Billy-Ray Belcourt is a poet, scholar, and author from the Driftpile Cree Nation. Belcourt's works encompass a variety of topics and themes, including decolonial love, grief, intimacy and queer sexuality, and the role of Indigenous women in social resistance movements. Belcourt is also the author of the poetry collection This Wound is a World which was chosen as one of CBC's top ten poetry collections of 2017 and won the 2018 Canadian Griffin Poetry Prize. Belcourt was the 2016 recipient of the prestigious Rhodes Scholarship and is currently working on his Ph.D. at the University of Alberta. Billy is also an assistant professor in Indigenous Creative Writing at the University of British Columbia.
Biography
Belcourt grew up in the community of Driftpile in the region currently known as northern Alberta. He was raised by his grandparents and began writing poetry around the age of 19. As an undergraduate student, Belcourt studied Comparative Literature at the University of Alberta where he graduated with a B.A. with First Class Honours in 2016. While at the University of Alberta, Belcourt was actively involved as "an advocate for LGBTQ and Indigenous communities," which included serving as the Aboriginal Student Council president. Belcourt is a Youth Facilitator with the Native Youth Sexual Health Network. In 2015, Belcourt was selected as a recipient of the Rhodes Scholarship to study at Wadham College, Oxford University for the 2016-2017 school year. Belcourt was the first First Nations scholar to be selected for this prestigious award and with the scholarship's announcement, he received media attention noting him as a leader, role model, and change-maker. In 2017 Belcourt graduated with distinction from Oxford University with a master's degree in Women's Studies, his master's thesis focused on "the role of Indigenous women in social resistance movements" and is titled "Decolonial Sight: Indigenous Feminist Protest and the World-to-Come." While an active writer and poet throughout his university career, Belcourt published his first book, This Wound is a World in 2017. As of 2018, Belcourt is working towards a Ph.D. in the Department of English and Film Studies at the University of Alberta. His research focuses on what he calls the 'Indigenous paranormal' in art, poetry and film that has been produced by Indigenous peoples in the region currently called Canada. In addition to these studies and research, Belcourt is also working on a forthcoming essay collection under the working title of The Conspiracy of NDN Joy.
"Meditations on reserve life, biosociality, and the taste of non-sovereignty." The main argument of this paper is that the feeling of indigeneity is the miserable feeling of not properly being of this world and that a disease like diabetes mellitus is a key manifestation of this sort of exhausted existence. To do this, Belcourt pursues the secondary claims that indigeneity is a zone of biological struggle and that the reserve is something of a non-place calibrated by affects the groups under the sign of misery. This is a story about the politics of interpretation, about how one takes stock of the horrors of Indigenous embodiment and how we might do it differently.
Public Scholarship
"The Optics of the Language: How Joi T. Arcand Looks With Words"
with Lou Cornum, Thel Seraphim, and Kay Gabriel, "Top or Bottom: How do we desire?"
"To be Unbodied," Canadian Art : n.p.
"The body remembers when the world broke open,"
with Maura Roberts, "Making friends for the end of the world,"
Belcourt's works have generally been welcomed with praise and appreciation. CBC featured This Wound is a World at the top of their top ten poetry collections from 2017 stating that the book "is memoiristic in approach, perspicuous in style and exacting in its determination to upend genre and form." Leanne Betasamosake Simpson also praised Belcourt's book, choosing it as her favorite book of 2017. In Simpson's words, "Belcourt is a sovereign genius and This Wound is a World redefines poetics as a refusal of colonial erasure, a radical celebration of Indigenous life and our beautiful, intimate rebellion." Lisa Tatonetti also praises the book, calling it a "powerful meditation on the intersections of violence, love, and the body."
