Nauetakuan, a silence for a noise by Natasha Kanapé Fontaine, translated by Howard Scott

Monica, a young woman studying art history in Montreal, has lost touch with her Innu roots. When an exhibition unexpectedly articulates a deep, intergenerational wound, she begins to search for stronger connections to her Indigeneity. A new friendship with Katherine, an Indigenous woman whose life is filled with culture and community, emphasizes for Monica the possibilities of turning from assimilation and toxic masculinity to something deeper and more universal.

Travelling across the continent, from Eastern Canada to Vancouver to Mexico City, Monica connects with other Indigenous artists and thinkers, learning about their traditional ways and the struggles of other Nations. Throughout these journeys, she is guided by visions of giant birds and ancestors that draw her back home to Pessamit. Reckonings with family and floods await, but amidst strange tides, she reconnects to her language, Innu-aimun, and her people.

A timely, riveting story of reclamation, matriarchies, and the healing power of traditional teachings, Nauetakuan, a silence for a noise affirms how reconnecting to lineage and community can transform Indigenous futures.

Press Coverage

“A love letter to residential school survivors, dedicated to their descendants.” —Le Devoir

“Poet, singer, actress, and Innu activist, the talented Natasha Kanapé Fontaine has written a hard-hitting first novel, which cuts through us like a lightning bolt.” —Le Journal de Montréal

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Excerpt from Nauetakuan, a silence for a noise by Natasha Kanapé Fontaine, translated by Howard Scott —Hamilton Review of Books

15 Books for National Indigenous Peoples Day 2024 —All Lit Up

Read an Excerpt from Nauetakuan, a silence for a noise by Natasha Kanapé Fontaine —Open Book

Excerpted: Nauetakuan, a silence for a noise —All Lit Up

“In the face of the ongoing erasure of Indigenous languages and cultures in Canada, Kanapé Fontaine raises up Indigenous creators. Nauetakuan does not shy away from the pain left by the residential school system, but neither does it reduce the experiences of Indigenous peoples to a singular narrative of suffering. Monica’s path towards healing is filled with struggle, but also overflows with loving female relationships, art, and boisterous laughter.” —Anna Learn, Full Stop