CW: NSFW Themes

In the discourse on identity and sexual orientation, a fascinating interplay emerges when one positions Indigenous philosophies side by side with Queer theory — Little Bear’s description of Aboriginal philosophy and paradigms offers a profoundly inclusive worldview, characterised by fluidity, interconnectedness, and dynamism — key tenets that dovetail remarkably with Queer identity and love. Joshua Whitehead’s groundbreaking novel, Jonny Appleseed, offers a profound exploration of Indigiqueer identity within a colonial landscape, and it significantly aligns with the Aboriginal Paradigm as defined by Leroy Little Bear, a paradigm offering a unique and important lens through which to understand the experiences of Jonny and the indigenous communities. As Jonny posits near the beginning of the novel, “home isn’t a space, it’s a feeling. You have to feel home and to feel it, you have to sense it: smell it, taste it, hear it” . Place and space, an important referent in Aboriginal philosophy, holds a profound significance in the Queer narrative as well — the 2SLGBTQIA+ community has fought long and hard to carve out safe spaces, both literal and figurative, in a world often denying their existence. These sacred spaces, these sacred lands, serve as sanctuaries, platforms for expression, and starting points for dialogue and acceptance.

In discussing the significance of Queer Indigenous eroticism specifically, it’s crucial to acknowledge the deep historical roots and traditions that have been either suppressed or erased due to colonial attitudes. Prior to colonial intervention, many Indigenous societies embraced a broader spectrum of gender identities and sexual orientations, viewing them not as taboos but as vital facets of their cultures — stigmatising and othering these identities has been a tool of colonial control, aiming to dismantle the rich diversity and holistic worldviews that these communities held. By returning to and celebrating the eroticism and beauty of Queer Indigenous identities, we not only validate the experiences of many marginalised individuals but also challenge and resist the colonial mindset that has sought to silence them. The portrayal of eroticism in literature and art is a powerful affirmation of a heritage that thrives on inclusivity, respect, and a profound connection to the land and all its inhabitants.

Jonny’s articulation of his own relationship to the land, particularly in urban Winnipeg and the reservation, demonstrates how the space is animate and imbued with energy; it is alive and has the power to affect him — transform him. In a poignant moment, Jonny remarks, “all of this treaty land is filled with me” — the declaration encapsulates interconnectedness. Jonny is intertwined with the land, reflecting the indigenous view of humans as integral parts of a larger, interconnected natural system. In one of his many surreal dreams, Jonny envisions how “the buds drip a lavender dew, and even the rods are golden and erect. All the land is horny as fuck. The treaty land has awakened, and the berries are thick with juice that threatens to burst out of their infant seeds”. The sensual and vibrant description infuses life into the land, transforming it from a passive backdrop to an active participant in the narrative, demonstrating all creation is animate in the most visceral way possible.

By presenting Jonny’s story in a series of vignettes, Whitehead offers the reader the constant flux of Jonny’s life — from the rez to Winnipeg and back — and Jonny must navigate the dualities and contradictions of his existences, often feeling like outsiders in both spaces. His move from the rez represents not just a geographical transition, but an experiential one as well. Jonny’s reflection that a pigeon tells him that he’s a “silly man, making a home on the land of ghosts” exemplifies this struggle — “two Queer bodies moving around in spaces that look less like a home and more like desperate lodgings; both trying to make our beds with other people’s garbage” highlights the struggle of carving out a space for oneself amid the detritus of a colonial history. Furthermore, Jonny’s assertion, “I have every right to destroy my body, to be ceremonial on settler land,” connects again to the emphasis on space/place as an important referent. Jonny reclaims his right to exist and express himself in his own way on settler land, illustrating the idea that identity, belonging, and rights are inherently tied to the spaces we inhabit.

The beautiful, cyclical nature of life is emphasised at the ending of the novel, when Roger explains the importance of the belly button — where the spirit resides — in Lakota tradition to Jonny, as mother’s would place it inside a turtle shell, as “the turtle always returns to his birthplace” — indicating the powerful connection between one’s physical existence, spiritual identity, and place of origin. Despite being untethered from a traditional understanding of place, Jonny, like the turtle, finds a sense of spiritual homecoming through his own navigation of identity and space. The image of the turtle — Turtle Island, perhaps — an animal that carries its home on its back, reflects Jonny’s journey; he learns to carry his home — his identity and his culture — wherever he goes. The interplay between his fluid identity and the multiplicity of spaces he navigates is reflective of the understanding of indigeneity as compromise and adaptation enacted by indigenous people in the face of ongoing colonialism — Jonny must do the same. At the beginning of the novel, Jonny laments how “an Indian home is like a dandelion, pretty, but disposable and imbued with a million little seeds that dissolve into wishes for little white hands that pluck”, echoing an earlier sentiment of the spiritual/other-worldliness of his own land, how his “home is full of hope and ghosts”. While Jonny may not have access to his ancestral land, he transforms, with the epiphany he is able to create his own home within the spaces he inhabits wherever he goes, proclaiming at the end of the novel how he will “travel out and in and all that space between” and “finally come home and have nothing but [his] glories to share”. When speaking with the Toronto Star, Whitehead remarked

“If you say the word ‘Queerness’ now, it always signals this idea of whiteness, especially of white cis males, shirtless, dancing at Pride festivals that are so heavily vested in corporations”

An important critique of mainstream representation and the pinkwashing of late-stage capitalism, highlighting the often overlooked intersectionality within the Queer community, and the need for a broader understanding and radical acceptance of the myriad identities existing within it. Indigenous Queerness — or Indigiqueer identity, as Whitehead frames it — profoundly disrupts these monolithic portrayals of Queerness. Jonny, the protagonist of the novel, embodies complexity, navigating the labyrinth of his identity as an Indigenous, two-spirit, Queer man in the landscape of urban and rez life. His journey the transformative power of self-definition. The fascinating interplay between Indigenous philosophies and Queer theory as depicted in Jonny Appleseed challenges mainstream understanding identity and sexual orientation. While Queer theory disrupts normative understandings of sexuality and gender, Indigenous philosophy underlines the indivisible connection between identity and the land. Jonny’s journey and epiphany of self-discovery encapsulates these philosophies, offering a unique perspective on Indigiqueer identity within a neocolonial context. Whitehead’s depiction of Jonny’s complex and multifaceted identity disrupts the dominant narratives and perspectives on both Indigeneity and Queerness, offering a rich and evocative exploration of identity, love, and the importance of space/place. Appleseed is an invitation for a deeper engagement with the complexities and intersections of identity, and an important reminder of the power of story in shaping our understanding of the world around us and living as the most uncompromised version of ourselves as possible, serving not just as a powerful narrative, but also as the compelling tool for expanding our perspectives on identity, belonging, and love. Through its exploration of Indigiqueer identity, the novel demands a reconstruction of our own relationships to space and each other, while underscoring the power of the individual and the collective in a continuous, cyclical journey towards acceptance, authenticity, and home.

Appleseed’s portrayal of Queer Indigenous eroticism is not merely a literary exploration, but a clarion call to broader society to re-evaluate, expanding notions of identity, acceptance, and love. Our world is fragmented by rigid classifications, binaries, and divisive ideologies, and the novel serves as a reminder of the fluidity and continuum we all exist with. By embracing the principles and inclusivity reflected in Indigiqueer narratives, society moves toward harmonious coexistence. Much like Jonny’s search for a spiritual and physical home, we too must desperately search the complexities of identity and belonging in the spaces we inhabit daily — by applying the knowledge passed from Jonny’s journey to our daily interactions, we are given permission to create spaces honouring the myriad ways in which individuals express their identities, desires, and connections to the world around them. Whitehead’s novel outright defies readers to confront their biases and preconceptions, pushing them to find their sense of home in a world often preferring convenient boxes over the intricate, rebellious identities. If we fail to heed this call, we perpetuate the white man’s sanitised, monolithic narrative.