Later, in Sundogs, the narrator still recognizes schisms in her view of and engagement with the world: “She is Native enough to feel everything she thinks and hears, but French enough to get wild about it.” In Ravensong (1993; reprinted in 2017), the gulf between colonial and indigenous cultures is wide, but there are gaps to cross within indigenous culture as well, within communities, whose experiences may share many similarities (particularly the violence women and girls experience).
“Her cheekbones were higher, more prominent than theirs; her face had none of the fleshiness of their own people. Her chin had once been neatly carved. Her face had had a beautiful chiseled look before the snake had rearranged it. Now with her nose broken, her jaw out of place, and her chin looking deranged, it was hard to tell her national origins at all. Momma took one glance at her.
‘Manitoba Saulteaux,’ she said.”
In her introduction to My Home As I Remember, she gathers artwork and prose and poetry by many indigenous artists (with Sandra Laronde) and comments on the intersections between and divergences within the women’s experiences:
“Memory takes on life, social significance, feminist governance, sociological future, and then returns to the heart as a beautiful gemstone. We offer each piece, each memory, each moment to you, the reader, that you may understand the fire of our origins and commit us to your memory.”