Métis

Melonville. Smokey Hollow. Bannock Town. Fort Tuyau. Little Chicago. Mud Flats. Pumpville. Tintown. La Coulee. These were some of the names given to Métis communities at the edges of urban areas in Manitoba. Rooster Town, which was on the outskirts of southwest Winnipeg, endured from 1901 to 1961.

Those years in Winnipeg were characterized by the twin pressures of depression and inflation, chronic housing shortages, and a spotty social support network. At the city’s edge, Rooster Town grew without city services as rural Métis arrived to participate in the urban economy and build their own houses while keeping Métis culture and community as a central part of their lives.

In other growing settler cities, the Indigenous experience was largely characterized by removal and confinement. But the continuing presence of Métis living and working in the city, and the establishment of Rooster Town itself, made the Winnipeg experience unique.

Rooster Town documents the story of a community rooted in kinship, culture, and historical circumstance, whose residents existed unofficially in the cracks of municipal bureaucracy, while navigating the legacy of settler colonialism and the demands of modernity and urbanization.

In this second installation of the Overhead Series, Lucy Haché once again transports the reader with intimate revelations on identity by exploring both her personal and ancestral relationship to the sky and stars. Hache's prose is extraordinary in its combination of self-awareness yet unselfconscious honesty and skillful restraint, creating a sense of connection under the vastness of the stars above. Masterfully illustrated by artist Michael Joyal, his evocative astronomic drawings contribute to the overall sensory and transcendent experience.

Reviews
"[Hache] uses the stars to remember not only the tribulations of the past - Residential Schools and the loss of her traditional village - but also to remember the happiness of her grandmothers and to remember her language. Her poetic prose if full of imagery so rich that the reader can feel swept away with the power of the language." - Canadian Indigenous Books for Schools 2018-2019

"Indigenous People have always had a strong relationship with the sky. Here, Joyal's stark, beautiful illustrations combine perfectly with Haché's voice as she sings a story of loss, and ultimately, reclamation." --David A. Robertson, author of When We Were Alone (winner 2017 Governor General's Literary Award) and Strangers

Educator & Series Information
Recommended resource for Grades 8-12 for these subject areas: English Language Arts. 

A Kwak'wala language glossary is found at the back of the book.

This book is part of the Overhead Series.

Additional Information
80 pages | 5.50" x 8.50"

A collection of fiction, poetry, essays and creative non-fiction, this anthology features works by over 20 Indigenous Canadian writers. The book focuses on the effects of colonialism in Canada from both historical and contemporary perspectives.

"These stories are rich in geographies Indigenous peoples journey through today; on streets, in cities, and into the future. These stories will make you think, cry, and heal." —Niigaanwewidam James Sinclair, Editor

Reviews
"Impact: Colonialism in Canada presents writings that are often challenging, thought-provoking, and at times, gut-wrenching. The collection is a testament to strength and resiliency and the potential for healing, both within the Indigenous and non-Indigenous communities. But, it is not easy reading; it demands considerable insight, open-mindedness, and an understanding of an historical concept (i.e. colonialism), all of which point to the book’s being read and/or studied by students in the upper grades of high school. It’s certainly a work that would be a fine reference in a high school library collection, and teachers would find it to be an excellent supplemental text for the study of Aboriginal writers, as well as Canadian history, particularly as a reflection of the impact of colonialism upon Canada’s Indigenous peoples. Highly Recommended." - Joanne Peters, CM Magazine

Educator Information
Recommended for ages 17+ 

Additional Information
198 pages | 5.50" x 8.50"

Little Athapapuskow is collection of poems named after a lake Guy Freedman grew up on near Flin Flon, Manitoba. They represent his efforts to challenge Catholicism and its complicity with the Confederation project, which dismantled the New Nation developing in the Canadian Northwest. The poems are organized into three parts—past, present, and future—and they address the inter-generational impacts of the Church on his family in relation to the doctrine of the Holy Trinity. This book is his love song to his home and to his country.

Educator Information
Recommended resource for Grades 10-12 English Language Arts and Social Studies.

Contains poems about the history of the Métis people, family, love, celebration of culture, colonialism, religion, violence.

Caution: Some poems contain strong language and mature subject matter, such as discussions of violence, alcoholism, and sexuality.

Additional Information
86 pages | 7.25" x 5.75 " 

Louis Riel, prophet of the new world and founder of the Canadian province of Manitoba, has challenged Canadian politics, history and religion since the early years of Confederation. In Canada's most important and controversial state trial, Riel was found guilty of "high treason," sentenced to hang and executed on November 16, 1885. With 2017 being Canada's sesquicentennial of the initial Confederation of four British colonies, and with the question of reconciliation on the minds of many, the celebrations must recognize that the brutal execution of Louis Riel remains Canada's "great divide." Was the 1885 execution of Riel the hanging of a traitor? Or the legal murder of a patriot and statesman? Tried in a territorial court, Riel called out for justice, for an "inquiry into his career." To date, no such inquiry has been called. The spiritual and political father of the Métis nation and Western Canada remains branded a traitor to Canada.

In this imaginative re-enactment of his trial, Riel is finally given the opportunity to respond to his conviction for treason, offering his side of the story at Batoche and Red River.

Reviews
“In this era of reconciliation, Louis Riel: Let Justice Be Done is a tour de force. Exposing the combined pillars of racism and colonialism, Doyle assists in the decolonization of Canadian history during her sesquicentennial commemorations and celebrations.” — Venerable Dr. John A. (Ian) MacKenzie

“David Doyle’s advocacy, both in his writings and presentations, appropriates nothing from the Métis or their culture, rather it supplements it both for them and for all Canadians.” — George & Terry Goulet, authors of The Trial of Louis Riel

Additional Information
200 pages | 9.00" x 6.00" | 16 b&w photos

This book is creative nonfiction, a genre of writing that presents factually accurate narratives using literary style and technique (creativity).

Read, Listen, Tell brings together an extraordinary range of Indigenous stories from across Turtle Island (North America). From short fiction to as-told-to narratives, from illustrated stories to personal essays, these stories celebrate the strength of heritage and the liveliness of innovation. Ranging in tone from humorous to defiant to triumphant, the stories explore core concepts in Indigenous literary expression, such as the relations between land, language, and community, the variety of narrative forms, and the continuities between oral and written forms of expression. Rich in insight and bold in execution, the stories proclaim the diversity, vitality, and depth of Indigenous writing.

Building on two decades of scholarly work to centre Indigenous knowledges and perspectives, the book transforms literary method while respecting and honouring Indigenous histories and peoples of these lands. It includes stories by acclaimed writers like Thomas King, Sherman Alexie, Paula Gunn Allen, and Eden Robinson, a new generation of emergent writers, and writers and storytellers who have often been excluded from the canon, such as French- and Spanish-language Indigenous authors, Indigenous authors from Mexico, Chicana/o authors, Indigenous-language authors, works in translation, and "lost" or underappreciated texts.

In a place and time when Indigenous people often have to contend with representations that marginalize or devalue their intellectual and cultural heritage, this collection is a testament to Indigenous resilience and creativity. It shows that the ways in which we read, listen, and tell play key roles in how we establish relationships with one another, and how we might share knowledges across cultures, languages, and social spaces.

Reviews
Edited by experts in Indigenous literature and contextualised beautifully, historical writers like E. Pauline Johnson are placed alongside exciting genres like Indigenous Science Fiction — illustrating the vibrancy and innovation of Indigenous storytelling across time, space and politics. If you want a primer on Indigenous cultural expressions, this is for you. If you want deft, detailed stories in Indigenous written, oral and graphic traditions, these will expand your thinking. Read, Listen, Tell will make you laugh, dream and search for more. — Niigaanwewidam Sinclair

A unique compendium that is the direct result of outstanding and painstaking scholarship, Read, Listen, Tell: Indigenous Stories from Turtle Island is an impressively informative, deftly organized, and exceptionally well presented volume that is unreservedly recommended for both community and academic library Indigenous Cultural Studies collections and supplemental reading lists. — Midwest Book Review

Read, Listen, Tell collects a brilliant and vast array of indigenous short fiction, bolstered by insightful critical essays that prioritize indigenous voices, culture, and methodologies. — Clarissa Goldsmith, Foreword Reviews, July 2017

Educator Information
• Connects Indigenous writing across colonial settler borders (of Canada, USA, and Mexico) at a time when those borders are hardening in light of security measures.
• Truth and Reconciliation Commission report highlights focus on education, prioritizing Indigenous knowledges, pedagogies, and perspectives—this book provides that.
• Provides curriculum material for new Indigenous content mandates in some provinces (Ontario, BC).
• Includes French-, Spanish-, and Indigenous-language.
• Indigenous authors (in translation).

Additional Information
410 pages | 6.00" x 9.00"
Edited by Sophie McCall, Deanna Reder, David Gaertner, and Gabrielle L'Hirondelle Hill

Simultaneously heartbreaking and heartwarming, This is How We Got Here follows a close-knit family as they deal with an unexpected loss. A mother, father, aunt, and uncle must learn how to move forward after the trauma and re-learn how to interact with one another with forgiveness, humour, and love.

It’s been a year since Paul and Lucille’s son Craig died by suicide, and their once-solid family bonds are starting to break down. While the now-separated couple tries to honour their son, Lucille’s sister Liset and her husband Jim refuse to discuss their nephew. The ties that keep the four together as sisters, best friends, and spouses are strained by grief and guilt… until a visit from a fox changes everything.

Reviews
“While the material of This is How We Got Here is deep, the show didn’t leave me feeling anything dark. Instead, I was happy to have experienced the talent of everyone involved, and to have gained perspective on what I felt were honest and true reactions to the tragedy of suicide.” — Jeff Kerr, Mooney on Theatre

Additional Information
104 pages | 5.40" x 8.35" | Paperback

An extensive body of literature on Indigenous knowledge and ways of knowing has been written since the 1980s. This research has for the most part been conducted by scholars operating within Western epistemological frameworks that tend not only to deny the subjectivity of knowledge but also to privilege masculine authority. As a result, the information gathered predominantly reflects the types of knowledge traditionally held by men, yielding a perspective that is at once gendered and incomplete. Even those academics, communities, and governments interested in consulting with Indigenous peoples for the purposes of planning, monitoring, and managing land use have largely ignored the knowledge traditionally produced, preserved, and transmitted by Indigenous women. While this omission reflects patriarchal assumptions, it may also be the result of the reductionist tendencies of researchers, who have attempted to organize Indigenous knowledge so as to align it with Western scientific categories, and of policy makers, who have sought to deploy such knowledge in the service of external priorities. Such efforts to apply Indigenous knowledge have had the effect of abstracting this knowledge from place as well as from the world view and community—and by extension the gender—to which it is inextricably connected. Living on the Land examines how patriarchy, gender, and colonialism have shaped the experiences of Indigenous women as both knowers and producers of knowledge. From a variety of methodological perspectives, contributors to the volume explore the nature and scope of Indigenous women’s knowledge, its rootedness in relationships both human and spiritual, and its inseparability from land and landscape. From the reconstruction of cultural and ecological heritage by Naskapi women in Québec to the medical expertise of Métis women in western Canada to the mapping and securing of land rights in Nicaragua, Living on the Land focuses on the integral role of women as stewards of the land and governors of the community. Together, these contributions point to a distinctive set of challenges and possibilities for Indigenous women and their communities.

Additional Information
240 pages | 6.00" x 9.00" | Paperback

When Stella, a young Métis mother, looks out her window one evening and spots someone in trouble on the Break — a barren field on an isolated strip of land outside her house — she calls the police to alert them to a possible crime.

In a series of shifting narratives, people who are connected, both directly and indirectly, with the victim — police, family, and friends — tell their personal stories leading up to that fateful night. Lou, a social worker, grapples with the departure of her live-in boyfriend. Cheryl, an artist, mourns the premature death of her sister Rain. Paulina, a single mother, struggles to trust her new partner. Phoenix, a homeless teenager, is released from a youth detention centre. Officer Scott, a Métis policeman, feels caught between two worlds as he patrols the city. Through their various perspectives a larger, more comprehensive story about lives of the residents in Winnipeg’s North End is exposed.

A powerful intergenerational family saga, The Break showcases Vermette’s abundant writing talent and positions her as an exciting new voice in Canadian literature.

Awards

• 2017 Burt Award for First Nations, Inuit, and Métis Literature Winner
• Margaret Laurence Award for Fiction Winner
• McNally Robison Book of the Year Winner
• Amazon.ca First Novel Award 

Reviews
“Vermette is a staggering talent. Reading The Break is like a revelation; stunning, heartbreaking and glorious. From her exquisitely rendered characters to her fully realized world and the ratcheting tension, I couldn’t put it down. Absolutely riveting.” — Eden Robinson, author of Monkey Beach

“In Vermette’s poetic prose, The Break offers a stark portrayal of the adversity that plagues First Nations women in this country — and the strength that helps them survive.” — Toronto Star

“The Break doesn’t read like an impressive first novel; it reads like a masterstroke from someone who knows what they’re doing . . . Vermette is skilled at writing with a language that is conversational and comfortable and with a poetic ease that makes the hard things easier to swallow. The result is a book that is at times emotionally demanding, funny, suspenseful, and always engaging.”—The Winnipeg Review

“This is a debut novel by the Governor General's Literary Award-winning Métis poet Katherena Vermette. The story takes place in Winnipeg's North End. And it starts when Stella thinks she sees a violent assault taking place in a barren strip of land outside her window, known as The Break. Turns out, she is right. In fact, there is a threat of violence that hovers over all the women in the story, three generations of them, and the story is told in many voices. Katherena writes with empathy and understanding about people who are living with the pain of intergenerational trauma. The Winnipeg winter she evokes is cold and cruel. But there is such love, loyalty and support in this story. If you enjoy a gripping family saga, I would recommend The Break.” — Shelagh Rogers, CBC The Next Chapter

Educator Information
Grades 11-12 BC English First Peoples resource for the unit What Creates Family?

The Canadian Indigenous Books for School list recommends this resource for Grades 10-12 English Language Arts.

Curriculum Connections: English, Indigenous Studies, Anthropology

Note: This novel contains mature and challenging content, such as incidents of drug use, rape, and, violence.

Additional Information
288 pages | 5.25" x 8.00"

A short story collection by Cherie Dimaline.

The inspiration for the collection comes from American Poet Charles Bukowski who wrote "In between the punctuating agonies, life is such a gentle habit." Following this theme of extraordinary ordinariness, A Gentle Habit is a collection of six new short stories focusing on the addictions of a diverse group of characters attempting normalcy in an unnatural world.

Reviews
"Cherie Dimaline is a fantastic writer, her prose a gorgeous tightrope walk between the traditional and contemporary. One of our most fresh and exciting voices." - Joseph Boyden, author of award-winning novel The Orenda.

“Cherie Dimaline has strongly established herself as a gifted, essential voice in the vibrant realm of global Indigenous literature. The compelling journeys she creates for her richly complex characters invoke the profound storytelling of her Anishinaabe heritage. With A Gentle Habit, Dimaline delivers yet another beautiful set of influential stories that take modern Indigenous writing on a bold, exciting path forward.” – Waubgeshig Rice, CBC Journalist and author of Midnight Sweatlodge and Legacy.

Additional Information 
250 pages | 6.00" x 9.00"

Deluxe redesign of the Gerald Lampert Award-winning classic.

This edition of A Really Good Brown Girl features a new Introduction by Lee Maracle, a new Afterword by the author, and a new cover and design by the renowned typographer Robert Bringhurst.

First published in 1996, A Really Good Brown Girl is a fierce, honest and courageous account of what it takes to grow into one's self and one's Métis heritage in the face of myriad institutional and cultural obstacles. It is an indispensable contribution to Canadian literature.

"No other book so exonerates us, elevates us and at the same time indicts Canada in language so eloquent it almost hurts to hear it." --Lee Maracle, from the Introduction

Educator Information
This resource is also available in French: Une vraie bonne petite Métisse.

Additional Information
112 pages | 6.00" x 8.50"

“The Gabriel Dumont Institute Press is pleased to be able to preserve and share Jeanne Pelletier’s work and life story through Let Me See Your Fancy Steps—Story of a Métis Dance Caller. The Story of Jeanne Pelletier as told to Sylvie Sara Roy and Wilfred Burton. Jeanne’s achievement as the first female Métis dance caller is, of course, about Métis dance, but it is also about the determination of a young Métis girl who achieves her dream to become a dance caller during a time when this was only done by men.”

This resource includes dance calls for 16 dances and is accompanied by the instructional DVD All My Relations which features dance company V’ni Dansi which is led by renowned dancer and artistic director, Yvonne Chartrand.

Reviews
"The recounting of Jeanne’s work is supplemented throughout the book by testimonials of her former dance students and community members, all of whom praise the dance caller for the substantial impact that she’s had both on their personal lives, as well as the academic and social climates of the Métis community in Saskatchewan. As a Métis myself, I feel lost at times, as if my culture is fuzzy or foreign to me. Reading the life experiences, knowledge, and not to mention the wealth of Métis Jig steps found in this book gave me an overwhelming sense of peace to see research of this caliber and this level of care being invested in my culture. I would highly recommend this book to anyone with an interest in Métis culture and the significance that the jig has to the culture. Anyone who has seen the Métis Jig performed live knows that it is a beautiful and awe-inspiring dance, but after reading Jeanne’s explanations of the cultural significance of the dances, I will now appreciate the dance that much more as a story and celebration of my culture. It is also worth mentioning that entire dance sequences are written out to follow with Jeanne’s notes, and the book includes an instructional DVD." - Ben Charles for SaskBook Reviews

Educator Information
Recommended by Gabriel Dumont Institute for Secondary/Post Secondary/Adult.

Includes a DVD.

Recommended in the Canadian Indigenous Books for Schools 2019-2020 resource list as being useful for grades 5-12 with regard to these subjects: English Language Arts, Physical Education, Social Studies, Teacher Resource.

Death, desire, and divination are the threads running through Jonina Kirton's debut collection of poems and lyric prose. Delicate and dark, the pieces are like whispers in the night - a haunted, quiet telling of truths the mind has locked away but the body remembers. Loosely autobiographical, these are the weavings of a wagon-goddess who ventures into the double-world existence as a mixed-race woman. In her struggle for footing in this in-between space, she moves from the disco days oftrance dance to contemplations in her dream kitchen as a mother and wife.

With this collection, Kirton adds her voice to the call for the kind of fierce honesty referred to by Muriel Rukeyser when she asked, What would happen if one woman told the truth about her life? The world would split open. Kirton tells her truth with gentleness and patience, splitting the world open one line at a time.

Mary Siisip Geniusz has spent more than thirty years working with, living with, and using the Anishinaabe teachings, recipes, and botanical information she shares in Plants Have So Much to Give Us, All We Have to Do Is Ask. Geniusz gained much of the knowledge she writes about from her years as an oshkaabewis, a traditionally trained apprentice, and as friend to the late Keewaydinoquay, an Anishinaabe medicine woman from the Leelanau Peninsula in Michigan and a scholar, teacher, and practitioner in the field of native ethnobotany. Keewaydinoquay published little in her lifetime, yet Geniusz has carried on her legacy by making this body of knowledge accessible to a broader audience.

Geniusz teaches the ways she was taught—through stories. Sharing the traditional stories she learned at Keewaydinoquay’s side as well as stories from other American Indian traditions and her own experiences, Geniusz brings the plants to life with narratives that explain their uses, meaning, and history. Stories such as “Naanabozho and the Squeaky-Voice Plant” place the plants in cultural context and illustrate the belief in plants as cognizant beings. Covering a wide range of plants, from conifers to cattails to medicinal uses of yarrow, mullein, and dandelion, she explains how we can work with those beings to create food, simple medicines, and practical botanical tools.

Plants Have So Much to Give Us, All We Have to Do Is Ask makes this botanical information useful to native and nonnative healers and educators and places it in the context of the Anishinaabe culture that developed the knowledge and practice.

Additional Information
344 pages | 7.00" x 10.00" | Paperback

Why don’t more Métis people go to traditional ceremonies? How does going to ceremonies impact Métis identity? In Rekindling the Sacred Fire, Chantal Fiola investigates the relationship between Red River Métis ancestry, Anishinaabe spirituality, and identity, bringing into focus the ongoing historical impacts of colonization upon Métis relationships with spirituality on the Canadian prairies. Using a methodology rooted in Anishinaabe knowledge and principles along with select Euro-Canadian research practices and tools, Fiola’s work is a model for indigenized research.

Fiola’s interviews of people with Métis ancestry, or an historic familial connection to the Red River Métis, who participate in Anishinaabe ceremonies, shares stories about family history, self-identification, and their relationships with Aboriginal and Euro-Canadian cultures and spiritualities. This study seeks to understand the historical suppression of Anishinaabe spirituality among the Métis and its more recent reconnection that breaks down the colonial divisions between their cultures.