68 pages • 2 hours read
Content Warning: This section discusses anti-Indigenous and anti-Black racism.
Interspersed through the novel are periodic dream allegories, or “cultural dreams,” as Shense calls them. An allegory is “a story that has a hidden moral or political message” (“Allegory.” SuperSummary); a dream allegory is an “allegorical tale presented in the narrative framework of a dream” (“dream allegory.” Encyclopedia Britannica). After Perry meets Warrior Girl, Warrior Girl starts appearing in her dreams. These dreams usually emphasize the similarities between Perry and Warrior Girl.
These allegories that parallel Perry and Warrior Girl have two meanings. First, they demonstrate the connection Perry feels to her ancestors. By the end of the novel, she realizes that she must enjoy her life because “Warrior Girl was willing to sacrifice herself for her community” (387) so that her descendants could live freely. Perry always carries the knowledge of this sacrifice with her. She recognizes the debt she owes to her ancestors for surviving so that she could live. Second, Web refers to Perry as “Ogichidaakwezans,” which means “Warrior Girl.” Not only does Perry carry the hopes and dreams and the memory of Warrior Girl with her, but she becomes a warrior girl herself. In these ways, the dream allegories about Warrior Girl reveal a message about Perry’s identity. Even though she’s appalled when she later discovers Web’s deception, she isn’t upset at his having referred to her as “Ogichidaakwezans” because she feels that she is indeed a warrior girl.
A reference “to an object or subject that exists outside the text” is an allusion (“Allusion.” SuperSummary). Perry feels distress at how certain forces of systemic racism affect both her Anishinaabe and Black ancestry, as is reflected in the allusions to the FBI raid of an illegal collection of Indigenous remains and the police’s murder of Eric Garner and Michael Brown; all three happened in 2014, when the novel is set.
After Perry sees her ancestors in Lockhart’s silo, Pauline asks why she doesn’t call the media or police. Perry says, “‘The FBI is in Indiana right now […] There’s a private collector who sounds a lot like Frank Lockhart” (227). Perry is referencing the FBI raid on Donald Miller. A TIME article that Perry tells Pauline about describes Miller’s collection of thousands of cultural items and remains of “immeasurable” cultural value (Rayman, Noah. “FBI Raids Home of Real Life Indiana Jones.” TIME, 2014).
The second two allusions are to the murders of Eric Garner and Michael Brown. In Chapter 22, “Saturday, July 19th,” Perry hears “about a Black man who died ‘at the hands of a police officer’” (231). Garner’s death, which was ruled a homicide, occurred on July 17, 2014, and it “served as a renewed catalyst for the national movement against police brutality” (Carrega, Christina. “5 years after Eric Garner‘s death, a look back at the case and the movement it sparked.” ABC News, 2019). Although Boulley doesn’t name Garner, the fact that Perry watches the news two days after his death, and sees “so many different people marching and shouting and crying, people who are angry and sick and tired of this happening again and again and again” (231), makes the reference clear.
In Chapter 32, “Sunday, August 10th,” Perry sees the news of another Black person “shot and killed by a police officer. This time it was a much younger man, barely an adult” (312). This allusion is to Michael Brown, “an unarmed Black teenager” who died after a police officer shot him six times on August 9, 2014 (“This Day in History: Michael Brown is killed by a police officer in Ferguson, Missouri.” History). Brown was only 18, just entering adulthood, as Perry notes.
Together, these three allusions show that the issues Perry is dealing with are devastating but not isolated. Perry notes how “both my Native and Black ancestors were treated unjustly. Denied Justice” (312). They’re happening in Perry’s Sugar Island community but are also happening around the world to other Indigenous communities and to Black people who face discrimination and racial profiling.
Code-meshing involves “combining two or more dialects and/or language systems when speaking or writing” (Young, Vershawn Ashanti. Other People‘s English: Code-meshing, Code-switching, and African American Literacy. Teachers College Press, 2014, pp. 87). Code-meshing is a style of communication but, like the related phenomenon code-switching, functions as a literary device when purposefully employed in a literary context.
In Warrior Girl Unearthed, characters use a mix of English, Ojibwemowin, and a “rez accent.” They flow freely between these three as they speak to one another. When Perry is talking to Granny June and Minnie, she says, “Granny June, repeat after me. No alcohol,” and Granny June replies, “No giishkwebii” (332). She confirms Perry’s request in Ojibwemowin, showing how they flow between languages in a single conversation.
Many people in her community can’t speak Ojibwemowin with the fluency Perry does. Often, they will code-mesh with single, simple words. Even characters who can’t speak fluently say “miigwech,” meaning “thank you.” Perry and Shense call each other “niijiikwe,” a term that means “girlfriend” between female friends. Perry and other community members slip into their “rez accent” while talking to one another; the novel’s use of spelling to convey dialect is subtle and authentic, usually evident in the use of “dem” for “them” or “yous” for “you all.”
A setting is where and when a story takes place. Warrior Girl Unearthed takes place in 2014, around Sugar Island, originally called “Ziisiibaaka Minising.” The novel is set almost 25 years after NAGPRA was passed, and not even half the Indigenous items belonging to public institutions have been repatriated. The fact that the book’s temporal setting is so far after NAGPRA was passed contributes to Perry’s frustration over the often purposefully slow and arduous process of repatriation.
The geographical location is equally important. When Perry talks to Leer-wah while trapped in the hole, she says, “I am every good thing about Ziisiibaaka Minising” (368), using the Ojibwemowin name for Sugar Island. She continues:
I grew up drinking her spring water. I took my first steps on her back. I run and play and hunt and fish within her. I live in a home filled with love and Anishinaabe minobimaadiziwin. I speak the same language as my grandmother’s grandmother (368).
To Perry, the setting of Ziisiibaaka Minising is personified as a living entity that connects her to her ancestors and facilitates all their other cultural practices, like language, sustenance, and community.
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