by Joshua Whitehead
“My home is full of hope and ghosts.”
Since leaving the Peguis reservation, Jonny has been doing cybersex work to pay the rent in Winnipeg, rarely traveling back home especially after his grandmother’s death. But when his step-father dies, his mother calls him home for the funeral and Jonny has only a few days to get together the money he needs for the trip back to the rez. As he works to scrape together the rent plus funds for the drive up north, Jonny reflects on his childhood, his relationship with his mother and grandmother, and the fraught intersection between his indigenous heritage and his queer identity. Homecoming is a complex reckoning with the self, and the family that made him.
The relationships with the women in his family are at the heart of the story, as Jonny was raised by his mother, who had him young, and his grandmother. His father left when he was a toddler and then died tragically, and his step-father was never a positive force in his life, even if his mother loved him. In fact, for self-identified glitter princess Jonny, masculinity has always been fraught, especially where it intersects with his indigeneity. He has had to play “straight on the rez in order to be NDN” and in the city he has played “white in order to be queer.” Part of this tension is embodied by the symbol of a bear. Jonny’s family is bear clan, but within the queer community, he cannot claim this title due to an entirely separate meaning. It is only one small way in which he feels he has been forced to divide his identities against himself. Part of his journey of self-reclamation is laying claim to titles like Two Spirit and indigiqueer that try to forge the two halves of himself back into a single whole.
Running through the story is Jonny’s poignant relationship with Tias. They have been friends since childhood, and have long been lovers, but Tias is not fully reconciled with what his love for Jonny means about his own sexual identity. Tias also has a long-time girlfriend, and the three are caught in a complex relationship, where Jordan and Jonny know that they share Tias, but do not openly acknowledge it to one another. Yet Jonny finds himself unable to hate her because she reminds him in many ways of his grandmother; “they were both little women with the ferocious power of a behemoth inside them.” The relationship Joshua Whitehead has created here is simultaneously tender and tragic; in order for Jonny to have love, it is not enough for him to be reconciled with himself, he also needs for Tias to do the same.
Bodies and physicality are an important part of Jonny’s story, the site of both injuries and pleasure, the one often morphing into the other. He also literally makes his living by his body, mostly selling cam shows and the occasional live meeting with a client, because his mother taught him that if he likes something and he is good at it, he should never do it for free. As a child, Jonny’s long hair is simultaneously a symbol of his indigeneity and part of the perception of his queerness, the two pulling against one another. We he finally cuts it off for a fauxhawk, it is his grandmother, in her admiration for whiteness, who allows the change. Yet she is also the person who first sees Jonny for what he is, and gives him the term Two Spirit to describe it. Straight bodies also tell stories, if in less fraught ways. Jonny’s stepfather’s body “was like a graveyard of injuries and ailments, so alive with experiences, while mine was riddled with shame.” As Jonny puts it, “our bodies are a library, and our stories are written like braille on the skin.” Jonny Appleseed braids together past and present, the mundane and the spiritual, the crass and the poetic into a visceral exploration of family, identity, and sexuality that will make you feel like you have walked a mile in Jonny’s shoes.
Jonny Appleseed was defended on Canada Reads 2021 by actor and filmmaker Devery Jacobs. As a queer Mohawk woman herself, Jacobs spoke passionately to the importance of this narrative, highlighting the fact that it is the first book by a Two Spirit indigenous author that has been represented at the table in the twenty year history of Canada Reads. Her defence repeatedly touched on themes such as resilience, healing, and the power to transmute pain into humour in order to survive and thrive. Describing it as a full body reading experience, Jacobs leaned into the physicality of the narrative, including the sexuality, arguing that it was a book she needed herself as a teen.
Jonny Appleseed went into the finale against Butter Honey Pig Bread by Francesca Ekwuyasi, defended by Roger Mooking, another title also published by the small, independent Arsenal Pulp Press. Both books touched on themes of family, trauma, healing, resilience, and forgiveness, making the final day of debates particularly interesting. Host Ali Hassan posed a series of questions that asked the panelists to consider which book most effectively depicted complicated relationships, the multidimensional theme of home, and fresh perspectives on love. However, most of the panelists spoke to how both books effectively achieved these ends. Paul Sun-Hyung Lee noted the relationship between Tias and Jonny, while Rosey Edeh was moved by Jonny’s relationship with his mother and grandmother.
The arguments for Jonny Appleseed throughout the week clearly made a particularly strong impression on panelist Paul Sun-Hyung Lee, who spoke about how hard he found the book to read. However, he credited the influence of the debates in causing him to re-examine why he wasn’t initially able to see the healing and perseverance in the novel. He also cited Jonny Appleseed as the book that brought him a fresh and compelling perspective that he had never considered or been privy to before.
In the final vote of the week, Devery Jacobs and Roger Mooking cast their ballots against one another’s books, while Scott Helman voted against Butter Honey Pig Bread, and Rosey Edeh voted against Jonny Appleseed. The final vote went to Paul Sun-Hyung Lee, who voted against Butter Honey Pig Bread, making Jonny Appleseed the first book by an indigenous author to win Canada Reads.
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