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  LOVE AFTER THE END

  LOVE AFTER THE END

  AN ANTHOLOGY OF TWO-SPIRIT & INDIGIQUEER SPECULATIVE FICTION

  EDITED BY JOSHUA WHITEHEAD

  LOVE AFTER THE END

  Copyright © 2020 by Joshua Whitehead

  Stories copyright © 2020 by individual contributors

  All rights reserved. No part of this book may be reproduced in any part by any means—graphic, electronic, or mechanical—without the prior written permission of the publisher, except by a reviewer, who may use brief excerpts in a review, or in the case of photocopying in Canada, a licence from Access Copyright.

  ARSENAL PULP PRESS

  Suite 202 – 211 East Georgia St.

  Vancouver, BC V6A 1Z6

  Canada

  arsenalpulp.com

  The publisher gratefully acknowledges the support of the Canada Council for the Arts and the British Columbia Arts Council for its publishing program, and the Government of Canada, and the Government of British Columbia (through the Book Publishing Tax Credit Program), for its publishing activities.

  Arsenal Pulp Press acknowledges the xʷməθkʷəy̓əm (Musqueam), Sḵwx̱wú7mesh (Squamish), and səl̓ilwətaɁɬ (Tsleil-Waututh) Nations, custodians of the traditional, ancestral, and unceded territories where our office is located. We pay respect to their histories, traditions, and continuous living cultures and commit to accountability, respectful relations, and friendship.

  This is a work of fiction. Any resemblance of characters to persons either living or deceased is purely coincidental.

  Natalie Diaz, excerpt from “Manhattan Is a Lenape Word” from Postcolonial Love Poem. Copyright © 2020 by Natalie Diaz. Reprinted with the permission of The Permissions Company, LLC on behalf of Graywolf Press, Minneapolis, Minnesota, www.graywolfpress.org.

  Cover art by Kent Monkman, Teaching the Lost, 2012, acrylic on canvas, 24" × 30";

  image courtesy of the artist

  Cover and text design by Jazmin Welch

  Copy edited by Doretta Lau

  Proofread by Alison Strobel

  Printed and bound in Canada

  Library and Archives Canada Cataloguing in Publication:

  Title: Love after the end : an anthology of two-spirit & indigiqueer speculative fiction / edited by Joshua Whitehead.

  Names: Whitehead, Joshua (Writer), editor.

  Description: Previously published: Narol, Manitoba: Bedside Press, 2019. | Short stories.

  Identifiers: Canadiana (print) 20200208535 | Canadiana (ebook) 20200208667 | ISBN 9781551528113 (softcover) | ISBN 9781551528120 (HTML)

  Subjects: LCSH: Two-spirit people—Fiction. | LCSH: Sexual minorities—Fiction. | LCSH: Indigenous peoples—North America—Fiction. | LCSH: Short stories, American—21st century. | LCSH: Short stories, Canadian—21st century. | CSH: Short stories, Canadian (English)—21st century.

  Classification: LCC PS8323.T86 L68 2020 | DDC C813/.08760892066—dc23

  “Am I

  what I love? Is this the glittering world

  I’ve been begging for?”

  — NATALIE DIAZ,

  POSTCOLONIAL LOVE POEM

  CONTENTS

  INTRODUCTION

  Joshua Whitehead

  ABACUS

  Nathan Adler

  HISTORY OF THE NEW WORLD

  Adam Garnet Jones

  THE ARK OF THE TURTLE’S BACK

  jaye simpson

  HOW TO SURVIVE THE APOCALYPSE FOR NATIVE GIRLS

  Kai Minosh Pyle

  ANDWÀNIKÀDJIGAN

  Gabriel Castilloux Calderon

  STORY FOR A BOTTLE

  Darcie Little Badger

  SEED CHILDREN

  Mari Kurisato

  NAMELESS

  Nazbah Tom

  ELOISE

  David A. Robertson

  ABOUT THE CONTRIBUTORS

  INTRODUCTION

  JOSHUA WHITEHEAD

  Love after the End: An Anthology of Two-Spirit & Indigiqueer Speculative Fiction is a project I have been humbled to be a part of for the greater span of two years now—one that saw a migration from its original home with the now closed Bedside Press and into the arms of Arsenal Pulp Press. I write this new introduction in the age of COVID-19, a time of global pandemics, social and physical distancing, and a time of unprecedented mourning, loss, and historical triggers. I find it particularly apt for us to be sharing these stories with you once again, in a newly polished reformation, if only because these are stories that highlight a longevity of virology and a historicity of genocidal biowarfare used against Indigenous peoples across Turtle Island since the docking of colonial powers into our homelands.

  I have asked myself: Who names an event apocalyptic and whom must an apocalypse affect in order for it to be thought of as “canon”? How do we pluralize apocalypse? Apocalypses as ellipses? Who is omitted from such a saving of space, whose material is relegated to the immaterial? Here, too, I craft a theory of Indigiqueerness by rejecting queer and LGBT as signposts of my identity, instead relying on the sovereignty of traditional language, such as Two-Spirit, and terminology we craft for ourselves, Indigiqueer. How does queer Indigeneity upset or upend queerness? Are we queerer than queer? Who defines queerness and under whose banner does it fly? Whose lands is it pocked within? I churn these words over in my mouth, taste that queered Cree on my tongue, and wonder if they are enough. Like waneyihtamisâyâwin, the nêhiyâw word for queer, as in strange, but it is also defined as uncanny, unsettling; or waneyihtamohiwewin, the act of deranging, perplexing—I find Indigiqueerness a hinterland.

  For surely, like the histories of virologies written into our codex, from smallpox, to HIV/AIDS, to H1N1, and now COVID-19, the histories of our queerness, transness, non-binaryness, arc back to originality and our vertebrae are blooming heart berries and dripping seedlings. What does it mean to be Two-Spirit during an apocalypse? What does it mean to search out romance at a pipeline protest—can we have intimacy during doomsday? How do we procure affinity in a sleeping bag outside of city hall when the very ground is shaking beneath us with military tanks and thunderous gallops? What does it mean to be distanced under the weight of colonial occupation and relocation? It’s a story we know all too well. We find one another in the cybersphere, hyper Rez sphere, in the arenas of dreamscapes and love grounds. We emerge in pixel and airwave, and we have never lost the magic of our glamour within such a vanishing act; we’ve always controlled the “I” of our narrativized eye. I suppose I note these ruminations in order to announce: Two-Spirit and Indigiqueers are the wildest kinds of biopunks, literally and literarily.

  Originally, the project was designed to be geared toward the dystopic, and after careful conversations, we decided to queer it toward the utopian. This, in my opinion, was an important political shift in thinking about the temporalities of Two-Spirited, queer, trans, and non-binary Indigenous ways of being. For, as we know, we have already survived the apocalypse—this, right here, right now, is a dystopian present. What better way to imagine survivability than to think about how we may flourish into being joyously animated rather than merely alive?

  When I think about the trajectory of queer literature, primarily queer young adult literature, I take note of the longevity of its breadth, and within that trajectory it wasn’t until 1982 when Annie on My Mind by Nancy Garden sprung onto the stage with a queer Bildungsroman that we witnessed our first “happy ending.” Sara Ahmed, in her blog post “Queer Fatalism,” writes of fate and the fatal as being imbricated with categorizations of queer inasmuch as “queer fatalism = queer as fatal.” Within Indigenous ways of being with the term “q
ueer” that we now have braided into our linguistic systems, we are well aware of the fatalism of queerness from the docking of expansion on Turtle Island in 1492—a small marker in the longevity of our temporalities. One example I can give is George Catlin, an American painter who “specialized” in portraits of Indigenous peoples across the Plains in an attempt to “save” them through memorialization. His painting Dance to the Berdache depicts what he calls a “berdache,” an outdated and offensive term that has since been removed from our lexicons and replaced with Two-Spirit in 1990, being celebrated and brought into community. Upon witnessing a Two-Spirited person cohabitating harmoniously within their peoplehoods, Catlin announced, “This is one of the most unaccountable and disgusting customs that I have ever met in Indian country … I should wish that it might be extinguished before it be more recorded.”

  Our Indigiqueerness has always signalled fatalism in the eyes of colonial powers, primarily the white gaze, from the directed killings of 2S peoples during Western expansion through to contemporary erasures and appropriations of the term Two-Spirit by settler queer cultures who idealize, mysticize, and romanticize our hi/stories in order to generate a queer genealogy for settler sexualities.

  I, too, write this during the massive global climate strike, the onslaught of colonial consumption bringing about the end of the world, the era of Trump and Trudeau’s proposed pipelines, and the newly cresting wave of Two-Spirit, queer, trans, and non-binary writing in the nation-state we call “Canada.” These, I believe, go hand in hand: destruction and the thrum of collective singing. Hence, utopias are what we have to build, and build now, in order to find some type of sanctuary in which we and all others can live—there is no plan or planet B for us to turn to.

  In nêhiyâwewin we have the word “nîkânihk” for “in the future,” and within that word is “nikânah,” or “put her/him in front.” Here, within this collection, we have done just that: we have put Two-Spiritedness in the front, for once, and in that leading position we will walk into the future, in whatever form that may take, together, hand in hand, strong, resilient, extraneously queer, and singing a round dance song that calls us all back in together. I bring forward this short, concise history in order to say: we have lived in torture chambers, we have excelled under the weight of killing machinations, we’ve hardened into bedrock—see how our bodies dazzle in the light?

  The stories in this collection enumerate the beauty, care, deadliness, and majesty of Two-Spirited folx from a variety of Indigenous nations. Take, for example, Gabriel Castilloux Calderon’s “Andwànikàdjigan,” which tells the story of Winu and Bèl, two îhkwewak, who etch markings onto their bodies in order to become “memorizers,” or living archives while captive. In a tender moment, “they kissed like the world was ending, but really, wasn’t it already over …?” Find here the reprisal of David A. Robertson’s character Pyper in “Eloise,” a story that plays with cyberpunk elements—Neuromancer’s digital realm meets the interactivity of Ready Player One. This is a story where The Gate, a virtual world brought about through a downloadable application, condenses a fantastical life into a series of minutes—here, The Gate reads like an inverse type of conversion therapy used as nostalgic reparative work for mourning, love, and the dying. In Kai Minosh Pyle’s “How to Survive the Apocalypse for Native Girls” we are given a primer through three powerful characters: Migizi, Shanay, and Nigig—in this story we find a wonderful gifting, weaving, of Afrofuturism with Indigenous futurism as a way of simultaneously holding ancestors and descendants in the same palm and are taught to “watch those in power carefully.” In jaye simpson’s “The Ark of the Turtle’s Back” we witness the destruction of Earth, one imbricated by the “International Water Ration Act of 2167,” and a voyage where buffaloes and life forms are terraformed onto a new planet within our star’s hospitable zone. Find here a planet uncolonized, one helped to develop wherein we are made to question “how do we build a relationship with [a] new planet? … I would assume like all consensual relationships: we ask them out.” In Nazbah Tom’s “Nameless” we see the connection between Jennifer, an enby counsellor, and K’é, a Traveller who can move between this world and the next—here, Tom’s story reminds me of Leslie Marmon Silko’s novel Ceremony, as we learn how kinship transcends time through K’é, who works to call ancestors home. In Mari Kurisato’s “Seed Children” we are introduced to the “Children of the Light,” cyborg NDNs who battle their enemies and work together to be transplanted into a new hospitable world, the “Rose Dawn,” through a seed spaceship known as the “Great Tree.” Kurisato’s deployment of synth or cyborg bodies weaves wonderfully with queer Indigeneity inasmuch as we ponder the ethics and morality of what governs the right of a person, or people, if they are augmented with metal or, more specifically, queered through steel. In Darcie Little Badger’s “Story for a Bottle” we find a floating city, “New America,” with a rogue operating system named Olivia—I’m reminded here of the film Her, as Little Badger peppers the story with heartfelt and existential conversations between humans and AI. In Adam Garnet Jones’s “History of the New World” we are brought into a world on the brink of collapse, and the only saving grace being a haven known as the “Rainbow Peoples’ Camp,” where “a group [of NDNs] raised a rainbow flag with a warrior head on it.” Lastly, in Nathan Adler’s “Abacus” we are introduced to the titular character, a bio-computing AI and Ojibwe rat, and Dayan, a seventeen-year-old Anishinaabe human, both of whom fall in love through their avatars in “ve-ar.”

  I’d like to end with a short story of my own. While visiting my homeland this past summer in Manitoba, Peguis First Nation, I visited an auntie, a medicine woman, to ask for bear root and bear grease for my travels home. The past summer being one of many tribulations for my body, spirit, and mind, I found myself in desperate need of maskihkiy. While I was sitting with her, she asked me who the bear grease was for; it is primarily a medicine to heal and alleviate the body of its pains attributed to such things as fibromyalgia, arthritis, and chronic pain. Although I usually “butch” my femme-self up when visiting home for fear of being ostracized or worse, I told her it was for a friend of mine. And although this auntie and I are not close in terms of our personal lives, she knew what I meant when I said “a friend”: “For a loved one?” she asked, and I bowed my head and nodded. She knew that this maskihkiy was for a partner, lover, caretaker of mine for whom I, in turn, needed to reciprocate that same care during a time of extreme bodily duress. She knew the medicine was for a queer, at the time, nicîmos. She just giggled to herself, went into her storage room, and we traded thanks, tobacco, and hugs.

  While we waited for our uncles to finish their cigarettes and chatter on the porch, she asked me if I had harvested any maskihkiy recently. I told her I had picked some sage and juniper in Manitoba just a week before, but I’d had a hard time finding what I needed in the latitudes of the rolling prairies. So, she told me a story, as aunties are wont to do. Auntie noted that she too had difficulty before finding sweetgrass—a medicine she needed for her community—in an open field. “In these moments of need, the Creator always knows,” she narrated. “So what I did was I put medicine down, prayed to Creator, told them what I needed and why I needed it, and I smudged right there in the open field.” And, as all aunties do, the cadence of her carefully chosen words reeled and lulled everyone into her vicinity. “And after I finished and opened my eyes, there it was: wîhkaskwa was glowing there in them fields like hair on fire. I knew that Creator had opened my eyes to see the kin I needed to find, our medicines. We need only ask, humble ourselves, and be unafraid to ask for help in times of need, for us to receive exactly what it is we need.”

  This story she told me was one of ethical harvesting, yes, but it was also a story she was telling me, and all of us by extension, of how to find what we need when we need it: through community and through our relations. So, here, in the opening pages of this anthology, I, too, put medicine down for you so that you may see the braid
s of Two-Spiritedness glowing in the glaze of ink and paper. And I hear my Two-Spirited persona Jonny Appleseed reverberating in my thorax, itching to sing: “We are our own best medicine.” kinânâskomitin to everyone within this collection who trusted me with their work and equipped themselves with beaded breastplates and dentalium earrings in order to tell you their stories. I invite you to relish in these oratories, find what you need, and harvest earnestly so as to save the roots, because now more than ever we need these stories: stories of Earth, mothers, queer love, trans love, animality, kinship, and a fierce fanning of care. nîkânihk, see you in the future, nitotemak. Here’s a small fragment of our kisemanitonahk.

  ABACUS

  NATHAN ADLER

  I AM ABACUS.

  Rat.

  A tool.

  Designed. Crafted. Created. An engineered bio-computing AI. I grew up on the growth colonies off one of Jupiter’s moons, boonies for the twenty-fourth century. Io is a rat farm—basically the way they used to run puppy mills back in the twentieth. No blind watchmakers for me.

  Maybe you ask yourself: what’s the purpose of life? Why am I here? Why is there something instead of nothing? Why is there anything at all? But here we are. Probably. I deal in numbers. Probabilities. At the far end of extremes, certainties become theoretical. At least I know who created me.

  You made me.

  Humans.

  I am a patchwork of flesh and blood and cybernetics. I have tiny, sharp claws, four jointed finger digits and a shorter thumb diverging from the palms of my four pale pink feet. A long, sinuous tail, dry to the touch. Not slimy at all! I am not a salamander. I have soft white fur with dark splotches.

  Clean.

  I am not like my ancestors, flea ridden, filthy, squirming through sewers and walls—though I only feel gratitude for the lengths they went to survive, living under floorboards and walls, feeding off the scraps of mankind. Props.