Sovereign Traces, Volume 1: Not (Just) (An)Other ed. by Gordon D. Henry Jr. and Elizabeth LaPensée (review)

if you’ve ever attended or participated in an Indigenous cultural dance or powwow, you know there’s something quite special that occurs at these events. “Regulars” will know instantly what I mean; for others . . . well, let’s just say you need to go and see for yourself. The sheer variance and oscillation between the all-too-familiar and the distinctly unknown, copiously seasoned with in-jokes and Native humor, add to the rich tapestry, making the experience truly extraordinary. Sovereign Traces, Volume 1: Not (Just) (An) Other captures and encapsulates this distinctiveness quite well, offering a buffet of visual storytelling from within various Indigenous worldviews. Edited by Gordon Henry Jr. and Elizabeth LaPensée, the collection features deftly illustrated stories, prose, fiction, and poetry written by Indigenous people. Each is different from the next, and each gives personal Indigenous voice and visual presence. Like the aforementioned cultural dances and events, Not (Just) (An)Other presents a fantastic mix of the familiar, the unexpected, and Indigenous perspectives from deep within inner circles.

While the stories themselves are the true star of the show, the introductory entries read like a literary adventure saga and give a true sense of depth, highlighting the backstory of how the editors and creators came together to overcome adversity, obstacles, and circumstances to publish a much- needed collection of Indigenous voices in visual storytelling and sequential art. As you would with any standard comic book reading, it would be easy to thumb past these accounts and rush to consume the comic panels, but, like the “letters to the editor” typically found in the back pages of comic books, these accounts give a deepened understanding and appreciation for the creation process of the stories and art.

Visually, the collection ranges from viscerally moody and expressive monochromatic linework, to fully rendered and colored comic book panels enhanced with dynamic action and purposeful framing, to the experimental art and experiential visual storytelling. The stories themselves are well written and offer readers an accurate cross section of Indigenous experience.

“Werewolves on the Moon,” written by Stephen Graham Jones and simply illustrated by Delicia Williams, is a great “appetizer” to start off the series and offers a fantastic otherworldly slant on single motherhood with suggested cultural family ties punctuated by the non- Native inability to genuinely comprehend either of these elements. Gordon Henry Jr.’s “The Prisoner of Haiku” tells a sad but inspiring tale of individual resistance and cultural continuance. Similar to the haikus that occasionally filter into the narrative itself, Neal Shannacappo’s imagery and illustration provide a poignant and pared-down depiction of the story.

“Ice Tricksters” by Gerald Vizenor and GMB Chomichuk is a playful and creative concept that takes the reader down thoughtful twists and turns, telling the story of family relationships and community and offering a glimpse into aspects of that community’s trickster figure. “An Athabasca Story” by Warren Cariou reads like a modern- day Indigenous morality tale and does a wonderful job of utilizing the “callback” storytelling device at its close. Nicolas Burns provides great comic book–like visuals with dynamic action, good visual pacing, and enjoyable artistic renderings.

Niigaanwewidam James Sinclair’s “Trickster Reflections” is a haunt-ingly disturbing tale, and GMB Chomichuk’s evocative visuals punctuate the story’s echoes of individual anguish, personal strife, and grief. Elizabeth LaPensée’s eye- catching and stylized imagery do a fantastic job of reinforcing Louise Erdrich’s poetic tale, “The Strange People.” Dynamic duo Joy Harjo and Weshoyot Alvitre team up on “Deer Dancer” and provide a rich account of how a strange visitor affected perspectives and mundane lives in a small, run- down bar on the rez.

Scott B. Henderson’s expert art in Richard Van Camp’s action- packed yarn of sorrow and loss, “Mermaids,” is not to be missed. Coupled with Tara Ogaick’s playful renderings, “Just Another Naming Ceremony” by Gwen Neil...