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Robertson, David A. (2020). **<u>Black Water: Family, Legacy and Blood Memory.</u>**
**Toronto: Harper Collins Publishers.**

Reviewed by: Carleen Lehr, MacEwan University

"Black Water" is a carefully written memoir that details the author's life, David A. Robertson, and his connection to his father and his Indigenous ancestry. Robertson recalls stories of his youth and his experience reconnecting with his father through storytelling and what he calls "blood memory." Robertson also connects his life experience to a trip he had taken with his elderly father to his family's trapline. Within the work, the author explains Indigenous issues in such a way that anyone can understand and simultaneously writes in a voice that can be felt and understood by Indigenous readers on a deep level. Robertson's writing style reflects the way in which he says he recalls memories; his writing is choppy and shifts subjects abruptly, but he does so methodically, and the result is engaging. The transitions from time period to time period also submerge the reader in a part of Indigenous ways of knowing; that time is not linear. "Black Water" outlines a realistic yet motivating story of healing that is slow, confusing, and challenging but ultimately rewarding. The only potential limitation of this book is a shortage of intensity when describing the struggles and trauma of Indigenous peoples.

A large number of Indigenous people can relate to the feeling of seeking new knowledge
about our culture and being met with uninteresting, unambiguous ideas. It is often difficult to find
content with just the right amount of new concepts to keep the Indigenous reader engaged with
Indigenous writing. Alternatively, a reader with little knowledge of Indigenous culture may have difficulty connecting to writing that assumes the reader already understands cultural concepts. Robertson provides readers with enough context and new ideas, creating a well-balanced book that people of any background can easily understand. "Black Water" contains relatable, funny, and heartwarming content that Indigenous readers can closely relate to while educating readers on Indigenous issues in a way that requires no previous knowledge.

Within the book, Robertson writes about his experience with memory and how he remembers his past;

> I remember my childhood this way—in moments, not memories. I'm sitting in the carport. I'm running away from my bedroom, towards the living room, towards Mom. I'm getting my face painted like a clown's, a red-haired girl behind me, her face already painted. I'm wearing a beige shirt with burgundy sleeves, and she's got a green shirt with yellow lettering. I don't have glasses yet; she does. We're in a field. We drink that orange liquid sugar from McDonald's. I'm placing an injured bird into a shoebox and bringing it to a woman with glasses and short hair. I'm hoping that it will live. My childhood is this way. I carry it with me in moments, not memories (p. 309).

In this quote he speaks about his memories saying that they appear to him in flashes, short scenes, not a complete story, which he connects in his mind. Robertson's writing pulls the reader into his own experience with his memories, quickly jumping from memories from his early childhood to his adult years, to his teen years, to his time with his elderly father, and back again. Robertson provides clear descriptions of each memory, and any reader would have difficulty avoiding feeling as if they can recall the memories themself. While this choppy writing style could easily confuse readers if done poorly, the author is clear and easily understood. His writing style enables the reader to easily put themself in his shoes and therefore
empathize with his points and his experience.

Robertson's frequent shifts from memory to memory also pull the reader into a crucial part of Indigenous ways of knowing. Time is not linear. As Indigenous people, we understand that time is not as simple as past, present, and future. This understanding is also closely tied to intergenerational trauma and blood memory. Indigenous families understand that pain cannot simply be left in the past. Readers will undoubtedly be able to connect the topics of intergenerational trauma and blood memory to Robertson's thoughtful writing style.

"Black Water" provides readers with a realistic view of what healing looks like for Indigenous families. The author did not miraculously step into his Indigeneity and heal his trauma; he wrote about his long journey of acceptance and perseverance. Robertson mentions how his journey with his identity will likely be continuous and ongoing:

> That's the thing about journeys: they're never really over. I'll probably be doing this when I'm Dad's age. Maybe I won't be deconstructing the reasons why I'm growing out my hair, but it will have something to do with identity. It will have something to do with what it means to be Cree (p. 23).

Quick healing is often expected from Indigenous peoples when that is often impossible. Many stories of healing often seem unattainable, but "Black Water" provides readers with a realistic understanding of what recovery looks like for an average Indigenous Person. Robertson provides non-Indigenous readers with a piece of understanding of what recovery can look like for Indigenous people and provides Indigenous readers with hope for our future. Robertson also reflects honestly on his own history or racism towards his Indigenous peers which allows readers
to see that prejudiced ideologies can also be healed.

"Black Water"'s only deficient area is its lack of severity when describing Indigenous issues. Robertson mentions that he was white passing, and writes about his loving family; two privileges that many Indigenous people do not have. No disclaimer in the book tells readers that the author's experience may have differed from other Indigenous individuals. Robertson does not mention that there are Indigenous youth who have suffered abuse or more severe racism than his own. Although it may seem obvious to some that the author did not suffer the most out of all Indigenous people, some readers may make generalizations about the writing and the Indigenous community. Considering that harmful generalizations about Indigenous peoples are very prevalent in Canada, Indigenous individuals often need to be careful when sharing their stories. Robertson's writing comes across as very gentle and does not entirely reflect the trauma of the Indigenous community. While the writing may not give a voice to those who have experienced extreme trauma, it does remind readers that all trauma, no matter how seemingly small, deserves attention and healing. Indigenous storytellers are of course not required to educate their audience on the Indigenous genocide while sharing every story, however a book such as "Black Water" provided ample opportunities to convey the severity of Indigenous issues and neglected to communicate that to the reader.

Collectively, Robertson conveys the idea of intergenerational trauma and blood memory very effectively. "Black Water" pulls readers into an Indigenous worldview in a way that is accessible to anyone, regardless of their previous knowledge of Indigenous issues. Even though the book does not examine the more extreme sides of trauma and racism, it provides a good starting
point for those who are interested in gaining knowledge about the effects of colonization on Indigenous peoples. This work is also a piece of writing that can provide a gentler point of view for Indigenous readers to relate to. Robertson shares his experience of healing in a realistic and encouraging way that undoubtedly has provided and will continue to provide hope to Indigenous readers. Overall, "Black Water" is a beautifully written and insightful book, and I would recommend it to anyone who is curious about the Indigenous experience or those who are looking to gain knowledge on intergenerational trauma. In academics, "Black Water" would be an excellent resource for social workers, sociologists, psychologists, and anthropologists.