Pauline Johnson was famous for her warm personality, affability and charisma. Many believe that her finest character traits were marked by the fondness and loyalty for her friends. Arguably, these qualities were a compelling force during theatrical performances. Audiences were captivated by her narratives, the use of both European and First Nation attire, and stirred by the emotional nuance of her speaking voice. She was beloved by her contemporaries, yet with her passing, her reputation as a writer and poet experienced a decline. Over the years, Canadian literary critics and historians have argued that Pauline created an idealized image of the First Nation identity that was pleasing and acceptable to her “white” listeners. For that reason, Pauline was not a creditable spokesperson for their culture. She did not speak a First Nation language and spent most of her life within mainstream society.
Pauline has been disparaged by noted Canadian writers and poets such as Earle Birney, Mordecai Richler and Patrick Watson. Even the famed Margaret Atwood confessed to overlooking Pauline Johnson when she wrote, “Survival: A Thematic Guide to Canadian Literature (1972). Instead of being a strength, it seems that Pauline’s multi-cultural heritage did not give her traction in either world.
Critics, in the end, are not infallible. Pauline Johnson’s works have experienced a rebirth. Her importance as a figure of resistance against racism, gender bias, and human rights is coming full circle. Pauline dedicated 30 years to her artistic endeavours. Her contribution to the oral and written literary history of First Nation people is unequaled. She transcends her time and gives relevance to ours.
The Song My Paddle Sings
West wind, blow from your prairie nest,
Blow from the mountains, blow from the west
The sail is idle, the sailor too ;
O! wind of the west, we wait for you.