Indigenous Peoples

Daniel is a young Métis man searching for a way to exist in a world of lateral violence, intergenerational trauma and systemic racism. Facing obstacles of his own at every turn, he observes and learns from the lived realities of his family members, friends, teachers and lovers. He finds hope in the inherent connection of Indigenous Peoples to the land, and the permanence of culture, language and ceremony in the face of displacement.

Set in Edmonton, this story considers Indigenous youth in relation to the urban constructs and colonial spaces in which they survive—from violence, whitewashing, trauma and racism to language revitalization, relationships with Elders, restaking land claims and ultimately, triumph. Based on Papaschase and Métis oral histories and lived experience, Conor Kerr’s debut novel will not soon be forgotten.

Reviews
"Kerr has given voice to the reality of Edmonton’s homeless Indigenous youth. People who survive inside of the shadows of what used to be called The City of Champions. The realities of Indigenous youth trying to survive the child welfare system in a city that prides itself on being winners of everything from sport to industry are placed on display. What Kerr has given to us through his humour, and his own lived experience as a Métis hunter and writer, is a fresh voice and one that we will be hearing from for many years to come." — Norma Dunning, author of Tainna, August 2021

"Conor Kerr’s short story collection, Avenue of Champions, is a map of amiskwaciwâskahikan with a host of characters tenderly placed and intricately weaved together. This book firmly held me in its grasp from the very first story and didn’t let go until the book's final lines, at which point I realized my heart had been in my throat the whole time, aching. Like saskatoonberries staining kohkom’s palms, these characters and this novel will live in your skin long past when you are through reading its pages." — Jessica Johns, author of how not to spill, August 2021

Additional Information
224 pages | 5.50" x 8.50" | Paperback

Beyond the Orange Shirt Story: A collection of stories from family and friends of Phyllis Webstad - Before, during, and after their Residential School experiences.

Beyond the Orange Shirt Story is a unique collection of truths, as told by Phyllis Webstad's family and others, that will give readers an up-close look at what life was like before, during, and after their Residential School experiences. In this book, Survivors and Intergenerational Survivors share their stories authentically and in their own words. Phyllis Webstad is a Residential School Survivor and founder of the Orange Shirt Day movement. Phyllis has carefully selected stories to help Canadians educate themselves and gain a deeper understanding of the impacts of the Residential School System. Readers of this book will become more aware of a number of challenges faced by many Indigenous peoples in Canada. With this awareness comes learning and unlearning, understanding, acceptance, and change. Phyllis's hope is that all Canadians honour the lives and experiences of Survivors and their families as we go Beyond the Orange Shirt Story.

Educator Information
This book gives readers an up-close look at what life was like for many Survivors — before, during, and after their Residential School experiences. These personal Survivor accounts, relayed in a number of one on one interviews, are authentically shared in their own voices.

Young Adult Nonfiction (Ages 12+).

This book has a Teacher Lesson Plan: Beyond the Orange Shirt Story Teacher Lesson Plan

This book is available in French: Derrière l'histoire du chandail orange

Additional Information
100 pages | 5.50" x 8.50" | Paperback

A god will return
When the earth and sky converge
Under the black sun

In the holy city of Tova, the winter solstice is usually a time for celebration and renewal, but this year it coincides with a solar eclipse, a rare celestial event proscribed by the Sun Priest as an unbalancing of the world.

Meanwhile, a ship launches from a distant city bound for Tova and set to arrive on the solstice. The captain of the ship, Xiala, is a disgraced Teek whose song can calm the waters around her as easily as it can warp a man’s mind. Her ship carries one passenger. Described as harmless, the passenger, Serapio, is a young man, blind, scarred, and cloaked in destiny. As Xiala well knows, when a man is described as harmless, he usually ends up being a villain.

Crafted with unforgettable characters, Rebecca Roanhorse has created an epic adventure exploring the decadence of power amidst the weight of history and the struggle of individuals swimming against the confines of society and their broken pasts in the most original series debut of the decade.

Reviews
“Rebecca Roanhorse… [is one] of the Indigenous novelists reshaping North American science fiction, horror and fantasy — genres in which Native writers have long been overlooked.” — The New York Times

"The pages turn themselves. A beautifully crafted setting with complex character dynamics and layers of political intrigue? Perfection. Mark your calendars, this is the next big thing." — Kirkus, starred review

"A a razor-sharp examination of politics, generational trauma, and the path to redemption...Roanhorse strikes a perfect balance between powerful worldbuilding and rich thematic exploration as the protagonists struggle against their fates. Fantasy fans will be wowed." — Publishers Weekly, starred review

Educator & Series Information
This is the first book in the Between Earth and Sky Series.

Additional Information
496 pages | 6.00" x 9.00"

A son who grew up away from his Indigenous culture takes his Cree father on a trip to their family's 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 non-Indigenous mother, David A. Robertson was raised with virtually no knowledge or understanding of his family’s Indigenous roots. His father, Don, spent his early childhood on a trapline in the bush northeast of Norway House, Manitoba, where his first teach was the land. When his family was moved permanently to a nearby reserve, Don was not permitted to speak Cree at school unless in secret with his friends and lost the knowledge he had been gifted while living on his trapline. His mother, Beverly, grew up in a small Manitoba town with not a single Indigenous family in it. Then Don arrived, the new United Church minister, and they fell in love.

Structured around a father-son journey to the northern trapline where Robertson and his father will reclaim their connection to the land, Black Water is the story of another journey: a young man seeking to understand his father's story, to come to terms with his lifelong experience with anxiety, and to finally piece together his own blood memory, the parts of his identity that are woven into the fabric of his DNA.

Reviews
“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

“When someone lives their life in a good way, the Haisla call them handsome people. David A. Robertson’s biography is the perfect example of someone who takes care with his words and speaks respectfully; he tackles identity and racism, family bonds and breaks, with nuance and honesty. The power of this approach makes Black Water an essential and timely book.” — Eden Robinson, bestselling author of The Trickster Trilogy

Additional Information
288 pages | 5.31" x 8.00" | Paperback

The voices of Blue Marrow sing out from the past and the present. They are the voices of the Grandmothers, both personal and legendary. They share their wisdom, their lives, their dreams. They proclaim the injustice of colonialism, the violence of proselytism, and the horrors of the residential school system with an honesty that cuts to the marrow. Speaking in both English and Cree, these are voices of hopefulness, strength, and survivance. Blue Marrow is a tribute to the indomitable power of Indigenous women of the past and of the present day.

Educator Information
This is the 3rd Edition of this book.  More than twenty years since its first publication, this critically acclaimed collection is available in a redesigned edition, including an all-new interview with its celebrated author, Louise B. Halfe - Sky Dancer.

Some of the text is written in Cree.

Additional Information
120 pages | 5.50" x 8.50" | paperback | 8 illustrations

From celebrated Indigenous author Thomas King and award-winning Métis artist Natasha Donovan comes a powerful graphic novel about a family caught between nations.

Borders is a masterfully told story of a boy and his mother whose road trip is thwarted at the border when they identify their citizenship as Blackfoot. Refusing to identify as either American or Canadian first bars their entry into the US, and then their return into Canada. In the limbo between countries, they find power in their connection to their identity and to each other. 

Borders explores nationhood from an Indigenous perspective and resonates deeply with themes of identity, justice, and belonging.

Reviews
"Borders is a graphic novel adaptation of one of Thomas King’s short stories exploring identity and belonging themes. This story highlights the significance of a nation’s physical border versus that of an Indigenous perspective. It follows a boy and his mother being asked a question about citizenship and the limbo between nations." - The Dalai Lama Center

Educator Information
Recommended for ages 10 to 14.

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

A deeply scouring poetic account of the residential school experience, and a deeply important indictment of colonialism in Canada.

Many of the poems in Louise Halfe's Burning in This Midnight Dream were written in response to the grim tide of emotions, memories, dreams and nightmares that arose in her as the Truth and Reconciliation process unfolded. In heart-wrenching detail, Halfe recalls the damage done to her parents, her family, herself. With fearlessly wrought verse, Halfe describes how the experience of the residential schools continues to haunt those who survive, and how the effects pass like a virus from one generation to the next. She asks us to consider the damage done to children taken from their families, to families mourning their children; damage done to entire communities and to ancient cultures.

Halfe's poetic voice soars in this incredibly moving collection as she digs deep to discover the root of her pain. Her images, created from the natural world, reveal the spiritual strength of her culture.

Originally published in 2016 by Coteau Books, Burning in This Midnight Dream won the Indigenous Peoples' Publishing award, the Rasmussen, Ramussen & Charowsky Indigenous Peoples' Writing award, the Saskatchewan Arts Board Poetry Award, the League of Canadian Poets' Raymond Souster Award, and the High Plains Book Award for Indigenous Writers. It was also the 2017 WILLA Literacy Award Finalist in Poetry. This new edition includes a new Afterword by Halfe.

Reviews
"Burning in this Midnight Dream honours the witness of a singular experience, Halfe's experience, that many others of kin and clan experienced. Halfe descends into personal and cultural darkness with the care of a master storyteller and gives story voice to mourning. By giving voice to shame, confusion, injustice Halfe begins to reclaim a history. It is the start of a larger dialogue than what is contained in the pages." --Raymond Souster Award jury citation

Additional Information
104 pages | 5.75" x 8.50" | 8 illustrations

Toni Jensen grew up around guns: As a girl, she learned to shoot birds in rural Iowa with her father, a card-carrying member of the NRA. As an adult, she’s had guns waved in her face near Standing Rock, and felt their silent threat on the concealed-carry campus where she teaches. And she has always known that in this she is not alone. As a Métis woman, she is no stranger to the violence enacted on the bodies of Indigenous women, on Indigenous land, and the ways it is hidden, ignored, forgotten.

In Carry, Jensen maps her personal experience onto the historical, exploring how history is lived in the body and redefining the language we use to speak about violence in America. In the title chapter, Jensen connects the trauma of school shootings with her own experiences of racism and sexual assault on college campuses. “The Worry Line” explores the gun and gang violence in her neighborhood the year her daughter was born. “At the Workshop” focuses on her graduate school years, during which a workshop classmate repeatedly killed off thinly veiled versions of her in his stories. In “Women in the Fracklands,” Jensen takes the reader inside Standing Rock during the Dakota Access Pipeline protests and bears witness to the peril faced by women in regions overcome by the fracking boom.

In prose at once forensic and deeply emotional, Toni Jensen shows herself to be a brave new voice and a fearless witness to her own difficult history—as well as to the violent cultural landscape in which she finds her coordinates. With each chapter, Carry reminds us that surviving in one’s country is not the same as surviving one’s country.

Reviews
“Like a murmuration of starlings, Toni Jensen’s new book Carry changes its shape constantly and effortlessly. . . . The value of Carry lies in its unique structure, its sparse, powerful prose, and in the stinging perspective it provides on events that are numbingly common. Until we see it as clearly as Jensen does, the lens she offers on gun violence in America will be relevant again and again and again.”—Chicago Review of Books

“In Carry, Jensen scours language to find a new way of writing about how historical injustices seep into the present. . . . With a controlled voice like a Philip Glass composition, smooth, meandering yet repetitive, Jensen considers her troubled past and begins the work of stitching herself back together. . . . An unsettling account that creeps into your bones.”—The New York Times Book Review

“Toni Jensen grew up around guns. But bird-hunting with her father was a much different experience than staring down bored barrels at Standing Rock. A new and much-needed voice, Métis author Jensen shares her deepest thoughts and most emotional experiences in Carry.”—Bustle

“Toni Jensen’s memoir is stunning. There’s no other words that come to mind—it’s about growing up Métis, existing as an Indigenous woman in America, and the looming threat of ever-pervasive gun violence. . . . A must-read.”—Alma (Alma’s Favorite Books for Fall 2020)

“Moving between personal recollections and historical observations, Jensen narrates what it means to be Métis, and what it feels like to be connected by bodies and land. . . . A meditative exploration of people and place that shows what it means to live and survive.”—Library Journal

“[A] debut memoir from a Native author enmeshed in the American way of violence, alienation, and death . . . a powerful rejection of a culture that has always been grounded in violence and intimidation.”—Kirkus Reviews

“Carry explores the gun’s tragic impact with heartfelt prose and deep intellect—on politics, on history, on Black and Indigenous bodies, on women’s bodies, and on children behind closed doors . . . It is full of difficult and vital news, delivered right on time.”—Terese Marie Mailhot, New York Times bestselling author of Heart Berries

Additional Information
304 pages | 5.24" x 7.94" | Paperback

Châhkâpâs: A Naskapi Legend shares the story of Châhkâpâs, a heroic figure in First Nations storytelling, who performs feats of strength and skill in spite of his diminutive size.

The book shares this traditional legend as originally recorded in the Naskapi community in northern Quebec in 1967 when it was narrated by John Peastitute, a Naskapi Elder and accomplished storyteller. Transcribed in the Naskapi language and syllabic orthography, the book offers a literary resource for the Naskapi language community, and the English translation enables those unfamiliar with the language, or the story, to discover this important legend.

The book also contains extensive analysis of stories about Châhkâpâs, notes about the provenance of the recordings, a biography of the storyteller, and a history of the Naskapi people. Lavish illustrations from Elizabeth Jancewicz—an artist raised in the Naskapi community—provide a sensitive and accurate graphical account of the legend, which has also been approved by Naskapi speakers themselves.

Educator & Series Information
This book is part of the First Nation Language Readers series. With a mix of traditional and new stories, each First Nations Language Reader introduces an Indigenous language and demonstrates how each language is used today. 

By John Peastitute
Edited by Marguerite MacKenzie
Translated by Julie Brittain and Silas Nabinicaboo 
Illustrated by Elizabeth Jancewicz 
Contributions by Bill Jancewicz

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

Coalesce is a fusion of distinct Anishinaabeg aesthetics of the Great Lakes region with refuse from Western society’s technological and digital age in order to intentionally shift an object’s materiality and its accepted paradigm within the physical world. It is through the integration and juxtaposition of recognizable materials used in the making of Anishinaabeg material culture, such as glass beads and porcupine quills, with new-found materials, such as electronic components (capacitors and resistors), that this body of work disproves any notion of Anishinaabeg cultural stasis. Coalesce demonstrates the continuum of Anishinaabeg innovation and expression by making use of disparate materials that knowingly coalesce and segue seamlessly into contemporary Anishinaabeg artistic tradition and material culture.

Additional Information
48 pages | 7.00" x 8.50"

Creeland is a poetry collection concerned with notions of home and the quotidian attachments we feel to those notions, even across great distances. Even in an area such as Treaty Eight (northern Alberta), a geography decimated by resource extraction and development, people are creating, living, laughing, surviving and flourishing—or at least attempting to.

The poems in this collection are preoccupied with the role of Indigenous aesthetics in the creation and nurturing of complex Indigenous lifeworlds. They aim to honour the encounters that everyday Cree economies enable, and the words that try—and ultimately fail—to articulate them. Hunt gestures to the movements, speech acts and relations that exceed available vocabularies, that may be housed within words like joy, but which the words themselves cannot fully convey. This debut collection is vital in the context of a colonial aesthetic designed to perpetually foreclose on Indigenous futures and erase Indigenous existence.

the Cree word for constellation

is a saskatoon berry bush in summertime

the translation for policeman

in Cree is mîci nisôkan, kohkôs

the translation for genius

in Cree is my kôhkom muttering in her sleep

the Cree word for poetry is your four-year-old

niece’s cracked lips spilling out

broken syllables of nêhiyawêwin in between

the gaps in her teeth 

Reviews
"Here is an ode to northern Alberta, to the kokums and aunties who are worlds unto themselves, to the vastness and profundity of the Cree language. Dallas Hunt’s Creeland is tender and aching and intellectually exciting. Hunt uses the lyric mode to write another kind of public history about the prairies, one in which we Cree are always beautiful and indomitable. I can’t thank him enough for this." — Billy-Ray Belcourt, February 2021

"Dallas Hunt’s debut collection of poetry is work built from the ground up, meaning he has read, loved, studied poetry. He uses language “lived” in his relationships with family, home, community. Creeland feels like home to me. It “[crackles] with love and life.”" — Marilyn Dumont, February 2021

"From index to glossary, this stunning work bends with the possibilities of saplings. Mortally aware, a mind that can be everywhere “wolf willows and pin / cherries,” here is a poet halting the mallets of supremacy. Dallas Hunt aligns “petals of / larkspur” against the “maw of the inferno” to speak of Creeland. Entwined in “pîsim’s luminous / touch,” the poet’s smile returns home. Bringing forth fine, wry and tenderizing poetry, rickety love begets gale winds, and everyday, constellatory magnitudes. A quieting read with dimensional perspective, this book will transport you." — Cecily Nicholson, February 2021

Additional Information
128 pages | 5.50" x 8.00"

Echo Desjardins est une métisse de 13 ans qui habite Winnipeg, au Manitoba. L'adolescente solitaire, qui vit loin de sa mère, a du mal à s'intégrer à sa nouvelle école. Un jour, lors d'un cours d'histoire donné par monsieur Bee sur la vie des autochtones au début du XIXe siècle, Echo se transporte dans le passé, jusqu'à devenir témoin privilégié de sa propre histoire, l'histoire méconnue des Métis du Canada.

Elle s'appelle Echo est une série à dimension humaine, qui à travers la recherche d'identité d'une jeune Métisse, permet de découvrir ces descendants d'Européens et Autochtones qui se sont battus, et sacrifiés, pour écrire une page importante de l'histoire du Canada.

Tome 1 : La guerre du Pemmican : Après avoir vu des Métis chasser des troupeaux de bisons et sympathisé avec Marie dans un camp de chasse, Echo découvre avec horreur la guerre sans merci que se livrent la Compagnie de la Baie d'Hudson et de la Compagnie du Nord-Ouest. Au fil des jours, elle comprend à quel point ses ancêtres en souffrent, et elle décide d'en savoir plus…

Educator & Series Information
Recommended for ages 12+.

This is the first book in the Girl Called Echo (Elle s'appelle Echo) series, which includes the following titles:
Elle s'appelle Echo Tome 1: La guerre du Pemmican
Elle s'appelle Echo Tome 2: La résistance de la rivière Rouge
Elle s'appelle Echo Tome 3: La résistance du Nord-Ouest
Elle s'appelle Echo Tome 4: L'ère des réserves routières

This book is available in English: Pemmican Wars

Additional Information
50 Pages | Hardcover 

Echo Desjardins est une métisse de 13 ans qui habite Winnipeg, au Manitoba. L'adolescente solitaire, qui vit loin de sa mère, a du mal à s'intégrer à sa nouvelle école. Un jour, lors d'un cours d'histoire donné par monsieur Bee sur la vie des autochtones au début du XIXe siècle, Echo se transporte dans le passé, jusqu'à devenir témoin privilégié de sa propre histoire, l'histoire méconnue des Métis du Canada.

Elle s'appelle Echo est une série à dimension humaine, qui à travers la recherche d'identité d'une jeune Métisse, permet de découvrir ces descendants d'Européens et Autochtones qui se sont battus, et sacrifiés, pour écrire une page importante de l'histoire du Canada.

Tome 2 : La résistance de la rivière Rouge: Peu à peu, le quotidien d'Echo s'améliore. Sa mère est revenue vivre avec elle et elle commence à socialiser avec quelques élèves. Mais, lorsqu'elle retourne dans le passé, en 1869, elle surprend des arpenteurs venus mesurer les terres des Métis au nom du gouvernement canadien qui comptent les en priver. La résistance métisse s'organise. Ils sont prêts à prendre les armes. Echo a peur pour eux…

Educator & Series Information
Recommended for ages 12+.

This is the second book in the Girl Called Echo (Elle s'appelle Echo) series, which includes the following titles:
Elle s'appelle Echo Tome 1: La guerre du Pemmican
Elle s'appelle Echo Tome 2: La résistance de la rivière Rouge
Elle s'appelle Echo Tome 3: La résistance du Nord-Ouest
Elle s'appelle Echo Tome 4: L'ère des réserves routières

This book is available in English: Red River Resistance

Additional Information
50 Pages | Hardcover 

The highly anticipated debut poetry collection of Mi'kmaq poems by Prince Edward Island's Poet Laureate, Julie Pellisier-Lush.

This collection will enthrall poetry lovers. Skilled at taking words from hearts and minds to paper, Julie's poems will connect with the reader deeply. Some poems were created with teachings from our Elders and some were created to learn more about the art of words.

At times heart wrenching and other times a call to action for Mother Earth, each poignant poem is paired with vivid artwork crafted by the poet herself.

Take what you like, use what you need, most of all enjoy.

Additional Information
96 pages | 5.50" x 9.00" | Paperback

A New Testament in English by Native North Americans for Native North Americans and All English-Speaking Peoples

Many First Nations tribes communicate with the cultural and linguistic thought patterns found in their original tongues. The First Nations Version (FNV) recounts the Creator's Story—the Christian Scriptures—following the tradition of Native storytellers' oral cultures. This way of speaking, with its simple yet profound beauty and rich cultural idioms, still resonates in the hearts of First Nations people.

The FNV is a dynamic equivalence translation of the New Testament that captures the simplicity, clarity, and beauty of Native storytellers in English, while remaining faithful to the original language of the Bible. The culmination of a rigorous five-year translation process, this new Bible translation is a collaboration between organizations like OneBook and Wycliffe Associates, Indigenous North Americans from over twenty-five different tribes, and a translation council that consisted of twelve Native North American elders, pastors, young adults, and men and women from different tribes and diverse geographic locations. Whether you are Native or not, you will experience the Scriptures in a fresh and new way.

Read these sample passages to get a taste of what you'll find inside:

"The Great Spirit loves this world of human beings so deeply he gave us his Son—the only Son who fully represents him. All who trust in him and his way will not come to a bad end, but will have the life of the world to come that never fades—full of beauty and harmony. Creator did not send his Son to decide against the people of this world, but to set them free from the worthless ways of the world." John 3:16-17

"Love is patient and kind. Love is never jealous. It does not brag or boast. It is not puffed up or big-headed. Love does not act in shameful ways, nor does it care only about itself. It is not hot-headed, nor does it keep track of wrongs done to it. Love is not happy with lies and injustice, but truth makes its heart glad. Love keeps walking even when carrying a heavy load. Love keeps trusting, never loses hope, and stands firm in hard times. The road of love has no end." 1 Corinthians 13:4-8

Reviews
"While Wildman recasts the New Testament in a distinctly Indigenous image, he remains faithful to evangelical interpretations of Christian scripture, typified in the many italicized explanations that appear throughout and are meant to add 'reasonably implied' clarifications and cultural notes, such as explication on ancient festivals like the Pentecost. This remarkable retelling offers plenty of rewards and will especially pique those open to a novel interpretation of the religious text." — Publishers Weekly starred review, August 2021

"Reading the First Nations Version of the New Testament is like listening to a wise elder pass down ancient teachings. Its oral cadences give the Scriptures new room to breathe. While contemporary translations focus on updating language in a modern mode, the FNV recaptures the sense of tradition that binds faithful readers to our past and to the story that tells us who we are. It is a good gift to everyone who walks the Jesus Way." — L. Daniel Hawk, professor of Old Testament and Hebrew at Ashland Theological Seminary

"From the beginning, the story of Jesus has been a translated story. Jesus spoke in Aramaic, but Matthew, Mark, Luke, and John wrote their Gospels in Greek. The story of Jesus is intended to be translated to every tribe, tongue, people, and nation. That translation is intended, not just permitted, serves to show how we must resist any cultural domination of the gospel. Terry Wildman has done a masterful job of rendering the New Testament into the storytelling motif characteristic of Native Americans. It should tell us something important when we realize how beautifully the story of Jesus can be adapted to the style and vocabulary of indigenous people. I deeply appreciate Terry Wildman's retelling of the story of Jesus for First Nations people. I believe the Great Spirit is pleased." — Brian Zahnd, pastor of Word of Life Church in St. Joseph, Missouri, and author of Beauty Will Save the World

"I've often wondered what it might look like if Jesus incarnated within another culture. Jesus, a first-century Jewish teacher in a corner of Rome's empire, lived, died, and rose as a human being within a specific time and place. What I love about the First Nations Version is how it translates this gospel story into a language of another context: First Nations! So get swept away into the story of the Great Spirit as he invites us to the blessing way of the good road. Read this beautiful retelling of the Scriptures that is not only beneficial for First Nations communities but for all who desire to allow the Great Spirit to transform their imaginations!" — Kurt Willems, pastor and auth

Educator Information
The First Nations Version (FNV) Translation Council consists of twelve First Nations individuals representing a cross-section of Native North Americans—elders, pastors, young adults, and men and women from differing tribes and diverse geographic locations. This council also represents a diversity of church and denominational traditions to minimize bias. The council determined the style and method of translation to be used and continues to be involved in ongoing translation, review, and cultural consultation. The FNV is a dynamic equivalence translation produced in partnership with Rain Ministries and OneBook Canada, with help from Wycliffe Associates.

AdditionalInformation
512 pages | 6.00" x 9.00" | Paperback