Papers by Abdenour BOUICH
Xanthos, 2019
issues-issue1-07-bouich> This work, and all articles in Issue 1 of Xanthos, are licensed under th... more issues-issue1-07-bouich> This work, and all articles in Issue 1 of Xanthos, are licensed under the Creative Commons Attribution-NonCommercial 4.0 International License. Under this license, you are free to share the material (i.e. copy and redistribute in any medium or format) and to adapt the material (remix, transform, and build upon it). However, when doing so you must give appropriate credit (including citing the article in any of your own publications), and may not use the material for any commercial purposes. For more information, see <creativecommons.org/licenses/by-nc/4.0/>.
Split Tooth (2018) is the debut novel of the Indigenous Inuk throat singer and artist Tanya Tagaq... more Split Tooth (2018) is the debut novel of the Indigenous Inuk throat singer and artist Tanya Tagaq. Being an Indigenous Inuit literary work, the novel stands out notably for its plasticity in terms of form, style, narrative registers and aesthetic techniques. Indeed, it brings together prose, poetry, illustrations, Indigenous Inuit ontologies and epistemologies, Tagaq's own memoir, and what she calls "non-fiction, embellished non-fiction and pure fiction" (Qtd in Mike Doherty 2018). Nevertheless, the author gives no indication of when the fiction ends and the non-fiction and memoir begin. In fact, the novel shows a nonconformity neither to those western literary genres of realism, fantasy or science fiction, nor to experimental literary categories of magical realism, speculative fiction, and imaginative literature; instead, it presents itself as what the Cherokee scholar Daniel Heath Justice terms Indigenous "wonderworks." In his landmark study Why Indigenous ...
In Walking the Clouds, Grace Dillon refers to science fiction works produced by Indigenous author... more In Walking the Clouds, Grace Dillon refers to science fiction works produced by Indigenous authors as “Indigenous futurisms,” a growing movement that encompasses, inter alia, literature, films, and even video games. As indicated by its name, Indigenous futurisms is inspired by Afrofuturism, defined by Mark Dery as “speculative fiction that treats African-American themes and addresses African-American concerns in the context of twentieth-century technoculture— and, more generally, African-American signification that appropriates images of technology and a prosthetically enhanced future” (180). Similarly, for Dillon, Indigenous futurisms arise as a subversion of what she calls “reservation realisms” that often define expectations surrounding Indigenous literatures (2). Sometimes combining Indigenous sciences with recent scientific theory, sometimes exposing limitations of western sciences, this fiction, Dillion states, combines “sf theory and Native intellectualism, Indigenous scienti...
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Papers by Abdenour BOUICH