Shannon Webb-Campbell's Still No Word seeks the appearance of the self in others and the recognition of others within the self. Patient, searching, questioning, and at times heartbreaking - these poems reveal the deep past within the present tense and the interrelations that make our lives somehow both whole and unfinished. And though Webb-Campbell is political at times, this is not politics for the sake of politics: here, it's a matter of the human heart. Ranging from reflective to angry, from sensual to humourous, her poetry inhabits that mercurial space between the public and the priv
Totem Poles and Railroads 2017 FNCR succinctly defines the 500-year-old relationship between Indigenous nations and the corporation of Canada. In this, her fifth poetry collection, Janet Rogers expands on that definition with a playful, culturally powerful and, at times, experimental voice. She pays honour to her poetic characters - real and imagined, historical and present day - from Sacajawea to Nina Simone.
In her second collection of poetry, Passage, Gwen Benaway examines what it means to experience violence and speaks to the burden of survival. Traveling to Northern Ontario and across the Great Lakes, Passage is a poetic voyage through divorce, family violence, legacy of colonization, and the affirmation of a new sexuality and gender. Previously published as a man, Passage is the poet’s first collection written as a transwoman. Striking and raw in sparse lines, the collection showcases a vital Two Spirited identity that transects borders of race, gender, and experience.
Callling Down the Sky is a poetry collection that describes deep personal experiences and post-generational effects of the First Nations residential school confinements in the 1960's when thousands of First Nations children were placed in these schools against their parents' wishes. Many were forbidden to speak their language and practice their own cultures.
The Thunderbird Poems is a slim collection by Ojibwe author, poet and filmmaker Armand Garnet Ruffo's tribute to the late artist Norval Morrisseau's artwork. These inspired poems are organized into four sections: Life Scroll; Shaman Rider; Mother of All Things; and Indian Canoe. The poems were inspired by Ruffo's study of Morrisseau's artwork. This poetic inspiration from art pieces allows the reader a unique avenue into Morrisseau's meanings, traditions and emotions. Mature content.
We Sang You Home is a charming and heart-warming board book that welcomes a new baby boy into a family. Written by renowned author and storyteller Richard Van Camp and illustrated with creative flair by Julie Flett, this board book is a welcome addition to Indigenous family print resources. Flett uses collage-like images of a couple sitting on a blanket during the night. A moon can be seen along with two white rabbits peeking at each other from across the page. The woman is playing guitar and the simple text on the opposite page proclaiming that they sang for an infant to join them.
Sweetest Kulu board book is a fine addition to early childhood education materials from Inhabit Media's Inhabit Junior series. Sweetest Kulu, a charming bedtime poem, written by acclaimed Inuk throat singer Celina Kalluk describes the gifts given to a newborn baby by all the animals of the Arctic. Lyrically and tenderly told by a mother speaking to her own little Kulu, an Inuktitut term of endearment often bestowed upon babies and young children, this visually stunning book is infused with the traditional Inuit values of love and respect for the land and its animal inhabitants.
My Father is Taller Than a Tree is a celebratory children's picture book by Abenaki storyteller Joseph Bruchac. Together with illustrator Wendy Anderson Halperin, the pair creates a charming book for early readers or for library read aloud sessions about the close relationship between fathers and sons across cultures. The book features thirteen pairs of father and son examples. A father is shown helping his son ride a bike, another shows a winter scene with papa pulling his boy on a sled, and one shows a father reading to his son before bedtime.
The poetry of Clay Pots and Bones is Lindsay Marshall’s way of telling stories, of speaking with others about what things that matter to him. His heritage. His people. His life as a Mi’kmaw. For the reader, Clay Pots and Bones is a colourful journey from early days, when the People of the Dawn understood, interacted with and travelled the land freely, to the turbulent present and the uncertain future where Marshall envisions a rebirth of the Mi’kmaq. The poetry challenges and enlightens.