Analysis of Sexuality and Gender in "Kiss of the Fur Queen

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Exploring the portrayal of sexuality and gender roles in Tomson Highway's novel, "Kiss of the Fur Queen," this analysis delves into the different scenarios and archetypes depicted. Discussing themes such as male homosexuality, violence, the treatment of Indigenous women, and the roles of colonized and unapologetically First Nations women, it shines a light on the complexities of sexuality and gender within the narrative.


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  1. REPRESENTATION OF SEXUALITY AND GENDER IN KISS OF THE FUR QUEEN AN ANALYSIS OF TOMSON HIGHWAY S NOVEL, JOHN SARRAZIN

  2. In the following slides I will be discussing the portrayal of sexuality and representations of gender roles that were created in Tomson Highway s Kiss of the Fur Queen. The novel itself explores a multitude of different scenarios that display sexual acts in vastly different lights, most of the sexuality depicted is seen as dirty and or criminal. Tomson Highway also puts a heavy emphasis on the role of women in his story, again ranging from a plethora of archetypes.

  3. SEXUALITY: GABRIEL Symbol of male homosexuality Violent The molestation by father Lafleur. (77-78) Secretive Gabriel found himself stumbling down a dark passageway, Wayne? Dwayne? - what was his name again? - somewhere in front of him (131)

  4. SEXUALITY: MURDERED INDIGENOUS WOMEN The sexualization and brutality towards Indigenous Women How they are treated pre and post death. The woman Jeremiah sees being thrown out from the bar (105) and arguing with men in a vehicle before getting into the car. (106) Evelyn Rose McCrae found with a broken bottle stabbed inside her (107) The group of men Gabriel sees in the back alley around a whimpering indigenous woman. (131-132) and the discovery of Madeline Jeanette Lavoix s body mutilated behind a hotel. (132)

  5. GENDER: COLONIZED WOMAN The Pushover Mariesis is the motherly woman who is worrisome and seen as weak Rage at this man who dared to call himself the father of her children, rage for giving up, so soon, so easily. (45) The Silenced Annie Moostoos is the tamed and suppressed woman Annie Moostoos, the voice sliced through the smoky air as through a bleeding thing of caribou, women are not to speak their minds inside the church. (37)

  6. GENDER: UNAPOLOGETICALLY FIRST NATIONS WOMAN Refuses to be silenced Amanda Clear Sky who is outspoken and knows who she is; and refuses to let anyone forget it because they will never let her forget it either. Discussion of first nations genocide in a European history class and arguing it was much worse and much longer than the French Revolution (148) Carries representation of her heritage; ie. Buckskin purse (149) We re the only three Indians in a school filled with two thousand white middle-class kids. We can t let them walk all over us. (149)

  7. THEORY: QWO-LI DRISKILL Sexuality Homophobia entangled in the history of settlers. Homophobia within First Nations groups directly caused by colonialism Two-Spirits, not gay, not trans Sovereign Erotic: Healing from historical trauma. Sexual abuse quietly condoned. Dominating indigenous bodies an act of colonialism. Erotic lives and identities have been colonized along with our homelands

  8. THEORY: QWO-LI DRISKILL Gender Europeans brought patriarchy Results from genocide and abuse has caused women to not be accepted as leaders Women were to serve the men. Lack of Balance and Harmony Sexual abuse quietly condoned. Sexual assault not tolerated prior to invasion Lakota custom: Rare Knife was used by women to cut off heads of abusers.

  9. DISCUSSION QUESTIONS: It is clear that sexuality has a lot to do with the main plot of this story, however do you believe that the degree it was explored was appropriate; does the story focus too much or too little on the scenes that depict sexual acts? How substantial of a role does femininity play within the other stories within the course, if at all?

  10. WORKS CITED: Highway, Tomson. Kiss of the fur queen. Anchor, 2005. Ruffo, Armand Garnet, and Heather Macfarlane. Introduction to indigenous literary criticism in Canada. Broadview Press, 2016. 221-235

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