This Place: 150 Years Retold
“As I was reading, I thought about the idea of an apocalypse, or the end of the world as we know it. Indigenous writers have pointed out that, as Indigenous people, we all live in a post-apocalyptic world. The world as we knew it ended the moment colonialism started to creep across these lands.” —Alicia Elliot
This Place: 150 Years Retold is a remarkable graphic compilation featuring eleven Indigenous writers and eight illustrators presenting Canadian history over the last 150 years from a myriad of perspectives, including Métis, Inuit, Dene, Cree, Anishinaabe, and Mi’kmaq, with a forward by author Alicia Elliott (Haudenosaunee). Several non-fiction stories are centered on historical incidents and people that, which, while not well-known outside of the families or tribes, have been passed down through generations and deserve to be more widely recognized. Others are fictitious accounts of great relevance to Indigenous society. Each of the stories are headed by timelines to place them in historical context, have an introduction by the creators, and follows a straightforward time continuum ending with the hard-hitting, bleak, and futuristic tale exploring the contemporary dangers of climate change, racism, and injustice. In “kitaskînaw 2350,” by Chelsea Vowel and Tara Audibert, their protagonist Wâpanacâhkos, a fifteen-year old Cree woman, is sent back three centuries to learn what happened to the people in our contemporary era.
The anthology opens with “Annie of Red River” by Katherena Vermette and Scott B. Henderson. Annie Bannatyne, a Métis woman from Red River (which is now Winnipeg, MB) in 1868, undertakes a dramatic and painful lesson for a journalist who insulted Métis women in the newspapers. Bold colors accentuate the strong facial and non-verbal gestures that illuminate the story of this proud and effective crusader. “Tilted Ground” by Sonny Assu, Kyle Charles and Scott A. Ford illuminates a time when the celebrations, language, and other elements of the Indigenous culture was deemed illegal by the federal government. When William “Billy” Assu became chief of the village of Wiw?qaýi he worked alongside and cooperated with the oppressors but, at the same time, secretly hosted the banned ceremonies for the community. His story and regalia are held at the Museum of Man in Ottawa. Illustrated in bright prime colors, the story vividly celebrates the wisdom, passion and fortitude of Billy. Jen Storm’s “Red Clouds,” is an account of the windigo, told through a woman’s perspective, a victim of the windigo, based on historical and oral records of the shaman Jack Fiddler and Wahsakapeequay herself. “There are stories that tell of red clouds appearing over an approaching windigo, as a warning or omen” (54). Natasha Donovan’s earthy visuals flow through the telling of the story of the evil windigo and the encroaching changes made upon the First Nations of Northern Ontario by the federal laws enforced by the RCMP (Royal Canadian Mounted Police). Donovan efficaciously illustrates the next entry as well. “Peggy,” written by David A. Robertson, is the story of a sniper in WWI. Francis “Peggy” Pegahmagabow was one of only thirty-eight Canadians to receive a military medal with two bars. His heroism at the front was not originally appreciated once he returned to Canada but with perseverance, he became a well-respected chief in 1921 and continued the ongoing battle against racism and discrimination. Natasha Donovan is also responsible for the striking and highly relevant cover of the anthology.
“Rosie,” by Rachel and Sean Qitsualik-Tinsley, introduces the reader to the feud between the Inuit and the Canadian government’s tyrannical measures in the early twentieth century. It is also an introduction to a broader understanding of Inuit shamanism. The cool tones of the blues and greens are effectively punctuated by splashes of vivid reds. “Nimkii,” by Kateri Akiwenzie-Damm, Ryan Howe, and Jen Storm, explores the ongoing devastation evoked by the Sixties Scoop of the late 1950s and 1960s. “As residential schools close, thousands of Indigenous children are removed from their families and placed in non-Indigenous foster or adoption homes. Many children are placed outside of Canada” (138). This tale, told through dark and bold illustrations peppered with softer child-like drawings, celebrates the strong bonds between Nimkii, a mother, and her son. Richard Van Camp and Scott B. Henderson’s “Like a Razor Slash” moves the timeline into the 1970s and the environmental battles between Dene Chief Frank T’Seleie and the Canadian government eventually defeating the government plan to build a pipeline from the Beaufort Sea to Alberta. The evocative illustrations and color scheme reflect our contemporary situation in Alberta. Richard Van Camp quotes David J. Parker’s “Submission to the Joint Review Panel investigating the proposed McKenzie Valley Pipeline” in the preface to the story to put his title in context. “Some dismissed the impact of a pipeline, saying it would be like a thread stretched across a football field. Those close to the land said the impact would be more like a razor slash across the Mona Lisa” (168). Brandon Mitchell’s and Tara Audibert’s “Migwite’tmeg: We Remember It” relates another example of governmental interference and sanctions on First Nations in the story of the 1980s salmon raids in Mi’gmaq territory. Bold neon-like colors and stark backgrounds highlight the community and the conflict effectively and with precision. In “Warrior Nation” by Niigaanwewidam James Sinclair and Andrew Lodwick, Raven, a residential school survivor, and her son Washashk travel across the country to join the stand off against the RCMP in the Quebec community of Kanehsatà:ke. The Oka conflict is possibly one of the most familiar of the clashes for sovereignty and Indigenous rights within Canada and beyond our borders and this story furthers the understanding of the components and people involved in the conflicts.
This is truly a compelling collection of stories revealing the power of storytelling both visually and textually in offering a window to understanding Indigenous history in the last 150 years as told by Indigenous people. For those who wish to investigate further, there are several pages of end notes to the well-researched stories as well as several pages of recommended readings in the “Select Bibliography”. Highly recommended for those interested in Canadian history, Indigenous rights and enduring racial tensions on both sides of the border. Highly recommended for North American high schools, public, and academic libraries.
This Place: 150 Years Retold
By Alicia Elliott
Art by Natasha Donovan
Highwater Press, 2019
Publisher Age Rating: 15+
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Character Traits: Métis, Inuit, Dene, Cree, Anishinaabe, Mi’kmaq
Creator Highlights: Own Voices, Haudenosaunee Creator, Métis Creator