Question 2) Read Susanna Moodie’s introduction to the third edition of Roughing it in the Bush, 1854. Moodie’s introduction is often read as a warning to would be emigrants as well as an explanation of why her family emigrated from Britain. See if you can find echoes of the stories discussed above: a gift from god, a second Garden of Eden, an empty/wasted land, the noble but vanishing Indian, and the magical map. By echoes I mean reading between the lines or explicitly within Moodie’s introduction. Discussing what you discover, use your examples as evidence to write a blog that explores what you think might have been Moodie’s level of awareness of the stories she carried with her. And accordingly, the stories that she “resurrects’ by her appearance in the Dead Dog CafŽ in Green Grass Running Water.

Susanna Moodie’s Roughing it in the Bush is written retrospectively, as we can tell from her moments of self reflection, like when she says,

“Now, when not only reconciled to Canada, but loving it,

and feeling a deep interest in it’s present welfare, and the

fair prospect of it’s future greatness, I often look back and

laugh at the feelings with which I then regarded this

noble country” (171).

Therefore, the Introduction to the text was also written even more so retrospectively as a summation of the novel to come. What I find most striking about that, is the distinct contrast between comments like the one above and the tone of disdain and unhappiness which pervades the Introduction. Moodie often writes throughout the novel of how, after being in Canada for many years, she grows to love, respect and advocate for it. Why then does this Introduction speak so negatively about the idea of emigration? Perhaps because she is providing a realistic warning to potential emigrants of the hardships to come? There is no hiding from the fact that her experiences of Canada were difficult along the way, filled with many different learning experiences and cultural differences which she had to navigate.
She speaks of the British emigrant’s view of Canada as an “infection” spreading among the middle class in Britain, making them believe that Canada was the promised land to end all their hardships (16) and she asserts that these pretenses were decidedly false. However, the smallest glimpses of hope are still visible. I think this presents itself in the creation of the ‘ideal immigrant’ rather than the presenting the glory of Canada. Moodie talks about the motivations which cause emigrants to ‘take the plunge’ and leave their county: most of them being sad. However, she also speaks of some immigrants’ desire “to forget the past and to live in the future, to exult in the prospect of their children being free and the land of their adoption great” (12, emphasis mine). I think what she is trying to say here is that a successful emigrant has to have the right attitude. He mustn’t be coming to Canada downtrodden and trying to escape a difficult life, but zealous to create a better life for himself and his family. Her religious beliefs back up this claim as well when she says that God knows who the good, hard working and patient men are and that

“These men become wealthy and prosperous, and form the

bones and sinews of a great and rising country. Their

labour is wealth, not exhaustion; its produce

independence and content, not home-sickness

and despair” (18, emphasis mine).

With all this in mind, I think it’s difficult to say what Moodie’s awareness was of the stories she carried with her. How aware are any of us of the stories we’ve heard which influence our lives? I’d argue, not very. At least until we might choose to sit down and write a novel about our experiences. I think, in retrospect, Moodie sees how she felt about moving to Canada as a product of the society which she was leaving. She felt depressed and embarrassed because of her good social standing in Britain which had been lost, but also hopeful because of what she had (falsely) heard about the wonders of life in Canada.

Works Cited:

Damoraeu, Charles F. “Roughing it in the Bush.” Illustration. Roughing it in the Bush;          or, Forest Life in Canada. Project Gutenberg. Web. 26 June 2016.

Hamlet (1990). “Neither a Borrower, nor a Lender Be. For Loan Oft Loses Both Itself and Friend…” Yarn. Vidzi.tv, n.d. Web. 28 June 2016.

Moodie, Susanna. Roughing it in the Bush; or, Forest Life in Canada. Project Gutenberg, 2003. Ebook.

“#WelcomeRefugees: Stories from the Journey.” #WelcomeRefugees: Stories from the Journey. Government of Canada, Citizenship and Immigration Canada, Communications Branch, 26 Feb. 2016. Web. 28 June 2016.

Question 3) We began this unit by discussing assumptions and differences that we carry into our class. In “First Contact as Spiritual Performance,” Lutz makes an assumption about his readers (Lutz, “First Contact” 32). He asks us to begin with the assumption that comprehending the performances of the Indigenous participants is “one of the most obvious difficulties.” He explains that this is so because “one must of necessity enter a world that is distant in time and alien in culture, attempting to perceive indigenous performance through their eyes as well as those of the Europeans.” Here, Lutz is assuming either that his readers belong to the European tradition, or he is assuming that it is more difficult for a European to understand Indigenous performances – than the other way around. What do you make of this reading? Am I being fair when I point to this assumption? If so, is Lutz being fair when he makes this assumption?

In reading Lutz’s words regarding the perception of first stories, it is easy to jump to conclusions. We might assume that Lutz is writing for the European person in order to enlighten them to the validity of the ways and practices of Indigenous peoples. That seems like the most logical conclusion because we can probably assume that they are more ignorant of First Nations culture that a Native person. One would think that a person of First Nation heritage might have an instant connection to these stories and fully understand why they are important and as equally valid as any European version. However, I would argue that there would be a large amount of people, Canadians especially, of European descent, who would likely not connect to a European first story. This is, as Lutz says, because we must attempt to “enter into a world that is distant in time and alien in culture” (“First Contact” 32) and this applies just as much to the culture of the early Europeans. I would find it difficult to relate to the ways and practices of anyone who lived in the 1800’s, or perhaps even earlier – “We often think of Christopher Columbus’ 1492 landfall as the ‘real first, first encounter’. Yet we know that Norse had been to North America in the years around 1,000” (“Contact Over and Over” 2)– regardless of their heritage. True, I would probably have an easier time with the European stories, if only for a shared language, but the commitment to religion, it’s practices, morals and stories that had a significant influence on those European settlers, would separate me, among other things. This goes to show that, similarly, modern day Natives may not automatically connect or sympathize with the bygone people of their heritage. The practices of those days were likely radically different from what they are today, and that is assuming that the Indigenous person in question is actually versed in their native culture. Just because they are born of that heritage does not guarantee that they were brought up to understand or appreciate it. I can say from experience as a 2^nd/3^rd generation Canadian that there’s a large portion of my heritage that I know very little about, simply because my dad didn’t think that those stories and customs were important to pass on to me, since they were fairly far from removed even from him. I think, overall, Lutz is making the assumption that the Indigenous first contact performances would be more difficult to relate to and, to an extent this is true. However, we might conclude that Lutz is writing for all modern people reading his work and interested in learning about those pivotal first moments of contact, not just Europeans.

Works Cited:

DavidandRemus Bad Crayfish. “Christopher Columbus: What Really Happened.” Online video clip. YouTube. YouTube, 6 Nov. 2013. Web. 14 June 2016.

Lutz, John. “Contact Over and Over Again.” Myth and Memory: Rethinking Stories of Indignenous- European Contact. Ed. Lutz. Vancouver: U of British Columbia P, 2007. 1-15. Print.

—. “First Contact as a Spiritual Performance: Aboriginal — Non-Aboriginal Encounters on the North American West Coast.” Myth and Memory: Rethinking Stories of Indigenous-European Contact. Ed. Lutz. Vancouver: U of British Columbia P, 2007. 30-45. Print.

“Traditions.” Germany. Cultural Portfolios from COM227 at Depauw U. 3 May 2003. Web. 14 June 2016.

“Video: Justin Trudeau Warmly Welcomed by First Nations Leaders.” Photograph. The Globe and Mail. The Globe and Mail Inc. 8 Dec. 2015. Web. 14 June 2016.

Read at least 3 students blog short stories about ‘home’ and make a list of the common shared assumptions, values and stories that you find. Post this list on your blog.

I read quite a few of our short stories about home this week. I know we only had to read three, but I was enjoying them so much, I didn’t stop at that.

From what I read, one major theme jumped out at me: Home is not necessarily one place. Sure, sometimes our feelings and understandings of what ‘home’ means to us converge around one particular meeting spot, but what seems to be more relevant to us is not the where or what of ‘home’ but the who. It is the people (or animals) that revolve around us, traveling through life that build our understanding of what feeling ‘home’ means. The people we associate with home are not the ones who have made our days difficult, but the ones who have made us feel safe, included, understood and loved. Loved above all.

Is it too cheesy to say that ‘home’ and ‘love’ are synonymous?

 Lesson 2:1  asks you to explore and express your values and the stories you use to connect yourself to your sense of home. Remember what Thomas Kings says, “we are the stories we tell ourselves.” Remember what Edward Chamberlain says, “stories give meaning and value to the places we call home.”  And, take some time to reflect on the stories your grew up with that shaped how you value your home, reflect on the how these stories have shaped your sense of belonging, or not – to your home and your homeland.

I have exactly one hour and fifteen minutes at home before I have to rush out again for the next part of my day. Exiting the elevator I’m not surprised to smell cigarette smoke coming from the next apartment. I lean my ear towards the door, straining to hear if there is any activity inside. Thankfully I hear nothing. Opening the door, my suspicion is confirmed: no roommate. It’s a blessing. I’m tired and overwhelmed and I don’t need an unfamiliar presence intruding upon my precious moments at home. This roommate is new and essentially a stranger—my close friend who used to share the apartment, having recently moved out. She’s perfectly nice, but so far we’ve not ‘hit it off.’ Despite my seeming solitude, I rush into my room and shut the door anyway. I don’t want to risk it. Inside my room it is hot today. The window is open, letting the noise from the street waft in, but cool air does not accompany it. Light is reflecting harshly off the too-bright, white walls that I would have painted, if only I was allowed. I didn’t have time to make the bed this morning, so the sheets lie crumpled where I left them, along with a cereal bowl and half empty coffee mug. This isn’t how I like to leave my space and I hate the thought of leaving the mess until even later in the day. I duck out into the kitchen to wash the dishes, avoiding a large pile of dirty pans from the roommate’s dinner last night, and then quickly toss the bedclothes into slightly less disarray. One hour left. I have just pushed the switch to wake up my laptop when I hear keys turn in the door. I freeze. What little bit of peace I had is gone. Should I go out and say ‘hello’? Probably. But I could also hide in here, making as little noise as possible, and pretend to not exist.

. . .

It’s midmorning. A perfect Spring, Vancouver day. Except we’re not in Vancouver, we’re in White Rock, about an hour South. The sun is shining and gently warming my skin as I step out of my car in the driveway of my parent’s home. The flowers in the bed out front have grown tall and full, their petals spread so wide you can almost see them eating up the sun. I turn my key in the lock of the front door, swinging it open to reveal the bright entryway. No one is home. Both my parents are away on business. Moving further into the house, the first landmark is a big family portrait, framed and sitting on an end table, snug between two chairs directly in front of me. I might be ten years old in this photo, but we all look younger and happy, though slightly uncomfortable in our all-denim attire. I turn on the kettle in the kitchen and begin to make tea. It’s the first thing my mother does whenever she gets home, and the sound of bubbling water fills the otherwise silent living room. I don’t really have any reason to be here. There is no task to accomplish and I have my own, perfectly good home in the city, yet still I linger. I take my tea to the plush, wine-coloured couch and sink into it. My mother is not here to give me her regular plethora of hugs, but this couch is second best. Mom in Dallas, Dad in Kamloops. No siblings to speak of and my beloved dog recently passed away. And yet I feel them. The walls hold their presence and have absorbed their love like the flowers outside absorb sunshine. I gaze around the room at the photos covering our walls, from holidays or special dates gone by, and I feel the love there. This hasn’t even been our home for very long, having only moved from our previous family home one year ago. Somehow that doesn’t matter. I have two places I call ‘home’ but only one deserves the name.

Works Cited

“History of Afternoon Tea.” Twinings UK & Ireland. Twining & Company Limited, 10 Apr. 2013. Web. 04 June 2016.

Warner Bros., “Pretending I Don’t Exist *Harry Potter*.” YouTube. YouTube, 18 Nov. 2012. Web. 03 June 2016.

Welcome Carpet. Digital image. Harvest Life Changers Church. N.p., n.d. Web. 03 June 2016.