Author Blog

  • Hans Werner: A Siberian Travelogue

    By Hans Werner  |   0 Comments

    Posted on
    April 22nd 2013
    at 10:05am

    We traveled from the Siberian city of Omsk along a busy highway only to turn off on a gravel road that wound its way south and east towards the area of Siberia where my father was born and grew up, where my grandmother died and was buried, a site I had often imagined when my father told stories about his childhood.

    Siberia was a place I knew, but only in a surreal sense as the setting for many of my father’s stories.

    It was somewhat disconcerting to be traveling through the landscape on this very hot June day in 2010.

    We had started out fairly early in the morning and arrived in the small city of Slavgorod in the late afternoon.

    The road was parallel to, but occasionally switched from, one side to the other of the railway tracks that connected some of the prominent places in my father’s stories—Omsk, Slavgorod, Kulunda.

    Traveling to Annanevka a day or two later in my host’s car was also quite disconcerting. Hurtling down a paved but poorly maintained road in Mercedes Benz seemed incongruous with the images of Stalinist Soviet Union that I had grown up with.

    We were traveling to Annanevka, one of the only two villages that remained from the small collection of villages known as the Paschnaja villages, to meet someone who might take us to the area of the former Grigorevka, the village of my father’s childhood.

    The landscape reminded me of southwestern Saskatchewan—salt lakes and endless plains. I had not anticipated the emotions that would be aroused when I stood looking out over the vast emptiness to a small clump of shrubs, which the Low German-speaking former Mennonite guide explained was likely the cemetery for the village of Grigorevka and quite possible the burial place of my grandmother, who had died in 1943 when living conditions in the Soviet Union had descended into depths of suffering for its people.

    After touring more the area and meeting the few Mennonites who had stayed behind after the massive migrations to Germany of the 1990s, we traveled back to Omsk…and the landscape of my father’s memories and stories became part of my memories.

    I could not help but wonder how my experience of the place that I had only known through his stories would shape how I told the story.

    About The Constructed Mennonite
    John Werner was a storyteller. A Mennonite immigrant in southern Manitoba, he captivated his audiences with tales of adventure and perseverance. With every telling he constructed and reconstructed the memories of his life. John Werner was a survivor. Born in the Soviet Union just after the Bolshevik Revolution, he was named Hans and grew up in a German speaking Mennonite community in Siberia. As a young man in Stalinist Russia, he became Ivan and fought as a Red Army soldier in the Second World War. Captured by Germans, he was resettled in occupied Poland where he became Johann, was naturalized and drafted into Hitler’s German army. There he served until captured and placed in an American POW camp. He was eventually released and then immigrated to Canada where he became John. The Constructed Mennonite is a unique account of a life shaped by Stalinism, Nazism, migration, famine, and war. It investigates the tenuous spaces where individual experiences inform and become public history; it studies the ways in which memory shapes identity, and reveals how context and audience shape autobiographical narratives.

    About Hans Werner
    Hans Werner teaches Mennonite Studies and Canadian History at the University of Winnipeg. He is also the author of Imagined Homes: Soviet German Immigrants in Two Cities. John Werner was his father.

    Hans will launch The Constructed Mennonite on Wednesday, May 1, at McNally Robinson Booksellers. The event starts at 7:30 pm.

  • Niigaanwewidam James Sinclair on Anishinaabeg storytelling

    By Niigaanwewidam James Sinclair  |   0 Comments

    Posted on
    April 10th 2013
    at 8:04am

    In Anishinaabe (Ojibway) tradition, an offering is a gift. It’s a gesture given in the hope of creating a relationship. Anishinaabeg gifts can take many forms, from asemaa (tobacco) to miijim (food) to zhooniyaa (money).

    In receiving a gift, you are committed to a short or long term tie with responsibilities. These could involve listening, sharing, or simply passing on a gift to another.

    In Anishinaabemowin, the word for a gift is bagijigan while the act of making an offering is bagijige. A more accurate translation is actually “to release” – to hand over the responsibility of carrying a gift to another.

    I remember when I received a beautiful bagijigan: my name. Niigaan means “leading” or “at the front.” A more direct translation is “future.” The second half wewidam – to make a long description embarrassingly short – means “a coming sound” (like a voice or word). One translation of Niigaanwewidam therefore is: “sound that comes before speech.” I’m still learning from this beautiful name.

    For thousands of years Anishinaabeg have given these kinds of offerings, in words from our beautiful language that together form stories and songs. These live through speech and breath that – among many things – honour the sacredness of the universe, illustrate dreams, and record history. Some carry such power they have even adopted English as a medium of expression.

    Anishinaabeg stories tell of the famous Naanaboozhoo or other spiritual, animal, and/or human beings. They are political tales, funny anecdotes, or philosophical and scientific articulations of the world. They are as brilliant as any composed in Europe, Asia, or anywhere else. Some of them, especially in how they embody the history and geography of Turtle Island (North America), are the best narratives of this place.

    Some Anishinaabeg narratives are “published” in books but much more exist in other textual forms like petroforms, rock paintings, books, tattoos, paintings, street art, and beadwork. Some exist on sand, earth mounds, and footprints on the earth. These expressions not only carry the knowledge of a unique people but represent gifts to all; opportunities to understand a rich and resilient culture and community.

    My latest book, Centering Anishinaabeg Studies: Understanding the World Through Stories is an offering that embodies and honours the spirit of gift giving in Anishinaabeg literatures. It features 24 contributors who propose that Anishinaabeg stories carry dynamic answers to questions posed within Indigenous communities, nations, and the world.

    I had the privilege of bringing this collection into being by working with these brilliant Anishinaabeg and non-Anishinaabeg scholars, storytellers, and activists. Their brave words draw upon the power of Anishinaabeg culture and community and illustrate how these offerings help us understand our world in a meaningful way.

    I invite you to partake in this gift, enjoy reading it, and, perhaps, pass on a few offerings of your own.

    Niigaanwewidam James Sinclair is the co-editor (with Jill Doerfler and Heidi Kiiwetinepinesiik Stark) of Centering Anishinaabeg Studies and the co-editor (with Warren Cariou) of the best-selling anthology Manitowapow: Aboriginal Writings from the Land of Water. He is an Assistant Professor at the University of Manitoba and a performer, writer, and father.

    About Centering Anishinaabeg Studies
    For the Anishinaabeg people, who span a vast geographic region from the Great Lakes to the Plains and beyond, stories are vessels of knowledge. They are bagijiganan, offerings of the possibilities within Anishinaabeg life. Existing along a broad narrative spectrum, from aadizookaanag (traditional or sacred narratives) to dibaajimowinan (histories and news)—as well as everything in between—storytelling is one of the central practices and methods of individual and community existence. Stories create and understand, survive and endure, revitalize and persist. They honor the past, recognize the present, and provide visions of the future. In remembering, (re)making, and (re)writing stories, Anishinaabeg storytellers have forged a well-traveled path of agency, resistance, and resurgence. Respecting this tradition, this groundbreaking anthology features twenty-four contributors who utilize creative and critical approaches to propose that this people’s stories carry dynamic answers to questions posed within Anishinaabeg communities, nations, and the world at large. Examining a range of stories and storytellers across time and space, each contributor explores how narratives form a cultural, political, and historical foundation for Anishinaabeg Studies. Written by Anishinaabeg and non-Anishinaabeg scholars, storytellers, and activists, these essays draw upon the power of cultural expression to illustrate active and ongoing senses of Anishinaabeg life. They are new and dynamic bagijiganan, revealing a viable and sustainable center for Anishinaabeg Studies, what it has been, what it is, what it can be.

  • Jennifer Reid on Having the Right Language

    By Jennifer Reid  |   0 Comments

    Posted on
    March 13th 2013
    at 8:11am

    The following is a conversation that took place on the radio show At the Edge of Canada: Indigenous Research between the host, Dr. Robert-Falcon Ouellette, and Dr. Jennifer Reid.

    First broadcast on April 17, 2012, the two talk about Reid’s book Louis Riel and the Creation of Modern Canada: Mythic Discourse in the Post-Colonial State. This interview was broadcast by the UMFM radio station and the podcast is hosted at www.attheedgeofcanada.blogspot.com. The interview was transcribed by Bryan Tordon and published in Vol 2.2 of Aboriginal Policy Studies.

    Robert: This book looks at the mythic significance that surrounds Louis Riel and explores the search for Canadian national identity. I was wondering if you could just talk a bit about the premise of the book.

    Jennifer: There are a few things going on simultaneously in the book. One of the basic things that I’m interested in is how, in a broader sense, the notion of the nation state doesn’t work very well with post-colonial states. It’s a European construction, and with a nation state you need to have broad geopolitical notions of identity that rest on traditional things like religion, language, or ethnicity. This is what makes a nation, but in post-colonial states we lack those traditional markers for community. We don’t have a single nation in any post-colonial state. That’s the nature of colonialism: it mishmashes everybody together. So I started thinking about how, maybe, identity in this context has to reflect disjunctures and tensions rather than commonalities. Immediately, my long-term interest in Riel just kind of congealed around that. I thought about the constructions of Riel by so many different communities, and the so many different Riels that are out there, and it occurred to me that perhaps he could be one of those linchpins for thinking about identity in terms of disjuncture and tension. So that’s what it came out of.

    Robert: Because you also write about the métissage and the creolization of the Canadian state.

    Jennifer: Yes, I think that the fundamental thing we have to come to terms with in the modern period is that post-colonial states, the Atlantic world—essentially Africa, North America, South America – these states are incredibly variegated in terms of culture and we already know that we have different ways of talking about that. The US has its melting pot, and we want a mosaic, but we’re all trying to find a way to—of talking about the fact that we don’t have that unity. I like the idea of métissage partly because we get the term from an actual group of people who have lived through these tensions and have created something absolutely new in the New World. And Métis peoples hearken to a process, not of struggling to maintain discreet Old World nationalities, but of creating something very new. I think that’s what we have; we just haven’t created a language to talk about that.

    Robert: You talk about how the Métis are between two worlds, and how the Royal Commission for Aboriginal Peoples, when they came up with the definition of the Métis people, defined them as a distinct Aboriginal people; this was in 1996, but they also specified that they were neither First Nations nor Status. You bring up the idea that historians have always tried to situate the Métis people as between savagery and civilization, which they’ve never actually been one or the other, they’ve always tried to be in the middle of something. You were pointing out how perhaps this was and are false premises for looking at the Métis people.

    Jennifer: Yes, I think in terms of Métis peoples, and more generally in terms of the New World peoples, the idea that you can use old categories for talking about new people is, first of all, frankly erroneous. Secondly, it clouds the reality of people in the situation. If you can find a an established category in which to place a group of people like the Métis you don’t have to confront the fact that they reflect something very, very new. There have to be new languages to talk about not only who they are, but who and what we are. There’s nothing necessarily wrong with remaining hyphenated people – English-Canadian, French-Canadian, Polish-Canadian, Italian-Canadian – but this can deflect our attention from the utter novelty of our situation, which is where its brilliance emerges. Métis peoples haven’t had the option off falling back on a hyphenated identity, and that fact tells us a lot about postcolonial culture.

    Robert: Well, Jennifer, could I just have your final thoughts on your book?

    Jennifer: I think what I tried to do was raise some questions that would pertain to Canada specifically, to North America and to the New World more broadly – questions that people will pick up on and expand on to think about how we can use the idea of métissage to talk more properly about the world we live in. I think that if you have the right words to talk about the world, you might start acting properly in the world. That’s the thing that we lack in the modern period. We hide behind discourses that sometimes don’t allow us to be able to be realistically in our situation and to fully deal with the issues that are confronting us. So that’s what I hoped the book would do, to make a small splash in terms of having people think about some of the issues and try to expand them.

    Aboriginal Policy Studies is an online, peer-reviewed and multidisciplinary journal that publishes original, scholarly, and policy-relevant research on issues relevant to Métis, non-status Indians and urban Aboriginal people in Canada. For more information, please contact them at apsjournal@ualberta.ca or visit their website.

  • Jess Koroscil on Stories in a New Skin

    By U of M Press  |   0 Comments

    Posted on
    December 10th 2012
    at 8:11am

    Jess Koroscil, of the Winnipeg-based Housefires Design & Illustration, is one of University of Manitoba Press’ freelance graphic designers.

    Most recently, she did interior design for Timothy Winegard’s For King and Kanata, Robin Jarvis Brownlie & Valerie J. Korinek’s collection Finding a Way to the Heart, and the cover for the Canadian edition of Anna J. Willow’s Strong Hearts, Native Lands: Anti-Clearcutting Activism at Grassy Narrows First Nation.

    For fall 2012, Jess was responsible for cover and interior design for Keavy Martin’s Stories in a New Skin: Approaches to Inuit Literature.

    Jess was kind enough to share a bit about her design process around the Stories in a New Skin cover:

    “When I was tasked with using an existing image to create the cover, I knew I had a challenge on my hands. The image, Shaman Revealed (2007) by Ningeokuluk Teevee, was fantastic. The colors were interesting and the concept worked so well with the book’s content.

    The challenging part was that this image, being so bold and visually compelling, didn’t really leave room for much more on the page. And still, I had these pieces of text that I needed to work in there. I didn’t want the title text to sit on top or apart from the image. I really wanted them to blend. So I started off by trying to make the title text look like it had been originally part of the image. I put it on top, I put it in a strange script font, I tried making a little box that it could go in.


    Nothing was working.

    The image really didn’t want any part of the text I was forcing upon it. I really had to sit back and take a moment to figure out how I could incorporate text within this beautiful image. I was literally leaning back in my chair searching for inspiration when my eyes fell onto a stack of antique books sitting on my office floor. That was it! The confident and straightforward styling on those old books! I was definitely onto something.

    In the end I went with a modern variation on the jacket of an antique book. The text is quiet as it sits at the top of the page, the image is bold and the two have a type of harmony.”

  • Anna Willow on the Boreal Forest

    By Anna J. Willow  |   0 Comments

    Posted on
    October 31st 2012
    at 8:14am

    I don’t know why I fell in love with the boreal forest.

    It may have something to do with the loons that keep me up at night or the songbirds and ravens that wake me at dawn. Or it may be the way the forest smells; a distinctive blend of poplar, pine, and rocky earth. I’m positive that the warmth and strength of the Anishinaabe people who have lived there since time immemorial—and who still fight for the right to protect the forest which sustains and shelters them—had something to do with it. Although I now live and work in the Midwestern United States, the boreal forest and its people are always on my mind and in my heart.

    As a child I spent as much time outdoors as I could. When I grew older and started paying attention to the wider world, I became determined to contribute to resolving the environmental problems we now collectively face. Understanding why people do what they do—why some of us dedicate our lives to protecting the environment while others seem not to care about the earth’s fate—is a lifelong project for me.

    The boreal forest has often been called “the lungs of the world.” It is a vast and vital ecosystem that mediates the effects of global climate change and sustains an incredible array of plant and animals life. For these reasons alone, it is worth preserving.

    But from Anishinaabe activists, I learned that protecting the earth isn’t just about setting aside wilderness areas and preserving far-off nature. I learned that the environment cannot be understood as separate from human livelihood, culture, and political empowerment. I learned that we, too, are part of the natural world.

    People rarely act in environmentally sustainable ways unless these kinds of connections—whether conscious or not—are there. And so, these days I keep a few goals close to me whenever I write:

    I hope readers will pause for a moment and consider how connections to the environment shape all of our lives, albeit in diverse ways.

    I hope they think about how they can make the world a better place.

    And I hope to inspire positive change, one sentence and one person at a time.

    About Strong Hearts, Native Lands
    In December 2002 members of the Grassy Narrows First Nation blocked a logging road to impede the movement of timber industry trucks and equipment within their traditional territory. The Grassy Narrows blockade went on to become the longest-standing protest of its type in Canadian history. The story of the blockade is a story of convergences. It takes place where cultural, political, and environmental dimensions of Indigenous activism intersect; where history combines with current challenges and future aspirations to inspire direct action.

    In Strong Hearts, Native Lands, Anna J. Willow demonstrates that Indigenous people’s decisions to take environmentally protective action cannot be understood apart from political or cultural concerns. By recounting how and why one Anishinaabe community was able to take a stand against the industrial logging that threatens their land-based subsistence and way of life, Willow offers a more complex “and more constructive” understanding of human-environment relationships.

    Grassy Narrows activists have long been part of a network composed of supporters that extends across North America and beyond. This book shows how the blockade realized those connections, making this community’s efforts a model and inspiration for other Indigenous groups, environmentalists, and social justice advocates.