Adult Book

An Indigenous Origin – The Maskoki Cheraw Connection unveils a deeply researched and long-overlooked history of the Lumbee Tribe’s ancestral connection to the Cheraw people. Drawing on fourteen years of meticulous research, LK Oxendine uncovers historical records, maps, treaties, and cultural narratives that restore a suppressed identity erased by centuries of denial, displacement, and political marginalization.

From the ancient Maskoki territories to the arrival of Spanish, French, and British forces, this compelling account traces the Lumbee Cheraw’s journey through survival, cultural preservation, and the ongoing struggle for recognition. Oxendine’s work honors the voices of ancestors, the strength of matrilineal societies, and the unbreakable ties between people and land.

Part memoir, part ethnographic history, this book invites readers to witness the truth long hidden in archives and oral traditions, truth that affirms an honorable Indigenous heritage and demands acknowledgment in the twenty-first century.

If you are drawn to Indigenous history, identity reclamation, and the untold stories of the American Southeast, An Indigenous Origin – The Maskoki Cheraw Connection is an essential read.

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416 pages | 6.00" x 9.00" | Paperback 

Utilizing intricately blended visual and written imagery, Arctic Dreams and Nightmares takes the reader on an Arctic journey interpreted through the mythological and contemporary world of an Inuit artist and author. Containing twenty short stories with accompanying pen ink drawings, it is the first publication to exclusively feature the writing and artwork of Alootook Ipellie. At the time of its original publication in 1993, Arctic Dreams and Nightmares was one of the few books to be written by an Inuk in Canada, and became a landmark in the emerging discipline of Inuit literature.

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160 pages | 8.75" x 9.25" | Paperback

The shocking crimes of a trusted teacher wrought lasting damage on Inuit communities in Canada's Arctic.

In the 1970s, a young schoolteacher from British Columbia was becoming the darling of the Northwest Territories education department with his dynamic teaching style. He was learning to speak the local language, Inuktitut, something few outsiders did. He also claimed to be Indigenous - a claim that would later prove to be false. In truth, Edward Horne was a pedophile who sexually abused his male students.

From 1971 to 1985 his predations on Inuit boys would disrupt life in the communities where he worked - towns of close-knit families that would suffer the intergenerational trauma created by his abuse.

Journalist Kathleen Lippa, after years of research, examines the devastating impact the crimes had on individuals, families, and entire communities. Her compelling work lifts the veil of silence surrounding the Horne story once and for all.

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280 pages | 6.00" x 9.00" | Paperback

In this powerful reframing of the stories that make us, Anishinaabe writer Patty Krawec leads us into the borderlands to ask: What worlds do books written by marginalized people describe and invite us to inhabit?

Patty Krawec doesn’t want to be a “Good Indian.” When a friend asked what books could help them understand Indigenous lives, Patty Krawec gave them a list. This list then exploded into a book club, then into a podcast about a year of Indigenous reading, and then, ultimately, into this book.

Drawing on conversations with readers and authors, Bad Indians Book Club delves into writing about history, science, and gender, and into memoirs and fiction, all by “Bad Indians” and those like them, whose refusal of the dominant narrative of the wemitigoozhiwag (European settlers) opens up new possibilities for identity and existence.

Introducing each chapter with flash fiction about a shapeshifting Deer Woman, who is on her own journey to decide who she is, Krawec leads us into a place of wisdom and medicine where stories of and by marginalized writers help us imagine a thousand worlds waiting to be born.

Reviews
“Bad Indians Book Club is a compendium of worlds. From a lifetime of reading, there emerges a marriage of tapestry and map, a vision of the literary canon not as some secret handshake of the correctly educated but as a living, growing organism. . . There’s a dangerousness to a book like this. It’s not enough to define the Good Indian, the Grateful Immigrant, the Untroublesome Minority. Nor is it enough to simply reject these designations. One must interrogate how they came to hold so much power, how they offer the willing participant so many crumbs of reward from colonialism’s table.”— Omar El Akkad, author of One Day, Everyone Will Have Always Been Against This, September 2025

“Bad Indians Book Club is like a kind and protective auntie guiding you through a sometimes hostile world with sheer wisdom and wit. It’s a resounding rallying cry for our stories and our peoples. There’s no other book club I’d want to be in!”— Waubgeshig Rice, author of Moon of the Turning Leaves, September 2025

“This genre-crossing, shape-shifting, imagination-expanding book is for all who love to, and also need to, read. We tell stories to live, and this enlivening book reflects on all kinds of stories, each page suffused with Patty Krawec’s unmistakable voice and generous, timeless wisdom.”— Astra Taylor, author of The Age of Insecurity: Coming Together as Things Fall Apart, September 2025

“I didn’t want the Bad Indians Book Club to end. I read it at the perfect time, when snow was on the ground, in a period of rest and renewal. Patty Krawec made me wonder and made me ponder. Her book is a call to action to be curious, vigilant, to listen to and receive the inner strength of the land, to create and recreate community, to agitate, to investigate, to take story into ourselves and to hold the teachings sacred. As she guides us, throughout the book she tells us a new, sustaining, serial story about Kwe, Deer Woman. Such a gift. There is so much goodness in The Bad Indians Book Club!”— Shelagh Rogers, Shelagh Rogers, Truth and Reconciliaton Commission Honorary Witness, recovering broadcast journalist, September 2025

“Bad Indians Book Club is full of good medicine — challenging us to ask questions and bringing us home to ourselves. As Patty Krawec guides us into the deep wisdom wells of many people who journey in kinship, we consider how to hold the curiosity of care and stories, and what it means to imagine and create a future that integrates all our stories into a web of healing. Please buy this book, and celebrate the power of story in a weary yet flourishing world.”— Kaitlin B. Curtice, author of Living Resistance, September 2025

“In Bad Indians Book Club, Patty Krawec provides critical space for the ne'er-do-wells, disrupters, red sheep, box-busters, tricksters, and all us rowdy relatives defying expectations. Indigenous people have always been proverbial thorns in the sides of colonizers, and this piercing book does an incredible job of letting the air out of today’s imperialist narratives.”— Taté Walker, Two Spirit Lakota storyteller and community-builder, September 2025

“With Bad Indians Book Club, Patty Krawec gifts us a compelling investigation into the power of not just reading books but also doing so in community. Krawec makes the case for building your circle through reading, as a way of being in better relations with all our kin, including the land. Thinking deeply alongside other books, Bad Indians Book Club is a needed guide at a moment when books are under attack. Books are not just written culture, they are also oral culture, and Krawec illuminates this beautifully.”— Chanda Prescod-Weinstein, author of The Disordered Cosmo, September 2025

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232 pages | 6.00" x 9.00" | Paperback 

An irreverent and playful novella of Metis voices that reflects the complexities of contemporary prairie life

Conor Kerr's 2024 novel Prairie Edge was a finalist for both the Giller Prize and the Atwood Gibson Writers' Trust of Canada Fiction Prize. His latest book, Beaver Hills Forever, takes a riotous, uncompromising look at the intertwined lives of four characters, each an abstract expression of the few paths available to Metis people on the Prairies. In alternating poetic verses, Buddy, Baby Momma, Fancy University Boy, and Aunty Prof share their inner dreams, hardships, delusions of grandeur, and existential plights. While the messy day-to-day is created by their own doing, the lives of these four individuals are doubly compromised by Canada's colonial education system and resource extraction industries.

A beguiling and genre-bending work, Beaver Hills Forever offers a moving, necessary exploration of education, labour, and the dynamic, ever-changing bonds that bring us back to each other. Here is a diverse, funny, pitch-perfect chorus of voices that rings loud and true over the wide prairie landscape.

Reviews
"Not every Metis kid / Needs a sad story," says a character in Conor Kerr's propulsive and deeply entertaining new work, where each bone-clean sentence holds a galaxy of stories in its marrow. Kerr is part of a vital contemporary movement that is reimagining what our literatures can be and what they can do. Beaver Hills Forever is a reminder that laughter and passion are as much a part of the narrative as struggle. In these pages, you'll find voices that demand to be heard, felt, and remembered." — Carleigh Baker, author of Last Woman and Bad Endings

"Much like his prose, Conor Kerr's Beaver Hills Forever imbues the language of everyday Indigenous life with a poetic charm that is just incredibly readable and relatable. This book is truly multitudinous: a love story, an anti-love story, a critique of neoliberalism, an ode to the Prairies, and, above all, proof that even our smallest desires are worthy of sustained poetic consideration." — Billy-Ray Belcourt, author of Coexistence

"Beaver Hills Forever is full of raunch and riot. Conor Kerr's ability to gravitate around the embodied truths of institutional whiteness, class, settler colonization, and the Indigenous (Metis) experience in the moraine of amiskwaciy is rebellious in its desire to not pathologize or rationalize the violent backdrops of its animate setting. With his skilled hand, Kerr makes sure there is "room for [all] in the digital economy of the Future." — Joshua Whitehead, author of Jonny Appleseed

"Aho, fancy reader! Welcome to Conor Kerr's Beaver Hills Forever. We'll laugh, we'll cry. We'll smoke, we'll die. Etc, etc. Beaver Hills Forever is funny, heartfelt, poetic, badass. It's Bald Boy, Goodbye, Sad Story, Indigenous Canon. Etc, etc. Magpie cackles, Metis literatures, Aunty Prof wonders, realizes, smudges, feel-good energy. Fuck all the ongoing bullshit internal politics and academic distortion and just hear the truth, etc, etc." — Jordan Abel, author of Empty Spaces and NISHGA

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

Bebías Into Ǫhndaa Ke: Queer Indigenous Knowledge for Land and Community is a powerful collection of essays, stories and conversations that provide us with a diverse roadmap for navigating and overcoming hate, supporting queer Indigenous kin, and revitalizing radical ethics of care for building healthy, inclusive, and self-determining lands and communities. A celebration of trans, queer, and Two-Spirit Indigenous brilliance, with an intentional inclusion of voices from the North (the Yukon, Northwest Territories, Inuvialuit and Nunatsiavut), the essays in this collection offer a wealth of queer Indigenous theory, experience, and practices, with a unique emphasis on the critical role of land in these conversations.

The contributors, who range from young activists, artists, families, and both emerging and established scholars, provide insightful and transformative queer perspectives on a number of pertinent topics, including: knowledge reclamation, resurgence, nation-building, community life and governance, cultural revitalization, belonging, family relationships, creative practice, environmental degradation, mental health and wellbeing, youth empowerment, and Indigenous pedagogy. Amidst the ongoing violence of settler colonization, and its legacies of exclusion and erasure that continue to target queer, gender-diverse and Two-Spirit Indigenous people, this collection is an invaluable gift and resource for our communities, showing us that a different world is possible, and reminding us that queer Indigenous people have always belonged on the land and in community.

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240 pages | 6.00" x 9.00" | Paperback

Behind the Bricks is the story of the Mohawk Institute, Canada’s first and longest-running residential school and a model for the entire residential school system.

From the outside, the Mohawk Institute looks like a large and welcoming school building. When one looks behind the bricks of the school, however, a much different story becomes apparent. Conceived and overseen by Six Nations community member Richard W. Hill Sr., Behind the Bricks is an important work that provides deep insight into the Mohawk Institute, Canada's first, and longest-running, residential school, operating from 1828 to 1970 in Brantford, Ontario. Many see the Mohawk Institute as a model for the residential school system.

Behind the Bricks brings together Indigenous and non-Indigenous experts. The book begins with an overview that traces the history and context of the school, and the remainder of Behind the Bricks touches on a broad array of topics from the experiences of students, to archaeology and architecture, to the role of religion, and beyond, drawing on a wide variety of sources including government documents, church records, and oral history.

Behind the Bricks examines the policies and motivations that shaped the experiences of all three parties involved with the school, the government, the church, and the students and their communities.

A thorough and thoughtful history that provides deep insight into over a century of institutional operation, Behind the Bricks is an essential work that tells us not only about the Mohawk Institute, but the entire residential school system, providing a window into the past with the goal of working towards a future of truth and reconciliation.

With contributions by: William (Bill) Acres, Diana Castillo, Sarah Clarke, Jimmie Edgar, Wendy L. Fletcher, Bonnie Freeman, Tara Froman, Alexandra Giancarlo, Cody Groat, Evan J. Habkirk, Richard W. Hill Sr., Keith Jamieson, Sandra Juutilainen, Magdalena Miłosz, David Monture, Teri Morrow, John Moses, Alison Norman, Thomas Peace, Jennifer Pettit, Paul Racher, and Bud Whiteye.

Reviews
"As we continue to reckon with the legacy of colonial schooling, this timely collection helps to model how to put truth before reconciliation." — Sean Carleton, University of Manitoba

Educator Information
Table of Contents
Preface
Richard W. Hill, Sr.

Introduction
Jennifer Pettit

The Russ Moses Residential School Memoir
John Moses and Russ Moses

Part One: Historical Overview and Context of the Mohawk Institute

1. “To Shake Off the Rude Habits of Savage Life”: The Foundations of the Mohawk Institute to the Early 1900s
Jennifer Pettit

2. “The Difficulties of Making an Indian into a White Man Were Not Thoroughly Appreciated”: The Mohawk Institute, 1904 to Present
Jennifer Pettit

Part Two: Teachers, Curriculum, and Tools of Control

3. The Indian Normal School: The Role of the Mohawk Institute in the Training of Indigenous Teachers in the Late 19th Century
Alison Norman

4. Teaching Control and Service: The Use of Military Training at the Mohawk Institute
Evan Habkirk

5. “New Weapons”: Race, Indigeneity, and Intelligence Testing a thte Mohawk Institute, 1920-1949
Alexandra Giancarlo

Part Three: The Building, The Grounds, and Commemoration

6. A “Model” School: An Architectural History of the Mohawk Institute
Magdalena Miłosz

7. The Stewardship, Preservation, and Commemoration of the Mohawk Institute
Cody Groat

Part Four: Survival and Resistance

8. Ten Years of Student Resistance at the Mohawk Institute, 1903-1913
Diana Casillo

9. ęhǫwadihsadǫ ne:ˀhniˀ adigyenǫ:gyeˀs ganahaǫgwęˀ ęyagǫnhehgǫhǫ:k/They buried them, but they the seeds floated around what will sustain them.
Teri Lyn Morrow, Bonnie Freeman, and Sandra Juutilainen

Part Five: The New England Company and the Mohawk Institute

10. A Model to Follow?: The Sussex Vale Indian School
Thomas Peace

11. Robert Ashton, The New England Company, and the Mohawk Institute, 1872-1910
Bill Acres

12. The Lands of the Mohawk Institute: Robert Ashton and the Demise of the New England Company’s “Station,” 1891-1922
Bill Acres

Part Six: Student Experiences and Voices

13. Life at the Mohawk Institute During the 1860s
Thomas Peace

14. Collecting the Evidence: Restoration and Archaeology at the Mohawk Institute
Sarah Clarke, Paul Racher, and Tara Froman

15. Collective Trauma and the Role of Religion in the Mohawk Institute Experience
Wendy Fletcher

16. Concluding Voices – Survivor Stories of Life Behind the Bricks
Richard W. Hill, Sr.

Closing Poems
Jimmie Edgar
Bud Whiteye
David Monture

Acknowledgements

Appendix One: History of Six Nations Education by Jamieson
Keith Jamieson
Appendix Two: Mohawk Institute Students Who Became Teachers

Suggested Reading

Additional Information
402 pages | 6.00" x 9.00" | 89 Illustrations | Paperback 

Chief Stacey Laforme, an esteemed Indigenous leader and storyteller, breathes life into every poem and story, drawing upon his deep cultural roots. Rich with the essence of his soul, the poems in Beneath the Surface capture the moments and emotions that have shaped him, offering a poignant exploration of identity, resilience, and hope. Through humour and pain, Laforme invites readers to not just read, but to truly feel the weight and wisdom carried within each verse.

This collection goes beyond poetry, providing rich backstories and leadership insights that contextualize the verses. As in his earlier collections, Living in the Tall Grass and Love, Life, Loss and a little bit of hope, Laforme once again extends an invitation to readers, encouraging them to see the world through Indigenous eyes. Themes of peace, humanity, grief, and trauma are woven throughout the book, creating a tapestry of reflection, healing, and ultimately, hope.

Beneath the Surface serves as both a deeply personal reflection and a call for greater understanding and connection, illuminating the complexities of life through the lens of Indigenous wisdom and storytelling.

At the end of this book, this journey, Laforme seeks to help you better answer the following questions. Who was I, Who am I, and Who do I want to be? As a person, a people, a country, a world, who do we want to be?

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192 pages | 8.50" x 5.50" | Paperback 

This meditation on the poetics of re-worlding follows the threads of Spiderwoman Theater’s Storyweaving practice back to its Guna and Rappahannock sources to illuminate its history, mechanics, and development for coming generations.

The Spiderwoman Theatre, the longest-running Indigenous theatre company in North America has heralded the revolutionary methodology of Storyweaving for generations of Indigenous artists. Storyweaving is a distinct methodology that governs the dramaturgical structure and performed transmission of the company’s plays on the contemporary stage. The practice of Storyweaving predates written history. It has been (and remains) specific to tribal storytellers across the continent.

The reclamation, then, of this aesthetic legacy by contemporary Indigenous storytellers is a crucial act of recovery. Jill Carter, an Anishinaabe-Ashkenazi theatre-worker and scholar, examines the process and development of Storyweaving. She studies how Storyweaving imagines and architects a functional framework that is being adopted and adapted by artists from myriad nations to create works (on the page and stage) that facilitate the healing, transformation, and survivance of their communities. Between the Layers pays respects to the teachers and visionaries that moulded this practice and encourages future generations to continue its legacy, while making a much-needed contribution to the study of Indigenous theatre and performance.

In its painstaking documentation of the Storyweaving artform, Between the Layers refuses the devaluation, erasure, and suppression of Indigenous culture, while contributing to the dissemination and celebration of Indigenous Knowledge Systems.

Educator Information

Table of Contents
List of Illustrations

Acknowledgements

Spiderwoman Theater: A Performance History

Introduction: Between the Layers

Chapter One:
Persistence of Violent Delights:
“It’s All the Same Bullshit Again”

Chapter Two:
“An Indian is an Idea a Man Has of Himself”

Chapter Three:
An Indian is More than Just an “Idea”:
By Their Acts Ye Shall Know Them

Chapter Four:
Towards a Poetics of Re-Worlding:
Becoming (and then Staging) the New Human Being

Chapter Five:
The Published Texts

Chapter Six:
The Three Sisters from There to Here:
Spiderwoman’s Issue and the Project of Re-worlding

Appendices

Works Cited

Additional Information
376 pages | 6.00" x 9.00" | 8 illustrations | Hardcover

In Beyond Blood Quantum, voices from Indian Country convey the insidious impacts of the Indian Reorganization Act confronting the existential and pragmatic questions facing many Native Nations to determine who is—and who is not—a citizen. The voices of poets, parents, academics, activists, educators, young adults, and elders prompt conversations in consideration of shared cultural values and lived realities outside of the limited confines of blood quantum.

Both informational and poetic, Beyond Blood Quantum: Refusal to Disappear is a guide for conversation in-community and a songline of voices grappling with contemporary Native identity and the sovereignty inherent in defining citizenship with analysis softened by appreciation for kin, land, and promises to future generations from the descendants of generations who continue to resist, who refuse to disappear.

Reviews
“The tough issues of Native American identity come from within our communities as well as the harmful legacy of oppressive federal Indian policy. From the rise in “pretendians” to the fetishization of Native culture, contributors allow readers to explore the complexities of what it means to belong to a Tribe/Native Nation, according to their own customs and governance." —Karen Diver, Senior Advisor to the President for Native American Affairs at the University of Minnesota, Former Chairwoman, Fond du Lac Band of Lake Superior Chippewa, and Former Special Assistant to President Obama for Native American Affairs

"Our elders teach us that no man, or government, not even the most powerful nation in the world can take away all that defines who we are as Indigenous people—that the Creator gifted to our foremothers and forefathers at the time of Creation—but ourselves. They say that if we are not mindful of our past experiences of our foremothers and forefathers surviving every conceivable policy and laws imposed upon our people, generation after generation, we can at some point in our journey be capable of becoming our own worst enemy. When we internalize the oppression as exhibited by this nation upon our people, and internalize that oppression, we can become the oppressors. The elders warn and prophesied that when that happens, it will be the beginning of the end of us. It is deviating from our core values as gifted to us by our Creator as the deepest expression of love for us. Blood quantum is the epitome of this departure from the Original Instructions of embracing all sacred beings that our children represent so that our lifeways will continue and thrive. The elders say, they are the sacred beings, gifts from the Creator so that we shall continue as a People. The use of blood, our lifeline, to define our relations and our connections ironically in this time of self determination could be the cause of our end. What the government designed, we shall complete. This cannot be the end of our journey.” —Regis Pecos

“A testament to the refusal to disappear and inherent Indigenous sovereignty, Beyond Blood Quantum offers profound insights and reflections on the path forward.” —Wayne Ducheneaux

“Tribal citizens must become informed of where we are and where we are going on the explosive issue of blood quantum. The chapters in this book are a tool for self-education and constitute possible road maps for the future of Indian nations.”—Henrietta Mann

“Blood quantum is an issue that all tribes need to be aware of as they exercise their sovereign right to set their membership standards.” —John Echohawk

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

From adventures in Indigenous futurism to tales of first love, the stories and poems of Beyond the Glittering World proclaim and celebrate a rising generation of Native American storytellers.

Beyond the Glittering World brings together twenty emerging and established Native women writers and writers of marginalized genders, including Moniquill Blackgoose, Heid E. Erdrich, A.J. Eversole, Chelesa Hicks, and D. Daye Hunter. Immersing readers in worlds as varied as their authors, this collection presents an array of singular voices at their genre-bending, boundary-breaking, devastating, and joyous best.

Reviews
"An evocative compilation of voices pondering Indigenous futures and the shape of Indigenous love. Beyond the Glittering World holds a healthy dose of gender-bending, genre-challenging, future-hoping might. This anthology is a welcome addition to the field of Indigenous anthologies.”—DEBORAH JACKSON TAFFA, Whiskey Tender

Additional Information
240 pages | 5.25" x 8.00" | Paperback

Teammates, champions, Survivors

In 1951, after winning the Thunder Bay district championship, the Sioux Lookout Black Hawks hockey team from Pelican Lake Indian Residential School embarked on a whirlwind promotional tour through Ottawa and Toronto. They were accompanied by a professional photographer from the National Film Board who documented the experience. The tour was intended to demonstrate the success of the residential school system and introduce the Black Hawks to "civilizing" activities and the "benefits" of assimilating into Canadian society. For some of the boys, it was the beginning of a lifelong love of hockey; for others, it was an escape from the brutal living conditions and abuse at the residential school. 

In Beyond the Rink, Alexandra Giancarlo, Janice Forsyth, and Braden Te Hiwi collaborate with three surviving team members-Kelly Bull, Chris Cromarty, and David Wesley-to share the complex legacy behind the 1951 tour photos. This book reveals the complicated role of sports in residential school histories, commemorating the team's stellar hockey record and athletic prowess while exposing important truths about "Canada's Game" and how it shaped ideas about the nation. By considering their past, these Survivors imagine a better way forward not just for themselves, their families, and their communities, but for Canada as a whole.

Reviews
"These three survivors-Kelly, David, and Chris-inspire us not only for what they have done for their communities in the aftermath of the residential school system but also for how crucial hockey and sports are in bringing Indigenous communities together, like we see in the Little NHL Tournament. Our history and the lessons we've learned are vital, and Beyond the Rink does an excellent job of highlighting this." — Ted Nolan, former NHL Player & Coach, Olympic Coach, and author of Life in Two Worlds: A Coach's Journey from the Reserve to the NHL and Back

"On its face, Beyond the Rink is a compelling story of a residential school hockey team from northern Ontario touring Ottawa and Toronto in the 1950s. But it is much more than that: with a National Film Board photographer accompanying them every step of the way, the players are props in a public relations exercise meant to obscure the true conditions in residential schools.

This is an unflinching and nuanced look behind the PR veil, a story of loss, triumph, perseverance, tragedy, and memory. It is also a detailed account of the machinery of residential schools and the trauma they inflicted. And it is a revealing look at the power of photographs, which can be used to both illuminate and mislead.

At its heart, Beyond the Rink is the story of twelve Indigenous hockey players, who, like their white counterparts, loved the game for the thrill of competition, but also as an escape from the relentless control and exploitation they faced on a daily basis, even if they were being exploited while doing it. This is the story of twelve boys, told through the lens of three of them, trapped in a world they barely understood, a world that was not the least bit interested in understanding them, and in many ways still isn't." — Gord Miller

"The authors have spent decades working with the Survivors whose stories they share and centre in this book. Beyond the Rink, Behind the Image does not simply tell the story of a hockey team; it demonstrates how sport within the context of residential schools was a tool of colonization." — Karen Froman

"It is difficult to overstate the significance of this book. The scholarship is sound as well as original in context and content, and Survivor testimony is respected and communicated in a theoretically sophisticated way." — Travis Hay

Additional Information
184 pages | 6.00" x 8.50" | 36 b&w illustrations, bibliography | Paperback 

There There meets The Night Watchman in this gripping literary debut about power and corruption, family, and facing the ghosts of the past.

Mitch Caddo, a young law school graduate and aspiring political fixer, is an outsider in the homeland of his Anishinaabe ancestors. But alongside his childhood friend, Tribal President Mack Beck, he runs the government of the Passage Rouge Nation, and with it, the tribe’s Golden Eagle Casino and Hotel. On the eve of Mack’s reelection, their tenuous grip on power is threatened by a nationally known activist and politician, Gloria Hawkins, and her young aide, Layla Beck, none other than Mack’s estranged sister and Mitch’s former love. In their struggle for control over Passage Rouge, the campaigns resort to bare-knuckle political gamesmanship, testing the limits of how far they will go—and what they will sacrifice—to win it all.

But when an accident claims the life of Mitch’s mentor, a power broker in the reservation’s political scene, the election slides into chaos and pits Mitch against the only family he has. As relationships strain to their breaking points and a peaceful protest threatens to become an all-consuming riot, Mitch and Layla must work together to stop the reservation’s descent into violence.

Thrilling and timely, Big Chief is an unforgettable story about the search for belonging—to an ancestral and spiritual home, to a family, and to a sovereign people at a moment of great historical importance.

Reviews
“A compelling and strong Native American novel about politics and power and how far some people will go to hold on to what they have.”—Brandon Hobson, author of National Book Award finalist Where the Dead Sit Talking

"Deliciously ruthless and absolutely huge, Big Chief unleashes the Shakespearean realities of Passage Rouge with seismic ambition and brilliance. Prepare to relish every dice roll, partisan jab, and monkey wrench thrown in this all-out showdown from maestro Jon Hickey—a colossal novel of and for our time." —Cody Caetano, author of Half-Bads in White Regalia

"Jon Hickey throws the reader in the backseat of a tricked out F350 and takes them for a wild ride across the Rez following a J. Crew NDN, a Chief who's in over his head, and their crew. This is a must read as Hickey brings us into the chaos and catastrophes that the colonial imposed electoral system creates in Indigenous communities but also shows the reader how community, a sense of belonging, and family is what really matters in the end. This is a book that you won't put down until the last ballot is counted."—Conor Kerr, author of Prairie Edge

“Taut, timely, and brimming with suspense, Big Chief questions our notions of power and morality, holding a mirror to our crooked, calculating world. This is a monumental debut."—Kirstin Chen, New York Times bestselling author of Counterfeit

“Big Chief features all the twisty chessmanship—the familial feuds, the financial games, the political maneuvering—of Succession and sets it against the backdrop of Indian country. Jon Hickey has written one hell of an addictive and important debut novel.”—Benjamin Percy, author of The Ninth Metal and Red Moon

Additional Information
320 pages | 5.50" x 8.25" | Hardcover

 
Essays and short stories from a celebrated Cupeño/Cahuilla journalist.

"Johnson is by turns tender and hilarious—as ever. This book is a welcome addition to his loving history of the world as he knows it." —Susan Straight, author of Sacrament

In this moving collection of short stories and essays, Gordon Lee Johnson (Cupeño/Cahuilla) cements his voice not only as a commentator on American Indian reservation life but also as a master of fiction writing. From the noir-tinged mystery of "Unholy Wine" to the gripping intensity of "Tukwut," Johnson effortlessly switches genre and perspective, vividly evoking people and places that are fictional but profoundly true to life. Johnson’s nonfiction is equally revelatory in its exploration of connections between past and present. Whether examining his own conflicted feelings toward the missions as a source of both cultural damage and identity or sharing advice on cooking for eight dozen cowboys and -girls, Johnson plumbs the comedy, catastrophe, and beauty of his life on the Pala Reservation to thunderous effect.

Reviews
"Gordon Johnson's voice is like no other, and he continues in this new book to send out missives from his place in the world—the beating-strong heart of southern California's first peoples and the land they've loved for generations. Johnson is by turns tender and hilarious—as ever. This book is a welcome addition to his loving history of the world as he knows it." —Susan Straight, author of Sacrament

"A delicious communal feast of memory and imagination for California Indians or for anyone who has spent time living among us; on every page, there is a sensory connection to people, places, and events to delight the senses, evoke a smile, and trigger more stories about traditional gatherings, summer softball tournaments, elders who have passed on, or the bone-rattling comfort from hearing bird songs wafting through the summer air all night long." —Dr. Theresa Gregor (Iipay Nation of Santa Ysabel), CSU Long Beach

Additional Information
240 pages | 5.50" x 8.00" | Paperback 

Turning a lens on the dark legacy of colonialism in horror film, from Scream to Halloween and beyond.

Horror films, more than any other genre, offer a chilling glimpse—like peering through a creaky attic door—into the brutality of settler colonial violence. While Indigenous peoples continue to struggle against colonization, white settler narratives consistently position them as a threat, depicting the Indigenous Other as an ever-present menace, lurking on the fringes of “civilized” society. Indigenous inclusion or exclusion in horror films tells a larger story about myths, fears, and anxieties that have endured for centuries.

Bloodied Bodies, Bloody Landscapes traces connections between Indigenous representations, gender, and sexuality within iconic horror classics like The Texas Chainsaw Massacre and Friday the 13th. The savage killer, the romantic and doomed Indian, the feral “mad woman”—no trope or archetype escapes the shadowy influence of settler colonialism. In the end, horror both disrupts and uncovers colonial violence—only to bury its victims once more.

Reviews
“This is the book I’ve waited my whole movie-geek life for.”— Jesse Wente

“Bloody Bodies, Bloody Landscapes is a must read for anyone consuming horror media. Laura Hall masterfully dissects the ways in which settler-colonialism is at the core of sexism, racism, sanism, and white supremacy, and how we see those systems of oppression at work in historical and contemporary horror.”— Jessica Johns

“Expertly foregrounding the most overlooked horror in this film genre—settler colonialism—Bloodies Bodies, Bloody Landscapes is deadly.”— Christine Sy

"Bloodied Bodies, Bloody Landscapes is brilliant scholarship that pinpoints the ugly truth about the treatment of Indigenous people in horror cinema. But Hall is doing much more than examining tropes of mysticism, savagery, and settler colonialism-as savior in horror; she is directing our attention to the recuperative power of certain portrayals, thereby reminding us that an anticolonial lens can produce whole and full human stories—even scary ones.”— Robin R. Means Coleman, author of The Black Guy Dies First: Black Horror from Fodder to Oscar

Educator Information
Table of Contents
Introduction

Chapter 1. They’re Here! Settler Colonialism and the Horror Film
Chapter 2. The Bloodsucking Brady Bunch: Gender, the Family and Settler Colonial Horrors
Chapter 3. We All go A Little Mad Sometimes!
Chapter 4. Cowboys in the Antarctic: Settler Colonialism and Nature in Horror
Chapter 5. Jason Voorhees Does a Land Acknowledgement: Indigeneity Lurking in the Woods

Conclusion
Sources

Additional Information
288 pages | 6.02" x 9.01" | Paperback