Author
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| Who was John Richardson? Provide a biographical sketch of the author with particular attention to the intersections between his life and this novel. | Who was John Richardson? Provide a biographical sketch of the author with particular attention to the intersections between his life and this novel. | ||
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| + | '''Volume 3''' | ||
| + | “Wacousta” volume 3 is significant to examine regarding its connection to the author because of many factors including character development, plot development, the use of language, themes, and the tone of volume 3. The focus of this section will be on the genres depicted within the novel and both character and plot development surrounding Wacousta’s true identity as Reginald Morton. The discovery of Wacousta as a white man in the final volume of the text rather than the first or second is important to note because of what it reveals about John Richardson’s motives in the representations of race within the novel. | ||
| + | There are many conflicting genres that are present in the novel. Richardson manages to pack multiple intertwining genres within the text. There are elements of a tragedy novel which can be seen by the death of both major and minor characters and elements of a comedy novel because of the marriage that occurs between Fredrick and Madeline. Although there are many overlapping genres within the novel, Richardson uses many gothic tropes such as the gloomy setting, Ellen Halloway’s curse, brutal violence, and the monstrous character, Wacousta. The intermingling of genres reflects the complex position that Richardson possesses because of his cultural background. John Richardson was from both an Indigenous and Scottish decent making him simultaneously loyal to the crown yet aware of the valuable contributions that the Indigenous community made in the development of Canada. In compiling the book with multiple texts, Richardson gives the novel an unusual tone because of the text’s inability to be categorized into one genre which may be a reflection of his views on Canadian history and how it cannot be told through a singular lens. | ||
| + | Similarly, the discovery of Wacousta’s true identity as a white man named Reginald Morton on page 437 introduces an entirely new area of discussion surrounding race and identity. Wacousta’s identity plays on the themes of deception that can be seen within the novel and forces readers to challenge the stereotypes they may have previously possessed. In a conversation between Clara de Haldimar and Wacousta, both readers and Clara discover that she “has been the wife of two Reginald Mortons” (439). A connection is also drawn to Frank Halloway who shares the same name as Wacousta. It is as though Wacousta is avenging Halloway’s death while simultaneously indulging in his own revenge plot. Wacousta’s hidden identity and his actions prove that binaries are purely imaginary (Lee, 53). Readers must consider the notion of Indigeneity as a performed identity and what Richardson’s goals were in developing a character such as Wacousta. | ||
| + | Wacousta is arguably the most savage character within the novel and RIchardson holds off on revealing to readers that he is a white man to add shock value to the plot and to forces readers to question the preconceived identity of the “white colonizers” as civilized. Through the reveal of Wacousta’s true identity in the third volume, Richardson critiques the way Canadian history has been written. Most of Canadian history has been written through imperial eyes with eurocentric views and has caused the tainting of Indigenous identities and the uplifting of colonial identities. Richardson critiques the notion that Indigenous individuals were the “savages” who needed to be tamed by the “civilized” colonists by making the most monstrous character a white man who is driven by his thirst for revenge. Richardson utilizes Wacousta’s character to prove that the men that a majority of history has painted as “civil” can cause just as much harm and be “savages” themselves. The cultural divide that Richardson experiences with a background in both Indigeneity and Scottish are reflected in his work. Richardson proves that corruption does not discriminate between cultures and tries to challenge the stereotypes surrounding Indigenous peoples. | ||
| + | Volume 3 of Wacousta is packed with parallels that can be drawn to John Richardson’s life but the most notable one is the revealing of Wacousta as a white man simply disguised as an Indigenous person. The blurring of identities is reflective of Richardson’s own personal struggle to grasp both sides of his identity equally. The volume sheds light on the reality that being of a certain race does not automatically place you in a “good” or “bad” group. | ||
Revision as of 18:15, 8 June 2020
Group 10 – The Author
Who was John Richardson? Provide a biographical sketch of the author with particular attention to the intersections between his life and this novel.
Volume 3 “Wacousta” volume 3 is significant to examine regarding its connection to the author because of many factors including character development, plot development, the use of language, themes, and the tone of volume 3. The focus of this section will be on the genres depicted within the novel and both character and plot development surrounding Wacousta’s true identity as Reginald Morton. The discovery of Wacousta as a white man in the final volume of the text rather than the first or second is important to note because of what it reveals about John Richardson’s motives in the representations of race within the novel. There are many conflicting genres that are present in the novel. Richardson manages to pack multiple intertwining genres within the text. There are elements of a tragedy novel which can be seen by the death of both major and minor characters and elements of a comedy novel because of the marriage that occurs between Fredrick and Madeline. Although there are many overlapping genres within the novel, Richardson uses many gothic tropes such as the gloomy setting, Ellen Halloway’s curse, brutal violence, and the monstrous character, Wacousta. The intermingling of genres reflects the complex position that Richardson possesses because of his cultural background. John Richardson was from both an Indigenous and Scottish decent making him simultaneously loyal to the crown yet aware of the valuable contributions that the Indigenous community made in the development of Canada. In compiling the book with multiple texts, Richardson gives the novel an unusual tone because of the text’s inability to be categorized into one genre which may be a reflection of his views on Canadian history and how it cannot be told through a singular lens. Similarly, the discovery of Wacousta’s true identity as a white man named Reginald Morton on page 437 introduces an entirely new area of discussion surrounding race and identity. Wacousta’s identity plays on the themes of deception that can be seen within the novel and forces readers to challenge the stereotypes they may have previously possessed. In a conversation between Clara de Haldimar and Wacousta, both readers and Clara discover that she “has been the wife of two Reginald Mortons” (439). A connection is also drawn to Frank Halloway who shares the same name as Wacousta. It is as though Wacousta is avenging Halloway’s death while simultaneously indulging in his own revenge plot. Wacousta’s hidden identity and his actions prove that binaries are purely imaginary (Lee, 53). Readers must consider the notion of Indigeneity as a performed identity and what Richardson’s goals were in developing a character such as Wacousta. Wacousta is arguably the most savage character within the novel and RIchardson holds off on revealing to readers that he is a white man to add shock value to the plot and to forces readers to question the preconceived identity of the “white colonizers” as civilized. Through the reveal of Wacousta’s true identity in the third volume, Richardson critiques the way Canadian history has been written. Most of Canadian history has been written through imperial eyes with eurocentric views and has caused the tainting of Indigenous identities and the uplifting of colonial identities. Richardson critiques the notion that Indigenous individuals were the “savages” who needed to be tamed by the “civilized” colonists by making the most monstrous character a white man who is driven by his thirst for revenge. Richardson utilizes Wacousta’s character to prove that the men that a majority of history has painted as “civil” can cause just as much harm and be “savages” themselves. The cultural divide that Richardson experiences with a background in both Indigeneity and Scottish are reflected in his work. Richardson proves that corruption does not discriminate between cultures and tries to challenge the stereotypes surrounding Indigenous peoples. Volume 3 of Wacousta is packed with parallels that can be drawn to John Richardson’s life but the most notable one is the revealing of Wacousta as a white man simply disguised as an Indigenous person. The blurring of identities is reflective of Richardson’s own personal struggle to grasp both sides of his identity equally. The volume sheds light on the reality that being of a certain race does not automatically place you in a “good” or “bad” group.
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