Our History is the Future: Standing Rock Versus the Dakota Access Pipeline, and the Long Tradition of Indigenous Resistance is written by Nick Estes, a citizen of the Lower Brule Sioux Tribe and co-founder of Red Nation. Our History is the Future, is the story of a small protest encampment at the Standing Rock Reservation in North Dakota, which was initially established to block construction of the Dakota Access oil pipeline. This protest grew to be the largest Indigenous protest movement in the twenty-first century.
The Audacity Of His Enterprise: Louis Riel and the Métis Nation That Canada Never Was, 1840–1875, by M. Max Hamon is about Louis Riel (1844-1885), an iconic figure in Canadian history and best known for his roles in the Red River Resistance of 1869 and the Northwest Resistance of 1885. A political leader of the Métis people of the Canadian Prairies, Riel is often portrayed as a rebel.
In A Short History of the Blockade, award-winning writer Leanne Betasamosake Simpson uses Michi Saagiig Nishnaabeg stories, storytelling aesthetics, and practices to explore the generative nature of Indigenous blockades through our relative, the beaver—or in Nishnaabemowin, Amik. The introduction is by Jordan Abel, Nisga'a poet.
In Warrior Life: Indigenous Resistance and Resurgence, Pamela Palmater, Mi'kmaw lawyer, author, speaker and activist, addresses a range of Indigenous issues — empty political promises, ongoing racism, sexualized genocide, government lawlessness, and the lie that is reconciliation — and makes the complex political and legal implications accessible to the public.
Becoming Our Future, edited by Julie Nagam, Anishinaabe/Métis/German/Syrian; Carly Lane, a Murri woman from Queensland; and Megan Tamati-Quennell (Te Ātiawa, Ngāi Tahu), of Māori descent, investigates international Indigenous methodologies in curatorial practice from the geographic spaces of Canada, Aotearoa (New Zealand) and Australia. From a perspective of Indigenous peoples important place within society, this collection explores how Indigenous art and culture operate within and from a structural framework that is unique and is positioned outside of the non-Indigenous cultural milieu.
Zaagi'idiwin: Silent, Unquestionable Act of Love by Leanna Marshall, a member of Kitchenuhmaykoosib Inninuwug, and with a foreword by Suzanne Luke, creates an intersection where viewers meet to understand and explore the essence of relationships, the meaning of connection/disconnection, and the pain of loss. With contributions from Vera Wabegijig, nishnaabe (Odawa & Ojibwe), and Susan Neylan
Take the Mic is edited by Bethany Morrow and is an anthology of fictional short stories, poems, prose and art that reflect a slice of the varied and limitless ways that readers like you resist every day. Take the Mic's powerful collection of stories features work by literary luminaries and emerging talent alike, including Newbery-winner Jason Reynolds, New York Times bestseller Samira Ahmed, anthologist and contributor Bethany C. Morrow, Darcie Little Badger (Lipan Apache), Keah Brown, Laura Silverman, L.D.
As We Have Always Done by Leanne Betasamosake Simpson, a renowned Michi Saagiig Nishnaabeg scholar, writer and artist, and who has been widely recognized as one of the most compelling Indigenous voices of her generation, locates Indigenous political resurgence as a practice rooted in uniquely Indigenous theorizing, writing, organizing, and thinking.