ABSTRACT

This article coins the term “transcultural trauma fiction,” proposing that it constitutes a useful conceptual lens through which to examine the Finnish author Katja Kettu’s 2018 novel, Rose on poissa (Rose is Gone). Set in a Minnesotan world of mixed Ojibwe and Finnish heritage, Rose on poissa narrates a story of historical, intergenerational, and individual trauma, focusing on the Missing and Murdered Indigenous Women and Girls (MMIWG) crisis. The term “trauma fiction” has been in use since the 2004 publication of Anne Whitehead’s eponymous monograph, which applies Caruthian trauma theory to representations of trauma in contemporary novels. My use of the modifier “transcultural” before “trauma fiction” highlights the status of Rose on poissa as a text written by a cultural and ethnic outsider to any Native American heritage about traumas experienced by Ojibwe women and their indigenous and mixed daughters. I argue that Kettu’s literary strategy of transcultural hybridity seeks to acknowledge and mitigate problems potentially posed by the outsider’s gaze and by the risk of exploitative cultural appropriation accompanying it. Rose on poissa is a distinctly hybrid text that draws on both Ojibwe and Finnish cultural influences and intertexts as it depicts white-indigenous relations in the Great Lakes region.

摘要

本文创造了“跨文化创伤小说”一词，暗示它构成了有用的概念镜头，通过它可以审视芬兰作家卡特娅·凯图（Katja Kettu）的2018年小说《玫瑰在poissa（Rose is Gone）》。罗斯（Rose on poissa）坐落在由奥吉布韦和芬兰人混合遗产组成的明尼苏达州世界中，讲述了一个历史，代际和个人创伤的故事，重点是失踪和被谋杀的土著妇女和女孩（MMIWG）危机。自2004年安妮·怀特海德（Anne Whitehead）的同名专着出版以来，一直使用“创伤小说”一词，该小说将卡洛斯式创伤理论应用于当代小说中的创伤表征。我在“创伤小说”之前使用修饰语“跨文化”突出了罗斯在Poissa上的地位作为文化和种族局外人撰写的文本，内容涉及美国原住民遗产中有关奥吉布韦妇女及其原住民和混血儿女儿遭受的创伤。我认为，凯图的跨文化融合的文学策略旨在承认和缓解外来者的凝视以及随之而来的剥削性文化侵占的风险所带来的潜在问题。Poissa上的玫瑰是一种截然不同的混合文本，它借鉴了奥吉布韦和芬兰的文化影响力和互文性，因为它描绘了大湖地区的白人与土著之间的关系。