Contemporary Decolonial TemporalitiesGenerational and Transcontinental Kinship in Janet Campbell Hale’s Women on the Run and Jeannette Armstrong’s Whispering in Shadows Dominique Aurilla Vargas (bio) I was with those people, was part of them. I felt the presence of my grandmother there as though two parts of her met each other that day: the ghost of the girl she was in 1877 (and that part of her will remain forever in this place) and the part of her that lives on in me, in inherited memories of her, in my blood and in my spirit. —Janet Campbell Hale, Bloodlines: Odyssey of a Native Daughter In the mid 1980s, Okanagan Syilx writer Jeannette Armstrong met with Métis architect Douglas Cardinal to discuss development of the En’owkin Centre, an Okanagan cultural and arts institution. Their conversation grew into a longer collaborative discourse through which they came to define art as an expression of a particular Indigenous philosophy where a collective human past and consciousness are preserved through the creative work of the individual. Armstrong defines these “creative acts” as “continuance links” where consciousness and “knowledge continues unfolding from one generation to the next” (Native Creative Process 82). The individual, in dynamic relation with the collective but not subsumed by it, is both receiver and creator. Armstrong explains that in the Okanagan framework, total humanity must couple “the experience of synchronizing . . . all-time and all things” with the maintenance of creative individual abilities (86). This imperative takes place across generations and beyond the boundaries of linear time. Within this account, intergenerational knowledge actively disrupts settler-colonial time. Beyond shaping ordinary perception, this is a dynamic experience of what Mark Rifkin calls being-in-time, which refuses settler norms of present and historicity (Settler Time 26). The [End Page 76] ability to move among past, present, and future through ancestral consciousness marks a transtemporal, and thus, a decolonial process. Transtemporality challenges the taken-for-grantedness of epistemic concepts like rationality, individuality, and linearity, providing a background for many of the creative acts Armstrong describes in her conversation with Cardinal, including art, literature, ceremony, and history (Native Creative Process 82). These forms are further linked through the “orality conscious language schema” of the Okanagan language Nsyilxcen (Armstrong, Constructing Indigeneity 23). Much of Pre-Columbian Nsyilxcen, like many other Indigenous languages, was nearly extinguished by residential schools through “severe, intimidating, and . . . life threatening” English-only policies. However, these conditions did not indicate a total devaluation of “ancestral language proficiency” (Leap 158). In fact, Armstrong claims that Nsyilxcen and other languages were partially preserved through orality, storytelling, and “certain kinds of sounds, rhythms, that permeate, and that have their roots in, the original language.” In this way, language and storytelling carry unfolding knowledge from generation to generation, even in written and spoken English (Isernhagen 171). I suggest that this must be understood as a translinguistic, transtemporal continuance link. Building on Armstrong’s account of “Indigenous construction of meanings accumulated as knowledge through [a] millennium of judicious human interaction with one place” (Constructing Indigeneity 38), I read Armstrong’s novel Whispering in Shadows (2000) and Janet Campbell Hale’s (Coeur d’Alene) short story collection Women on the Run (1999) as creative acts, which practice discursive decolonial temporality through relationality, movement, and untranslated Nsyilxcen and Snchitsu’umshtsn kinship terms, specifically “Tupa” and “Tupiya.” Though these narrative and linguistic characteristics do not necessarily constitute a refusal to translate, Hale and Armstrong are engaging in an explicitly non-Western discourse. Settler discourses understand humanity only through a single spatial-temporal framework with no accommodation of worldviews beyond itself. By contrast, Hale and Armstrong provide an aesthetic and ethical refusal of colonial representation and certainty. Countering the temporal schemas of settler-colonialism and neoliberalism in the contemporary, these texts forge decolonial temporality through kinship and language. [End Page 77] Grouped together by geography and cognate similarities, Snchitsu’umshtsn and Nsyilxcen are part of the Southern Interior Salishan language family (Doak and Mattina 334). Colville Okanagan (Nsyilxcen) uses the appellative (address term) “t’aʔtúpaʔ” with the hypocoristic appellative (diminutive address term) “túpa” for great-grandparent/child (Mattina and Jack 119). Similarly, the Coeur d’Alene...
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