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The Haisla characters contend with the affective consequences of living in what Karl Marx calls a “coerced” and “ forced labor” economy.

By employing cartographic imagery, generational juxtaposition, and a first-person dual point of view that negotiates between spectral and spiritless worlds, Monkey Beach contextualizes habitual drinking as a response to alienation from cultural practices that are becoming increasingly threatened by ongoing colonial and capitalist policies of individualism and acculturation. This article traces the persistence and operative nature of its production and reproduction and argues that Eden Robinson's Monkey Beach challenges the stereotype through refiguring addiction as social suffering rather than individual - and racialized - pathology. The Drunken Indian stereotype has a long history of expression across literary, scientific, sociological, and political discourses.