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THE RESONANCE OF MANAWAKA: LANDSCAPES OF RECONCILIATION
the Métis emerge as “the progeny of Riel’s and Dumont’s comrades-in-arms
from Batoche — and as such they are symbols of the not only valid, but also
crucial part of Canadian history” (Kolinskä 153). For the Métis, the Prairies
hold a deep-rooted connection — a homeland that has sustained them for
generations before being dispossessed. In The Diviners, the Tonnerre house is
tragically transformed into a site of death for Piquette Tonnerre and her chil¬
dren when it catches fire, claiming their lives. This ancient shack, surrounded
by discarded tin cans and old car parts, and yet a testament to the Tonnerre
family’s enduring ancestral pride, turned into Piquette’s coffin and symbolically
also into a sombre memorial for the Métis community.
Laurence’s utilization of the trope of the house illuminates the dynamics
between individuals, their histories, and the perpetual human journey. The
house in her texts not only serves as a representation of belonging but also
bridges the divide between the past and future, providing a lens through which
characters reconcile with their identity, ancestry, and belonging.
CONCLUSION
As Thomas points out, in her essay “The Chariot of Ossian,” Margaret Laurence
was firmly convinced that “writers must work out of their own roots in place
and time, so, for her, both personal identity and nationality begin with place
and region” (142). However, in Laurence’s literary landscape, the interplay
between identity, heritage, and place expands the prevailing regionalist approach
to Canadian literature of the 1960s and 1970s. Ancestral heritage emerges as
a cornerstone of Manawaka narratives, inviting readers to traverse the dual
realms of regional myths and reality. Through the protagonists’ journeys within
the ancestral and mythological landscapes, the narrative invites readers to
contemplate the enduring impact of the past on the present and future, encour¬
aging a deeper engagement with the mosaic of human existence.
Yet Laurence’s narratives not only provide a portrayal of the protagonists’
individual growth but also serve as a mirror reflecting Canada’s collective
journey toward reconciliation. Through the stories of her protagonists, who
wander through various landscapes, real or imaginary, Laurence highlights
the need for understanding one’s past in order to investigate, challenge, and
ultimately reinvent and reconstruct it into a new emancipated identity. The
personal stories of the protagonists parallel the stories of the Canadian nation,
both coping with their settler past, (post-)colonial present, and multicultural
future. In this way, Laurence’s approach stands as an early example of Canadian
literature embracing and incorporating Indigenous history and culture, paving
the path for more inclusive and diverse narratives in Canada’s literary land¬
scape. Laurence not only seeks an outward reconciliation with the postcolonial
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