Across Cultures/Across Borders is a collection of new critical essays, interviews, and other writings by twenty-five established and emerging Canadian Aboriginal and Native American scholars and creative writers across Turtle Island. Together, these original works illustrate diverse but interconnecting knowledge bases and offer powerfully relevant observations on Native literature and culture.
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This collection of eight stories represents an introduction to Niits'powahsini, the Blackfoot language, and includes a pronunciation guide and Blackfoot-to-English glossary.
In these stories Ikkinainihki, "Gentle Singer," recalls events from childhood and tells of her Elders, the cold weather of the Plains, a crying spirit, rattlesnakes, and more. This collection opens with a prayer and a small essay on the importance of preserving Niitsi'powahsini.
Blackfoot Stories of Old will be of great value to native speakers, new learners, linguists, and those looking for insights into the Blackfoot people, who live in present-day Alberta and Montana.
Foreword by Richard Van Camp
Coming Home features eighteen stories by NWT writers that express the diversity of the region, speaking from many points of view. The foreword is by the renowned storyteller and NWT author Richard Van Camp. Included are stories of teenage angst in small communities; connection with the land; the Giant Mine strike of 1992;
relationships both failed and renewed in Yellowknife; getting lost in the bush; Europeans shipwrecked and saved by Inuit; Inuit taken on board by Europeans; learning from elders and other cultures; a wonky tourism outing; going to jail for breaking a dog bylaw and many more.
With new work from Marcus M. Jackson, Richard Van Camp, Cathy Jewison, Colin Henderson, Rebecca Aylward, Cara Loverock, Shawn McCann, Patti True, Annelies Pool, Jordan Carpenter, Christine Raves, January Go, Jamesie Fournier, Amber-Lee Kolson, Karen McColl, Jessie MacKenzie, Brian Penney
A powerful and visually stunning anthology from some of the most groundbreaking Native artists working in North America today.
Truly universal in its themes, Dreaming In Indian will shatter commonly held stereotypes and challenge readers to rethink their own place in the world. Divided into four sections, ‘Roots,’ ‘Battles,’ ‘Medicines,’ and ‘Dreamcatchers,’ this book offers readers a unique insight into a community often misunderstood and misrepresented by the mainstream media.
Emerging and established Native artists, including acclaimed author Joseph Boyden, renowned visual artist Bunky Echo Hawk, and stand-up comedian Ryan McMahon, contribute thoughtful and heartfelt pieces on their experiences growing up Indigenous, expressing them through such mediums as art, food, the written word, sport, dance, and fashion. Renowned chef Aaron Bear Robe, for example, explains how he introduces restaurant customers to his culture by reinventing traditional dishes. And in a dramatic photo spread, model Ashley Callingbull and photographer Thosh Collins reappropriate the trend of wearing ‘Native’ clothing.
Whether addressing the effects of residential schools, calling out bullies through personal manifestos, or simply citing hopes for the future, Dreaming In Indian refuses to shy away from difficult topics. Insightful, thought-provoking, and beautifully honest, this book will to appeal to young adult readers. An innovative and captivating design enhances each contribution and makes for a truly unique reading experience.
In this unique collection, twenty indigenous female leaders-educators, healers, attorneys, artists, elders, and activists-come together to discuss issues facing modern Native communities. Over a period of several years, Wilma Mankiller (1945-2010), first female principal chief of the Cherokee Nation, engaged Native women in conversation about spirituality, traditions and culture, tribal governance, female role models, love, and community. Their common life experiences, patterns of thought, and shared values gave them the freedom to be frank and open and a place of community from which to explore powerful influences on Native life.
A collection of articles that examine many of the struggles that Aboriginal women have faced, and continue to face, in Canada. Sections include: Profiles of Aboriginal Women; Identity; Territory; Activism; Confronting Colonialism; the Canadian Legal System; and Indigenous Knowledges.
Photographs and poetry are also included.
There are few books on Aboriginal women in Canada; this anthology provides a valuable addition to the literature and fills a critical gap in the fields of Native Studies, Cultural Studies and Women’s Studies.
In From the Iron House: Imprisonment in First Nations Writing, Deena Rymhs identifies continuities between the residential school and the prison, offering ways of reading “the carceral”—that is, the different ways that incarceration is constituted and articulated in contemporary Aboriginal literature. Addressing the work of writers like Tomson Highway and Basil Johnston along with that of lesser-known authors writing in prison serials and underground publications, this book emphasizes the literary and political strategies these authors use to resist the containment of their institutions.
The first part of the book considers a diverse sample of writing from prison serials, prisoners’ anthologies, and individual autobiographies, including Stolen Life by Rudy Wiebe and Yvonne Johnson, to show how these works serve as second hearings for their authors—an opportunity to respond to the law’s authority over their personal and public identities while making a plea to a wider audience. The second part looks at residential school narratives and shows how the authors construct identities for themselves in ways that defy the institution’s control. The interactions between these two bodies of writing—residential school accounts and prison narratives—invite recognition of the ways that guilt is colonially constructed and how these authors use their writing to distance themselves from that guilt.
Offering new ways of reading Native writing, From the Iron House is a pioneering study of prison literature in Canada and situates its readings within international criticism of prison writing. Contributing to genre studies and theoretical understandings of life writing, and covering a variety of social topics, this work will be relevant to readers interested in indigenous studies, Canadian cultural studies, postcolonial studies, auto/biography studies, law, and public policy.
Daniel Auger's grandmother was the greatest storyteller he ever knew. In her soft voice, she spoke of heroes and giants, of evil deeds and mysterious spirits. Born on a Canadian reserve and educated at an Indian residential school, she was intensely curious about the old ways. In her quest to find out who we are and where we came from, she collected stories from her home community and from her journeys to powwows, sweats, potlatches and family events across Canada and the Northwest US. This collection of 38 Native myths is a timeless window onto a world when the People were first created:
* Mi'kmaq--The Sun created the Earth and the people on it, but when they began to kill one another, the Sun wept until the entire world drowned. Only one woman and an old man survived, who repopulated the Earth.
* Blackfoot--Water once covered the world, and the Creator sent Muskrat to the bottom of the Ocean to see what was there. Muskrat returned with a ball of mud, which the Creator transformed in the Earth and all living things on it.
* Huron-- In a world that existed before our own, people lived in great longhouses in the sky around a beautiful celestial tree. One day a man uprooted the tree, and when his wife looked into the hole she fell down below to the world we know today.
* Algonquin--In the very beginning of time there were two brothers, Gluskap and Malsum. Gluskap created humans, and the plants and animals they needed to survive. Jealous of his brother, Malsum tried to kill Gluskap, but Gluskap used his own magic to be reborn. He then struck down his evil brother into the earth, and Malsum was reborn as a wolf.
* Haida--The trickster Raven opened a giant clamshell he found washed upon the beach, and when he opened it, out popped tiny human beings.
* Siksika--Old Man came from the south and made the world as he walked along. One day he made a man and a woman out of clay, and Old Man taught them how to survive in the world he created.
224 pages, suitable for adult readers only
Our second instalment of Grassroots Anthology, this beautiful, 95 page book, is now available!
“This volume continues the celebration of First Nations artistic perspectives. It shares even more stories, poems, paintings and photographs from talented artists and writers in Manitoba.”
MFNERC is honoured to present this work as a source of inspiration for younger generations. With this anthology we hope to inspire young people to develop and pursue their own creative aspirations so they may also share their stories.
In Our Own Aboriginal Voice, an anthology collection of Aboriginal writers and artists in B.C. which include:
Michael Calvert, Mary-Ann Chevrier, Tara DeSousa, Maryann Dick, Kevin Henry, Darlene McIntosh, Natalia Auger Nybida, Ry-Lee Pearson, Spencer Sheehan-Kalina, Kirsten Sam, Kris J. Skinner, Jerry Smaaslet and Joe Starr.
"The time for our own stories has arrived, our own written words, our own voices. It is through our stories that we discover our roots. They feed us. They make us strong." -Terri Mack (owner, Strong Nations Bookstore & Press)
In her debut collection of short stories, Islands of Decolonial Love, renowned writer and activist Leanne Simpson vividly explores the lives of contemporary Indigenous Peoples and communities, especially those of her own Nishnaabeg nation. Found on reserves, in cities and small towns, in bars and curling rinks, canoes and community centres, doctors offices and pickup trucks, Simpson’s characters confront the often heartbreaking challenge of pairing the desire to live loving and observant lives with a constant struggle to simply survive the historical and ongoing injustices of racism and colonialism. Told with voices that are rarely recorded but need to be heard, and incorporating the language and history of her people, Leanne Simpson’s Islands of Decolonial Love is a profound, important, and beautiful book of fiction.
Based on over two decades of extensive interviews, Mind’s Eye documents the stories told by eighteen Cree elders in Whapmagoostui, a mixed community of Cree, Inuit, and non-Natives, located on the eastern shore of Hudson Bay at the mouth of the Great Whale River in northern Quebec.
From testimonies about battles with the Inuit, raids by Cree from southern James Bay, and early contact with Europeans, to simple descriptions of playing games and making caribou-skin coats, these stories record the history of the James Bay Cree and illustrate the degree to which the presence of the supernatural was considered a normal part of daily life. More recent stories tell of challenges to the Whapmagoostui Cree community in the first half of the twentieth century—the influence of Christian missionaries, the decline of game animals, and the establishment of the military base at Great Whale River.
Recorded from the mid-1970s to the mid-1990s, the stories were told against the backdrop of proposed hydroelectric development on the Great Whale River and Little Whale River that would threaten the health, livelihood and culture of the Cree and Inuit communities in the region.
This evocative collection of stories from northern Quebec connects readers to the vibrant history of the Whapmagoostui Cree, and aims to maintain this community’s rich cultural traditions.
Storytellers: Sam Atchynia, Nellie Atchynia, Frankie Dick, Matthew George, Rupert George, John Kawapit, Suzanne Kawapit, William Kawapit, Noah Mamianskum, Ann Masty, Sam Masty, Samson Masty, Hannah Natachequan, Andrew Natachequan, Philip Natachequan, Joseph Rupert, Maggie Sandy, Peter Sandy, Ronnie Sheshamush
As a window into the magic and medicine of the Northwest Territories, Richard Van Camp's fourth short story collection is hilarious and heartbreaking. A teenaged boy confesses to a vicious assault on a cross-dressing classmate; Lance tells the sensual story of becoming much closer to his wife's dear friend Juanita; while a reluctant giant catches up with gangsters Torchy and Sfen in a story with shades of supernatural and earthly menace.
Night Moves continues to explore the incredible lives of indigenous characters introduced in The Lesser Blessed, Angel Wing Splash Pattern, The Moon of Letting Go, and Godless but Loyal to Heaven. If this is your first time to Fort Simmer and Fort Smith, welcome. If it's another visit - come on in: we've left the lights on for you.
For thousands of years the First Nations and Métis peoples have forged social, economic, historical and artistic relationships with the prairie ecosystem. These relationships, though much influenced by tradition, are not strictly bound by the past: rather, contemporary encounters and interpretations of these relationships between people and prairie are important aspects of living, contemporary cultures.
This collection of essays reflects a desire to hear and share these contemporary stories, as well as new interpretations of past encounters. It represents an attempt to express Aboriginal ties to the land, be they rooted in the spirit, the intellect, the imagination, or simply the day-to-day lifestyle.
When Sky Woman fell from the upper world through a hole in the sky, earth was born. Since then, as Indigenous women, we have been resourceful, resilient and remarkable in our will to keep falling and moving forward. We fall to better ground because of the shining example of the incandescent lives of those who have gone before us.
This collection of poetry, short stories and visual art honours the legacy of Sky Woman. Nearly 40 writers and visual artists are represented in 22 Indigenous nations across Canada, United States, Mexico, Pacific Islands and Japan, featuring exemplary artists such as Buffy Sainte-Marie, Jeanette Armstrong, Daphne Odjig, and Lee Maracle, among others. This landmark anthology expresses the fierce respect and reverence for those whose names made history and for the millions whose names did not.” From the introduction by Sandra Laronde