The first three chapters of The Inconvenient Indian, are an
intense and intriguing read. In the first chapter, emphatically
titled Forget Columbus, chooses to not start telling the
history of Indigenous peoples with the arrival of Columbus. Columbus
is mentioned, but the chapter focuses on what is not written in
history texts, and how history texts came about and are viewed. North
American history wants people to remember the hindrances Native
people posed to Europeans. Even when contributions made by Indigenous
people is brought up, they are not typically recognized nor
appreciated. Furthermore, most of Indigenous history is forgotten,
and what we are left with is a collection of artifacts for our
entertainment. King showcases several examples of this: the Battle of
Little Bighorn (1876), where Custer was re-imagined as heroic and
brave, when we are unsure of the actual events; another; Pocahontas,
with the White hero and dusky maiden narrative; the Almo, Idaho
massacre, which never occured.
In chapter two, The End of the Trail, King showcases how
Indigenous people are depicted by Hollywood. Kind writes how Native
people were made for film, as they were erotic and exotic, and it was
simple to collect images to place together into cliches. Three types
of Natives was created by Hollywood: bloodthirsty savage, noble
savage, and dying savage. Non of these portrayals were a threat, as
the White heroes always won and the Natives eventually and
reluctantly accepted Christianity and commerce. Natives were also
portrayed as if they would not survive in a modern world. There are
two Natives on the Hollywood Walk of Fame: Will Rogers and Jay
Silverheels. Rogers never played an Indigenous character, while
Silverheels only played Indigenous characters. Tomson Highway argued
that Native roles should not be given to Native actors, as it
“silences Native drama and starves Native playwrights”. King
appears to satirically argue against this notion, providing an
example where he played a Mexican in a Christmas commercial, and the
Mexican actor played a Native, making up a term for “Merry
Christmas”.
Chapter 3, Too Heavy to Lift, showcases “dead Indians”,
“live Indians”, and “legal Indians”. “Dead Indians” are
used as marketing devices – for sports teams, businesses, retreats,
cleaning products, and so forth. For the most part, Native people do
not buy any of that stuff, but then again, those products are not
marketed for them, it's marketed towards a mostly White audience, who
are okay with “dead Indians”. Kind writes how “dead Indians”
are authentic – are seen as dignified, noble, silent, suitably
dressed, and dead, whereas “live Indians” are invisible, unruly,
disappointing, and alive. “Legal Indians” are Natives with legal
rights as a result of treaties – the group that is most hated by
North Americans, due to misunderstandings and stereotypes.
The Absolutely True Diary of a Part-Time Indian
is a fictional story about Arnold Jr., who leaves the reservation he
was born on for a better life. Arnold goes through many trials and
tribulations, is seen as a traitor by his community, his relationship
with his best friend is strained, but survives and is stronger as a
result.
While reading The
Inconvenient Indian, I almost
stopped reading in the second chapter. Tomson Highway's perspective
on how anyone can and has the right to play a Native person in
Hollywood made me quite frustrated. As I forced my self to read on –
to see where King was heading with this notion – I realized King
was deconstructing this notion. Redface, Blackface, Brownface,
whatever it is, having a person of another race/ethnicity play the
part of a group he/she is not part of takes away from the
authenticity of the story. This is what King was trying to make the
reader realize. What we view while watching Hollywood movies is not
factual, it is a myth, a creation made for our entertainment.
However, having Natives play roles of Native characters creates
employment and promotes the Native community as well. Perhaps more
Native children will turn towards acting, dancing, singing, hoping to
have their voices heard by mainstream society.
This is where Aboriginal literature
comes in – it gives Indigenous people a venue to tell their own
story, in their own way. It allows Native people to show the world
that they are just like most other people in the world – having
ambitions, emotions, fears, and needs. They are no longer seen as the
Other, “dead Indian”, “legal Indian”, stereotypes. Questions do arise though when
examining this narrative: can a Native only 'succeed' by leaving
their reservation, turning their back on their community?
Reference:
King, T. (2012). The Inconvenient Indian: A curious account of
Native people in North America. Toronto: Anchor Canada.
Alexie, S. (2007). The Absolutely True Diary of a Part-Time
Indian. New York: Little, Brown & Co.
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