74 pages • 2 hours read
Margaret Pokiak-FentonA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more. For select classroom titles, we also provide Teaching Guides with discussion and quiz questions to prompt student engagement.
In this brief note, Christy Jordan-Fenton reminds her readers that because some residential school experiences were so painful, the people who experienced them might reasonably want to keep their recollections private. She says everyone needs to respect that desire and that this right to silence “extends to all experiences of Indigenous trauma” (vi). Revelations about hidden history might encourage readers to learn more, and the author reminds readers to seek “knowledge [that] has been shared freely” (vi).
Debbie Reese (Nambé Pueblo), Founder of American Indians in Children’s Literature, provides a brief Foreword in the form of a letter to the reader. The letter is an exposition of the myths surrounding Indigenous literary characters and the living historical actors on which they are based. Reese says:
Most of the children’s books, television shows, movies, and lessons in your schoolbooks do not tell the truth about what happened to Indigenous Peoples when Europeans came onto their homelands several hundred years ago (viii-ix).
This type of popular culture is common and glorifies settlers and “pioneers” while ignoring or justifying the harm that colonialism did to Indigenous communities. Reese stresses, “White people did terrible things to Indigenous people” (ix), like steal land, force Indigenous people to live on reserves, and take children by force to residential schools like the one in the book. Reese champions Indigenous authors who write about Indigenous experiences and suggests many others for interested readers. She says that Indigenous people and cultures survived the governmental and vigilante attempts to eradicate them in Canada and the United States. She states that Indigenous authors offer truths that many non-Indigenous authors do not.
In the Preface to the 10th anniversary of the book, Christy Jordan-Fenton, Margaret-Olemaun’s daughter-in-law, contextualizes the story of Fatty Legs in larger themes of Canadian and colonial histories and stresses its importance both for Inuvialuit people and for a larger society often ignorant of Indigenous histories and suffering. She describes the book as an elder’s account of retaining “her agency and determination in the face of unparalleled bullying from adults” (xiii).
Jordan-Fenton relays that at first, her mother-in-law was resistant to having her story documented because at the heart of this memory was her own disobedience and “the secret of what she did with her stockings” (xiii), but she eventually agreed and went on to see her story translated into multiple languages and published in multiple editions. Pain and trauma are also at the center of the story. Recounting this abusive and terrifying episode in her past forced Margaret-Olemaun to undergo “a painful exfoliation of shame” and to muster “so much bravery” (xiv-xv). The payoff for Indigenous communities has been massive: Other survivors have followed Margaret-Olemaun’s lead and shared their stories and come together to heal.
Jordan-Fenton compares the story of Fatty Legs to that of a fairy tale in which the hero faces seemingly insurmountable odds to emerge victorious. The villains in Fatty Legs, however, were real; the system that created them was real and, in many ways, is still functioning through its legacies. Margaret-Olemaun is also a very real hero who, “with exceptional strength of spirit and cleverness, and under the most horrific and powerless circumstances imaginable […] survived” (xvi). She embodies the “spiritual fortitude and wit” of Indigenous children and sets the example for every young reader (xvi).
The opening segments of the book are not in the voice of Margaret-Olemaun Pokiak-Fenton like the book’s main chapters are. Two writers set the stage for the story by expounding the history and implications of residential schools. These additions are essential, as they connect Margaret-Olemaun’s story to the suffering of generations of Indigenous people across the continent. The reader learns about the importance of the story they are about to read well beyond the realm of literature.
These early segments also serve to challenge non-Indigenous readers. The authors call out settler society, which mainstream education curricula routinely celebrate. The authors tell us that sharing personal accounts from residential schools is a painful process that many who experienced the schools do not wish to confront. We learn that this pain is not merely personal, but communal and multigenerational. These conceptions of pain and connection might not be familiar to non-Indigenous readers raised in cultures that stress individualism. Fatty Legs introduces readers to Indigenous ways of thinking and knowing that are unlike European-influenced worldviews. Even though the subject matter is tragic and appalling, the authors allude to the extreme degree of pain and suffering that colonizers forced upon Indigenous communities. Readers might have to confront biases and misconceptions about Indigenous people as they read. The authors facilitate that introspection by offering accounts of Indigenous histories from Indigenous perspectives and outline some best practices for thinking and learning about them.
Jordan-Fenton segues from this broad context to Margaret-Olemaun’s story. She states the main points of the story up front: “Margaret-Olemaun reminds us to give credit to the strength of Indigenous children and their spiritual fortitude and wit, to honor them, and to hold them up for the very courageous act of surviving” (xvi). She also says that the book should prove to every child that they “are the hero of [their] own story” (xvii). While we know the book speaks to very serious, tragic, and violent themes, we also know that it will contain the triumph of the main character over a certain element of the oppressive system. It is therefore not a tragedy that focuses on death and destruction, but an uplifting story about strength and resilience in the face of such threats.