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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 children 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, encouraging 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 landscape. Laurence not only seeks an outward reconciliation with the postcolonial +63 +
