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Content Warning: This section of the guide contains discussion of racism and graphic violence.
Shane Hawk and Theodore C. Van Alst Jr. are the editors of Never Whistle at Night and the authors of the stories “Behind Colin’s Eyes” and “The Longest Street in the World,” respectively. The project came together after calls for an Indigenous horror anthology. Shane Hawk, in particular, sees horror as a means of bringing people together in much the same way comedy can, saying that the horror genre allows him to work through difficult times and events by connecting with others: “Beyond a good time, Hawk uses horror writing to deal with hardships in the hopes that other Indigenous people will relate” (“For These Indigenous Writers, Horror Fiction Offers More Than a Good Fright.” Canadian Broadcasting Corporation, 27 Oct. 2024). In Never Whistle at Night, many stories, though written by authors of different backgrounds, feature similar themes and references, evidencing Hawk’s claim that the horror genre can help both readers and writers process traumatic topics such as ethnic cleansing or residential schools.
At the same time, Never Whistle at Night features stories written by authors of many Indigenous nations, in both rural and city settings, showcasing the diversity of Indigenous life and experiences. Theodore C. Van Alst Jr. sees the diversity of the stories as a strength and a way of showcasing Indigenous voices, who represent a low percentage of published writers: “[I]t was important that we had this really broad representation in the stories from Indian country, which is the most diverse place that I can think of” (Karabaic, Lillian. “Dark Anthology Shines a Light on Diversity of Indigenous Traditions.” Oregon Public Broadcasting, 19 Nov. 2023).
Never Whistle at Night features mythical figures and monsters from a variety of Indigenous traditions. One monster known to many different nations is the wiindigoo, a cannibalistic creature associated with the privations of winter. The monster is also commonly associated with greed and selfishness; in “Collections,” for instance, Megis Cloud sees a wiindigoo staring out through the eyes of her professor, who uses promises of success and fame to convince her mentees to give her their heads. Another name for a wiindigoo is the “wehtigo,” which acts as the protagonist for the story, “Hunger” by Phoenix Boudreau. Figures that prey on people, particularly those who are lost or forget traditions, appear frequently in the collection. In “Human Eaters,” a grandmother warns her grandsons about the human eaters as a way to emphasize the importance of remembering traditions. These monsters hunt for people to feast on and possess those of weak will to do so—another fixture of many wiindigoo stories.
Another creature mentioned is Kokopelli, a figure from Southwestern Indigenous cultures depicted playing a flute. In “Capgras,” the protagonist imagines that the lump on his back not only makes him look like Kokopelli (who has a curved or hunched back) but also that the lump is Kokopelli, trying to break free.



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