Mackenzie Angeconeb, an Anishinaabekwe author from Lac Seul First Nation, and based in Sioux Lookout, Ontario, makes her literary debut this month. The Fragments that Remain (DCB Young Readers), which takes the form of letters and poems, follows Andy as she is confronted by the death of Ally, her older brother and honourary twin, and mourns and heals from the loss. Written over a three-year period, the novel allowed Angeconeb to process the grief of her own brother’s death. 

Angeconeb spoke with Q&Q about the role of identity, the importance of elders, and what she hopes readers take away from the novel. 

The novel is written as a series of letters and poems. How did you decide on this format?
Originally, I wanted to write the book as a lyrical poem. I was reading Ellen Hopkins’ novels in verse, and I thought the format would work for me because the form’s so intimate. Once I started writing, I realized it made more sense for the poetry to be written solely by Ally, who wanted to be a writer. So, I had Andy write letters to her brother because letters are a way of speaking directly; it’s also a method of therapy. 

The Fragments that Remain is not only about the loss and rediscovery of identity, but also the ownership of one’s identity. What would you like young readers to know about the tug-of-war that is discovering who they are? 
My identity has been a big issue my whole life. Although I am Indigenous, Anishinaabekwe, I look like my mother: I have red hair, green eyes, white skin. I grew up being told, “you’re white” or “you’re not Native” or “your father’s not your father.” It was so detrimental to me growing up. 

I’d like young readers to know it doesn’t matter what others think about who you are or how you feel about your identity. People outside of you should not be a part of that equation.

Both Ally and Andy share that not having a connection to their heritage, their lineage, has left them with a void. Can you talk about the role elders play in a young person’s life?
My mishomis (grandfather) had passed on before my dad was my age, and I’m 25. I didn’t have that elder in my family growing up. It’s a big break because I’m now relying on what my cousins learned from their kokum, from what I’m able to learn through school, trying to read up on what I can, and what feels right. Not being able to have that connection is really hard when you’re trying to get more comfortable with yourself.

I tried to have a subtle underlay in the book that both siblings, without telling each other, feel that same void. I leave it up to the reader to infer. Their disconnection from their heritage is what causes them to spiral, especially Ally, who spirals to death, which is extremely common for Native children and Native teenagers. Even as an adult, without that connection you have nowhere to go. It’s your compass.

The act of painting ignites Andy’s spirit. How do you see the creative act?
For me, it comes from something unseen. This is a big thing for storytellers, and I imagine for most of the Indigenous cultures of Canada. Like Annishinaabe Woodlands paintings, quite a few of them are based on stories and legends. It’s making this physical thing from what is primarily internal, which would be seen as spiritual.

What do you hope readers take away from The Fragments that Remain?
I hope readers take away that you don’t have to deal with everything by yourself. The big moment for Andy is when she finally tells her new friend, Delilah – she finally has somebody she can talk to. It doesn’t always have to be a therapist. If you have a friend that is comfortable with listening, that really helps. And I do that. I’ve tried different types of therapy and counselling, and sometimes I just have to send a voice message to a friend saying, “Hey, I’m going to vent about this. If you don’t want to listen, you don’t have to, but I just need to get this out.” That’s something really big. When I’m talking via voice text to my best friend, I start to work through that issue. And in the time it takes to talk about it, I’ve figured out how to fix the problem.

This interview has been edited and condensed.

Photo Credit: Kieran Joshua Davis.