Writing Through It: Indigenous Voices, Trauma, and the Art of Telling Without Breaking

Writing Through It: Indigenous Voices, Trauma, and the Art of Telling Without BreakingThis episode brings together two writers whose work does something precise and difficult: it tells the truth about trauma without weaponizing it, reaches into the hardest parts of lived experience and finds a way to hand something back to the reader.Wanda John-Kehewin, Cree writer and poet from Kehewin Cree Nation, talks about what drove her from the edge of the world in northern Alberta to the coast of BC, a pregnant woman running toward the only future she could imagine for her child. She traces the arc of her writing through depression, through grief, through a master of fine arts at UBC, through the moment she learned what intergenerational trauma actually was and finally had words for what her family had been carrying. She talks about the matrilineal line with precision and depth: the biological reality that daughters carry their grandmothers' eggs, that trauma travels not only through behavior and coping but through the body itself. Her poetry, she explains, was never a direct confession. It was a way to tell the story sideways, to infer what she was not yet ready to say aloud, to let readers in only as far as they were willing to go. Her children's book Mia Wears Orange came out of a moment she was carrying privately, her daughter terrified she was about to be sent to residential school, and a chance conversation with an editor who recognized that the story needed to exist in the world. The residential schools did not end, Wanda and Bernadine agree. They became the Sixties Scoop. They became Child and Family Services. The fear that the system can take your children is not historical. It is present tense.Sandra Yuen, artist, advocate, and writer, is releasing her first prose poetry collection, I Want to be Buried Standing Up, written on a friend's old Remington typewriter during a period of profound transition. She reads from the collection live, a poem called Shaving Cream that starts with a man lathering his torso and ends somewhere near God and oysters. She talks about what it means to write into the neurodivergent mind, to follow the poem where it insists on going, and to find out who you are in the process of making something. This is her fourth book. Her first was a memoir about her experience with schizophrenia.Two writers. Two very different paths into language. One conversation about what it costs and what it gives back to tell the truth.Music by Shari UlrichBecome a supporter of this podcast: https://www.spreaker.com/podcast/rethreading-madness--5675300/support.www.rethreadingmadness.ca