Ultimately, I will demonstrate how cultural works that are presented in a ‘general’ manner are – intentionally or unintentionally – ‘watered down’. I will then demonstrate their implications through indigenous versus western ways of knowing, as well as ramifications for FMNI law and policy. First, I will provide a reader-response analysis to Joshua Whitehead’s Jonny Appleseed and “mihkokwaniy”, as well as Carolyn Dunn and Rain Prud’homme-Cranford’s “Grandma’s Zydeco Stomp Dance: A Patchwork Poem”. To support this, I will describe how the ‘bridging’ and ‘dilution’ of FMNI experiences through re-contextualization is both adverse to reader response and inimical to the intersectionality and engagement of indigenous issue.
I argue that intersectionality is most effective through this medium when paired with the raw unadulterated voices of FMNI writers – ultimately targeting the reader’s subconscious. Within this paper, I will analyze the use of first-person narratives as a medium for Indigenous voices to re-enfranchise the cultural voice of First Nations-Metis-Native-Innuit (FMNI) peoples of Turtle Island. This is achieved through Jonny’s raw, powerful, and free-spirited voice throughout Whitehead’s first-person narrative. Jonny Appleseed’s titular character is a young 2SQ person– two-Spirit, queer indigenous – who allows for the emanation of Whitehead's voice and experiences to shine. You are welcome to consult this paper if you provide the appropriate citation(s)*** ***Not only is this essay subject to copyright, but any unauthorized use without citation is considered academic misconduct (plagiarism).
***Originally submitted 15 April 2020 to Dr Rain Prud’homme-Cranford, in part for credit, for ENGL 376: Indigenous Literatures I at the University of Calgary*** What We Can Learn About Intersectionality, National Engagement, and Cultural Voice from a Work that has Re-Enfranchised FMNI Communities in Canada – Through Colonizing the Colonizer and the Strength of Indigenous Kinship
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