In Canada, almost everybody is familiar with stereotypes about ‘Native social dysfunction’. Canada’s present-day “Imaginary Indian” (Francis) is indeed associated with substance and welfare dependence as well as family violence and neglect. However, the mainstream tends not to wonder about the actual social suffering behind the image and about the causes of these supposed patterns. In Daughters Are Forever, the Sto:lo / Squamish writer and activist Lee Maracle deconstructs these racist clichés by emphasizing the impact of the colonial process on real-life Native populations. Through a Sto:lo social worker’s attempts to understand how colonial policies have affected Aboriginal motherhood, Maracle demonstrates the roots of Indigenous social ills in collective traumas inflicted over several centuries and transmitted intergenerationally. The conclusion of the protagonist, Marilyn, that “[c]olonization is such a personal process” (216) summarizes the ways in which collective trauma and cultural genocide largely condition individual traumas and grief. Her parallel journeys to help an Anishnaabe woman patient, prevent the abductions of Native Canadian children by mainstream welfare services, and mend her own toxic relationship with her daughters further demonstrate the interrelatedness of Indian policy, patriarchal institutions, and personal and familial spiritual illnesses. They also enable Maracle to show the dangerous ethnocentrism of mainstream psychology and the need to create cross-cultural methodologies and therapies appropriate to the diverse Native North American cultures. By depicting the “unresolved human dilemmas” (Preface 11) of Aboriginal characters, she strives to create social change by drawing her readers into her stories to shock them into awareness.

In Canada, almost everybody is familiar with stereotypes about ‘Native social dysfunction’. Canada’s present-day “Imaginary Indian” (Francis) is indeed associated with substance and welfare dependence as well as family violence and neglect. However, the mainstream tends not to wonder about the actual social suffering behind the image and about the causes of these supposed patterns. In Daughters Are Forever, the Sto:lo / Squamish writer and activist Lee Maracle deconstructs these racist clichés by emphasizing the impact of the colonial process on real-life Native populations. Through a Sto:lo social worker’s attempts to understand how colonial policies have affected Aboriginal motherhood, Maracle demonstrates the roots of Indigenous social ills in collective traumas inflicted over several centuries and transmitted intergenerationally. The conclusion of the protagonist, Marilyn, that “[c]olonization is such a personal process” (216) summarizes the ways in which collective trauma and cultural genocide largely condition individual traumas and grief. Her parallel journeys to help an Anishnaabe woman patient, prevent the abductions of Native Canadian children by mainstream welfare services, and mend her own toxic relationship with her daughters further demonstrate the interrelatedness of Indian policy, patriarchal institutions, and personal and familial spiritual illnesses. They also enable Maracle to show the dangerous ethnocentrism of mainstream psychology and the need to create cross-cultural methodologies and therapies appropriate to the diverse Native North American cultures. By depicting the “unresolved human dilemmas” (Preface 11) of Aboriginal characters, she strives to create social change by drawing her readers into her stories to shock them into awareness.

Thesis (M.A.)--Acadia University, 2001. / Includes bibliographical references (leaves 129-135). Also available on the Internet via the World Wide Web.

Thèse (M.A.)--Université Laval, 1998. / Comprend des réf. bibliogr.

Thesis (Ph.D.), Memorial University of Newfoundland, 1999. / Bibliography: p. 314-330.

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In Canada, almost everybody is familiar with stereotypes about ‘Native social dysfunction’. Canada’s present-day “Imaginary Indian” (Francis) is indeed associated with substance and welfare dependence as well as family violence and neglect. However, the mainstream tends not to wonder about the actual social suffering behind the image and about the causes of these supposed patterns. In Daughters Are Forever, the Sto:lo / Squamish writer and activist Lee Maracle deconstructs these racist clichés by emphasizing the impact of the colonial process on real-life Native populations. Through a Sto:lo social worker’s attempts to understand how colonial policies have affected Aboriginal motherhood, Maracle demonstrates the roots of Indigenous social ills in collective traumas inflicted over several centuries and transmitted intergenerationally. The conclusion of the protagonist, Marilyn, that “[c]olonization is such a personal process” (216) summarizes the ways in which collective trauma and cultural genocide largely condition individual traumas and grief. Her parallel journeys to help an Anishnaabe woman patient, prevent the abductions of Native Canadian children by mainstream welfare services, and mend her own toxic relationship with her daughters further demonstrate the interrelatedness of Indian policy, patriarchal institutions, and personal and familial spiritual illnesses. They also enable Maracle to show the dangerous ethnocentrism of mainstream psychology and the need to create cross-cultural methodologies and therapies appropriate to the diverse Native North American cultures. By depicting the “unresolved human dilemmas” (Preface 11) of Aboriginal characters, she strives to create social change by drawing her readers into her stories to shock them into awareness. / Arts, Faculty of / English, Department of / Graduate

<p>This dissertation considers the<em> use –</em> both the function and the value – of history in nine contemporary Canadian historical novels: Steven Heighton's <em>Afterlands </em>(2005), Don Gillmor's <em>Kanata</em> (2009), Rudy Wiebe's <em>A Discovery of Strangers </em>(1995), Fred Stenson's <em>The Trade </em>(2000), Michael Crummey's <em>River Thieves </em>(2003), Lawrence Hill's <em>The Book of Negroes </em>(2007), Merilyn Simonds's <em>The Holding </em>(2005), Aimée Laberge's <em>Where the River Narrows</em> (2004) and Jane Urquhart's <em>A Map of Glass </em>(2006). It asks what responsibilities authors of historical novels hold to the past and to readers in the present. It argues for making a distinction between irresponsible and responsible historical fiction, a separation marked not by the strict adherence to “fact,” but rather by the acknowledgement of the continued effect of past actions and relationships on the present, specifically the present configuration of the nation called Canada. I also characterize responsible historical fiction as committed to the notion of “truth-to-meaning” and requiring an engaged and active reader.</p> / Doctor of Philosophy (PhD)