Comedy is an important aspect in Thomas King’s short story, “A Short History of Indians in Canada”,

In “The Truth about Stories”, Thomas King, demonstrate connection between the Native storytelling and the authentic world. He examines various themes in the stories such as; oppression, racism, identity and discrimination. He uses the creational stories and implies in to the world today and points out the racism and identity issues the Native people went through and are going through. The surroundings shape individuals’ life and a story plays vital roles. How one tells a story has huge impact on the listeners and readers. King uses sarcastic tone as he tells the current stories of Native people and his experiences. He points out to the events and incidents such as the government apologizing for the colonialism, however, words remains as

“Coyote and the Enemy Aliens” is a satirical commentary that effectively expounds on the intense objectification and dehumanization of Japanese Canadians during the colonial Canadian era. By depicting the grotesque living conditions, the Japanese were subjected to, King is able to critique the racist perspectives of the Canadian society. King condemns the actions of colonial white-men, depicting them as creatures engulfed in moral blindness that strive to fabricate an ideal white world. Moreover, King vividly portrays the idea of social dynamics, expounding on the helplessness of Citizens against dominant political powers. King also introduces an idea of conformity, showcasing how citizens gradually adapt to

Hayden targets the Everyman, and his straightforward writing greatly assists him in communicating his ideas. He doesn’t use a complex vernacular, for which the readers may need to pick up a dictionary to continue reading. He tells stories, injected with humour, and colloquialisms as a method of engaging the reader. However, Taylor’s use of humour in his essay is more than a tool to keep the reader interested; it keeps the reads from becoming scared away by the uncomfortable racial topics at hand. A favourite tool of his, dramatic irony, is used when a director exclaims that “he’s got an amazing grasp of the Native situation for a white person” (61, Taylor). The tension of that sentence is relieve by the ironic light in Taylor portrays it. Of all the parts of his essay, his style is the most

Kind and selfish, deep and shallow, male and female, and foolish and wise aren’t always words that are associated with each other, quite the opposite in fact. However, when it comes to the trickster tales of Native Americans, each word is associated with the other and describes more or less the same person or animal. To Native American people a trickster affects the world for an infinite number of reasons, including instruction and enjoyment. A trickster, like the name implies, is a cunning deception. A trickster can be a hero. However, at the same time he could introduce death. How is that heroic? Why would a group of people want to remember a person that brings punishments such as death? The function the trickster tales have/ had on

Satire also reinforces the theme of cultural divide in the scenes set in Latisha’s diner, The Dead Dog Café. Even the restaurant’s namesake underscores the humor in the conflict between White and Native American cultures. Part of the selling point of Latisha’s café is the illusion that the patrons are eating dog meat as a way of experiencing authentic Native American culture. In reality, the meat served is beef because consuming dogs as food is in no way part of Blackfoot dietary practices. The white tourists who filter through the cafe (both American and Canadian) are drawn in broad strokes and quickly display their ignorance of Native American culture by their enthrallment with its perceived exoticness.

Racial prejudice often creates a division between the racists and their victims, and thus results in isolation and alienation of the victimized racial group. During the Harlem Renaissance, discrimination and oppression against African Americans was still prevalent, despite the 1920s being a time of expression of African culture. This juxtaposing concept is analyzed through Claude McKay’s poem “The White City”, which explores the perception of an African American speaker, presumably McKay himself, who longs to be a part of the White City, while retaining a deep, inner hatred of the city. Although McKay initially demonstrates his endearment and attachment toward the city through visual imagery, he directly juxtaposes it by expressing his hatred with tenacious, despicable diction. This juxtaposition not only serves to represent the struggle of being an African American in a white supremacist city but also displays McKay’s paradox of appreciating the “White City” while feeling detached from it.

As Beard recognizes, "Native peoples often serve as reminders of a place, an occasion, or, most often a mythic past, and they are expected to perform that identity in the present" (494), what this quote speaks to is a kind of conspicuous performance, a social construction of Aboriginal peoples that pivots around a variety of stereotypes and systemic racism. Writing from the position of a pre-service secondary English language arts (ELA) teacher, my motivations in this paper involve using Marilyn Dumont 's poetry as a way to address Beard 's concerns, "[building students '] capacity for intercultural understanding, empathy, and mutual respect" (Truth and Reconciliation Commission of Canada, 7), while simultaneously teaching them how to analyse poetry. More specifically, Dumont 's series of beading poems, in her collection The Pemmican Eaters, provides an opportunity to engage high school students in a discussion around the significance of cultural practices, while at the same time revisiting the interplay of Canadian histories, both Aboriginal and colonial. At the same time, I will also describe Dumont 's use of irony, which Andrews explains as a cultural ethos that is a unique element of Plains peoples’ Indigenous art (3). Introducing this uniquely First Nations brand of irony to students may work to give life to Aboriginal culture, bringing "Native peoples . . . [out] of the mythic past" (Beard, 494) and into the present. Finally, the act of beading itself ties directly to

Negroes do not like it in any book or play whatsoever, be the book or play ever so sympathetic in its treatment of the basic problems of the race. Even [if] the book or play is written by a Negro, they still [would] not like it” (Henry). In addition, John Wallace believes that the word “nigger” is so offensive that he rewrote the novel without the word “nigger.”

Humor is a universal language whose breadth spans that of all ages and cultures. As a fundamental method of communication, it links humanity and fosters a deeper understanding of each other’s lives. In Sherman Alexie’s short story excerpt, The Approximate Size of my Favorite Tumor, Alexie highlights the identity of his people through the use of humor. Occurring throughout the work, humor defines Alexie’s style and view of the world around him. It acts as both a coping mechanism and a way of communicating with those around him, as humor is a language everyone can understand. In this sense, it weaves together Alexie’s view of Native American identity. Alexie uses this humor both to reveal long standing stereotypes about Native American people and communities and to maneuver through everyday life.

Aboriginal women is sexualized, assaulted, and mistreated in today’s society, and the novel portrays this inequity. Lisa’s friend, Erica, was in Terrace, when Lisa witnesses her being harassed by a group of white men. The men were teaching Erica how to “fuck a white man,” when Lisa intervenes. The men call the girls “a squaw, “cunt”, and “bitch” (Robinson 250). The

In “A Drug Called Tradition,” Alexie’s humor efficaciously shows the bitter reality on the reservation. For example, at the beginning of the story, Alexie uses humor to reflect poverty on the reservation. After Junior shouts at Thomas, questioning “[h]ow come your fridge is always fucking empty,” Thomas goes inside the refrigerator and sits down, replying Junior “[t]here…It ain’t empty no more” (Alexie 12). As seen in this example, having Thomas sit inside the refrigerator and reply in a humorous tone, Alexie is successful in mirroring the issue of poverty, or the bitter reality, on the reservation. This point can also be supported by Stephen F. Evans’s essay, "'Open containers': Sherman Alexie's Drunken Indians,” in which Evans discusses Alexie’s use of satire and irony in his stories and poems. As Evans claims that “[c]onsidered as a whole, the best artistic moments in Alexie's poems, stories, and novels lie in his construction of a satiric mirror that reflects the painful reality of lives,” this further verifies the argument that humor in Alexie’s stories helps reflect the bitter actuality on the reservation (49).

The attacks on Indians by the whites could now be excused because the Indians had murdered family members. They could kill, scalp, and rob Indians without much fear of being caught or punished. A play based on real life, written by Indian fighter, Robert Rogers, showed how two hunters happened upon two Indians. As they talked, both told of how Indians had murdered some family members, so it was logical to them to kill the Indians, scalp them and robbed them of the guns, hatchets and furs. The “victims’ furs were a fantastic windfall”. (129)

Eden Robinson’s Monkey Beach incorporates words and phrases from the Haisla language in an effort to reflect the protagonist’s culture while also satiating the cultural curiosity of a non-indigenous audience. The incorporation of Haisla is one of the mechanics of the Glorious Northern Gothic novel, as it provides a reformation of traditional Gothic conventions through an Indigenous lens. The Haisla language is presented through the protagonist’s narration and is usually introduced in an instructional tone or story. Italics mark most of the language in the text; however in some instances the words are not italicized or are only implied. It is through this process of marking that the use of Haisla language moves beyond a mode of integrating the protagonist’s culture into the story and provides a critique on Non-Indigenous Canadians’ appetite for Indigenous stories: what language the text contains and what language is omitted defines what parts of the culture Non-Indigenous Canadians have already consumed or are permitted to consume.

“To the Person Sitting in Darkness” is another one of Twain’s works that uses irony to present an argument, therefore allowing an easier way to discuss the argument. However, this work is not presented in a light-hearted fashion. Rather, it uses satire to show extremes in order to force people to consider the problems with imperialism. This essay discusses several world events in which

It is easy to see that current events and issues of the world around them have had an impact on authors and what they have written from the stories in this time period. The Native American authors wrote stories describing life during and after white man came to America. We read Oratory’s by two Native American’s COCHISE and CHARLOT. They gave heart-wrenching speeches, giving great details into the history of the tribes and the devastating effect the white man had on them. Author Zitkala Sa gave us a powerful interpretation of her life as a Indian and how the white’s coming to America affected her life.