I just wanted to let you know that I received your comment and that I intend to respond in the next few days (you’ve just left me so many juicy questions that I need some extra time, later this week, to fully reflect on them and respond 😉 ).
I hope you have a great weekend!
Kaylie
Hi Patrick,
Thank you for taking the time to comment and sorry that I often seem to take a while getting back to you! (Often I want to think about the questions you ask and it sometimes takes me a while to do so and then reply).
To respond to your questions, in terms of my interpretation of the term “decolonization,” I think my perspective on it, and the potential meanings it has, has broadened, but I’m not sure if I have one exclusive answer to what it means. At this point in my life, I usually think of it in terms of disrupting colonial assumptions and frameworks as well as creating and centering alternative understandings and ways of being to many of the mainstream, colonial ways. However, I then start thinking about how this is centered around colonialism in many ways and it seems like decolonialism should be its own, separate concept — and then I loop back to starting to think about it and what it does mean, what it is “for.” This understanding and process is one I’m still reflecting on and it’s an ongoing relationship I have with the word and the actions it relates to.
In terms of narrative decolonization and other examples of it, I think narrative decolonization could be as contested and hard to define as decolonization itself. However, to try to give you a more direct answer, I think it’s narratives that prompt critical reflection on the systems and power dynamics often portrayed within (more colonial) narratives and/or that create alternatives to these assumptions and systems. In the way I thought of it in my post above, it’s narratives that contribute to “disrupting damaging colonial narratives and prompting [one’s] audience to think critically about their assumptions.” I think there are many examples of this; a couple that initially come to mind are the story Leanne Betasamosake Simpson tells and reflects on in “Land as Pedagogy” and some of the narratives and poetry that billy-ray belcourt creates. I think there are many examples of this kind of narrative though if one is open to finding it.
With regard to King’s female characters and how this relates to narrative decolonization, to expand on what I mention above, I think that, while colonialism is impactful in many different ways, colonialism doesn’t affect everyone equally or in the same way. In particular, Indigenous women have been impacted by colonialism to a higher degree through sexist policies (e.g. the Indian Act), gendered violence and impacts (e.g. missing and murdered women, environmental impacts), and changes to Indigenous governance and lineage structures, among other things. In addition to this, colonial narratives often portray female characters in ways that do not display their independence, strength, or agency, such as the assumption of Alberta going with Charlie that Lionel makes that seems to draw attention to this assumption made in other stories. I think King tries to counter these narratives and impacts and draw attention to some of these through his storytelling.
Anyhow, I hope this answers your questions — thanks again for taking the time to leave such thoughtful comments!
All the best,
Kaylie
Hi Kaylie,
I enjoyed reading your post and learning more about the erasure of Western representation of First Nations women in GGRW and in your hyperlinks. First Woman’s response toward God ‘forgetting his relations’ can also be an overall lack of inter-connection that Western-influenced minds have, such as Dr. Hovaugh’s perceived fears of the dangers of the 4 Old Indians wandering around. I also responded to this prompt and mentioned the recurring imagery of water as a connection to the ‘4 Old Indians’, who keep appearing as a means of fixing mistakes but also keep referring to more layers of issues. The three cars on the lake (which felt to me like the literary climax of the novel) gives the sense that all issues addressed and referred to have overflowed and thus this personified force represents this unification of all things left unaddressed in society, yet have its own form of power in the book as water–as something that should be acknowledged. In regards to the imagery it seems that there is no beginning nor end of decolonization; it is a constant work in progress. Do you think since GGRW was published there have been more progress towards a more representative narrative?
Hi Jenny,
Thanks for your comment! (I’m glad to hear that you enjoyed reading my post 🙂 ). One of the things that struck me when I chose to respond to this prompt was how many different angles one could take in responding to it (there are so many possible examples in King’s writing!), and it’s really neat hearing your perspective on how King works to decolonize through his writing.
I agree with you that decolonization is an ongoing process — and I really like your connection to the water imagery with this, as an underlying, flowing force that is often unrecognized, but has a powerful potential to overflow and impact those around it. Another connection I thought of while reading your comment is that water is something that connects all of us and is essential to our pasts and futures, yet, as you mentioned, it often seems disregarded or overlooked and is not always recognized as being such a common and essential part of our lives.
In response to your question, I think there has been some progress towards more representation in the narratives heard by society at large — for example, within the past few years, I’ve been exposed to an increasing number of Indigenous authors such as Thomas King and Leanne Betasamosake Simpson. However, I think there is still a large amount of progress to be made, especially within mainstream society, academia, etc., and colonization and decolonization are still active processes that everyone living in Canada is connected to (hopefully these connections are becoming more recognized and understood to help continue the process of decolonization).
Anyhow, thanks again for your thoughtful comment and question!
Kaylie