Marel, L. Camille van derWebber, Crystal2024-06-252024-06-252024https://hdl.handle.net/20.500.14078/3638Presented on April 19, 2024 at Student Research Day held at MacEwan University in Edmonton, Alberta, and on February 3, 2024 at the English Student Conference also held at MacEwan University.In the realm of Canadian literature, the general question emerging asks “Is Indigenous literature considered Canadian literature?” To reframe the question, should Indigenous literature stand as its own category and how do Indigenous stories demonstrate history and culture within the framework of Indigenous resurgence? While Indigenous literature includes various genres and styles, I argue it is separate from Canadian literature as a whole. If Indigenous works remain under the category of Canadian literature, then another colonial constraint is placed on the native voice. Indigenous literature should be thought of as uniquely heterogeneous as there are a multitude of different cultures, languages, and practices which apply to their literary works. However, my focus will be on the regeneration and resurgence of the Indigenous voice through literature. Michi Sagiig Nishnaabeg author Leanne Betasamosake Simpson and Metis writer Chelsea Vowel challenge the depiction of narrative and storytelling by bringing indigenous stories to life in their works in a non-traditional way (with regards to Canadian literature). Simpson’s short story “Big Water” and Vowel’s comic “Kitaskinaw 2350” illustrate resurgence in literature demonstrated through the futurism of Indigenous culture alongside settler society.enAll Rights ReservedIndigenous literatureCanadian literatureIndigenous futurismdecolonizationStudent Report