Coeval Worlds, Alter/Native Words
Split Tooth (2018) is the debut novel of the Indigenous Inuk throat singer and artist Tanya Tagaq. Being an Indigenous Inuit literary work, the novel stands out notably for its plasticity in terms of form, style, narrative registers and aesthetic techniques. Indeed, it brings together prose, poetry,...
Main Author: | |
---|---|
Format: | Article in Journal/Newspaper |
Language: | English |
Published: |
University of Kent
2021
|
Subjects: | |
Online Access: | http://journals.kent.ac.uk/index.php/transmotion/article/view/980 https://doi.org/10.22024/UniKent/03/tm.980 |
id |
ftkentunivojs:oai:journals.kent.ac.uk:article/980 |
---|---|
record_format |
openpolar |
spelling |
ftkentunivojs:oai:journals.kent.ac.uk:article/980 2023-05-15T15:12:52+02:00 Coeval Worlds, Alter/Native Words Bouich, Abdenour 2021-11-17 application/pdf text/html http://journals.kent.ac.uk/index.php/transmotion/article/view/980 https://doi.org/10.22024/UniKent/03/tm.980 eng eng University of Kent http://journals.kent.ac.uk/index.php/transmotion/article/view/980/1964 http://journals.kent.ac.uk/index.php/transmotion/article/view/980/1971 http://journals.kent.ac.uk/index.php/transmotion/article/view/980 doi:10.22024/UniKent/03/tm.980 Copyright (c) 2021 Abdenour Bouich http://creativecommons.org/licenses/by/4.0 CC-BY Transmotion; Vol 7 No 2 (2021): Indigeneity and the Anthropocene; 77-104 2059-0911 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion 2021 ftkentunivojs https://doi.org/10.22024/UniKent/03/tm.980 2022-11-20T12:18:22Z Split Tooth (2018) is the debut novel of the Indigenous Inuk throat singer and artist Tanya Tagaq. Being an Indigenous Inuit literary work, the novel stands out notably for its plasticity in terms of form, style, narrative registers and aesthetic techniques. Indeed, it brings together prose, poetry, illustrations, Indigenous Inuit ontologies and epistemologies, Tagaq’s own memoir, and what she calls “non-fiction, embellished non-fiction and pure fiction” (Qtd in Mike Doherty 2018). Nevertheless, the author gives no indication of when the fiction ends and the non-fiction and memoir begin. In fact, the novel shows a nonconformity neither to those western literary genres of realism, fantasy or science fiction, nor to experimental literary categories of magical realism, speculative fiction, and imaginative literature; instead, it presents itself as what the Cherokee scholar Daniel Heath Justice terms Indigenous “wonderworks.” In his landmark study Why Indigenous Literatures Matter (2018), Justice writes: “Indigenous wonderworks are neither strictly ‘fantasy’ nor ‘realism,’ or maybe both at once or something else entirely, though they generally push against expectations of rational materialism” (155). Indigenous wonderworks, Justice explains, are grounded in Indigenous peoples’ cultural specificities and experiences, allowing for the resurgence and the recovery of Indigenous, ontologies, epistemologies, and politics that have long been dismissed by colonial discourses and narratives (154). In this paper, I approach Tagaq’s novel as an Indigenous wonderwork that provides a vigorous critique of the colonial capitalist modernity and its destructive “development” from which Indigenous Inuit peoples of Canada suffer and the ecological disasters provoked by resource extraction and global warming brought about by global capitalism and, in particular, Canadian capitalist expansionism in the Arctic region. I endeavour to examine the way in which Split Tooth mobilises, inter alia, a panoply of phantasmagoria and ... Article in Journal/Newspaper Arctic Global warming inuit University of Kent Open Access Journals Arctic Canada Endeavour ENVELOPE(162.000,162.000,-76.550,-76.550) |
institution |
Open Polar |
collection |
University of Kent Open Access Journals |
op_collection_id |
ftkentunivojs |
language |
English |
description |
Split Tooth (2018) is the debut novel of the Indigenous Inuk throat singer and artist Tanya Tagaq. Being an Indigenous Inuit literary work, the novel stands out notably for its plasticity in terms of form, style, narrative registers and aesthetic techniques. Indeed, it brings together prose, poetry, illustrations, Indigenous Inuit ontologies and epistemologies, Tagaq’s own memoir, and what she calls “non-fiction, embellished non-fiction and pure fiction” (Qtd in Mike Doherty 2018). Nevertheless, the author gives no indication of when the fiction ends and the non-fiction and memoir begin. In fact, the novel shows a nonconformity neither to those western literary genres of realism, fantasy or science fiction, nor to experimental literary categories of magical realism, speculative fiction, and imaginative literature; instead, it presents itself as what the Cherokee scholar Daniel Heath Justice terms Indigenous “wonderworks.” In his landmark study Why Indigenous Literatures Matter (2018), Justice writes: “Indigenous wonderworks are neither strictly ‘fantasy’ nor ‘realism,’ or maybe both at once or something else entirely, though they generally push against expectations of rational materialism” (155). Indigenous wonderworks, Justice explains, are grounded in Indigenous peoples’ cultural specificities and experiences, allowing for the resurgence and the recovery of Indigenous, ontologies, epistemologies, and politics that have long been dismissed by colonial discourses and narratives (154). In this paper, I approach Tagaq’s novel as an Indigenous wonderwork that provides a vigorous critique of the colonial capitalist modernity and its destructive “development” from which Indigenous Inuit peoples of Canada suffer and the ecological disasters provoked by resource extraction and global warming brought about by global capitalism and, in particular, Canadian capitalist expansionism in the Arctic region. I endeavour to examine the way in which Split Tooth mobilises, inter alia, a panoply of phantasmagoria and ... |
format |
Article in Journal/Newspaper |
author |
Bouich, Abdenour |
spellingShingle |
Bouich, Abdenour Coeval Worlds, Alter/Native Words |
author_facet |
Bouich, Abdenour |
author_sort |
Bouich, Abdenour |
title |
Coeval Worlds, Alter/Native Words |
title_short |
Coeval Worlds, Alter/Native Words |
title_full |
Coeval Worlds, Alter/Native Words |
title_fullStr |
Coeval Worlds, Alter/Native Words |
title_full_unstemmed |
Coeval Worlds, Alter/Native Words |
title_sort |
coeval worlds, alter/native words |
publisher |
University of Kent |
publishDate |
2021 |
url |
http://journals.kent.ac.uk/index.php/transmotion/article/view/980 https://doi.org/10.22024/UniKent/03/tm.980 |
long_lat |
ENVELOPE(162.000,162.000,-76.550,-76.550) |
geographic |
Arctic Canada Endeavour |
geographic_facet |
Arctic Canada Endeavour |
genre |
Arctic Global warming inuit |
genre_facet |
Arctic Global warming inuit |
op_source |
Transmotion; Vol 7 No 2 (2021): Indigeneity and the Anthropocene; 77-104 2059-0911 |
op_relation |
http://journals.kent.ac.uk/index.php/transmotion/article/view/980/1964 http://journals.kent.ac.uk/index.php/transmotion/article/view/980/1971 http://journals.kent.ac.uk/index.php/transmotion/article/view/980 doi:10.22024/UniKent/03/tm.980 |
op_rights |
Copyright (c) 2021 Abdenour Bouich http://creativecommons.org/licenses/by/4.0 |
op_rightsnorm |
CC-BY |
op_doi |
https://doi.org/10.22024/UniKent/03/tm.980 |
_version_ |
1766343500116262912 |