Finished Reading: Dirk Pitt (Book 6) – Night Probe! by Clive Cussler


Night Probe! (Dirk Pitt, #6)Night Probe! by Clive Cussler
My rating: 4 of 5 stars

View all my reviews

Not My Review: The Folk of the Air (Book 3) – The Queen of Nothing by Holly Black


Residential school literature can teach the colonial present and imagine better futures



A detail of the book cover for ‘Seven Fallen Feathers’ by Tanya Talaga.
(House of Anansi Press/’Seven Fallen Feathers,’ book cover art by Christian Morrisseau)

Michelle Coupal, University of Regina

There is a growing body of literature — novels, memoirs, poetry, graphic novels, picture books — through which Indigenous writers are giving voice and agency to the experiences and histories of Indian residential schooling in Canada.

The ethical teaching of residential school narratives can be thought of as a relational process that requires consultation and accountability.

Rather than view residential school literature as primarily concerned with past history, I want to advocate for the importance of teaching these narratives as stories that probe our colonial present and the possibility of a more just future.

Cindy Blackstock speaks at Parliament Hill in Ottawa on Sept. 15, 2016.
THE CANADIAN PRESS/Sean Kilpatrick

Former prime minister Stephen Harper, in his 2008 apology on behalf of Canadians for the Indian residential schools system, put residential schooling firmly in the past by calling it a “sad chapter in our history.” This narrative of pastness allowed Harper to swagger to the aspirational conclusion that “there is no place in Canada for the attitudes that inspired the Indian residential schools system to ever again prevail.”

The policies of assimilation that governed the schools in the past, however, remain in operation today, although in different forms. Gitksan professor Cindy Blackstock, for example, asks of residential schools: “Did they really close or just morph into child welfare?




Read more:
Canada guilty of forging crisis in Indigenous foster care


And Mi’kmaq lawyer and professor Pam Palmater suggests that “the abuse did not end with the closing of the last residential school in 1996. Today, there are more Indigenous children forcibly removed from their parents and placed into foster care than at the height of the residential school era.”

Responding through story

Following the release in 2015 of 94 Calls to Action by the Truth and Reconciliation Commission of Canada, educators across the country — most of whom are not Indigenous — were tasked with the urgent imperative to bring the history and legacies of residential schooling into the classroom. Many teachers chose to respond through story by teaching residential school literature.




Read more:
Teaching truth and reconciliation in Canada: The perfect place to begin is right where a teacher stands


To teach residential school literature (fiction or memoir) is to bring deeply felt, personal stories of capture, imprisonment and cultural erasure into largely non-Indigenous classrooms.

In this context, it’s important to ask:

How can we teach residential school literature in culturally responsive ways?

What do we owe the survivors of residential schooling who have gifted their stories to us?

How do we bring our hearts, minds, bodies and spirits into dialogue with genocide?

Relationships

In a nutshell, it’s all about relationships: between the reader and the story being told, and between the reader and the Indigenous writers and communities to which we are all accountable.

Building accountability into the practice of reading and teaching these often intensely personal and traumatic stories can be fostered through consultation and engagement with Indigenous communities.


Click here for more articles in our ongoing series about the TRC Calls to Action.

Accountability also requires that we immerse ourselves fully in the material on its own sovereign terms and in all of its depth and complexity. We need to be ethical witnesses, and we need to ask what the stories teach us about our present.

My students created and contributed to a Facebook page, Indian Residential Schools in Canada: Literature, Art, Media over the past years. This page is an example of how to engage students in the material in meaningful ways that promote an ongoing dialogue about truth, reconciliation and colonialism in Canada.

This dialogue is critical, and key to it is that we keep thinking and reading about residential schools in the present day and for the future. These are in many ways stories of our time. It’s the guise that has changed. And without radical decolonization in this country, these are stories of our future.

‘The Marrow Thieves’

Last February, one day after the acquittal of Gerald Stanley for the murder of Colten Boushie, Métis writer and author of The Marrow Thieves, Cherie Dimaline, tweeted:

“I wrote a book about Indigenous people being considered not human, being considered ‘things’ at the hands of a colonial Canada. I thought I was writing about a potential future. #justiceforcolten #themarrowthieves @canadareads.”

‘The Marrow Thieves,’ by Cherie Dimaline.
(DCB Books/Cormorant Books)

The Marrow Thieves is a young-adult novel set forty years into the future. In the wake of environmental disaster, Indigenous peoples are being captured and sent to residential schools. They are being hunted and killed for their bone marrow, which allows non-Indigenous people, who have all lost their ability to dream, to dream again and, thus, to imagine again.

Cree poet Billy-Ray Belcourt asks, “What is an NDN if not the ceiling of a country’s political imagination?” In The Marrow Thieves, the political ceiling is high.

The limit of the colonial imagination is the cannibalistic harvesting of Indigenous bodies to support non-Indigenous nation-state survival.

There is an inevitability to the narrative arc of the novel that suggests that it is as realistic to imagine a future of ecological devastation as it is to imagine a future of residential schools — a future where Indigenous peoples continue to be hunted down, like Colten Boushie, because they are considered somehow less than human by colonial Canada.

‘Seven Fallen Feathers’

Tanya Talaga’s Seven Fallen Feathers focuses on seven Indigenous young people who went missing and ultimately died in Thunder Bay, Ont.

An inquest into the seven youths’ deaths found that First Nations people in Thunder Bay “are often treated as less than worthy victims” and exposed systemic problems surrounding supports for the youth and responses to their deaths.

‘Seven Fallen Feathers’ by Tanya Talaga.
(House of Anansi Press)

A civilian police review body found in December 2018 that police failed to adequately investigate the deaths of nine Indigenous people in Thunder Bay, including four youths discussed in Talaga’s book, at least in part because of racist attitudes and stereotyping.

The seven fallen feathers were all from communities in northern Ontario. Because of the refusal of the government to adequately fund on-reserve education, Indigenous young people are frequently unable to complete a high-school education in their communities. They must go south, far from their homes, to what is often a hostile and culturally unfamiliar place.

Remember that Thunder Bay is where a young white man, Brayden Bushby, stands accused of second degree murder for allegedly throwing a metal trailer hitch from a moving vehicle at an Indigenous woman, Barbara Kentner, who was simply walking by. She was hospitalized and died from her injuries about six months after being attacked.

The violent deaths of Barbara Kentner and Colten Boushie remind us that in present-day Canada, it’s threatening and even perilous for Indigenous people to walk around.

Talaga’s book reveals the many comparisons between students from remote Northern reserves boarding and attending school in Thunder Bay — far from their communities, far from their families, far from their languages and far from their cultural traditions — and the Indian residential school system.

Talaga thus draws important connections to the assimilative system that stole generations of children to obliterate any traces of their identities as self-determining and self-sustaining peoples with a wealth of languages, knowledge systems and cultural traditions.

Into the future

Dimaline’s and Talaga’s books teach us that versions of residential schooling exist not only in the present, but also in the future if Canada does not take seriously and implement the United Nations Declaration on the Rights of Indigenous Peoples.

Memoirs and fictions about residential school experiences and legacies are thus necessary readings in neo-colonial Canada. Teaching and reading residential school literature foster richer understandings of present and future colonialisms.

To understand the colonial past is to open the door to understanding the colonial present and future. This understanding is a crucial part of the pathway to real change.The Conversation

Michelle Coupal, Canada Research Chair in Truth, Reconciliation and Indigenous Literatures and Associate Professor, Department of English, University of Regina

This article is republished from The Conversation under a Creative Commons license. Read the original article.

Megan Gail Coles’s novel teaches us that love means we #BelieveWomen



‘Small Game Hunting at the Local Coward Gun Club,’ is an extraordinary debut novel set on Valentine’s Day in St. John’s during a blizzard.
(House of Anansi Press)

Linda M. Morra, Bishop’s University

If there are different kinds of love, then there are different kinds of novels too — and Megan Gail Coles’s Small Game Hunting at the Local Coward Gun Club, shortlisted for CBC’s annual battle of books, Canada Reads 2020, is the kind that’s best read as a tough-love pre-Valentine warning.

It’s just not a feel-good, heart-warming, Eat, Pray, Love kind of book, the type some reach for when in need of romantic inspiration.

Structured around three courses served, appropriately, on Valentine’s Day at a restaurant in St. John’s, N.L., this book is divided into three acts, during which time it introduces — then makes plain the logic of connection between — several characters. The book then shows how their lives slowly and painfully unravel throughout the day.

If you bear in mind that Valentine’s Day originated in the Roman festival Lupercalia, when women were paired off with men by way of a lottery, you will be closer to the mark in terms of what Coles’s novel is about and what it attempts to achieve.

She assumes an “uncomfortable” approach to her subject, to call to attention what it means to be a disempowered subject — as a woman often is.

In my research, I’ve examined how public institutions and regulatory bodies approached the archival materials of different women writers in Canada: E. Pauline Johnson, Emily Carr, Sheila Watson, Jane Rule and M. NourbeSe Philip, as examples. Their interactions show how early 20th-century women’s voices were often suppressed because of sexist, racist or heteronormative tendencies, and their narratives susceptible to disappearing.

And because, to be frank, it is often uncomfortable to hear what women’s lives have to say.




Read more:
Playing detective with Canada’s female literary past


Invigorating anger

Megan Gail Coles arrives on the red carpet before the Giller Awards gala ceremony in Toronto in November 2019.
THE CANADIAN PRESS/Chris Young

Coles’s extraordinary debut novel, however, moves well past discomfort, tentative attempts at self-scrutiny and accountability, and calls for forgiveness. Forget discomfort: depending on how you identify and on your experiences, this novel could elicit either deep mortification or an invigorating anger that blazes, at moments, into real rage.

Before I explain the logic for my own emotional response, allow me also to add that this novel, a 2019 Scotiabank Giller finalist, is not for the faint of heart. Anyone who thinks their heart (or moral courage) is feeble should probably move along. Go on, find an Elizabeth Gilbert book to curl up with instead.

Or train your heart to be prepared for the emotional wreckage.

Charged blizzard

The novel’s narrative shifts from one point of view to another, revealing intersections between characters and carefully mapping the place, its social networks and divides, manifested in class, urban-rural and racialized identities that converge and then clash in the restaurant’s highly charged atmosphere.

In its evocations of Newfoundland, Coles has located herself among a vibrant tradition of writers, including Michael Crummey, Lisa Moore, Michael Winter and Donna Morrissey. Each of these writers takes on the people and sense of place in unique ways, and Coles adds a dazzling new voice.

In the novel, a blizzard is also a form of pathetic fallacy. St. John’s is seen here in January 2020.
THE CANADIAN PRESS/Andrew Vaughan

The conflict is set against a blizzard — a nod to the St. John’s climate, but also a form of pathetic fallacy, mirroring the internal strife of several characters. Their growing bitterness and trauma mean they make decisions, usually bad ones, that give rise to the novel’s mounting tensions.

The novel opens with the warning that “this might hurt a little” (thank you, Megan), but this is polite understatement. The first few pages belie the warning and read as deliciously irreverent, as if someone pushed the Maritimes’ Anne of Green Gables into a mud puddle.

Increasingly, however, the tone shifts, ultimately transforming into a thorny, visceral, unrelenting narrative, somewhat reminiscent of Moore’s writing — one that does not shirk from disclosing the brutal realities of what it means to be a vulnerable woman in contemporary western society.

‘ACES’

Being a “vulnerable woman” in this book is a redundancy, since it really is a question of degree; however, there are women who are more vulnerable and suffer more than others.

Take Iris, the central female character. She works at the restaurant to overcome obstacles, particularly financial ones, that prevent her from pursuing her studies as an artist — but those obstacles also include familial traumas. Mulling over scientific data about “Adverse Childhood Experiences,” or “ACES,” she dryly notes that she “has a pocket full” of them and later that the existing moment is “the worst hand she has ever been dealt.”

That “pocket full” does not portend a good outcome; rather, she is “snarled” by John Fisher, the chef and her boss, a predator who, “like an angry rival fisher,” “reels” her in “hand over fist over hand over fist.” His apparent emotional offerings are a pretence, just out of reach of Iris’s grasping hands.“

Coles’ compassion and scathing judgement often vie for centre stage, never quite cancelling the other out. You may wish, for example, to judge George, whose class, racialized white privilege and protective father shield her (yes, her) from those who prey on the vulnerabilities of women like Iris, and whose selfish, self-absorbed tendencies are less than charming.

But the moment you may feel tempted to judge her too far — and she does warrant some — Coles reminds you that George too wrestles with being identified as a “pathetic childless woman” who does “the backbreaking emotional labour of two humans:” her own and her husband’s, incidentally a member of the metaphorical “local coward gun club” to which the title alludes.

These characters may be flawed, but the writing is not. The polyphony of voices is animated and remarkable. The prose is fresh, street-smart and savvy — taking clichés and even mashing these back into proper service as poetry.

Critical conversations

The narrative is timely, in view of the recent debacles and critical conversations that have surfaced in relation to the #MeToo movement, what it means to #BelieveWomen or those that inform the field of CanLit.

‘Refuse: Canlit in Ruins,’ edited by Hannah McGregor, Julie Rak and Erin Wunker.
(Book*hug Press)

As an example, Refuse: CanLit in Ruins addresses the controversies that have animated the literary scene, and tackles gritty issues like rape culture and forms of domination and exploitation. Increasingly, we are all being invited to consider the responsibilities and connections we need to assume in the face of disclosures women make about their life stories.

One character, Olive, a young Indigenous woman, is directly asked at the novel’s outset: “So who are your relations?” Even as she comes to embody the resilience of women — their agency in times of chaos — the novel suggests readers consider that question, over and over again.

The Local Coward Gun Club fearlessly counters assumptions about sex, gender, class and racialized privilege about intersectional narratives, and demands that we look full in the face at the ways and number of times women and others have been injured; the number of times they have been disavowed when they have asked for help; the number of times they have been ignored, victimized or blamed instead of being supported.

The novel will demand that you, the reader, be accountable.The Conversation

Linda M. Morra, Full Professor of English, Bishop’s University

This article is republished from The Conversation under a Creative Commons license. Read the original article.

Life sentences – what creative writing by prisoners tells us about the inside



from www.shutterstock.com

Dr Michael X. Savvas, Flinders University

A recent project to encourage South Australian prisoners to write provides insights into how prisoners may benefit from written expression.

The project, Life Sentences, gave more than 70 contributors professional feedback, certificates of merit and publication in a booklet produced annually from 2017 to 2019.

The submissions revealed a surprising diversity of topics, considerable talent and self-awareness.

The back story

Life Sentences began as an offshoot of Art by Prisoners, a visual arts competition organised by Jeremy Ryder, who wanted to showcase art from prisoners across South Australia.

We wondered if prisoners may also want to express themselves through writing. Department for Correctional Services officers promoted Life Sentences and prisoners responded with interest. After the program, Life Sentences booklets were available to the public at the Art by Prisoners exhibitions.

Prisoners also provided cover designs for the project.
Life Sentences, Author provided

Firsthand writing from and about prisons isn’t new. Prison literature has a rich tradition, with writers such as Jack London, O. Henry and Oscar Wilde writing about their experiences in jail. The nine years Dostoyevsky spent in Siberian imprisonment and exile gave him the focus and depth of understanding to become one of the greats.

Conversely, illiteracy in Australian prisons is prevalent. A recent government report found around one in three Australian prisoners had only completed Year 9 (or under) at secondary school. One aim of Life Sentences was to provide encouraging feedback for prisoners of varying literacy levels. Although not all of the writing submitted was grammatically perfect, feedback focused on what the prisoners did well in their writing. This was seen as a first step in getting prisoners to enjoy writing and begin the adventure of literacy.

Stories of pain and humour

What Life Sentences contributors wrote about was telling. Most entries directly related to what American criminologist Greshem Sykes called the “pains of imprisonment” in 1958. This wasn’t surprising, and it is hoped writing about such pains was healing for the writers. What was more surprising was the number of entries not directly about imprisonment.

Of 77 contributors over three years, 26 expressed pain, fear and depression from imprisonment (even suicidal thoughts), and often how much they missed their children or loved ones. The heartbreaking lines from a 26-year-old woman’s poem called Little Treasure illustrate this:

But I will never forget

His sweet little smile

My darling little boy

Is now their child.

Although male and female prisoners both expressed tender feelings towards their lost partners, the male writers would at times also express sexual longing for their loved ones or for imagined partners. In Prisoner’s Lament, a 61-year-old male wrote:

I can but lament the way my life went,

Before I ended up here,

Instead of a gun and a greed-driven bent,

I’d be armed with a babe and a beer.

Eight of the poems – both fictional and autobiographical pieces – describe prison life using humour. In Lean Cuisine, a man, 45, wrote of the food, gloryless food he got over the course of a week:

Friday’s no surprise with some sort of sloppy pasta

Nothing is as bad as that tomato disaster.

Saturday is early lockup: chicken wings and rice

Some blokes sprint for seconds, yelling ‘This shit’s so fucking nice!‘

Although some contributors wrote about their abusive childhoods, others wrote with nostalgia about their upbringings. A 51-year-old man’s poem, Edge of the World, tells of spending a day on a jetty with his father and siblings:

Like well-practised commandos

we inched along the side rail

dodging gut stains

jagged notches and salty scales.

One prisoner wrote a nostalgic poem about his childhood.
Shutterstock

Eight entries philosophised about life, and two honoured religious deities. Two contributors wrote about their lives, with the goal of inspiring others to stay out of jail and lead happier, more productive lives.

Five entries pondered the personal meanings of art or writing. Other themes explored drugs and alcohol, futuristic societies, rock band membership, friendship, political statements (Fuck the System), dreams and the supernatural (The Love of a Lycan was a song about a werewolf). Three entries were hip hop raps.

Being recognised

The Western Australian literary journal Westerly included several of the 2017 entries in a special edition about South Australian writing.

Hidden talents emerged. A 22-year-old male rapper demonstrated advanced verbal skills in his Laggin Rap:

I want my chance to climb but I’m firmly underground

proud to get his lips clappin louder than a thunder cloud.

Man, Hip Hop’s beautiful — totally therapeutical —

better health benefits than pharmaceuticals.

Another contributor submitted two novels in 2017 and two more in the following competitions. Although already an accomplished writer, he incorporated the feedback he received in the first year. His manuscript was an exciting adventure set in 18th century France. The novel begins:

The battlefields were torn by heavy hooves and ran red with blood. Pieces of meat that used to be men lay tossed about and were scattered in windrows. Mud made it difficult to distinguish between uniforms, yet they found uniformity in a death that made a mockery of it all. It was not yet lunchtime.

The same author printed, bound and illustrated his own novels. He and other contributors also revealed a pattern by the third edition of Life Sentences: a growing awareness of their new identities as writers.

Life Sentences is giving prisoners a chance to write expressively.
Shutterstock

What Prisoners Need

Australian prison libraries are often inadequate for supporting prisoners who seek to improve their literacy skills.

Knowing what prisoners like to write about could inform decisions about the types of books to stock in prisons to encourage reading and writing. Prisoners who wish to write motivational books could be exposed to notable authors in this genre, such as Tony Robbins and Dale Carnegie.

Education is a powerful way to prevent prisoners from reoffending once they leave jail.

To stay out of prison, ex-prisoners need to achieve what criminologists call “secondary desistance”, meaning both the prisoner and society see the prisoner as changed and occupying a law-abiding role in society. Writing might be one way to achieve this and open up new career paths. Writing may also allow prisoners and “civilians” to connect. As one Life Sentences writer put it:

Without seeing their individual faces, I recognise that I am part of the greater consciousness that makes up the brotherhood of writers across the world.The Conversation

Dr Michael X. Savvas, Senior Lecturer in the Transition Office (PhD in Creative Writing), Flinders University

This article is republished from The Conversation under a Creative Commons license. Read the original article.

Giving back to English: how Nigerian words made it into the Oxford English Dictionary



Photo by Bruce Milton Miller/Fairfax Media via Getty Images.

Kingsley Ugwuanyi, Northumbria University, Newcastle

Nigeria was recently in the spotlight when the Oxford English Dictionary announced that its January 2020 update included 29 Nigerian English words.

The reception, in both the traditional and new media, was nothing short of sensational. Most Nigerians expressed a great sense of pride in the fact that the unique ways in which they use English were being acknowledged internationally.

The Oxford English Dictionary said in the release note:

By taking ownership of English and using it as their own medium of expression, Nigerians have made, and are continuing to make, a unique and distinctive contribution to English as a global language.

Interestingly, the idea of Nigerians owning English is the fulcrum of my doctoral research. In it, I found that increasingly Nigerians are demonstrating a strong sense of ownership of the English language, and in particular their use of it.

The inclusion of Nigerian English words in the Oxford English Dictionary is, in a sense, a recognition of the tremendous efforts by scholars of Nigerian English many of whom have produced discipline-shaping research. This has included four published dictionaries of Nigerian English.

These developments indicate that Nigerian English has indeed come of age. They also validate the concentric circle model developed by Professor Braj Kachru, the father of world Englishes research. This avers that the ‘outer-circle’ varieties of English (where Nigerian English belongs) is ‘norm-developing’. In other words, that Nigerian English is adding to the norms of English.

I think the English, indeed the English-speaking world, should be thankful to Nigeria for this historic gift.

So how were the words chosen?

As the Nigerian consultant to the project which saw the inclusion of the words, I have insights into the process the team underwent in adding them. These include the rationale for adding them, and the enormous significance the inclusion holds for the English language.

How, and why, new words are added

The Oxford English Dictionary has a wide variety of resources to track the emergence of new words and new senses of already existing words.

The Oxford English Corpus is one. This is an electronic database of different types of written and spoken texts specifically designed for linguistic research. In the case of Nigerian English and other World English varieties, for instance, suggestions of new words and senses come from the corpus, reading books and magazines written in the English varieties in question as well as looking at previous studies, and the review of existing dictionaries, if any.

Once there is a list of candidates, a team of expert editors at the Oxford English Dictionary looks closely at the databases to ensure that there are several independent instances of the words being used. And how they are being used.

Other factors that are considered include the time period over which words have been used, as well as their frequency and distribution. But there’s no exact time-span and frequency threshold. Some words – such as Brexit – are relatively young but were included quickly because of the huge social impact they had in a short space of time. Others are not used frequently but are included because they are of specific cultural, historical, or linguistic significance to the community of their users. An example is ‘Kannywood’, the word describing the Nigerian Hausa-language film industry, based in the city of Kano.

It’s clear therefore that the editors don’t simply select the words or senses that appeal to them. Instead, they are guided by use, which links in with the prevailing thought in lexicography and linguistics more generally: that the remit of dictionaries and linguistic research is not to prescribe how languages should be used but to describe how languages are being used.

Words are added because the Oxford English Dictionary recognises that English is a universal language. It believes that including words from varieties of English all over the world enables it to tell a more complete story of the language.

These varieties also reflect the unique culture, history, and identity of the various communities that use English across the world. Nigerian English is a good example. Like other English varieties, it is a living ‘being’ with its own unique vocabulary, encompassing all sorts of lexical innovations. These include borrowings from local languages, new abbreviations, blends and compounds.

Failure to capture such words would deny English an opportunity to grow. It would also deny the flavour of what the speakers of these varieties contribute to the development of English.

What does it mean for English?

One of the reasons previous world languages such as Egyptian and Ancient Greek ceased to exert dominance internationally was their inability to keep pace with developments around the world.

Perhaps this is one factor that clearly distinguishes English. It has demonstrated a capacity for growth by keeping its borders open, helping it to develop from a West Germanic dialect spoken in a small island into a world language. English is now spoken by about 1.75 billion people – a quarter of the
world’s population
. This includes first and second language speakers.

One way English grows is by admitting new words and senses not just from other English varieties but from virtually all languages of the world. For instance, English has had the word ‘postpone’ since the late 15th century, but it was through India that its opposite ‘prepone’ entered English in current use during the 20th century.

Similarly, Nigerian English is reintroducing the verb meaning of ‘barb’, which existed in 16th century British English.

This is how English maintains its dominance. In addition, the Internet has given today’s Oxford English Dictionary editors wider access to non-traditional sources of linguistic evidence. This has enabled them to widen and improve the dictionary’s coverage of world varieties of English, affirming Oxford English Dictionary’s claim as “the definitive record of the English language”.The Conversation

Kingsley Ugwuanyi, Lecturer/Doctoral Researcher, Northumbria University, Newcastle

This article is republished from The Conversation under a Creative Commons license. Read the original article.