{"id":53,"date":"2020-09-06T18:30:03","date_gmt":"2020-09-06T22:30:03","guid":{"rendered":"https:\/\/pressbooks.bccampus.ca\/guideforamindspreadout\/?post_type=chapter&p=53"},"modified":"2020-09-15T19:57:19","modified_gmt":"2020-09-15T23:57:19","slug":"the-same-space","status":"publish","type":"chapter","link":"https:\/\/pressbooks.bccampus.ca\/guideforamindspreadout\/chapter\/the-same-space\/","title":{"raw":"The Same Space","rendered":"The Same Space"},"content":{"raw":"
\r\n\r\nThemes:\u00a0<\/strong>\r\n\r\nFake Intimacy, Gentrification, Toronto vs.\u00a0Tkaronto, Diaspora, Capitalism\r\n\r\n \r\n\r\nDisciplines:\u00a0<\/strong>\r\n\r\nCounselling, Creative Non-fiction, Land Law, City Planning, Economics\r\n\r\n<\/div>\r\n

Guiding Questions:\u00a0<\/strong><\/h1>\r\n
    \r\n \t
  1. Elliot\u2019s university\u00a0professor asked her class, \u201cWhy do you think I included Indigenous literature in a diaspora course?\u201d\u00a0<\/em>Elliot\u2019s answer was, \"Because Indigenous people are almost always put in a position where they\u2019re displaced on their own lands\u201d (p. 45)<\/em>. Do you agree with her answer? Why? Why not? What does \u201cdiaspora\u201d mean to you?<\/li>\r\n<\/ol>\r\n \r\n
      \r\n \t
    1. Elliot talks about\u00a0\u201cfake intimacy<\/em>\u201d\u00a0and leading a\u00a0\u201cdouble life<\/em>\u201d\u00a0making it hard to talk to her friends about her problems.\u00a0 What is your experience of this? How can you avoid\u00a0fake intimacy<\/em>?<\/li>\r\n<\/ol>\r\n \r\n
        \r\n \t
      1. On page\u00a049, Elliot writes about how Toronto was once\u00a0Tkaronto\u00a0that was\u00a0Dish With One Spoon territory<\/em>. What does this mean? On the same page,\u00a0she writes about the different way settlers look at land\/space? How do these views differ? Can they ever be reconciled?<\/li>\r\n<\/ol>\r\n \r\n
          \r\n \t
        1. The animated short by Amanda Strong,\u00a0Biidaaban\u00a0(The Dawn Comes)\u00a0<\/em>(2018), based on Leanne\u00a0Betasamosake\u00a0Simpson\u2019s writing,\u00a0features a character from the old\u00a0Tkaronto\u00a0world\u00a0when an Indigenous youth joins forces with a 10,000-year-old Sasquatch to revive ceremonial sap harvesting in suburban Ontario.\u00a0How does it portray the old history amongst the new?\u00a0https:\/\/www.youtube.com\/watch?v=vWjnYKyiUB8<\/a><\/li>\r\n<\/ol>\r\n \r\n
            \r\n \t
          1. How can Indigenous people survive and thrive in the \u201cshiny neon and collapsed boundaries of big city capitalism<\/em>\u201d (p. 44)?<\/li>\r\n<\/ol>\r\n \r\n
              \r\n \t
            1. The chapter ends with a call:\u00a0Perhaps one day this neighbourhood, this city, this country, will finally hear\u00a0its\u00a0neglected past whispering\u2026 Acknowledge it, then make something new, something beautiful, something that will make everyone\u00a0proud (p. 51). <\/em>How\u00a0could this ever happen? What would it look like? How can cities and countries plan for this?<\/li>\r\n<\/ol>\r\n \r\n
                \r\n \t
              1. Elliot refers to one of her writings as not so much being a piece of creative non-fiction as it was an exorcism (p. 50)<\/em>? What does she mean?<\/li>\r\n<\/ol>\r\n \r\n
                  \r\n \t
                1. Is some work too personal, too private to be shared? Would this fall under the category of \u201cI suffered for my art and now it\u2019s your turn?\u201d<\/em><\/li>\r\n<\/ol>\r\n \r\n
                    \r\n \t
                  1. How could some of your own creative non-fiction be considered an exorcism? What could be some of the positives and negatives of this?<\/li>\r\n<\/ol>","rendered":"
                    \n

                    Themes:\u00a0<\/strong><\/p>\n

                    Fake Intimacy, Gentrification, Toronto vs.\u00a0Tkaronto, Diaspora, Capitalism<\/p>\n

                     <\/p>\n

                    Disciplines:\u00a0<\/strong><\/p>\n

                    Counselling, Creative Non-fiction, Land Law, City Planning, Economics<\/p>\n<\/div>\n

                    Guiding Questions:\u00a0<\/strong><\/h1>\n
                      \n
                    1. Elliot\u2019s university\u00a0professor asked her class, \u201cWhy do you think I included Indigenous literature in a diaspora course?\u201d\u00a0<\/em>Elliot\u2019s answer was, “Because Indigenous people are almost always put in a position where they\u2019re displaced on their own lands\u201d (p. 45)<\/em>. Do you agree with her answer? Why? Why not? What does \u201cdiaspora\u201d mean to you?<\/li>\n<\/ol>\n

                       <\/p>\n

                        \n
                      1. Elliot talks about\u00a0\u201cfake intimacy<\/em>\u201d\u00a0and leading a\u00a0\u201cdouble life<\/em>\u201d\u00a0making it hard to talk to her friends about her problems.\u00a0 What is your experience of this? How can you avoid\u00a0fake intimacy<\/em>?<\/li>\n<\/ol>\n

                         <\/p>\n

                          \n
                        1. On page\u00a049, Elliot writes about how Toronto was once\u00a0Tkaronto\u00a0that was\u00a0Dish With One Spoon territory<\/em>. What does this mean? On the same page,\u00a0she writes about the different way settlers look at land\/space? How do these views differ? Can they ever be reconciled?<\/li>\n<\/ol>\n

                           <\/p>\n

                            \n
                          1. The animated short by Amanda Strong,\u00a0Biidaaban\u00a0(The Dawn Comes)\u00a0<\/em>(2018), based on Leanne\u00a0Betasamosake\u00a0Simpson\u2019s writing,\u00a0features a character from the old\u00a0Tkaronto\u00a0world\u00a0when an Indigenous youth joins forces with a 10,000-year-old Sasquatch to revive ceremonial sap harvesting in suburban Ontario.\u00a0How does it portray the old history amongst the new?\u00a0https:\/\/www.youtube.com\/watch?v=vWjnYKyiUB8<\/a><\/li>\n<\/ol>\n

                             <\/p>\n

                              \n
                            1. How can Indigenous people survive and thrive in the \u201cshiny neon and collapsed boundaries of big city capitalism<\/em>\u201d (p. 44)?<\/li>\n<\/ol>\n

                               <\/p>\n

                                \n
                              1. The chapter ends with a call:\u00a0Perhaps one day this neighbourhood, this city, this country, will finally hear\u00a0its\u00a0neglected past whispering\u2026 Acknowledge it, then make something new, something beautiful, something that will make everyone\u00a0proud (p. 51). <\/em>How\u00a0could this ever happen? What would it look like? How can cities and countries plan for this?<\/li>\n<\/ol>\n

                                 <\/p>\n

                                  \n
                                1. Elliot refers to one of her writings as not so much being a piece of creative non-fiction as it was an exorcism (p. 50)<\/em>? What does she mean?<\/li>\n<\/ol>\n

                                   <\/p>\n

                                    \n
                                  1. Is some work too personal, too private to be shared? Would this fall under the category of \u201cI suffered for my art and now it\u2019s your turn?\u201d<\/em><\/li>\n<\/ol>\n

                                     <\/p>\n

                                      \n
                                    1. How could some of your own creative non-fiction be considered an exorcism? What could be some of the positives and negatives of this?<\/li>\n<\/ol>\n","protected":false},"author":310,"menu_order":5,"template":"","meta":{"pb_show_title":"on","pb_short_title":"","pb_subtitle":"","pb_authors":[],"pb_section_license":""},"chapter-type":[],"contributor":[],"license":[],"class_list":["post-53","chapter","type-chapter","status-publish","hentry"],"part":3,"_links":{"self":[{"href":"https:\/\/pressbooks.bccampus.ca\/guideforamindspreadout\/wp-json\/pressbooks\/v2\/chapters\/53","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/pressbooks.bccampus.ca\/guideforamindspreadout\/wp-json\/pressbooks\/v2\/chapters"}],"about":[{"href":"https:\/\/pressbooks.bccampus.ca\/guideforamindspreadout\/wp-json\/wp\/v2\/types\/chapter"}],"author":[{"embeddable":true,"href":"https:\/\/pressbooks.bccampus.ca\/guideforamindspreadout\/wp-json\/wp\/v2\/users\/310"}],"version-history":[{"count":4,"href":"https:\/\/pressbooks.bccampus.ca\/guideforamindspreadout\/wp-json\/pressbooks\/v2\/chapters\/53\/revisions"}],"predecessor-version":[{"id":168,"href":"https:\/\/pressbooks.bccampus.ca\/guideforamindspreadout\/wp-json\/pressbooks\/v2\/chapters\/53\/revisions\/168"}],"part":[{"href":"https:\/\/pressbooks.bccampus.ca\/guideforamindspreadout\/wp-json\/pressbooks\/v2\/parts\/3"}],"metadata":[{"href":"https:\/\/pressbooks.bccampus.ca\/guideforamindspreadout\/wp-json\/pressbooks\/v2\/chapters\/53\/metadata\/"}],"wp:attachment":[{"href":"https:\/\/pressbooks.bccampus.ca\/guideforamindspreadout\/wp-json\/wp\/v2\/media?parent=53"}],"wp:term":[{"taxonomy":"chapter-type","embeddable":true,"href":"https:\/\/pressbooks.bccampus.ca\/guideforamindspreadout\/wp-json\/pressbooks\/v2\/chapter-type?post=53"},{"taxonomy":"contributor","embeddable":true,"href":"https:\/\/pressbooks.bccampus.ca\/guideforamindspreadout\/wp-json\/wp\/v2\/contributor?post=53"},{"taxonomy":"license","embeddable":true,"href":"https:\/\/pressbooks.bccampus.ca\/guideforamindspreadout\/wp-json\/wp\/v2\/license?post=53"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}