It is in this porch I sit each day, beside a patchwork bird on a wooden pedestal and a tabby cat who lounges in the sun. It’s a feminine space. An old space. Once cold and dark, it has undergone a transformation in recent years. A transition. The walls and floor have been insulated, the thin window replaced, the door repaired. It’s been painted and papered, received fresh lighting, a sturdy boot box, and a line of aged-bronze coat hooks to hold outerwear. It has become a conglomeration of the passing times. Just as I am a conglomeration of ancestry. 

I imagine this old porch was once like many Keweenaw porches. Or sheds. Or mudrooms. The walls were probably lined with wooly coats, peas of ice melting from their cuffs, scant puddles forming in rings below. I envision galoshes strewn about on its bare wood floor, rag rugs soaking up the slushy weep from their soles. Somewhere in its past lies the smell of damp dog. Of coal. Of firewood. Maybe even pasty or pannukakku. There have been times sitting out here I swear I can almost hear the voices of past residents coming from interior rooms—the Finnish or the Cornish or perhaps the French Canadian—chatting over morning coffee or afternoon tea. I imagine the clink of their cups. The slurp of liquid from their spoons. They speak with confidence, with pride, with identity. Unhindered, they raise their voices in their mother tongue. They laugh, sing, whisper. They are who they are and are licensed that freedom.

There are days I sit and think about that. I think about the freedom to speak the language of one’s choosing, and I act upon it. Though on most days I may be writing or editing from this porch, there’s at least one day a week reserved for the study of language—Anishinaabemowin, the language of the Ojibwe people, my maternal blood. I log in remotely to a makeshift classroom hours away. I don my headset, turn on my camera, and join a group of others like me, students of all ages hungry for the words of their ancestors.

It is in this porch once built by immigrants that I’ve come to understand the beauty of an Indigenous language. And the value. It is here, where European descendants have stomped their boots and hung their overcoats, that I have learned another side of me. Beyond the French Canadian that contributed to my father’s blood. Beyond the Cornish of his mother.

My journey began over a year ago, in stutters and stammers. I could hardly speak. I saw my face in a small square on the screen. Other faces, too. Strangers, all of them. All of us wondering who we were. Why we’d come. What had drawn us to that virtual classroom. “Aaniin, boozhoo,” I said, my voice timid, the words foreign. And that was the beginning.

These days I introduce myself in the language with greater ease, a rhythm gradually developing, though still far from adequate. Like a graying toddler, I pick up syllable by syllable, word by word, the elders my teachers. Each week I grow in the culture, learn history, hear stories. The elders tell jokes and tease one another. And we laugh. “We don’t want to make it too heavy,” they say.

Though each member of our class comes from different walks of life, from different locations across the country, many share a similar linguistic history: Our Anishinaabe grandparents didn’t pass down their language, because they feared for their children—and their children’s children. They feared they would be taken away, feared they would be punished, as that is how it was back then. And so our parents grew up hearing the language, but not speaking it. They grew up understanding some of what they heard, but not storing it away. And we, as their children, grew up without it.

So, that is why we gather.

To honor.

To restore.

To revitalize.

I sit on this porch on a Thursday morning caressed by wisps of mashkodewashk, the scent of wiingashk in the air, nibi at my side. Sage, sweetgrass, and water ready me for the day’s teachings. We’re reading a story during this lesson, each slide on the screen a page of the storybook. I review what I see before I’m called on. To my surprise, I recognize the words, understand their meaning. There are tears in my eyes. A lump in my throat.

“Giinitam,” the elder says to me. Your turn. He wants me to read out loud what I see on the screen.

Before this day, I’ve never understood as many words grouped together. I’ve never passed a slide without relying on the English translation for clarification. I’m excited. In disbelief. “Before I begin,” I say, “I just want to tell you that I understood some of this before I read the translation. And that almost makes me cry.” My cheeks are warm. My heart glows.

“Nishin,” the elders say, nodding. “Nishin.” They are happy with my progress, proud of their student, grateful that Anishinaabemowin will not be forgotten from Aki, this Earth. I feel in this instant that somewhere in the distance my Ojibwe ancestors are smiling and nodding, too. En’, they are saying. Nishin, n’doozhisheninaan. Yes. Good, our grandchild.

It is Wednesday now, a writing day. Beyond my Keweenaw porch cars pass, children call, neighbors mow their lawns. My keyboard clacks amidst the delicate snore of the cat. I often grumble about the noise, but I’ve grown accustomed to it. I know, if I wait, there’ll come a lull in the din. The cars will quiet. The children will go home. The lawns will be tidy, and the cat will rouse herself and wander off in search of kibble. I’ll pause my typing in those moments. The click-clack of the keys will fall silent. And I’ll listen. I’ll listen for the sounds of those familiar voices—the voices of the Keweenaw immigrants. The miners and the railway workers and the lumbermen. The Finnish. The Cornish. The French-Canadian. But these days, if I listen close enough, I’ll hear another voice, too. One fresh to my ear, like a robin’s spring call. It rises from an inner space. Claims a place in the dialogue. Adds to the melody of my history. “En’,” I’ll say, for I know who it is. It is the voice of my other half. The voice of the Anishinaabeg. And I’ll smile.

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Born amidst the copper mining ruins of Michigan’s Upper Peninsula, T. Marie Bertineau is a member of the Keweenaw Bay Indian Community of the L’Anse Reservation, migizi odoodeman. Her work has appeared online with Minnesota’s Carver County Arts Consortium; in Mino Miikana, a publication of the Native Justice Coalition and Waub Ajijaak Press; and in the annual journal U.P. Reader. Her debut memoir The Mason House (Lanternfish Press, 2020) was named a 2021 Michigan Notable Book by the Library of Michigan. Married and the mother of two, she makes her home in Michigan’s Keweenaw.