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As We Have Always Done by
Winner: Native American and Indigenous Studies Association's Best Subsequent Book 2017 Honorable Mention: Labriola Center American Indian National Book Award 2017 Across North America, Indigenous acts of resistance have in recent years opposed the removal of federal protections for forests and waterways in Indigenous lands, halted the expansion of tar sands extraction and the pipeline construction at Standing Rock, and demanded justice for murdered and missing Indigenous women. In As We Have Always Done, Leanne Betasamosake Simpson locates Indigenous political resurgence as a practice rooted in uniquely Indigenous theorizing, writing, organizing, and thinking. Indigenous resistance is a radical rejection of contemporary colonialism focused around the refusal of the dispossession of both Indigenous bodies and land. Simpson makes clear that its goal can no longer be cultural resurgence as a mechanism for inclusion in a multicultural mosaic. Instead, she calls for unapologetic, place-based Indigenous alternatives to the destructive logics of the settler colonial state, including heteropatriarchy, white supremacy, and capitalist exploitation.
The Reconciliation Manifesto by
In this book, leading Indigenous rights activist Arthur Manuel offers a radical challenge to Canada and Canadians. He questions virtually everything non-Indigenous Canadians believe about their relationship with Indigenous peoples.The Reconciliation Manifesto documents how governments are attempting to reconcile with Indigenous peoples without touching the basic colonial structures that dominate and distort the relationship. Manuel reviews the current state of land claims, tackles the persistence of racism among non-Indigenous people and institutions, decries the role of government-funded organizations like the Assembly of First Nations, and highlights the federal government's disregard for the substance of the United Nations Declaration on the Rights of Indigenous Peoples while claiming to implement it. Together, these circumstances amount to a false reconciliation between Indigenous people and Canada.Manuel sets out the steps that are needed to place this relationship on a healthy and honourable setting. As he explains, recovering the land and rebuilding the economy are key.Completed just months before Manuel's death in January 2017, this book offers an illuminating vision of what is needed for true reconciliation. Expressed with quiet but firm resolve, humour, and piercing intellect, The Reconciliation Manifesto is for both Indigenous and non-Indigenous people who are willing to look at the real problems and find real solutions.
Seven Fallen Feathers by
The groundbreaking and multiple award-winning national bestseller work about systemic racism, education, the failure of the policing and justice systems, and Indigenous rights by Tanya Talaga. Over the span of eleven years, seven Indigenous high school students died in Thunder Bay, Ontario. They were hundreds of kilometres away from their families, forced to leave home because there was no adequate high school on their reserves. Five were found dead in the rivers surrounding Lake Superior, below a sacred Indigenous site. Using a sweeping narrative focusing on the lives of the students, award-winning author Tanya Talaga delves into the history of this northern city that has come to manifest Canada's long struggle with human rights violations against Indigenous communities.
Black Water by
A Globe and Mail Top 100 Book of the Year A Quill & Quire Book of the Year A CBC Books Nonfiction Book of the Year A Maclean's 20 Books You Need to Read this Winter "An instant classic that demands to be read with your heart open and with a perspective widened to allow in a whole new understanding of family, identity and love." --Cherie Dimaline In this bestselling memoir, a son who grew up away from his Indigenous culture takes his Cree father on a trip to the family trapline and finds that revisiting the past not only heals old wounds but creates a new future The son of a Cree father and a white mother, David A. Robertson grew up with virtually no awareness of his Indigenous roots. His father, Dulas--or Don, as he became known--lived on the trapline in the bush in Manitoba, only to be transplanted permanently to a house on the reserve, where he couldn't speak his language, Swampy Cree, in school with his friends unless in secret. David's mother, Beverly, grew up in a small Manitoba town that had no Indigenous people until Don arrived as the new United Church minister. They married and had three sons, whom they raised unconnected to their Indigenous history. David grew up without his father's teachings or any knowledge of his early experiences. All he had was "blood memory": the pieces of his identity ingrained in the fabric of his DNA, pieces that he has spent a lifetime putting together. It has been the journey of a young man becoming closer to who he is, who his father is and who they are together, culminating in a trip back to the trapline to reclaim their connection to the land. Black Water is a memoir about intergenerational trauma and healing, about connection and about how Don's life informed David's own. Facing up to a story nearly erased by the designs of history, father and son journey together back to the trapline at Black Water and through the past to create a new future.
Books and Islands in Ojibwe Country by
For more than three decades, bestselling author Louise Erdrich has enthralled readers with dazzling novels that paint an evocative portrait of Native American life. From her dazzling first novel, Love Medicine, to the National Book Award-winning The Round House, Erdrich's lyrical skill and emotional assurance have earned her a place alongside William Faulkner and Willa Cather as an author deeply rooted in the American landscape. In Books and Islands in Ojibwe Country, Erdrich takes us on an illuminating tour through the terrain her ancestors have inhabited for centuries: the lakes and islands of southern Ontario. Summoning to life the Ojibwe's sacred spirits and songs, their language and sorrows, she considers the many ways in which her tribe--whose name derives from the word ozhibii'ige, "to write"--have influenced her. Her journey links ancient stone paintings with a magical island where a bookish recluse built an extraordinary library, and she reveals how both have transformed her. A blend of history, mythology, and memoir, Books and Islands in Ojibwe Country is an enchanting meditation on modern life, natural splendor, and the ancient spirituality and creativity of Erdrich's native homeland--a long, elemental tradition of storytelling that is in her blood.
Crazy Brave by
In this transcendent memoir, grounded in tribal myth and ancestry, music and poetry, Joy Harjo, one of our leading Native American voices, details her journey to becoming a poet. Born in Oklahoma, the end place of the Trail of Tears, Harjo grew up learning to dodge an abusive stepfather by finding shelter in her imagination, a deep spiritual life, and connection with the natural world. She attended an Indian arts boarding school, where she nourished an appreciation for painting, music, and poetry; gave birth while still a teenager; and struggled on her own as a single mother, eventually finding her poetic voice. Narrating the complexities of betrayal and love, Crazy Brave is a memoir about family and the breaking apart necessary in finding a voice. Harjo's tale of a hardscrabble youth, young adulthood, and transformation into an award-winning poet and musician is haunting, unique, and visionary.
Halfbreed by
A new, fully restored edition of the essential Canadian classic. An unflinchingly honest memoir of her experience as a Métis woman in Canada, Maria Campbell's Halfbreed depicts the realities that she endured and, above all, overcame. Maria was born in Northern Saskatchewan, her father the grandson of a Scottish businessman and Métis woman--a niece of Gabriel Dumont whose family fought alongside Riel and Dumont in the 1885 Rebellion; her mother the daughter of a Cree woman and French-American man. This extraordinary account, originally published in 1973, bravely explores the poverty, oppression, alcoholism, addiction, and tragedy Maria endured throughout her childhood and into her early adult life, underscored by living in the margins of a country pervaded by hatred, discrimination, and mistrust. Laced with spare moments of love and joy, this is a memoir of family ties and finding an identity in a heritage that is neither wholly Indigenous or Anglo; of strength and resilience; of indominatable spirit. This edition of Halfbreed includes a new introduction written by Indigenous (Métis) scholar Dr. Kim Anderson detailing the extraordinary work that Maria has been doing since its original publication 46 years ago, and an afterword by the author looking at what has changed, and also what has not, for Indigenous people in Canada today. Restored are the recently discovered missing pages from the original text of this groundbreaking and significant work.
Heart Berries by
A powerful, poetic memoir of an Indigenous woman's coming of age on the Seabird Island Band in the Pacific Northwest--this New York Times bestseller and Emma Watson Book Club pick is "an illuminating account of grief, abuse and the complex nature of the Native experience . . . at once raw and achingly beautiful (NPR). Having survived a profoundly dysfunctional upbringing only to find herself hospitalized and facing a dual diagnosis of post traumatic stress disorder and bipolar II disorder, Terese Marie Mailhot is given a notebook and begins to write her way out of trauma. The triumphant result is Heart Berries, a memorial for Mailhot's mother, a social worker and activist who had a thing for prisoners; a story of reconciliation with her father―an abusive drunk and a brilliant artist―who was murdered under mysterious circumstances; and an elegy on how difficult it is to love someone while dragging the long shadows of shame. Mailhot trusts the reader to understand that memory isn't exact, but melded to imagination, pain, and what we can bring ourselves to accept. Her unique and at times unsettling voice graphically illustrates her mental state. As she writes, she discovers her own true voice, seizes control of her story, and, in so doing, reestablishes her connection to her family, to her people, and to her place in the world.
I Hear the Train by
In this innovative collection, Louis Owens blends autobiography, short fiction, and literary criticism to reflect on his experiences as a mixedblood Indian in America. In sophisticated prose, Owens reveals the many timbres of his voice--humor, humility,love, joy, struggle, confusion, and clarity. We join him in the fields, farms, and ranches of California. We follow his search for a lost brother and contemplate along with him old family photographs from Indian Territory and early Oklahoma. In a final section, Owens reflects on the work and theories of other writers, including Gayatri Chakravorty Spivak, Gerald Vizenor, Michael Dorris, and Louise Erdrich. Volume 40 in the American Indian Literature and Critical Studies Series
A Mind Spread Out on the Ground by
In an urgent and visceral work that asks essential questions about the treatment of Native people in North America while drawing on intimate details of her own life and experience with intergenerational trauma, Alicia Elliott offers indispensable insight into the ongoing legacy of colonialism. She engages with such wide-ranging topics as race, parenthood, love, mental illness, poverty, sexual assault, gentrification, writing and representation, and in the process makes connections both large and small between the past and present, the personal and political.
The Turquoise Ledge by
A highly original and poetic self-portrait from one of America's most acclaimed writers. Leslie Marmon Silko's new book, her first in ten years, combines memoir with family history and reflections on the creatures and beings that command her attention and inform her vision of the world, taking readers along on her daily walks through the arroyos and ledges of the Sonoran desert in Arizona. Silko weaves tales from her family's past into her observations, using the turquoise stones she finds on the walks to unite the strands of her stories, while the beauty and symbolism of the landscape around her, and of the snakes, birds, dogs, and other animals that share her life and form part of her family, figure prominently in her memories. Strongly influenced by Native American storytelling traditions, The Turquoise Ledge becomes a moving and deeply personal contemplation of the enormous spiritual power of the natural world-of what these creatures and landscapes can communicate to us, and how they are all linked. The book is Silko's first extended work of nonfiction, and its ambitious scope, clear prose, and inventive structure are captivating. The Turquoise Ledge will delight loyal fans and new readers alike, and it marks the return of the unique voice and vision of a gifted storyteller.
Woman Who Watches over the World by
"A deeply courageous account of Hogan's personal and tribal history...staggering."--Pam Houston, O Magazine "I sat down to write a book about pain and ended up writing about love," says award-winning Chickasaw poet and novelist Linda Hogan. In this book, she recounts her difficult childhood as the daughter of an army sergeant, her love affair at age fifteen with an older man, the legacy of alcoholism, the troubled history of her adopted daughters, and her own physical struggles since a recent horse accident. She shows how historic and emotional pain are passed down through generations, blending personal history with stories of important Indian figures of the past such as Lozen, the woman who was the military strategist for Geronimo, and Ohiesha, the Santee Sioux medical doctor who witnessed the massacre at Wounded Knee. Ultimately, Hogan sees herself and her people whole again and gives an illuminating story of personal triumph. "This wise and compassionate offering deserves to be widely read."--Publishers Weekly, starred review
You Don't Have to Say You Love Me by
A searing, deeply moving memoir about family, love, loss, and forgiveness from the critically acclaimed, bestselling National Book Award-winning author of The Absolutely True Diary of a Part-Time Indian. Family relationships are never simple. But Sherman Alexie's bond with his mother Lillian was more complex than most. She plunged her family into chaos with a drinking habit, but shed her addiction when it was on the brink of costing her everything. She survived a violent past, but created an elaborate facade to hide the truth. She selflessly cared for strangers, but was often incapable of showering her children with the affection that they so desperately craved. She wanted a better life for her son, but it was only by leaving her behind that he could hope to achieve it. It's these contradictions that made Lillian Alexie a beautiful, mercurial, abusive, intelligent, complicated, and very human woman. When she passed away, the incongruities that defined his mother shook Sherman and his remembrance of her. Grappling with the haunting ghosts of the past in the wake of loss, he responded the only way he knew how: he wrote. The result is a stunning memoir filled with raw, angry, funny, profane, tender memories of a childhood few can imagine, much less survive. An unflinching and unforgettable remembrance, You Don't Have to Say You Love Me is a powerful, deeply felt account of a complicated relationship.
Native American Women Writers by
Provides brief biographical information on eleven Native American women writers and discusses their work through critical excerpts. Includes a bibliography of works written by each featured author.
The Book of the Hopi by
The secrets of the Hopi "road of life" revealed for the first time in written form In this strange and wonderful book, thirty elders of the ancient Hopi tribe of Northern Arizona-a people who regard themselves as the first inhabitants of America-freely reveal the Hopi worldview for the first time in written form. The Hopi kept this view a secret for countless centuries, and anthropologists have long struggled to understand it. Now they record their myths and legends, and the meaning of their religious rituals and ceremonies as a gift to future generations. Here is a reassertion of a rhythm of life we have disastrously tried to ignore and instincts we have tragically repressed, and a reminder that we must attune ourselves to the need for inner change if we are to avert a cataclysmic rupture between our minds and hearts.
The Inconvenient Indian by
In The Inconvenient Indian, Thomas King offers a deeply knowing, darkly funny, unabashedly opinionated, and utterly unconventional account of Indian-White relations in North America since initial contact. Ranging freely across the centuries and the Canada-U.S. border, King debunks fabricated stories of Indian savagery and White heroism, takes an oblique look at Indians (and cowboys) in film and popular culture, wrestles with the history of Native American resistance and his own experiences as a Native rights activist, and articulates a profound, revolutionary understanding of the cumulative effects of ever-shifting laws and treaties on Native peoples and lands. Suffused with wit, anger, perception, and wisdom, The Inconvenient Indian is at once an engaging chronicle and a devastating subversion of history, insightfully distilling what it means to be "Indian" in North America. It is a critical and personal meditation that sees Native American history not as a straight line but rather as a circle in which the same absurd, tragic dynamics are played out over and over again. At the heart of the dysfunctional relationship between Indians and Whites, King writes, is land: "The issue has always been land." With that insight, the history inflicted on the indigenous peoples of North America--broken treaties, forced removals, genocidal violence, and racist stereotypes--sharpens into focus. Both timeless and timely, The Inconvenient Indian ultimately rejects the pessimism and cynicism with which Natives and Whites regard one another to chart a new and just way forward for Indians and non-Indians alike.
Language of This Land Mi'kma'ki by
The ancient landscapes of Eastern North America are reflected in the language and cultural expressions of its Indigenous peoples, the Mi'kmaq. The rhythms, sounds and patterns of their language are inextricably bound with the seasonal cycles of the animals, plants, winds, skies, waterways and trade routes.The Language of this Land, Mi'kma'ki is an exploration of Mi'kmaw world view as expressed in language, legends, song and dance. Using imagery as codes, these include not only place names and geologic history, but act as maps of the landscape. Sable and Francis illustrate the fluid nature of reality inherent in its expression - its embodiment in networks of relationships with the landscape integral to the cultural psyche and spirituality of the Mi'kmaq.Language has sustained the Mi'kmaq to the present day, a product of a lineage of Elders who spoke it, who danced the dances and walked this land,Mi'kma'ki, carrying its traditions forward despite centuries of cultural disruption, discrimination and degradation.
We Are Dancing for You by
"I am here. You will never be alone. We are dancing for you." So begins Cutcha Risling Baldy's deeply personal account of the revitalization of the women's coming-of-age ceremony for the Hoopa Valley Tribe. At the end of the twentieth century, the tribe's Flower Dance had not been fully practiced for decades. The women of the tribe, recognizing the critical importance of the tradition, undertook its revitalization using the memories of elders and medicine women and details found in museum archives, anthropological records, and oral histories. Deeply rooted in Indigenous knowledge, Risling Baldy brings us the voices of people transformed by cultural revitalization, including the accounts of young women who have participated in the Flower Dance. Using a framework of Native feminisms, she locates this revival within a broad context of decolonizing praxis and considers how this renaissance of women's coming-of-age ceremonies confounds ethnographic depictions of Native women; challenges anthropological theories about menstruation, gender, and coming-of-age; and addresses gender inequality and gender violence within Native communities.
We Were Not the Savages by
This fully updated third edition of a vital text on the history of indigenous peoples comes from the thorough research of a First Nations descendent. By turns revealing and deeply unsettling, the book details the brutal treatment and complete displacement of the Mi'kmaq civilization at the hands of European settlers. The author's ongoing research casts doubt on the recorded tales of Canadian colonization and reveals that the mistreatment of First Nations peoples is not confined to the past.
Yellow Woman and a Beauty of the Spirit by
"Novelist, poet, short story writer, film writer, artist, and essayist, Leslie Marmon Silko turns her cleansing fury, her sharp, clear vision, her eloquent voice, and her very special sensibility on a broad range of concerns, from the role rocks play in Native American culture to the injustices Native Americans face when confronting the Anglo-american legal system." "Steeped in Native American lore, religion, culture, and history (especially that of her own Laguna Pueblo heritage), she examines diverse subjects in such varied essays as "Interior and Exterior Landscapes: The Pueblo Migration Stories," "Yellow Woman and a Beauty of the Spirit," "Tribal Councils: Puppets of the U.S. Government," "Notes on Almanac of the Dead," "The Border Patrol State," "The Indian with a Camera," and "An Essay on Rocks."" "Whether she is exploring Pueblo Indian languages and literature, explaining why the people and the land are inseparable, grieving over the destruction of the magnificent Mayan and Aztec folding books, or expressing her outrage over the unflattering portrayal of Native American life by non-Indians as part of what she terms "a campaign of cultural genocide," her essays have a power, that, like her fiction, "burns at an apocalyptic pitch," and make this book must reading for anybody interested in, or curious about, the true state and the soul of Native Americans still trying to exist as themselves in a hostile culture - and trying to come to terms with their own world while protecting their people."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
Braiding Sweetgrass by
A New York Times Bestseller A Washington Post Bestseller Named a "Best Essay Collection of the Decade" by Literary Hub As a botanist, Robin Wall Kimmerer has been trained to ask questions of nature with the tools of science. As a member of the Citizen Potawatomi Nation, she embraces the notion that plants and animals are our oldest teachers. In Braiding Sweetgrass, Kimmerer brings these two lenses of knowledge together to take us on "a journey that is every bit as mythic as it is scientific, as sacred as it is historical, as clever as it is wise" (Elizabeth Gilbert). Drawing on her life as an indigenous scientist, and as a woman, Kimmerer shows how other living beings--asters and goldenrod, strawberries and squash, salamanders, algae, and sweetgrass--offer us gifts and lessons, even if we've forgotten how to hear their voices. In reflections that range from the creation of Turtle Island to the forces that threaten its flourishing today, she circles toward a central argument: that the awakening of ecological consciousness requires the acknowledgment and celebration of our reciprocal relationship with the rest of the living world. For only when we can hear the languages of other beings will we be capable of understanding the generosity of the earth, and learn to give our own gifts in return.
Mixedblood Messages by
Revives the classical strategies of ancient Greek and Roman rhetoricians and adapts them to the needs of contemporary writers and speakers.
Native Science by
Cajete examines the multiple levels of meaning that inform Native astronomy, cosmology, psychology, agriculture, and the healing arts. Unlike the western scientific method, native thinking does not isolate an object or phenomenon in order to understand it, but perceives it in terms of relationship. An understanding of the relationships that bind together natural forces and all forms of life has been fundamental to the ability of indigenous peoples to live for millennia in spiritual and physical harmony with the land. It is clear that the first peoples offer perspectives that can help us work toward solutions at this time of global environmental crisis.
Our History Is the Future by
How two centuries of Indigenous resistance created the movement proclaiming "Water is life" In 2016, a small protest encampment at the Standing Rock Reservation in North Dakota, initially established to block construction of the Dakota Access oil pipeline, grew to be the largest Indigenous protest movement in the twenty-first century. Water Protectors knew this battle for native sovereignty had already been fought many times before, and that, even after the encampment was gone, their anticolonial struggle would continue. In Our History Is the Future, Nick Estes traces traditions of Indigenous resistance that led to the #NoDAPL movement. Our History Is the Future is at once a work of history, a manifesto, and an intergenerational story of resistance.
There's Something in the Water by
In "There's Something In The Water", Ingrid R. G. Waldron examines the legacy of environmental racism and its health impacts in Indigenous and Black communities in Canada, using Nova Scotia as a case study, and the grassroots resistance activities by Indigenous and Black communities against the pollution and poisoning of their communities. Using settler colonialism as the overarching theory, Waldron unpacks how environmental racism operates as a mechanism of erasure enabled by the intersecting dynamics of white supremacy, power, state-sanctioned racial violence, neoliberalism and racial capitalism in white settler societies. By and large, the environmental justice narrative in Nova Scotia fails to make race explicit, obscuring it within discussions on class, and this type of strategic inadvertence mutes the specificity of Mi'kmaq and African Nova Scotian experiences with racism and environmental hazards in Nova Scotia. By redefining the parameters of critique around the environmental justice narrative and movement in Nova Scotia and Canada, Waldron opens a space for a more critical dialogue on how environmental racism manifests itself within this intersectional context. Waldron also illustrates the ways in which the effects of environmental racism are compounded by other forms of oppression to further dehumanize and harm communities already dealing with pre-existing vulnerabilities, such as long-standing social and economic inequality. Finally, Waldron documents the long history of struggle, resistance, and mobilizing in Indigenous and Black communities to address environmental racism.
Shapes of Native Nonfiction by
Just as a basket's purpose determines its materials, weave, and shape, so too is the purpose of the essay related to its material, weave, and shape. Editors Elissa Washuta and Theresa Warburton ground this anthology of essays by Native writers in the formal art of basket weaving. Using weaving techniques such as coiling and plaiting as organizing themes, the editors have curated an exciting collection of imaginative, world-making lyric essays by twenty-seven contemporary Native writers from tribal nations across Turtle Island into a well-crafted basket. Shapes of Native Nonfiction features a dynamic combination of established and emerging Native writers, including Stephen Graham Jones, Deborah Miranda, Terese Marie Mailhot, Billy-Ray Belcourt, Eden Robinson, and Kim TallBear. Their ambitious, creative, and visionary work with genre and form demonstrate the slippery, shape-changing possibilities of Native stories. Considered together, they offer responses to broader questions of materiality, orality, spatiality, and temporality that continue to animate the study and practice of distinct Native literary traditions in North America.
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