Janise Acoose: Stereotypes Of Indigenous Women In Canadian Literature

Janise Acoose’s roots stem from the Sakimay Indian Reserve and the Marival Metis Community. She is a writer, researchers, consultant, and associate professor. She resides in Saskatchewan and lectures at the Saskatchewan Indian Federated College.
Acoose writes a very powerful and impressive book, she deconstructs stereotypical images of Indigenous women in popular Canadian? literature, exposing the underlying racism and sexism. Exposing “literature”as an institution of a Euro-Canadian nation shaped by white, Christian patriarchy, Acoose calls attention to its projections of Indigenous women as Indian princesses, easy squaws, suffering helpless victims and tawny temptresses. She clearly and concisely demonstrates …..With clarity and depth, Acoose

traces the bias of literature imprisoning Indigiounes women in images born of racism and sexism. From Margaret Lawrence to William Patrick Kinsella, she interrogates the words that hurt, challenging liberalism, upending complacency and leaving the prison doors gaping. Iskweak…is a strong addition to literary and cultural criticism and an important resource for teachers and students alike. Her book grew out of her Ph.D. work, an obvious labour of love.
Janice Acoose writes a very powerful and brilliant book that deconstructs stereotypical images of Indigenous women in Canadian literature. She writes about her journey to reclaiming herself, what are the origins of these negative images of Indigenous women being binary: good or bad, either the Indian princess or the easy squaw. She helps the reader to understand and challenge the images that have been and are still being used today in both historical and literary books.
Acoose argues that going back into history we can see exactly where the Indian princess and easy squaw images came to be. It goes back to Amerigo Vespucci writings in his book >>>>> ______, he describes Indigenous women as” ??? Then in?? Columbus writes about Indigenous women as “naked”…. He is attracted to \indigenous women, who he describes as “beautiful and clean” When he cannot control his desires he then places blame on the \indigenous women, and this is where the easy squaw images originate from. We also see painted images of art that depict Indigenous women as royalty or easy squaws. Acoose takes you on her personal and empowering journey of reclaiming herself as an Indigenous woman. In a dream her two grandmothers appear and tell her to go back home to visits her home communities. When she is back home
Acoose takes a look at the stereotypes of Indigenous women presented in some popular literature. In a strongly opinionated book, she passionately argues against any stereotypes of Indigenous women.

As an Indigenous woman, I find these images to be very degrading. With these images of Indigenous women continue to be presented in the media, books, and in our institutions, it is no surprise that we have a serious issue with Murder and Missing Indigenous Women in Canada. We are portrayed as easy prey and
The scholarly book examines the stereotypes and misrepresentations of Indigenous women in Canadian literature.

These images are often unrealistic and promote racism and prejudice. Acoose outlines the dangers that exist when non-Indigenous writers write about Indigenous characters. She exposes the works of literature that treat Indigenous women in a derogatory way and the effect it may have on the reader. She offers a powerful antidote to the influence of negative literary images in shaping collective thought. “In analyzing the stereotypes of Indigenous women embedded in Canadian literature, mapping out the resistance led by Maria Campbell, and exploring the writings of new Indigenous writers, Acoose offers a powerful antidote to the influence of negative literary images in shaping public policy. Her book deserves a place on the ‘must read’ list of both literary readers and policy

makers.”
The book is intended to bring awareness… to
Dominant culture
Acknowledgements : Acoose dedicates her book to “Helen Betty Osborne; Eva Taysup, Shelley Napope, Calinda Waterhen, Janet Sylvestre, and all the other Indigenous women who have been victimized by oppression and violence.” She explains how the book was both joyously liberating and deeply painful. Writing the book helped her to
The book is divided into six chapters, that explore.
Introduction:
Out of respect for her Nehiowe-Metis and Ninahkawe traditions, she writes about her relations before other things.

She introduces who she is in regards to her relationships to both sides of her family. It gives the reader insight and an understanding of who she is and how they all influenced her life. She writes about how the Indian residential school intrudes on her family by imposing “four generations of Christian patriarchal practices, at the Indian residential schools, in the community by the priests and Indian agent, and subsequently, Department of Indian Affairs bureaucrats.” She writes about the ideological influences of Canada, as “white-Canadian-Christian patriarchy, settlers’ ideology, foundational ideology, throughout this text, have long been a source of ideological confusion, economic oppression, social disparity, political confusion within my family, community, and nations.” “By naming and recognizing the coercive and oppressive roots of the patriarchal institutions, I have my family, my relations. Speaking about issues pertaining to Indigenous women in Canada stems from my knowledge of and connection to all my

relations.”
Acoose states the her inspiration for this book came to enlighten non-Indigenous people about Indigenous women, “our history and strength, as well as our beauty and our survival.” Acoose states that the women in her family never fit into any of the “white stereotypes of Indigenous women.” She credits “extremely powerful, resourceful, and dynamic women who vitally contributed to the survival of my family, communities, and nations, they, and Iskwewak: Kah Ki Yaw Ni Wahkomakanak, have been the spark that has ignited my spiritual flame.” She writes about how the knowledge and understanding ways of my ancestors is contradicted by the Euro-Canadian patriarchy that labels people of mixed ancestor as “Cree-Halfbreeds rather than Nehiowe-Metis and. P.12.?
Four generations of her family genocide assimilative programs.
I like that she deconstructs by using lower case letters.
She credits the influence of powerful Indigenous writers such as Maria Campbell, who wrote her autobiographically-based Halfbreed, which inspired many Indigenous women to reclaim their …???

Chapter One. Acoose reflects her experience with Euro-Canadian patriarchy. She clearly writes about the position that she writes from.

Chapter Two: works at deconstructing stereotypical images of Indigenous women. It explores the relationship between literature and society; analyses the power of image; and discusses some of the popular images of “Indian, halfbreed, and Native” women that appeared in Canadian literature prior to the publication of Maria Campbell’s Halfbreed.

Chapter Three: “maintains that I Euro-Canadian literature Indigenous women are imprisoned in stereotypical images, which perpetuate racism and sexism and foster cultural attitudes that encourages violence against Indigenous women.” It also argues that those stereotypical images function within the Euro Canadian state as elements of an ideological apparatus that disempowers Indigenous women.