Land-Water-Sky / Ndè-Tı-Yat’a by Katłıà, a Dene woman from the Northwest Territories is the story of a vexatious shapeshifter who walks among humans. Shadowy beasts skulk at the edges of the woods. A ghostly apparition haunts a lonely stretch of highway. Spirits and legends rise and join together to protect the north.
ohpikinâwasowin/Growing a Child: Implementing Indigenous Ways of Knowing with Indigenous Families is edited by Ralph Bodor; Avery Calhoun; Leona Makokis, Elder and member of the Kehewin Cree Nation; and Stephanie Tyler. In ohpikinâwasowin/Growing a Child contributors to this collection invert the long-held, colonial relationship between Indigenous peoples and systems of child welfare in Canada. Western theory and practice are over-represented in child welfare services for Indigenous peoples, not the other way around.
First published in 2000, Angel Wing Splash Pattern is where Richard Van Camp’s love of the short story began. In these stories he demonstrates the range of his talent and the pursuit of excellence in his craft as a writer and storyteller. Richard Van Camp is a proud Tłįchϙ Dene from Fort Smith, NWT. In Angel Wing Splash Pattern Richard Van Camp celebrates life in northern Canada where the stories are playful, moving, and starkly honest in their portrayal of contemporary Indigenous life. There is pain in these stories and there is loss.
Ce n'etait pas nous les sauvages (We Were Not The Savages: A Mi'kmaq Perspective on the Collision between European and Native American Civilizations) is written by Danie N. Paul, Mi'kmaq historian, and translated into French by Jean-François Cyr. The cover artwork is by Leonard Paul. Daniel Paul was born on the Indian Brook Reserve in Nova Scotia. He worked for the Department of Indian Affairs as a District Superintendent of Lands, and also served with the Confederacy of Mainland Micmacs.
I Place You Into the Fire by Rebecca Thomas, Mi'kmaw spoken-word artist and author of I'm Finding My Talk, shows that three similarly shaped Mi'kmaw words have drastically different meanings: kesalul means "I love you"; kesa'lul means "I hurt you"; and ke'sa'lul means "I put you into the fire." In this poetry collection, readers will feel Rebecca Thomas's deep love, pain, and frustration and loss.
Le baiser de Nanabush est écrit par Drew Hayden Taylor, Ojibwe et traduit par Eva Lavergne de l'anglais Motorcycles and Sweetgrass, A Novel. Rien ne se produit jamais dans la réserve anishinabe de Lac-aux-Loutres. Enfin, jusqu’à l’arrivée d’un séduisant étranger aux cheveux blonds porté par une rutilante moto Indian Chief 1953. Les intentions du bellâtre sont d’autant plus mystérieuses que celui-ci semble connaître la communauté sous toutes ses coutures. Si la cheffe Maggie tombe instantanément sous son charme, son fils Virgile est beaucoup moins enthousiaste.
Colonialism's Currency: Money, State, and First Nations of Canada, 1820-1950 by Brian Gettler, is about how money, often portrayed as a straightforward representation of market value, is also a political force, a technology for remaking space and population. This was especially true in nineteenth- and twentieth-century Canada, where money - in many forms - provided an effective means of disseminating colonial social values, laying claim to national space, and disciplining colonized peoples.
The Red Chesterfield by Wayne Arthurson, a writer of Cree and French Canadian descent, is the story of M who is a bylaw officer. He lives with his brothers, in their parent’s old house. On his way to investigate a suspicious yard sale, he discovers a red chesterfield sitting in a ditch. Looking closer, he finds a running shoe-and a severed foot.