Drew Hayden Taylor, un conteur contemporain acclamé de la nation Ojibway, plonge au cœur de la vie des Premières Nations au Canada. À travers ses diverses formes littéraires, allant des pièces de théâtre et scénarios aux nouvelles et romans, Taylor explore des thèmes qui reflètent, célèbrent et compliquent la réalité des communautés autochtones avec humour et profondeur. Son écriture est appréciée pour sa capacité à éduquer et informer le public du monde entier sur des sujets de la culture autochtone, tout en conservant une voix unique souvent façonnée par son propre héritage. Taylor s'efforce d'être une voix pour les peuples autochtones, et son vaste corpus d'œuvres sert de pont interculturel qui favorise la compréhension et le respect.
A haunting image of a stunning horse, sketched by a delicate girl on a reserve, lingers in Ralph's mind throughout his life. As he grows older, the memory resurfaces, compelling him to seek out the horse once more and uncover the deeper meaning behind their connection. This journey explores themes of memory, beauty, and the impact of art on the human experience.
The book features a collection of exotic postcards that capture Drew Hayden Taylor's global adventures, offering insights into the lives and cultures of Aboriginal peoples worldwide. Through his experiences as a playwright, novelist, and screenwriter, Taylor shares unique stories and perspectives, highlighting the rich diversity and challenges faced by Indigenous communities across the globe.
These stories challenge clichés of interracial and intercultural relations, all with the emotional empathy of a master storyteller.
The plot revolves around Bobby Rabbit, who persuades a friend to join him on a bizarre adventure to unearth the bones of Sir John A. Macdonald. This quest, framed as a "sojourn of justice," takes a darkly humorous turn as they plan to hold the remains for ransom, exploring themes of friendship, morality, and the absurdity of their mission. The story blends historical elements with a satirical take on justice and legacy, promising an unconventional and thought-provoking journey.
400 Kilometres is the third play in Drew Hayden Taylor’s hilarious and heart-wrenching identity-politics trilogy. Janice Wirth, a thirty-something urban professional, having discovered her roots as the Ojibway orphan Grace Wabung in Someday, and having visited her birth family on the Otter Lake Reserve in Only Drunks and Children Tell the Truth, is pregnant, and must now come to grips with the question of her “true identity.” Her adoptive parents have just retired, and are about to sell their house to embark on a quest for their own identity by “returning” to England. Meanwhile, the Native father of her child-to-be is attempting to convince Janice/Grace that their new generation’s future lies with their “own people” at Otter Lake.Which path for the future is Janice/Grace to choose, for herself, her families and her child, having spent a lifetime caught between the questions of “what I am” and “who I am”?Cast of 3 women and 2 men.
"A very liberal contemporary couple? Angel, an urban Native science fiction writer, and Colleen, a?non-practising? Jewish intellectual who teaches Native literature? hosts a dinner party. The guests at this little?sitcom? soirée are couples that represent what by now have become the clichéd extremes of both societies: Angel?s former radical Native activist buddies and Colleen?s environmentally concerned vegetarian / veterinarian friends. The menu is, of course, the hosts? respectful attempt at shorthand for the irreconcilable cultural differences about to come to a head during the evening: moose roast and vegetarian lasagna."--Author
In a unique blend of development and nature, a group of German developers envisions a Native theme park for the "Otter Lake Reserve." The story revolves around six characters—three women and three men—who navigate the complexities of cultural representation and environmental stewardship as they bring their ambitious project to life. The narrative explores themes of collaboration, identity, and the impact of commercialization on indigenous heritage.
A story of magic, family, a mysterious stranger . . . and a band of marauding raccoons. Otter Lake is a sleepy Anishnawbe community where little happens. Until the day a handsome stranger pulls up astride a 1953 Indian Chief motorcycle – and turns Otter Lake completely upside down. Maggie, the Reserve’s chief, is swept off her feet, but Virgil, her teenage son, is less than enchanted. Suspicious of the stranger’s intentions, he teams up with his uncle Wayne – a master of aboriginal martial arts – to drive the stranger from the Reserve. And it turns out that the raccoons are willing to lend a hand.
Focusing on the interplay between Native and non-Native stereotypes, this farcical play features a cast of three women and three men. It serves as the third installment in Taylor's exploration of cultural perceptions, blending humor with critical commentary on identity and representation.