Its specific narrative devices make magical realism a viable form for rendering traumatic experience and memories. The fundamental characteristic of magical realism is its duality, which enables alternative representations of society and history. I will illustrate the relevance of traditional Indigenous storytelling in contemporary written literature, and demonstrate how it cycles back to the necessity for cultural survival. I will explain the use of repetitions in the novel to illustrate the overlapping cycles of violence and trauma, and also healing and continuation. The goal of this paper is to discuss the novel's complex composition, and Highway's use of loops and repetitions in episodes related to birth, death, and regeneration. Although death is the end of the protagonist's generation, it also lights the spark of cultural regeneration for the upcoming one.

His presence is regularly countered by apparitions of the Fur Queen, a protective spirit who guides the characters through these cycles until their death. The inter-generational trauma of residential schools is embodied by the Windigo, a traditional Cree cannibalistic monster. These repetitions illustrate different life cycles between conception, birth, and death of three generations of characters. Numerous stylistic, semantic, and temporal repetitions cycle back and forth throughout the book, following traditional Cree oral storytelling techniques. In his 1998 novel Kiss of the Fur Queen, Cree author Tomson Highway narrates the lives of Jeremiah and Gabriel Okimasis, two Cree brothers from northern Manitoba.

Monkey beach by eden robinson