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Art and Word![]() REAL & FAKE INDIANS Real and Fake Indians - a novel
Co-Authored by Charleen Touchette and S. Barry Paisner Olympic athletes, archer Shonto Benally in Navajo Nation, swimmer Nadema MacCleod in White Earth, Minnesota, and climber Shane Yazzie at Spider Rock in Arizona each dream of an inscribed stone that leads them to each other and propels them on a quest to retrieve the stones from a ring of black marketeers in Indian artifacts run by Maude Meanobee, an eight hundred pound Indian lobbyist from her laptop computer and her lackeys Darryl Erickson and Dick Jim who keep a secret cache of Indian artifacts in a vault at the Smithsonian Institute in this satirical hilarious romp that brings Indian Country to the National Mall in Washington, D.C. Co-Authors Charleen Touchette and S. Barry Paisner have been a couple since 1973. REAL & FAKE INDIANS is the first title in their INDIAN COUNTRY Series of adventure novels about young American Indian athletes, Publication Date 2007. INDIAN TRUST to follow in 2008. Cover Art by Edgar Heap of Birds, "Human Beings - Not Mascots" 2006 It Stops with Me: Memoir of a Canuck Girl ISBN: 0-9746545-0-7 PD 2004 Library of Congress Control Number: 2004100228 by Charleen Touchette TouchArt Books PO Box 4009 Santa Fe, New Mexico 87505 ORDER THROUGH YOUR LOCAL BOOKSTORE, BORDERS BOOKS, OR EMAIL TOUCHART@AOL.COM Distributed to the Trade by BIBLIO DISTRIBUTION —an NBN Sister Company (800) 462-6420 www.bibliodistribution.com and Distributed to Libraries by QUALITY BOOKS, INC. (800) 323-4241 www.quality-books.com ![]() ALBUQUERQUE BLUES by Jacques Paisner PD Date 2007. TouchArt Books ALBUQUERQUE BLUES is a fresh collection of sharp, witty, short fiction and plays by twenty-six year old New Mexican author Jacques Paisner. Neil Simon Meets Charles Bukowski in these Stories and Plays that follow Jean LeRocque on his search for love and life's meaning in the bars, casinos, and strip clubs of Albuquerque's urban landscape. IT STOPS WITH ME: MEMOIR OF A CANUCK GIRL - E-BOOK - PD 2007
Visionary Artist's captivating and sober memoir of survival, renewal and healing among French Canadian, Jewish and Indian families across America. Follows the Author from the textile mill town of Woonsocket, Rhode Island to Wellesley College, New York's Lower East Side and Soho to Indian Country and Santa Fe, New Mexico where she is debilitated by a toxic illness and must remember her childhood to heal. With TWO FULL COLOR GALLERIES OF OVER 100 PIECES of TOUCHETTE'S ART. PD - JUNE 2005 DREAMS of BEAUTY
DREAMS of BEAUTY features the visionary art of American Artist Charleen Touchette. The Author of IT STOPS WITH ME: MEMOIR OF A CANUCK GIRL and the 1998 Women's Caucus for Art (WCA) Presidential Awardee, Author Charleen Touchette shares ninety pieces from her career spanning four decades. Full size art book with French Flap Cover includes 90 full color pages of art, each accompanied with a page of memoir text by Touchette. Text includes illustrated scholarly Preface and Introduction, Artist's Biography and Bibliography. Quality Paperback with French Flaps, 8.5 x 11", 208 pages, full color. PD June 2006 It Stops with Me
Memoir of a Canuck Girl A compelling story of a Canuck girl who succeeds despite child abuse by her alcoholic father thanks to the inspiration of a warm storytelling grandmother. With her coal black eyes, Indian hair, French language, and woman-centered French Canadian culture, she inherited a legacy of oppression and denial, but she envisions a different future for her children, and leaves her birthplace and culture. Her journey takes her to Wellesley College, New York City's Lower East Side and Soho, then out West to Indian Country, Navajo Nation and Santa Fe. Abandoning the Catholic Church for Native American sweat lodges and Jewish synagogues and ceremonies, she marries and makes a happy home. But soon after the birth of her daughter, she discovers she hasn’t healed from the past, and faces her childhood with courage vowing to break the cycle and give her children a new legacy. ndn art
contemporary Native American art "Like jazz, ndn art is a quintessential original American art, and the history of indigenous art in America is a vital chapter in the history of American art. Native art springs from the same sources of creativity as art made by artists worldwide. ndn artists create with the attitude shared by "artists' artists" who transform raw materials to express profound human emotions and ideas in response to their complex cultural identities as modern people." from "Diversity and Change in ndn art." Order ndn art at University of New Mexico Press. Feminist Art Criticism
Form Identity Action Touchette's insightful essay, "Multicultural Strategies for Cultural Revolution in the 21st Century," outlines successful strategies to gain multicultural inclusivity in the arts based on her work for multicultural inclusion in the feminist art movement in the late 80s and 90s. Touchette was given the 1998 President's Award by the National Women's Caucus for Art at an International Ceremony in Toronto Canada. http://www.amazon.com/exec/obidos/tg/detail/-/0064309096/qid=/sr=/ref=cm_lm_asin/002-8915066-3080853?v=glance critical anthology, art criticism IAIA Rocks the '60s (Forthcoming)
An explosion of creative genius rarely seen in the history of art rocked the painting studios at the Institute of American Indian Arts (IAIA) during the late sixties. Together, students and instructors created a body of innovative paintings so different from the traditional styles associated with Dorothy Dunn's Studio School of the previous generation, that they helped ignite a veritable revolution in Indian painting. IAIA Rocks the Sixties celebrates the stimulating ambiance of this period and exhibits the flowering of creativity among the painting students in this unprecedented, though relatively unknown, arts education program. ![]() from "New York" in "It Stops with Me" I delighted in sampling Eastern European recipes that bubbies had carried in their memories while fleeing pogroms in Russia clutching their little ones, with precious Shabbat candlesticks, Kiddush cups, and Siddurs hidden in shawls thrown over their backs. They settled in Canada because there were quotas to keep Jews out of the United States. Barry's Baba Rachel Feldman was well educated and spoke thirteen languages fluently. She fled the Ukraine after the Red Army seized her family's brick factory in Zhitomir near Kiev during the Russian Revolution. Rachel got typhus and lost all her hair. The Red Calvary was about to hang her oldest brother when a handsome lieutenant stopped the hanging saying he was not their enemy. Field Marshall Lieutenant Budenny later became a Russian general in World War II who fought Hitler's Army. At eighteen years old Rachel left Russia alone headed for Fargo, North Dakota to meet the man her parents had arranged for her to marry. En route through Poland, she fell asleep, and the Polish women slit her skirt and stole the gelt her mother had sewn into her hem. Somehow she got to Winnipeg, where she learned that her fiancé in America had died while she was on her way to wed him. Rachel stayed in Canada and worked in the garment factories until she met an older man from a nearby shtetl in Russia. Barry's grandfather Morris Pevsner had fled Russia, the Czar's Cossacks, and his family's pressure to become a rabbi during a pogrom decades before. When he and his brother Louis arrived in Montreal, the customs agent renamed them Paisner. Morris journeyed to Northern Manitoba and trapped with the Cree before opening a trading post on the edge of the remote Way-Way See-Capo Reserve. Morris' first wife had died in childbirth leaving an infant daughter, who he had been forced to put in an orphanage. After Rachel and Morris married, they retrieved the baby girl. and at the end of winter in 1927, they had a son. Rachel's life on the Canadian frontier was grueling. The trading post was near the southern boundary of what would become Riding Mountain National Park when Barry's father Hy was two years old. Their cabin had no indoor heat, electricity, running water, or plumbing. Rachel helped Morris run the trading post, chopped wood, and burned toast on the wood stove each morning. Hy grew up speaking Cree, as well as Yiddish and English, and still loves the taste of burnt toast. Nurtured by his intellectual mother, Hy graduated first in his class so he could be one of the few Jews admitted to medical school. There were quotas to keep Jews out of medicine too, even in Canada. In Winnipeg, Hy fell in love. Sheila was a city girl at the University of Manitoba. Her mother Lillian was a small child in the early 1900s when she hid with her family in ditches by the roadsides as they fled Russia by night. Sheila's father Henry was a first generation Canadian whose Orthodox dad forced him to quit school and go to work to support his thirteen children so he could study Torah in shul all day. Henry did not have much patience for organized religion, but he liked Hy as soon as he found out the earnest young man with horned rimmed glasses was a medical student. After they married, Hy and Sheila departed Estevan where he practiced as a country doctor, and she gave birth to their first two sons. They moved to Minneapolis when Barry was a boy, so his dad could study at the University of Minnesota and specialize in otolaryngology. There they connected with a group of expatriates who had moved south to Minneapolis for opportunity and the "warm weather." Surrounded by the smiling faces of Barry's extended family, I felt at home at last. Visits to Minneapolis soon became more frequent than to Woonsocket. ![]() "We are the Same, but Different" for Oliver Lake Acrylic/canvas, 40 x 30" 1989 "L'Dor v'Dor" final chapter "It Stops wtih Me" The mémères would smile to see Liesette cuddling with her daddy. So many generations of pain, secrets, and rage paid the way so my daughter could sit safe and protected in her daddy’s arms. I was not the first girl to be abused in my family. Many lived through much worse. Some did not survive. When I remember what my French mémères and pépères, and Indian grandmothers and grandfathers endured, I can understand why some unleashed their hurt on their families. How did love and cruelty become so entwined, so inextricably connected that they were like right and left hands, or even right and left sides of the same face? How did cruelty become such a natural part of the family that love was used as the excuse to hide it? How did loyalty become defined as refusing to tell? It would be easy to say it started with my father’s drinking, but that is too simple. The damage started long before Archie took his first drink. It could go back to my father being sent away to boarding school when he was barely twelve years old – or when Maman opted to exchange the cruelty of poverty for that of my father’s temper – or when her maman, encouraged her to marry the tall handsome up and coming dentist. It could have begun even earlier when Mimi, desperate for a better life for Colleen than her own as a millworker’s wife, painted her daughter’s thirteen-year-old face and entertained her suitors. Or maybe it was when Mémère Louisia never quite recovered from childbirth. She was always on some kind of medication for her nerves. Maybe Mémère had a bad reaction to some of the pills she popped, or the bottle of red wine she drank alone in the dark. Maybe she lost her temper and turned her rage upon her only son without warning. It is not just about my family. It is tied to all my relatives and ancestors who suffered oppression. The women of my lineage connect me to five hundred years and twenty generations of French Canadian culture in North America, countless centuries and lifetimes of Indian wanderings on this continent, and innumerable ages of peasant life in France. Along with a legacy of dysfunction, I can draw on rich cultural traditions from all my ancestors French, Blood, Québécois, Eastern Woodland Indian, and Acadian. Though rife with struggle, each strand of my peoples’ history was also a tradition of fortitude. Although merely an unrecorded footnote in the bigger history of the meeting of French and indigenous people, my story can not be complete without considering the intimate personal moment when Pépère Lambert met his Pied Noir beauty and convinced her to be the mother of his children. Through her, I am linked to her mother and grandmothers who foraged and cared for children and valiant horse stealing husbands while they set up and broke camp season after season, year after year, in their strenuous nomadic life following the buffalo across the Northern Plains. And back through time from daughter to mother to grandmother in an unbroken line of Indian mothers who faced the same struggles birthing, nurturing and protecting their children through centuries of wanderings. The sorrowful part of my grandmothers’ legacy goes back to those women of the Blackfeet Confederacy who were kidnapped and raped, stolen far from their territory as spoils of war in the continual battles against the Cree, Flathead, and Crow, and to those taken as prisoners of war who were traded into slavery to warriors from other tribes or French Voyageurs. And to the wives whose dignified faces were mutilated when their husbands cut off their noses to punish infidelity. The heartbreak can be traced to the pitiful mourning of the clan mothers and grandmothers who wept and keened cutting their hair and slashing their flesh and clothes repeatedly throughout 1819, when the Coughing Epidemic killed a third of the Blackfeet. And to their daughters who mourned inconsolably in 1837 when smallpox infected trade goods brought in by whites wiped out two-thirds of those who had survived, and any hope of retaining their land and resisting Western Expansion. My grandmother also came from generations of proud Blood women who helped create a society where a woman could divorce an abusive husband simply by removing his belongings and placing them outside her tipi. And through her I draw inspiration from those virtuous women who fulfilled their vows to put up the Medicine Lodge for the Sun Dance Ceremony. And from those who gathered sweetgrass and sage on the endless plains for the ceremonies and trudged deep into the steep mountain forests to find flat cedar and herbal medicines. And from the humble ones who took on the grave responsibility of caring for the Medicine Pipe Bundles and their painted tipis. And spinning back through the generations ultimately to the brave girl who married Thunder and patiently learned the songs and ceremonies of the Pipe he gave to her as a gift to the People. And even to those animals who offered their skins and medicine songs to be remembered in the ceremonies. Ultimately connecting everyone back to Oki, the Creator Old Man who together with Old Woman made the people from lumps of clay, determined how they would live, and taught them what they needed to know to survive. To Oki, who decided that they would not live forever so they would learn compassion for one another. My story is also connected to my Aucoin, Hébert, Lavallee, and Lambert ancestors who were among the three hundred “picked men” and “engaged bachelors” from Brittany recruited by order of Cardinal Richelieu in the 1600s to settle Acadia because of their reputation as strong, hard-working, religious people. I am descended from the settler Martin Aucouin and five generations of peace-loving Acadians. And tied to the untold stories of the Indian women and the French Filles de Roi who married the picked men who left France and braved the Atlantic voyage to settle in Port Royal in Acadia, the home of the legendary Evangeline immortalized by Longfellow. In Acadia, the pépères and mémères worked and lived together, fishing, trapping, and cultivating fields communally and sharing equally the fruits of their work. They reclaimed the marshlands for farming and became experts at building and repairing dykes. Only a few knew how to read or write, but they knew how to live cooperatively. The women welcomed orphans into their modest clean homes and cared for the needy and elderly. Their communities were relatively free from crime for generations. They lived in a simple state of innocence and equality and were opposed to war and violence. Five generations of Aucoin women strove to create a peaceful life in Nova Scotia in little Acadian towns like Grand Pré and Cobequid until the Expulsion of 1755 when all Acadians who refused to deny their heritage and swear allegiance to England were expelled. They left behind mementoes of our Acadian family history that are lost to their descendants forever. When they sought justice and compassion on both sides of the Atlantic, they found it nowhere and left us with a new history of bitter exile. So naturally, to understand how Mémère Louisia, who was so proud of her Acadian heritage, could raise her hand against Little Archie, I must also remember what happened to my gentle Acadian ancestors on that fateful day, September 5, 1755 when they were ordered to congregate at the Catholic Church at Grand Pré at exactly three o’clock in the afternoon. Huge ships were moored in the harbor. British soldiers surrounded the church to prevent escape. Those who refused to take an oath of allegiance to England were herded onto the waiting transport ships with bayonets at their backs, deported immediately, and permanently banished from their beloved L’Acadie. I am tied to the pépères and mémères who stood helplessly as the British separated families, and took them away forever from each other and their tranquil homeland. And to those who saw the glow of the flames and great billows of smoke rise from their church, mills, homes, and barns burning to the ground on the receding shore as they sailed out of the sheltered harbor. Pépère Pierre Aucoin was among the two thousand Acadians who escaped into the woods. I imagine he survived by hiding in the brush by day starving on what little he could forage in the Canadian forest in late September. Pursued doggedly by soldiers who hunted the fugitive Acadians like animals, he fled, bushwhacking through the dark forest at night until, clothes in tatters barely concealing his nakedness, feet frostbit, and bleeding, he finally found refuge at the village of St. Pierre Les Becquets in Quebéc. I am also tied to those who stayed behind hidden deep in the forests protected by their Indian friends, who watched while everything that was left behind was burned or stolen by the British soldiers and settlers. They saw their enemies plow the land they cleared of boulders, harvest the fields they reclaimed from marshland, let the dykes they maintained crumble into ruin, pull the nets they made in from the sea, and sleep in the beds where they conceived and pushed out their babies. My heritage is also connected to the ones who were shipped back to exile in France, unwelcome and shunned in their motherland as well as betrayed repeatedly by the French government. And to the countless cousins like Ann Aucoin who drowned when the overloaded ships sunk to the ocean floor. I am also tied to the even unluckier cousins who were sold into slavery in the West Indies. And to the ones who died in the unbearable heat of Santo Domingo where they emigrated after the colony of New York refused to welcome them. And to the one hundred and thirty-eight who left exile in France only to die in the tropical inferno of French Guiana on the coast of South America. And to the ones who fled slavery in the Deep South with the Blacks on sugar and cotton plantations in Georgia. And to the two hundred and thirty seven Acadians who died of smallpox when they sat captive aboard transport vessels for three months in Philadelphia’s harbor. And to the brave ones who were taken as prisoners of war to England and held in concentration camps in port cities like Liverpool. And to the more than two thousand Acadians who were deported to Massachusetts and labored like slaves under the harsh treatment of the Bostonians. And to the sixty brave families who left Boston and marched eighteen hundred miles back to Acadia on foot, pregnant women, children and all. And to those few broken souls who survived the trek home, only to be forced to continue wandering like ghosts of a quickly fading past from village to village finding refuge in none. I can trace my lineage directly to cousins who sailed on some of the seven ships carrying Acadians back to the States, like LeBon Papa with Francoise Aucoin tightening sails and swabbing decks as a seaman. And to the Aucoin, Touchette, Lavallée, Lambert, and Hébert cousins who were carried from exile in France to Louisiana to rebuild lives shattered by their exodus from Acadia in communities like Lafourche, St. Landry, and St. Martinville where they came to be known as Cajuns. Their descendants’ names now clutter the phonebooks of Lafayette and other Louisiana towns. But understanding my heritage would not be complete without considering my Woodland Indian ancestors’ contribution to my gene pool. My Voyageur pépères’ Indian wives passed down genes that had no defense against smallpox, influenza, diabetes, and alcoholism. But we also benefited from their genetic legacy. Their distinctive facial structure is echoed in our faces and classic hawk-like noses. Their legendary fierceness in battle is evident in my son Sage’s fearlessness as a wrestler. The deep connection to the earth and clan survived among the ma tantes and mon oncles at the camps around Pépères’ Lake. The trail linking us to our Woodland ancestors was blurred and nearly erased by cultural genocide, but they etched their legacy onto our genes and determined who we are. So, my roots, as with so many other Canucks, may be connected to the Abenaki and Six Nations of the Iroquois Confederacy whose matrilineal structure and Council of Clan Mothers selected the chiefs and kept them accountable to the tribe. And to the clan mothers who raised strong capable girls and taught them to make every decision guided by the wisdom of the previous seven generations always considering the impact it would have on the next seven generations into the future. And to the families who were entrusted with caring for and feeding the False Face and Corn Husk entities. And to the shamans who danced and sung their ceremonies bringing the world into harmony for healing, ensuring the return of spring, the success of the harvest, and the proper sequence of the seasons. And to the mothers and grandmothers who cultivated the fields, carefully planting the Three Sisters together as their ancestors taught them so the beans’ vines would wind around the sturdy corn stalks and the broad squash leafs would shade the roots. And to the women who tanned deerskin and fashioned moccasins so their men could move noiselessly through the forests and return home safely to the longhouses. And perhaps even to the Ojibwe who paddled silent canoes on woodland lakes and rivers braving mythical creatures to bring huge lake trout and sturgeon home to their wickiups. It is linked to the fierce warriors who allied with the French and fought the French Indian Wars from the late 1600’s until 1763 to expel the British invaders from their ancestral lands, and lost. But it is also tied to the healers who gathered medicinal herbs in the forests and the beadworkers who beaded the secrets of the plants into decorative patterns to teach their daughters and granddaughters herbal medicine. Just like it took generations to make a man like Archie, it took generations of mothers and grandmothers to make women like Philomêne and Mimi. Generations of strong women came before us, like Philomêne’s maman, Mémère Philomêne Lambert, and her full blood mother who married and became Suzanne Lambert leaving her Kainah name behind. From Mimi’s stories, I imagined her stuffing her Indian name deep into her memory until she could barely remember its syllables as she traveled thousands of miles from home and each year passed without hearing the sounds of her native language. Having no one to speak with, she probably forgot, word by word, until the only time she heard it was when she dreamed of her grandmother telling her Blood stories of Oki. When she awoke from these dreams she would smell a trace of burnt sage and sweetgrass. When Suzanne’s babies were born, she probably sang Blackfeet lullabies to soothe them to sleep and tried to teach them simple words as they grew. But there were no adults to talk with, and when her children grew older they were embarrassed by her strange words. Eventually, she spoke only French. I wonder how she felt when she packed her belongings on a travois and left her tribe to follow her Frenchman East. Was she in love with the dapper stranger with the dark mustache and eyes who spoke a curious melodious language and was clad in buckskins with curling floral beadwork made by Indian women of the People of the Dawn she heard about in warrior’s tales? Was he as exotic to her as she seemed to him? Was it love at first sight? Did his difference attract or repel her? Maybe she was a practical girl who noticed his rifle and saw a good hunter and provider for her yet-to-be-born children. She may have chosen to marry outside her tribe because she thought the future was with the newcomers with their powerful weapons and strange ways. Or maybe she was an adventurous girl who wanted to see what lie in the land where the sun rose. She could have gone unwillingly too, wrenched from her family as a bartering chip in the new economy the Voyageurs imposed on the Plains. Or worse, she could have been raped, if not by Pépère, then by other drunken Voyageurs, or by warriors from rival tribes who raided villages for slaves and horses. If she were one of those battered ones, she hid her sorrow well, and kept her secrets as she prayed her rosary and walked down the hill to Mass each morning until her one hundred fourth year. It did not start with my family or with Mimi’s either. It must be linked to the generations upon generations of oppression back to the explorers and adventurers who trudged and portaged the uncharted forests, rivers, and woodland lakes trapping and trading with the Abenaki, Mohawk, Iroquois, Ojibwe, Lakota, Cree, and Blackfeet - back to the Voyageurs who met and married, seduced or raped the Indian women who bore their children. Sojourning in towns throughout French Canada along the Rivière Saint-Laurent, they married and birthed their babies in places with mysterious names like Yamaska, Sorel, St. Hyacinthe, St. Damase, and St. Robert. I wonder how many of those women made love matches, and how many cowered in the face of their espousés, and how many half breed children got the brunt of their parents’ despair. Or it may be rooted farther back in the struggles of the starving ancestors from nearly every province and all four directions of France who tired of trying to pull nourishment from that land and left the Haute-Pyrénees, the provinces of Anjou, Poitou, Champagne, Normandy, Provence, Bretagne, and the Rhone Valley to take their chances sailing to New France, seeking cultural and religious freedom, adventure, and economic opportunity. And back to p’tite Marie Touchet spreading her legs for King Charles IX on brocade sheets so her family could eat cake while an ocean away, Abenaki women greeting Voyageurs with gifts from the sea and forest received love or betrayal in return, on back through the generations to the first molested girl and raped woman. Always it goes back to the women, struggling to put food in the stomachs of their many children, to keep warm clothes on their backs and shoes on their feet. And to the men, who labored with no relief to feed their large families in the unexplored Canadian wilderness. To the pépères who broke their backs tilling infertile lands, trapping, and hunting in the piercing solitude of frozen forests, or fishing, trawling, and laying lobster traps from fishing boats on the frigid maritime seas. And to the fathers who were so downtrodden by political oppression and poverty that every vestige of their self-esteem was destroyed. Feeling powerless, beleaguered by the wailing of too many hungry mouths to feed, they tried to dull their anguish with alcohol and gambling, but often ended up venting their frustrations on their wives and children. Ultimately, it goes back to the Catholic Church that gave them all solace even as it created, supported, and benefited from the conditions oppressing them. Patterns -patterns of oppression and reacting to oppression and internalizing oppression until men are drinking and beating women and children to forget the humiliation of their lives, and women are manipulating and sacrificing those children to have some semblance of control over theirs. All those centuries produced Archie. The miracle was that he wasn’t worse. Suddenly the image of my father’s angry monster face was transformed into his maman’s raging lipstick red mouth, and it was little Archie cowering defenseless instead of me, and I understood we were both just links in an unending chain of cruelty handed down generation to generation on back through the decades with the Lavallée girls vainly clenching their thighs closed against their daddy, the workers sublimating themselves to the mill bosses, the Acadians herded and separated with bayonets, the Québécois fleeing persecution in Canada, the Blackfeet dying of smallpox wrapped in US Army blankets, the Mohawk women and warriors dispersed from Six Nations in another diaspora, and the French peasant women struggling to feed and protect their daughters from rapists, marauders, and marquis. Like my French and Native ancestors, my path led me far from my birth home and culture. Like my Indian grandmothers, I met and married a handsome stranger and adopted his ways and religion. But unlike them, I found a sweeter way of life to bequeath to my daughter. How did it get to the point where men and women are at war, and their children are the swords they wield against each other? It is not just about my family and my ancestry. I don’t know when it started, but I do know where it is ending. It is stopping right here with me. I choose a different legacy for my children to pass generation to generation. I was not the first girl to be abused in my family. But I will be the first to say, c’est fini. No more. It stops here with me. |
Captivating stories of survival and hope - the agony and blessings of family. Artist journeys from Catholic French Canadian culture to Indian Country and Judaism. "Mimi's going to tell you a story while she combs her hairs, ma belle," my grandmother would say as she pulled me up into her warm lap and unbraided her long black hair. "Tu est bête! Regardez comment tu est juste comme une bête!" Daddy would call me a monster as he hit me. from "It Stops with Me" Excerpt from It Stops with Me Chapter 1 Fifties Snapshot Fifties Snapshot When I look at the fading black and white photograph dated February 17, 1954, I see a young woman with porcelain skin and raven black hair smiling benevolently upon a tiny baby. The infant’s eyes are deep dark pools locked on her mother’s face. She is swaddled in a hospital receiving blanket, dependent, defenseless, and totally trusting. I know Maman loved me. I remember feeling safe cuddled in her arms. As I grew, she told me over and over again the story of the day I was born. She was only nineteen years old and had married my dad nearly two years before. Her labor began in the dead of night, but she waited until dawn to wake my father to drive her to the hospital. She labored for eighteen hours, most of it alone in a cold sterile delivery room. They anesthetized her with ether for the delivery as they did in those days, so she missed hearing my first wails when I was born at 7:58 that night. Even so, Maman was entranced by my birth. She told me she forgot all the pain of labor when she saw my face. She was transformed. I had made her a mother. I grew up knowing the day of my birth was one of the happiest days of Maman’s life. Colleen was the mother of a daughter in a clan where the women were the center and force of the family. I was her firstborn daughter in a family and culture that valued daughters above sons. Sons moved away. A son’s child belonged to his wife’s family, and was not as directly tied to the maternal line. Daughters stayed close to home and could be counted on to cherish and carry on the family traditions. Maman’s oldest sister had four boys, so Colleen thrilled my grandmother Mimi and the entire family when she delivered the first granddaughter. Like most dads of the 1950s, my soon-to-be father arrived at the hospital after work, and was relegated to the maternity waiting room. Other fathers-to-be paced, but Archie outpaced them all. He was a nervous man, gyrating, lanky, all arms and legs in perpetual motion. Archie did not walk; he marched at a clip, his arms swinging, his long knobby fingers crossing and re-crossing and his mouth jabbering on and on in English punctuated with thick Québécois French. Eight years Maman’s senior, he was tall, dark and handsome with classic chiseled features and deep-set eyes. People often compared him to Clark Gable and Cary Grant. His movie-star looks and recently opened dental practice made him quite a catch in Woonsocket, Rhode Island. But when he opened his mouth, there was something not quite right about Archie. As Maman discovered soon after their wedding, his good looks masked a troubled soul. I wonder how he felt on that cold February night as he waited. He adored my beautiful mother. She was his prize, the love of his life. My growing presence in her belly had placed a wedge between them, an excuse for his devoutly Catholic wife to refuse his sexual advances. He must have worried that I would come between them. A sepia-toned photo captures petite Colleen at thirteen, made up, wearing a low cut leopard print dress, looking glamorous and sexy beyond her years. By the time she chose Archie at seventeen, Colleen had already refused two other prospective grooms, one whose proposal came with a 3-carat diamond. Years later, my dad badgered Maman about Dog Biscuit and Fido, as he had christened the unlucky but still offensive suitors. Though he had won Colleen, Archie still seethed with jealousy against them. He often accused Maman of secretly harboring regrets that she had not married one of them instead. Her regrets were real, but more because Archie was so different from the knight in shining armor she had hoped to marry. Dog Biscuit and Fido - when I was little, I thought those were their real names. I tried to imagine what they looked like and wondered what Maman could have seen in them. As I grew older and got to know my father better, I wished so hard she had chosen either one of them. I dreamed about what my life could have been like if Maman had picked a different father for me. I promised myself I would find a kind good daddy for my own kids. At eight, I wrote a letter to my future grown up self. “Never forget how it feels to be a little kid with a crazy mean daddy.” There is another snapshot, one I did not see until I was grown and pregnant with my second son, twenty-eight years after the photoflash blinded my baby eyes. I stuffed the photo in an album and forgot about it for over a decade. When I was forty, I found it again. My father looks into the camera. He is holding me facing out with his arm crossing over my belly. Even with his strained nervous smile Archie is an attractive man. But looking at his image filled me with dread and revulsion. It was confusing because I loved my father, but something inside me hated and feared him. The baby in the picture wears delicate pale clothes. Pretty in pink coveralls, she grimaces and leans away from her daddy’s face pushing away from him. For the first time, I saw the deep sadness in those tear-filled eyes. One Drink Daddy always insisted that he only drank one drink, but it was a scotch on the rocks in a huge copper beer stein. Every night as soon as he came home from work, he rushed to the basement and poured his Johnny Walker Red. As he drank down to the bottom of the stein, he would become more and more belligerent. When Maman complained he was drinking too much he snarled, “I’m only having one drink, Colleen.” My place at the table was wedged against the window between the stove and the opposite wall of the cramped breakfast alcove in the kitchen. To get out, I had to squeeze behind Kimmy and Lori or crawl underneath everybody’s feet to get away from my dad. Sometimes, Daddy rose up furious and caught me before I managed to escape so I crawled back under the chairs to keep out of his reach. Other times I got to the dining room before he did, and he ran after me and chased me around the long table until he caught me and grabbed my arm. His eyes bulged when he wound back and pounded me with his big gnarly hand. I hated myself for screaming back at Daddy. My parents always made me feel it was my fault that my father hurt me. If I would just be a good little girl like my quiet sister Kimmy, he would not have to hit me. If I would “just drop it” like he warned me to, I would not be hit. “Just drop it. Just drop it. Just drop it.” He shouted over and over again. I grew to despise those words. But somehow, I could not just drop it. My ideas were the only thing I had control over and I was not going to drop them. I could not give Daddy the satisfaction of knowing he dominated me. He could yell at me, he could hit me, he could beat me, but he could not make me agree with his medieval ideas. I turned into a bratty kid. Not all the time, but often enough that it became hard for me to like myself at times. I do not think I was any worse than any other toddler when Daddy started hitting me. But at some point after years of being hit, or maybe when I started fighting back, I became a brat and could be nasty at times. There were days when Daddy decided I needed to be taught a lesson. He brought me into his bedroom and held me by the wrist as I struggled to escape his grip. He made me stand still as he slid open his closet door with a theatrical gesture. It was full of suits, white shirts, ties, and belts with matching shoes lined up on the closet floor. Every item had been arranged according to color and size by my meticulous mother. My father made a show of selecting the widest leather belt with the biggest brass buckle to whip me. He picked a belt that would impress upon me the seriousness of my latest transgression. Today, I can not recall why he punished me so vigorously, but I remember the way I felt as he chose the belt. And I remember how the thick leather strap felt when it hit my bony bottom. Daddy pulled my cotton panties down past my knees. Then he ordered me to bend over. I watched out of the corner of teary eyes as he wrapped the leather belt several times around his big fist. The strap was so close to my face I could smell the residue of the saddle soap Maman used to clean the belts. The scent melded with the musky one of leather and Daddy’s acrid sweaty odor mixed with the Old Spice aftershave I bought him for Father’s Day. The frightening stench of his anger, and of the fear exuding from every cell of my body, was overpowering. I almost swooned from the stench, and squeezed my eyes shut tight, so the tears could not escape. Holding my breath, I waited while daddy stepped behind me still gripping my arm to prevent my escape, and gasped, as he raised the belt high above his head. The moments between the crack of the leather snapping above him, and feeling its burning weight hit my naked bottom, lasted forever. I filled those interminable minutes with frantic prayers begging God to make Maman come to stop him. She never did. I entreated the Virgin. “Je vous salue Marie, Plein de grace. (Hail Mary, Full of grace). Mère de Dieu..., deliverez nous de mal,(...deliver us from evil), ...deliverez nous de mal, ...deliverez nous de mal,...deliverez nous de mal.” The strap hit my fesse. The crack of the whip was sharp and loud. Again and again, Daddy lifted his arm and brought the belt down on my bottom. Again and again I prayed he would stop. I bit my tongue to keep from screaming, but cries escaped my lips. His rage spent, Daddy released me, and I collapsed in a crumbled pile on the shiny hardwood floor. Sobbing, I crawled to the bathroom and washed my smarting skin each time he hurt me. The tender flesh of my fanny swelled up in raised welts that stung for hours and sometimes days afterward. The bruises took longer to disappear, changing from black and blue to deep purple before fading to putrid yellow. After the first whipping I always knew what was coming when Daddy pulled me into his room. By Charleen Touchette Preface to Women Artists: Multicultural Visions, by Betty LaDuke (Africa World Press) 1991 "Multicultural Strategies for Cultural Revolution in the 21st century" Feminist Art Criticism: Form Identity Action (Ikon Press) 1997 ndn art: contemporary Native American art, New Mexico Artists Series (Fresco Fine Art Publishers) 2003 Forthcoming IAIA Rocks the '60s Real and Fake Indians: Adventures in Indian (Art) Country |
Created by The Authors Guild
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