Drew Hayden Taylor: Take Us To Your Chief
Nov. 10th, 2018 06:44 amTake Us to Your Chief is a collection of science fiction short stories by Ojibwe novelist and playwright Drew Hayden Taylor. While I don’t see any reason why the thought of an indigenous writer working in the science fiction genre should raise any eyebrows, Taylor felt his choice deserved some explanation, because he says in his Introduction: “Part of my journey in this life both as a First Nations individual and as a writer is to expand the boundaries of what is considered Native literature. I have always believed that literature should reflect all the different aspects and facets of life. There is more to the Indigenous existence than negative social issues and victim narratives. Thomas King has a collection of Aboriginal murder mysteries. Kateri Akiwenzie-Damm has published an assortment of Indigenous erotica, and Daniel Heath Justice has written a trilogy of adventure novels featuring elves and other fantastic characters. Out of sheer interest and a growing sense of excitement, I wanted to go where no other (well, very few) Native writers had gone before. Collectively, we have such broad experiences and diverse interests. Let’s explore that in our literature. Driving home my point, we have many fabulous and incredibly talented writers in our community, but some critics might argue our literary perspective is a little too predictable—of a certain limited perspective. For example, a lot of Indigenous novels and plays tend to walk a narrow path specifically restricted to stories of bygone days. Or angry/dysfunctional aspects of contemporary First Nations life. Or the hangover problems resulting from centuries of colonization. All worthwhile and necessary reflections of Aboriginal life for sure. But I wonder why it can’t be more?”
Whether these story push the envelop of Indigenous writing is not for me to say. What I will say is that I’m very happy Taylor decided to write them, because they are good reading, and provide a different, and welcome, perspective to the sometimes unbearable whiteness of science fiction.
These stories run the gamut of moods, from uplifting to terrifying, as science fiction does. In “A Culturally Inappropriate Apocalypse,” a community radio station on a Kanienké’hà:ka reserve plays a found-by-chance collection of recordings of traditional songs, some so old no one remembers what their purpose was - such as the strange and eerie “Calling Song,” which calls something that was best left forgotten. In “I Am” an artificial intelligence comes to identify with indigenous peoples around the world - and their fates at the hands of white colonialists. In “Dreams of Doom,” a young Ojibway reporter accidentally stumbles on a government plot far worse than assimilation or title extinction. “Petropaths” is a fascinating cautionary tale about exploring powers you do not understand. “Superdisillusioned” tells the story of an Ojibway man mutated by the environmental conditions in his home on the reserve.
But not all is sorrow and loss, although the theme of the traumas of Indigenous people are woven into all of these stories to some degree - as indeed they are inevitably a part of Indigenous life. In “Lost in Space” a part Anishinaabe astronaut finds a way to reconnect with his people despite his being far from Turtle Island. “Mr. Gizmo” addresses the epidemic of suicides among Indigenous youth with a miraculous - and incongruous - spirit intervention. “Stars” links a chain of young men who have looked up at the skies in wonder. In “Take Us to Your Chief,” aliens land on a reserve, only to meet three older men who are known for doing little other than sitting in the porch and enjoying beer in the sunlight - but the encounter works out surprisingly well.
Many of these stories are set in the fictional Ojibway community of Otter Lake, where Taylor has set many of his works of varied genres. For those familiar with his other writings, that will give these stories an extra sense of coming back to someplace familiar, yet altered by the subject matter. I heartily recommend this collection - it’s good science fiction with a strong and much needed injection of Indigenous experience.
Whether these story push the envelop of Indigenous writing is not for me to say. What I will say is that I’m very happy Taylor decided to write them, because they are good reading, and provide a different, and welcome, perspective to the sometimes unbearable whiteness of science fiction.
These stories run the gamut of moods, from uplifting to terrifying, as science fiction does. In “A Culturally Inappropriate Apocalypse,” a community radio station on a Kanienké’hà:ka reserve plays a found-by-chance collection of recordings of traditional songs, some so old no one remembers what their purpose was - such as the strange and eerie “Calling Song,” which calls something that was best left forgotten. In “I Am” an artificial intelligence comes to identify with indigenous peoples around the world - and their fates at the hands of white colonialists. In “Dreams of Doom,” a young Ojibway reporter accidentally stumbles on a government plot far worse than assimilation or title extinction. “Petropaths” is a fascinating cautionary tale about exploring powers you do not understand. “Superdisillusioned” tells the story of an Ojibway man mutated by the environmental conditions in his home on the reserve.
But not all is sorrow and loss, although the theme of the traumas of Indigenous people are woven into all of these stories to some degree - as indeed they are inevitably a part of Indigenous life. In “Lost in Space” a part Anishinaabe astronaut finds a way to reconnect with his people despite his being far from Turtle Island. “Mr. Gizmo” addresses the epidemic of suicides among Indigenous youth with a miraculous - and incongruous - spirit intervention. “Stars” links a chain of young men who have looked up at the skies in wonder. In “Take Us to Your Chief,” aliens land on a reserve, only to meet three older men who are known for doing little other than sitting in the porch and enjoying beer in the sunlight - but the encounter works out surprisingly well.
Many of these stories are set in the fictional Ojibway community of Otter Lake, where Taylor has set many of his works of varied genres. For those familiar with his other writings, that will give these stories an extra sense of coming back to someplace familiar, yet altered by the subject matter. I heartily recommend this collection - it’s good science fiction with a strong and much needed injection of Indigenous experience.