The Teaching Rocks
A review of Drew Hayden Taylor’s “Petropaths” in Take Us To Your Chief (Douglas &McIntyre, 2016)
By Derek Newman-Stille
Drew Hayden Taylor’s “Petropaths” is a tale of the ongoing nature of colonial violence, centred on the exploration of the way that this continued assault has created a generation of indigenous youth who are, as he suggests “stuck between the past and the future”. He points out a need for youth to connect to their past and to create a future, something that colonialism has sought to deny indigenous peoples by erasing the past and presenting imagery of a white future. It is significant that Hayden Taylor uses science fiction as a genre of critique when exploring the issue of most science fictional texts presenting a very white future that portrays an absence of indigenous people. Hayden Taylor uses science fiction and a time-travel narrative to explore the idea of temporal uncertainty, but also calls attention to the problematic way that indigenous people are portrayed in most time travel narratives.
Hayden Taylor centralizes elders in “Petropaths”, pointing out their role in providing educational opportunities for youth that ground them in the ongoing practice of engaging with teachings. The narrator, an elder, explains to his grandson along with the other elders that “he need to know who he was, where he came from and what his path was”. Elders in this tale are situated not only as guardians of the past (as they are in many narratives that feature ageing), but also as guides to the future, having a role that subtends time.
“Petropaths” is a tale about petroglyphs, sacred carvings in rock, and Hayden Taylor situates these rocks as a text that extends through time, connecting the person exploring the texts to the past when they were created, to their presence now, and to the future they will survive into. Hayden Taylor is from Curve Lake First Nation whose territory extends to the petroglyphs frequently called the “Peterborough Petroglyphs”, and often acknowledged as “The Teaching Rocks” by Anishnaabe people. Teaching is central to this tale and the relationship between Hayden Taylor himself and “the teaching rocks” underscores the role of the petroglyphs in his story as storytellers and teachers themselves.
Hayden Taylor illustrates the role of conversation that the petrogyphs represent in his tale when he says “It took me a while to understand these were musings and dreams of our ancestors, the thoughts and history of our people carved into Mother Earth for us to see.” These are not static background images in his tale, but, rather, are centred and engaged in a conversation with the characters. He describes these stones as teaching “a lot more than one of those degrees at university”. These stones are not static, rather they “tell their own story their own way… like a whisper in the wind…. Like it was the Earth telling us a story… or, more accurately… like it was a song waiting to be sung”. The stones are not static background figures, but, rather they are storytellers and teachers, engaged in a process of conversation.
The imagery of stone is not isolated to the petrogyphs, but is also evident in the imagery that Duane’s grandfather ascribes to his dissociation from his emotions. He discusses “the wall he had spent years building, emotional brick by emotional brick”, paralleling and yet also contrasting the petroglyphs, which the story situates as a wall. Yet, although both are walls, the petroglyphs are a living, changing text that speaks and shifts for Duane, and may have the power to disrupt the static wall he has constructed for himself.
“Petropaths” is a story that acknowledges the importance of learning and, especially learning through storytelling. This learning is not individualistic, but, rather, it exists in conversation with petroglyphs, the land, animals, and community elders. It’s a story about taking the time to listen to others, but also to listen to oneself. This community of teachers engaging in storytelling is part of the process of beginning to heal Duane from the colonial violence that he has experienced. Storytelling is not just something that Duane hears, but, rather, Hayden Taylor has him engage in storytelling, adding his stories to others while also becoming part of the story. The past is not something fixed or static in Hayden Taylor’s tale, rather it is something that shifts and changes while bringing new voices into it. Duane’s time travel is part of this conversation with storytelling and his role in becoming part of the story. He is an active participation in the past and Hayden Taylor uses this active participation to illustrate that history is not passive, but, rather, that we are always in conversation with the past and the stories told about the past. As Duane says “History isn’t in books anymore. We can walk through it.”
To discover more about Take Us to Your Chief, visit http://www.drewhaydentaylor.com/books/take-us-to-your-chief/
To find out more about Drew Hayden Taylor, visit http://www.drewhaydentaylor.com