Fernanda Vieira de Sant'Anna


Este trabalho é um fragmento revisto da minha tese de doutoramento sobre autobiogeografias de mulheres Indígenas e aborda, em seu recorte, a literatura de Terese Marie Mailhot (Seabird Island Band) através de sua obra Heart Berries: A Memoir (2018). Este artigo, pela autobiogeografia Indígena de Mailhot, dialoga sobre autobiogeografias de mulheres Indígenas, que (re)escrevem a si mesmas, em suas identidades individuais e coletivas, navegando seus traumas pessoais e transgeracionais e suas memórias pessoais e coletivas. Parto de uma metodología fronteriza, em que minha identidade de frontera encontra eco, permitindo construir conhecimentos não apenas como pesquisadora, mas como sujeita da pesquisa em identidade individual e coletiva, de forma a corroborar uma práxis decolonial que é pautada pelo respeito às/aos ancestrais e à palavra milenar Indígena. O aporte teórico inclui Graúna (2013), Harjo & Bird (1997), Justice (2018), Kambeba (2020), Maracle (1996), Mignolo (2011), Tuhiwai Smith (2012) entre outras/os. Os atravessamentos provocados pela obra de Terese Marie Mailhot nos levam a pensar o (re)contar histórias, tanto pessoais quanto coletivas, para re(ins)escrever as realidades do mundo, sobrescrevendo mundos possíveis sobre o projeto colonial e suas monoculturas do pensar e ser.


This work is a reviewed fragment of my doctoral dissertation on autobiogeographies of Indigenous women and specifically addresses the literature of Terese Marie Mailhot (Seabird Island Band) through her work Heart Berries: A Memoir (2018). This paper, through Mailhot’s Indigenous autobiogeography, discusses the autobiogeographies of Indigenous women, who (re)write themselves, in their individual and collective identities, navigating their personal and transgenerational traumas and their personal and collective memories. Hence, through a metodología fronteriza, my frontera identity finds echo and allows me to build knowledge not only as a researcher, but as an individual and collective subject of research, in a way that corroborates a decolonial praxis guided by the respect for the ancestors and the millennial Indigenous word. The theoretical framework includes Graúna (2013), Harjo & Bird (1997), Justice (2018), Kambeba (2020), Maracle (1996), Mignolo (2011), Tuhiwai Smith (2012), among others. Terese Marie Mailhot’s work leads us to think about (re)telling personal and collective stories, rewriting/reinscribing the world’s realities, in such a way as to overwrite possible worlds on the colonial project and its monocultures of thinking and being.


Literaturas Indígenas; Literaturas Indígenas de Mulheres; Autobiogeografia; Decolonialidades; Abya Yala.

Texto completo:



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DOI: https://doi.org/10.35520/diadorim.2022.v24n1a48313


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