Reviewed by: Unreconciled: Family, Truth, and Indigenous Resistance by Jesse Wente Stacie Charbonneau Hess Jesse Wente. Unreconciled: Family, Truth, and Indigenous Resistance. Canada: Penguin Random House, 2021. 198 pp. Hardcover, $29.95 CAN / $22.95 US. Jesse Wente believes in a good story. He has built his career around story-telling: first, as a film student, then a radio columnist, a film critic, and now holding one of the most influential positions in Canada—Director of the Indigenous Screen Office—which was established in 2018. If Wente believes in a good story, he believes even more in "narrative sovereignty," defined by him as "the idea that people, communities, and nations should control their own stories and the tools used in that storytelling" (168). In the context of his memoir, Unreconciled, he is referring to the narrative sovereignty of First Nations, Métis, and Inuit communities, those peoples whose presence preceded the invention of Canada by thousands of years. When Indigenous stories are told by another group—say, the powerful film industry moguls in Hollywood, or the white editor of a popular magazine—that's cultural appropriation. Cultural appropriation is the very topic for which Wente became a household name in Canada in 2017, after he cried on live television. Although there are many emotionally charged passages in Wente's memoir, two scenes might become painfully engraved in the readers' minds. The first is ten-year-old Jesse playing softball on his home turf in Toronto, when a crowd of neighborhood kids taunt him with a war whoop. Wente recognizes the sound—not as one he has ever made, or heard, in real life—but as one from Saturday morning cartoons. That war whoop is Wente's first experience with blatant racism, and shapes his ideas about Hollywood (mis)representation. In another blistering scene, Wente breaks down and sobs in emotional exhaustion on a live morning talk show—some three decades later. His exhaustion reaches its peak after a public battle over a now-legendary 2017 issue of Write magazine that featured all indigenous authors, authors whose names [End Page 260] would be obscured by the ensuing drama over cultural appropriation. Wente's exhaustion is with the white-centeredness of everything in Canada—even an issue that is supposed to celebrate indigenous writers. He is careful to name each of those writers in a chapter called "The Power to Tell Our Own Stories." Throughout the book, Wente's frustration is palpable, and Unreconciled reads as a manifesto to his educated, well-thought-out torment as a person still processing trauma as he presses on in the face of it. Wente is American and Anishinaabe, a member of the Serpent River First Nation. His grandmother Norma, to whom this book is dedicated, was a student in Spanish for ten years at a residential school. Despite living with Jesse for his entire adolescence, she spoke of it only once. Two generations separated from both the Reserve and the Ojibwe language, Wente laments that his upwardly mobile, English-speaking family is "the exact type of Indians residential schools were designed to produce" (17). In this way, Wente's story is a familiar one. He calls the "damage wrought by residential schools" his family's "unwanted inheritance" (75). Wente's parents are executives and he attended private high school. One chapter is even named: "Ojibwe Enough." Yet, the memoir does more than admit to the complication of straddling two identities; Wente's stories interweave personal tribulations in the context of the changing political landscape of Canada. The final report of the Truth and Reconciliation Commission was issued in 2015, seven years and six thousand interviews after it began. Whether the country has lived up to its intention to recreate a more equitable Canada is, according to Wente, not even a matter for debate. Despite the fact that Canada is years ahead of the United States in terms of reckoning with its genocidal past, Wente insists the wound colonialism has caused is still wide open, and not even healing. Unreconciled can be at times jarring and uncomfortable—but maybe that is the point. A nation can't get to the Reconciliation part without wading in the...
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Sep 1, 2022
Esther Op De Beek 
Open Access
