Monkey Beach Setting Haisla territory various scenes in and around Kitimaat Lisas house Mama oos house Micks apartment school rec centre pool etc Monkey Beach and the coast Vancouvers DTES spirit world ID: 806268
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Slide1
Monkey Beach
English
1106
Slide2Monkey Beach
Setting:
Haisla
territory; various scenes in and around
Kitimaat
(Lisa’s house; Ma-ma-
oo’s
house; Mick’s apartment; school; rec
centre
; pool, etc.); Monkey Beach and the coast; Vancouver’s DTES, spirit world
Mid to late 1980s
Vivid sense of place,
Haisla
territory, scenes cultivating food w Ma-ma-
oo
150
Slide3Monkey Beach
Character:
Haisla
teen girl
N
aïf (a literary device in which the main character does not fully understand the larger world of the novel; allows readers to learn as she learns, or be unaware as well)
Narrator: 1
st
person Limited Omniscient
Narrative voice and tone: what is the tone of the narrator towards her subject?
Slide4Monkey Beach
Naïf (a literary device in which the main character does not fully understand the larger world of the novel; allows readers to learn as she learns, or be unaware as well)
Naif
:
288 – Josh, pooch, karaoke, 59 “god you can be so dense”
207-209 Tab doesn’t like Josh, 363 Karaoke and Josh;
369 spirits show her what happened to Jimmy; we learn w her
Narrator: 1
st
person Limited Omniscient
Limited
: Lisa’s first person perspective
Omniscient
: 131 ‘drifting hair of a corpse’
Allows protecting of ceremony: feast 55
Slide5Monkey Beach
Plot and structure: Novel form (establishing of setting and character, inciting incident, rising action, climax, denouement)
Hybrid: many more significant central characters in webs of relationships than in traditional western novels
‘Northern Gothic’; ghost story; horror with a twist
Fragmentation in narration, as in experience of trauma
Slide6Monkey Beach
Bildungsroman (coming of age novel
)
Unlike in classic bildungsroman, Lisa does
not overcome her struggles and
‘accept’ her social position at the end; she continues
to struggle to find her place; ending is highly ambiguous
Slide7Monkey Beach
Slide8Without Treaty, Without Conquest
In the
Delgamuukw
court case (1997),
the
S
upreme Court of Canada
r
ecognized
t
hat
Indigenous title to the lands in most of BC
w
as
never extinguished
Significantly, the ruling agreed that
intimate knowledge of the land
transmitted in story, fami
ly crests,
hereditary names, totem poles, etc.
constitutes
title to the land
.
This ruling employed and recognized Indigenous
law at the highest level of Canadian law
Slide9Story as title to land
William Gordon Robinson locates the
origins of
Haisla
culture
in his version of the popular myth of the “monster” of
Kitimaat
Arm, “The Story of
Hunclee-Qualas
or the Founding of
Kitamaat
”.
He tells of Waa-
mis
, who “accidentally” killed his wife one night as both of them were sitting by the fire. Fleeing the wrath of his in-laws, Waa-
mis
encounters the “monster”: the river opened a huge, gaping, white mouth then slowly closed it again. Terror came to his men’s hearts but he, being the leader, was determined to see just what the thing was and in spite of their fear they kept paddling on until the thing opened its mouth again. It was then that they saw that what had been believed to be a mouth was, in reality, a flock of countless millions of seagulls feeding on small fish in the river. The gulls, at times, would all sit on sand bars and then all of a sudden the whole flock would fly up. This was when the mouth was believed to open. When the party had taken enough of the small fish, now called
eulachan
, or
oolachan
, they returned to their camp at
Kildala
where the oldest woman cooked and ate the fish to see if it was good. Shortly afterwards she fell into a deep sleep for the fish were so fat that they had made her very drowsy. When she awoke she pronounced the fish very good and Waa-
mis
then moved his camp to the
Kitamaat
River Valley and pitched his new camp at the mouth of what is now called Anderson Creek for that was then the mouth of the
Kitamaat
River.
Waa-
mis
hosted a feast and changed his name to
Hunclee-qualas
; according to W. Robinson, he is honoured as
Kitimaat’s
fi
rst
settler.“That’s our story,” he concludes, “[
i
]t explains our origins and
why our land is ours.
That’s how we
Haisla
came to be here ... and we’re still here. We’ll always be here.”
Slide10Story as title to land
Compare the version of the oral story Lisa inherits from her mother in
Monkey Beach
to William Robinson’s version from
Tales of
Kitimaat
: “That’s our story,” he concludes, “[
i
]t explains our origins and
why our land is ours.
Slide11Monkey Beach
stories of place
Slide12Monkey Beach
stories of place
Slide13Monkey Beach
stories of place
S
tone
man
113-114
Gee
Quans
276
M
eaning
of the
sun’s position
relative to
mountains 88
Namu
means whirlwind
161
Winter
loved
Kitimat
89
Kitlope
and the buried village
112
R
uns
used to be so
thick 39
;
92
Why
clams have black tongues
317
Gulls
and
oolichan
114
Slide14Monkey Beach
There are good ways to tell the stories that convey their significance and meaning – also see
pg
54
Slide15Monkey Beach
Both responds to and also subverts a Canadian readership’s hunger for an ‘authentic’
Haisla
narrative;
Returning the gaze 218
White settlers are dangerous 251
Ceremony can’t be represented (feast 55)
Slide16Slide17There are at least three visions of ‘nation’
in Monkey Beach
1. Ma-ma-
oo
:
Haisla
(means both land and people)
2. Mick:
Pan-Indian
reclaiming of settler concept; seeks to unify hundreds of nations
to be able to resist colonization together despite significant cultural and political differences
Mick never overtly calls himself
Haisla
; 1970s influence
3. Lisa’s parents, and Jimmy (Olympics): identify as
Canadian
?
Lisa:
renewal
of
Haisla
identity, seeks Ma-ma-
oo’s
teachings
Younger generations: resurgence, rebuilding – and
hybridity
Slide18Nation concepts
Sovereignty: highest authority over land; legitimate right to rule (land or people)
Nation, state, nation-state
Types of nationalism: civic, ethnic, irredentist, jingoistic, Indigenous nations
Naturalization: making something appear natural, inevitable or unremarkable
Slide19Monkey Beach
Slide20Monkey Beach
Slide21Hybridity
in Monkey Beach
Monkey Beach is
hybrid
in
several ways:
-
Oral narrative
into
written novel
form
with inclusion of many stories
-
Bildungsroman
,
with
:
- more characters, social networks more important
-transformation theme of
Bildungsroman
takes on Indigenous resonance i.e. via Raven (374), trickster figure whose role is to create transformation
-Lisa does not come to accept dominant cultures’ social role as expected of protagonist in traditional
Bildungsroman
-
Form
: patchwork mixing: recipes, history, scientific text, story, etc.
-
language
is hybrid: traditional/natural and technological
-
visions of land (and those who inhabit it)
are hybrid
:
Haisla
and Western conceptions of ghosts and spirits exist in tension in the novel
Hybrid language in Monkey Beach
natural/technological
Similes: blend natural and technological
Slide23Spirits and visions
222 – vision of dead crow with missing wing –
‘teenaged’ – ‘transformed’
324 – Jimmy’s disappearance begins with injuring his arm
Slide24Visions of land
and spirit beings
Visions of land
and
spirits who share the
land
Monkey Beach
glossing
Slide27Monkey Beach
glossing
Slide28Monkey Beach
glossing
Slide29Monkey Beach
glossing
Slide30Monkey Beach
glossing
Slide31Monkey Beach
discussion
Author’s perspective: is it better to gloss concepts, words, and experiences for outsider audiences, at the risk of homogenization, simplification, misrepresentation? Or is it better to just write as an ‘insider’ would speak, at the risk of a broader audience not understanding, or not being interested because they can’t follow?
Reader’s perspective: do writers coming from ‘peripheral’ or ‘minority’ social positions have an obligation to explain and make things transparent, make them intelligible (make them ‘make sense’ on my terms)? What are the benefits and risks of doing so? Or do I as a reader have an obligation to stretch myself outside my comfort zone, into a world view that might be unfamiliar?
Slide32Key ‘Turns’ in Canadian Literature
Early period:
Who are we?
pre-1860s - early 1900s: ‘writing back’ to Britain
1920s/30s: Canadian Literary Modernism
Early
CanLit
often seen as ‘in tension’ with American influences and British traditions.
Cultural Nationalist Turn:
‘Where is Here?’
(Northrop Frye)
1960s/1970s: building of Canadian Canon
Multicultural Turn:
‘Why Are All These Voices Left Out?’
Late
1980s/1990’s: Expansion and Revision of early Canon
1980s/1990s: Free Trade Agreements (FTA 1988, NAFTA 1995);
globalization
Today:
Why/what is the Nation?
Reconciliation, multiplicity, challenge, and dialogue
Slide33Timeline: Key Moments in Canadian Literature
Early years:
authors publishing largely in Britain, for British audiences
First novel written in Canada: Francis Brooke’s
The History of Emily Montague (
1769 )
Catherine Parr
Traill’s
The Backwoods of Canada (
1832 ); Susannah
Moodie
Roughing It In the Bush (
1852 ); Confederation Poets (Archibald
Lampman
, Duncan Campbell
Scott); Lucy Maude
Montgomery’s
Anne
of Green Gables (
1908). Victorian aesthetic.
1920s/30s
wave of Canadian modernists
. Dorothy
Livesay
, PK Page, A.J.M. Smith, F.R. Scott.
Publishing in British and American venues, then little local magazines,
based out of Montreal (
McGill Fortnightly Review, Canadian Mercury),
Vancouver
(Dorothy
Livesay
),
Toronto. 1930s also saw worker’s theatre movement in Toronto.
CanLit
in this time often seen as ‘in tension’ with American influences and British traditions.
1949 Massey
Commision
:
evaluates state of Canadian arts, creates Arts Councils
Creates context and support for cultural nationalism
1960’s
Coffeeshop
and beat culture: Atwood, Ondaatje, Leonard Cohen, Irving Layton
1960s/1970s: Cultural Nationalist period,
building of Canadian Canon
1965:
Northrop Frye’s “Conclusion to a Literary History of Canada”
1972: Margaret Atwood,
Survival : A Thematic Guide to
CanLit
); ‘
garrison mentality’
Search for the ‘Great Canadian Novel’ (Margaret Laurence,
The Diviners, etc.
)
(Trudeau Prime Minister: 1968-1979, 1980-1984: Civic Nationalism & Official Multiculturalism)
Late
1980s/1990’s: Multicultural Turn
,
publication of many ‘ethnic’ anthologies
1990: Linda
Hutcheon
and Marion Richmond
Other Solitudes
1994 Writing Thru Race conference in Vancouver made national headlines (Roy Miki)
1996
Smaro
Kamboureli:
Making a Difference
1980s/1990s: Free Trade Agreements (FTA 1988, NAFTA 1995); small
publishers and booksellers absorbed by large conglomerates; globalization refigures role
of literatures and national cultures as exportable commodity in global marketplace
Contemporary:
reconciliation; building dialogue between Indigenous oral traditions and settler
textual ones; accounting for colonization; redefining meaning of multiculturalism in Canada,
questioning role of changing nation-state and multiple ‘nations’ within the nation.
Slide34Key Moments in Canadian Multiculturalism
~1860s: free entry policy; government gives land to European settlers
1858~: Chinese immigration during Gold Rush
1867: Constitution Act assigned Parliament legislative jurisdiction over "Indians and Lands reserved for the Indians.“ Policy of full assimilation.
1876: Indian Act passed. Enfranchisement in exchange for assimilation/loss of Status.
1881-1885 : Immigration from China sought by Canada, to build CPR
1903 South Asian immigration picks up, disenfranchised between 1907-1947
1910 - 1960s: ‘White Canada’ laws and policies:
The ‘Border’ first appears in The Immigration Act of 1910.
Chinese Head Tax ($50 in 1885, $100 in 1900, $500 in 1903)
and Exclusion Act (1923)
1910 ‘Continuous Journey’ regulation excludes British Subjects from India
1910 Exclusion in Immigration Act: ‘unsuited to the climate of Canada’ (mainly targeting British Subjects from India and the
Carribean
)
1914:
Komagata
Maru
WWII ‘None is too many’ policy
WWII: expulsion of BC’s coastal Japanese Canadian community
Denial of citizenship even to those born in Canada
1963 Royal Commission on Bilingualism and Biculturalism, response to Quebecois, Indigenous, and racialized minority demands for equality
Official Languages Act of 1969 made English and French the official languages of Canada; two ‘founding’ or ‘charter’ nations.
1971 Multiculturalism adopted as federal policy, ‘within Bilingual framework’
1973 Non-immigrant Employment Authorization Program created the category of the
worker who does not gain citizenship
1988 Official Multiculturalism becomes law:
The Multiculturalism Act
1988 Free Trade Agreement (FTA) passed between Canada and US same year
Slide35from
The Innocent
Traveller
Slide36from
The Innocent
Traveller
Slide37from
The Innocent
Traveller