Adult Book

How can we heal in the face of trauma? How can we transform intergenerational pain into a passion for community and healing?

Presenting herself as “Myrtle,” residential school survivor and Indigenous television personality Bevann Fox explores essential questions by recounting her life through fiction. She shares memories of an early childhood filled with love with her grandparents—until she is sent to residential school at the age of seven. Her horrific experiences of abuse there left her without a voice, timid and nervous, never sure, never trusting, affecting her romantic relationships and family bonds for years to come.

This is the story of Myrtle battling to recover her voice. Genocidal Love is a powerful confirmation of the long-lasting consequences of residential school violence —and a moving story of finding a path towards healing.

Awards

• 2021 Indigenous Voices Awards winner for Published Prose in English: Creative Nonfiction and Life-Writing

Reviews
“A riveting, often difficult, brave, important book. ” —Deanna Reder, Chair, Department of Indigenous Studies, Simon Fraser University

“A riveting and courageous reflection. . . . Genocidal Love is unique in its detailed account of the often re-traumatizing effects of the legal and bureaucratic barriers of compensation programs predating the Truth and Reconciliation Commission. ” —Jesse Rae Archibald-Barber, editor of kisiskâciwan and co-editor of Performing Turtle Island

“Fox tears beauty from the jaws of genocide, daring to claim love beyond settler imaginings—love that nurtures decolonial futures and makes possible a more just world. ”—Sam McKegney, author of Magic Weapons and Masculindians

Educator Information
A forward from Michelle Coupal explains more about "Genocidal Love—a story that Bevann tells about herself outside the boundaries of what constitutes fiction and non-fiction".

Additional Information
256 pages | 5.00" x 7.00"

In Ojibwe cosmology there are thirteen moons...

And in the pages of Ghost Lake are thirteen stories featuring an interrelated cast of characters and their brushes with the mysterious. Issa lives in fear of having her secret discovered, Aanzheyaawin haunts the roads seeking vengeance, Zaude searches for clues to her brother’s death, Garion wrestles with his sexual inclinations, Fanon struggles against an unexpected winter storm, Kylie fights to make it back to shore, Eadie and Mushkeg share a magical night, Tyner faces brutal violence, and Tyler, Clay, and Dare must make amends to the spirits before it’s too late. On the northern Ontario reserve of Ghost Lake the precolonial past is not so distant, and nothing is ever truly lost or destroyed. Because the land remembers.  

Awards

• 2021 Indigenous Voices Awards winner for Published Prose in English: Fiction 

Reviews
“Adler gifts us with this collection of intense life and death stories that straddle the worlds of the everyday and the fantastic. These stories challenge the notion of default reality and Adler crafts them with a deft hand.”—Michelle Good, author of Five Little Indians

“Ghost Lake is the border to all things known—but not in the way wider society conceives them: there is no lighthouse imposing its dichotomy on the darkness. It invites recovery and connection from its characters beautifully; story, memory, and relationship build the landscape for them to walk on.  The people of Ghost Lake move through experiences with a curiosity and bravery that I hope all readers have—where there are no experts to place rules on a community’s desire to remember. We need more collections like this.”—Tyler Pennock, author of Bones

“A memorable, necessary read, Nathan Adler’s remarkable collection Ghost Lake delves into the life-changing passages of love and loss, revenge and redemption, survival and discovery. His vital, authentic characters journey through a world in which the boundary between the so-called real and the illusory—the realm of mysteries, spirits, and myths—is itself revealed to be the illusion. These imaginative, expertly crafted stories are guaranteed to illuminate and stir, to challenge and entertain.” —Daniel Scott Tysdal, author of The Writing Moment: A Practical Guide to Creating Poems

Educator Information
An interconnected collection of stories set on the fictional Northern Ontario Reserve of Ghost Lake, featuring a cast of interrelated characters and their encounters with the supernatural and other phenomenon, with themes ranging from love, loss, and relationships, to the meaning of monstrosity, violence, tragedy, and justice.

Ghost Lake is the sequel to Nathan Adler's debut horror novel, Wrist.

Pyromaniacs, vigilantes, mysterious phenomena, prehistoric beasts, cryptid species, grave robbers and ghosts… the stories of Ghost Lake feature a cast of interrelated characters and their brushes with the supernatural, creatures of Ojibwe cosmology, the Spirit World, and with monsters, both human and otherwise. Nathan Niigan Noodin Adler shows us that the precolonial past is not so distant, that history informs the present, and nothing is ever truly lost or destroyed, because the land remembers.

Additional Information
320 pages | 5.50" x 8.00"

The stories of the Lushootseed-speaking people of Puget Sound represent an important part of the oral tradition by which one generation hands down beliefs, values, and customs to another. Vi Hilbert grew up when many of the old social patterns survived and everyone spoke the ancestral language.

Haboo, Hilbert’s collection of thirty-three stories, features tales mostly set in a time before the world transformed. Animals, plants, trees, and even rocks had human attributes. Prominent characters like Wolf, Salmon, and Changer and tricksters like Mink, Raven, and Coyote populate humorous, earthy stories that reflect foibles of human nature, convey serious moral instruction, and comically detail the unfortunate, even disastrous consequences of breaking taboos.

Beautifully redesigned and with a new foreword by Jill La Pointe, Haboo offers a vivid and invaluable resource for linguists, anthropologists, folklorists, future generations of Lushootseed-speaking people, and others interested in Native languages and cultures.

Reviews
"The wisdom and teachings found in Haboo continue to offer a . . . resource that highlights a way of being in the world that we have strayed from, and they remain as relevant today as they have been for generations." - from the foreword by Jill La Pointe

Additional Information
232 pages | 6.50" x 9.00" | 20 b&w illustrations, 1 map | Translated and Edited by Val Hilbert, Foreword by Jill La Pointe, Introduction by Thom Hess | 2nd Edition

In 1973, fifteen-year old, or "Squito" Bob, is a mixed-blood NłeᎮkepmx boy trying to find his place in a small, mostly Native town. His closest friends are three nłeᎮkepmx boys and a white kid, an obnoxious runt who thinks himself superior to his friends. Accepted as neither Native nor white, Squito often feels like the stray dog of the group and envisions a short, disastrous life for himself. HOME WALTZ follows the boys over thirty-six hours on what should be one of the best weekends of their lives. With a senior girls volleyball tournament in town, Squito's favourite band performing, and enough alcohol for ten people, the boys dream of girls, dancing and possibly romance. A story of love, heartbreak and tragedy, HOME WALTZ delves into suicide, alcohol abuse, body image insecurities, and systemic racism. A coming of age story like no other, HOME WALTZ speaks to one indigenous youth's experience of growing up in a world that doesn't want or trust him.

Reviews
"In Squito Bob, Gordon Grisenthwaite has given us a latter-day Holden Caufield, fighting hormones, toxic friendships, and the general stupidity of others in the fleeting hope of his own brief shot at transcendence. Home Waltz is a tour de force, full of compassion and insight and humour and utterly unflinching in its look at the hard truths of life on the res." —Nino Ricci, author of Lives of the Saints, and Testament

"Grisenthwaite weaves the classic coming-of-age tale into a story of deep grief and longing for place, the unfair treatment of First Nations people, but also the heart and kinship of First Nation’s communities."—Crystal Mackenzie, Freefall Magazine

Additional Information
304 pages | 5.25" x 8.25" | Paperback 

Fears about climate change are fueling an epidemic of despair across the world: adults worry about their children’s future; thirty-somethings question whether they should have kids or not; and many young people honestly believe they have no future at all.

In the face of extreme eco-anxiety, scholar and award-winning author Elin Kelsey argues that our hopelessness—while an understandable reaction—is hampering our ability to address the very real problems we face. Kelsey offers a powerful solution: hope itself.

Hope Matters boldly breaks through the narrative of doom and gloom to show why evidence-based hope, not fear, is our most powerful tool for change. Kelsey shares real-life examples of positive climate news that reveal the power of our mindsets to shape reality, the resilience of nature, and the transformative possibilities of individual and collective action. And she demonstrates how we can build on positive trends to work toward a sustainable and just future, before it’s too late.

Reviews
“Like Elin, I have met countless people who have lost hope in many countries. Most were apathetic. Some were angry. Others depressed. Because, they told me, their future has been compromised and there was nothing they could do about it. But there is something they can do. This book comes at just the right moment. It brings a message of hope to help curb the negativity, the gloom and doom we are confronted with each day. It is NOT too late if we get together and take action, NOW.” —Jane Goodall, PhD, DBE, founder of the Jane Goodall Institute and UN Messenger of Peace

“Elin Kelsey is that rare creature—perhaps unique?—who writes with the acuity of a scientist, the grace of a poet, and the heart of a mother. After decades of fighting the good fight on behalf of her beloved oceans and their wildlife, she realizes that our conversations about environmentalism are often thwarted by overwhelming doubt and despair. Hope Matters is a clarion call to reawaken our spirits and renew our efforts, filled with engaging success stories, lyrical nature writing, and actionable ideas. 'We can recognize the urgency of the problem and be inspired by the resilience of other species,' Kelsey writes. This is a book to inspire resilience: for our children, for our leaders, for ourselves.”— Anne Nelson, Fellow, Arnold A. Saltzman Institute, Columbia University School for International and Public Affairs, and author of Suzanne’s Children: A Daring Rescue in Nazi Paris

“In a time when so much of the news on biodiversity is depressing, Dr. Elin Kelsey reminds us that there are good reasons to be hopeful. This book is a tonic in hard times.”—Claudia Dreifus, instructor in Columbia University’s Masters in Sustainability Management program and author of Scientific Conversations: Interviews on Science from the New York Times

Additional Information
240 pages | 5.50" x 8.50"

In myriad ways, each narrator's life has been shaped by loss, injustice, and resilience--and by the struggle of how to share space with settler nations whose essential aim is to take all that is Indigenous.

Hear from Jasilyn Charger, one of the first five people to set up camp at Standing Rock, which kickstarted a movement of Water Protectors that roused the world; Gladys Radek, a survivor of sexual violence whose niece disappeared along Canada's Highway of Tears, who became a family advocate for the National Inquiry into Missing and Murdered Indigenous Women and Girls; and Marian Naranjo, herself the subject of a secret radiation test while in high school, who went on to drive Santa Clara Pueblo toward compiling an environmental impact statement on the consequences of living next to Los Alamos National Laboratory. Theirs are stories among many of the ongoing contemporary struggles to preserve Indigenous lands and lives--and of how we go home.

Reviews
“How We Go Home is a testament to modern-day Indigenous revitalization, often in the face of the direst of circumstances. Told as firsthand accounts on the frontlines of resistance and resurgence, these life stories inspire and remind that Indigenous life is all about building a community through the gifts we offer and the stories we tell.”— Niigaan Sinclair, associate professor, Department of Native Studies at the University of Manitoba and columnist, Winnipeg Free Press

“The voices of How We Go Home are singing a chorus of love and belonging alongside the heat of resistance, and the sound of Indigenous life joyfully dances off these pages.”—Leanne Betasamosake Simpson, author of As We Have Always Done

“How We Go Home confirms that we all have stories. These stories teach us history, morality, identity, connection, empathy, understanding, and self-awareness. We hear the stories of our ancestors and they tell us who we are. We hear the stories of our heroes and they tell us what we can be." —Honourable Senator Murray Sinclair

Educator Information
Table of Contents
Editor’s Notes
Introduction (Sara Sinclair)
Executive Director’s Note (Mimi Lok)
Map
Gladys Radek, Terrace, Gitxsan / Wet’suwet’en First Nations—“When Tamara went missing, it took the breath out of me.”
Jasilyn Charger, Cheyenne River Sioux—“My son’s buried by the river. . . . I vowed to him that he’s gonna be safe, that no oil was gonna touch him.”
Wizipan Little Elk, Rosebud Lakota Tribe—“On the reservation, you have the beauty of the culture and our traditional knowledge contrasted with the reality of poverty.”
Geraldine Manson, Snuneymuxw First Nation—The nurse was trying to get me to sign a paper to put our baby, Derrick, up for adoption.”
Robert Ornelas, New York City, Lipan Apache / Ysleta del Sur Pueblo—“A part of the soul sickness for me was being ashamed . . . what we were being taught about Indians was so minimal and so negative.”
Ashley Hemmers, Fort Mojave Indian Tribe—“I didn’t work my ass off to get to Yale to be called a squaw.”
Ervin Chartrand, Selkirk, Métís/Salteaux—“They said I fit the description because I looked like six other kids with leather vests and long hair who looked Indian.”
James Favel, Winnipeg, Peguis First Nation “You’re a stakeholder because you’ve got to walk these streets every day.”
Marian Naranjo, Santa Clara Pueblo—“Indigenous peoples’ reason for being is to be the caretakers of Creator’s gifts—of the air, the water, the land.”
Blaine Wilson, Tsartlip First Nation “When I was twenty-five, thirty, there was more salmon and I was fishing every other day. Now I’m lucky to go once a week.”
Althea Guiboche, Winnipeg, Métis/Ojibwe/Salteaux “I had three babies under three years old and I was homeless.”
Vera Styres, Six Nations of the Grand River, Mohawk/Tuscarora“I was a ‘scabby, dirty little Indian.’”
Glossary
Historical Timeline of Indigenous North America
Essay: 1. The Trail of Broken Promises: US and Canadian Treaties with First Nations
Essay 2: “Indigenous Perspectives on Intergenerational Trauma”: An Interview with Johnna James
Essay 3: Indigenous Resurgence
Ten Things You Can Do
Further Reading
Acknowledgements

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

Who steals a dog from a shelter after receiving a dream message from their grandmother?

Hazel Lesage never expected it to be her. Then again, she didn't plan on becoming an unlicensed PI, helping the 'throwaway people.' However much has changed in Amiskwaciy, the problem of poor Indigenous women and girls being expendable hasn't. Nobody else is going to help the Augusts find out who killed their daughter Nell; so Hazel takes the case. And then she takes the dog.

What follows will force Hazel and her family to confront the question of what it means to be Human, and what it matters to be Humane.

Additional Information
274 pages | 5.00" x 7.75"

A new English translation of an acclaimed 1970 novel reveals a stark, powerful story, an Inuit worldview, and the unique voice of Markoosie Patsauq.

Published fifty years ago under the title Harpoon of the Hunter, Markoosie Patsauq's novel helped establish the genre of Indigenous fiction in Canada. This new English translation unfolds the story of Kamik, a young hero who comes to manhood while on a perilous hunt for a wounded polar bear. In this astonishing tale of a people struggling for survival in a brutal environment, Patsauq describes a life in the Canadian Arctic as one that is reliant on cooperation and vigilance.

In collaboration with the author, Valerie Henitiuk and Marc-Antoine Mahieu return to the original Inuktitut text to provide English readers with a more accurate translation. With a preface by Patsauq and an afterword from the translators, this edition offers a fresh and contextualized interpretation of a cultural milestone. Whether revisiting this classic or discovering it for the first time, readers will find in Hunter with Harpoon a sophisticated coming-of-age tale illustrating a way of life not as it appeared to southerners, but as it has survived in the memory of the Inuit themselves.

Educator Information
Translated from the Inuktitut by Valerie Henitiuk and Marc-Antoine Mahieu.

Valerie Henitiuk, translation studies specialist, is provost at Concordia University of Edmonton.

Marc-Antoine Mahieu is professor of Inuktitut at the Institut national des langues et civilisations orientales, Université Sorbonne Paris Cité, and consultant for the Kativik school board in Nunavik.

This book is available in French: Chasseur au harpon

Additional Information
104 pages | 5.98" x 7.99"

The incisive and vital first poetry collection from Mi'kmaw spoken-word poet and former poet laureate of Kjipuktuk (Halifax), Nova Scotia.

We remember tomorrow and a thousand years ago.
From eel weirs to the buffalo.
We remember petroglyphs and Instagram photos.
See, we remember our history,
Without statues, money, or pictures of the Queen.

In Mi'kmaw, three similarly shaped words have drastically different meanings: kesalul means "I love you"; kesa'lul means "I hurt you"; and ke'sa'lul means "I put you into the fire." In spoken-word artist and critically acclaimed author (I'm Finding My Talk) Rebecca Thomas's first poetry collection, readers will feel Thomas's deep love, pain, and frustration as she holds us all to task, along the way mourning the loss of her childhood magic, exploring the realities of growing up off reserve, and offering up a new Creation Story for Canada.

Diverse and probing, I place you into the fire is at once a meditation on navigating life and love as a second-generation Residential School survivor, a lesson in unlearning, and a rallying cry for Indigenous justice, empathy, and equality. A searing collection that embodies the vitality and ferocity of spoken-word poetry.

Additional Information
128 pages | 5.50" x 7.50"

“Ailton Krenak’s ideas inspire, washing over you with every truth-telling sentence. Read this book.” — Tanya Talaga, bestselling author of Seven Fallen Feathers

Indigenous peoples have faced the end of the world before. Now, humankind is on a collective march towards the abyss. Global pandemics, extreme weather, and massive wildfires define this era many now call the Anthropocene.

From Brazil comes Ailton Krenak, renowned Indigenous activist and leader, who demonstrates that our current environmental crisis is rooted in society’s flawed concept of “humanity” — that human beings are superior to other forms of nature and are justified in exploiting it as we please.

To stop environmental disaster, Krenak argues that we must reject the homogenizing effect of this perspective and embrace a new form of “dreaming” that allows us to regain our place within nature. In Ideas to Postpone the End of the World, he shows us the way.

Reviews
“Perhaps you’re thinking we should come out of the COVID crisis in a new way, not just trying to recreate the old normal. If so, Ailton Krenak has some ideas that might send you down a new and useful path — useful to you, useful to the world.” — Bill McKibben, author of Falter: Has the Human Game Begun to Play Itself Out?

“We need this Right Now! Ideas to Postpone the End of the World.” — @MargaretAtwood

“Ailton Krenak’s words, expressed with the visceral intensity of one of those peoples who ‘still consider the need to stay attached to this land,’ … fill me with hope. Amid the successive catastrophes we experience today, he surprises us once again by teaching that the fight for a better world, a world that can be called home, involves not only explicit activism, but dance, music, the stories we tell at night.” — Aparecida Vilaça, anthropologist and author of Strange Enemies: Indigenous Agency and Scenes of Encounters in Amazonia and Praying and Preying: Christianity in Indigenous Amazonia 

Additional Information
88 pages | 4.50" x 6.50"

Helen Knott, a highly accomplished Indigenous woman, seems to have it all. But in her memoir, she offers a different perspective. In My Own Moccasins is an unflinching account of addiction, intergenerational trauma, and the wounds brought on by sexual violence. It is also the story of sisterhood, the power of ceremony, the love of family, and the possibility of redemption.

With gripping moments of withdrawal, times of spiritual awareness, and historical insights going back to the signing of Treaty 8 by her great-great grandfather, Chief Bigfoot, her journey exposes the legacy of colonialism, while reclaiming her spirit.

Reviews
"A beautiful rendering of how recovery for our peoples is inevitably about reconnecting with Indigenous identities, lands, cultural and healing practices." —Kim Anderson, author of Reconstructing Native Womenhood

"In My Own Moccasins never flinches. The story goes dark, and then darker. We live in an era where Indigenous women routinely go missing, our youth are killed and disposed of like trash, and the road to justice doesn’t seem to run through the rez. Knott’s journey is familiar, filled with the fallout of residential school, racial injustice, alcoholism, drugs, and despair. But she skillfully draws us along and opens up her life, her family, and her communities to show us a way forward. It’s the best kind of memoir: clear-eyed, generous, and glorious….Bear witness to the emergence of one of the most powerful voices of her generation." —Eden Robinson, author of Son of a Trickster and Monkey Beach (from the foreword)

“Helen Knott speaks truth to the experience of Indigenous women living through the violence of colonized spaces and she does so with grace, beauty and a ferocity that makes me feel so proud.” —Leanne Betasamosake Simpson, author of This Accident of Being Lost

“Helen writes beautifully and painfully, about her own life and the lives of many of our sisters. A strong, gentle voice removing the colonial blanket and exposing truth.” —Maria Campbell, author of Halfbreed

“An incredible debut that documents how trauma and addiction can be turned into healing and love. I am in awe of Helen Knott and her courage. I am a fan for life. Wow.” —Richard Van Camp, author of The Lesser Blessed

“Heartfelt, heartbreaking, triumphant and raw, In My Own Moccasinsis a must-read for anyone who's ever felt lost in their life… Actually, it's a must-read for anyone who appreciates stories of struggle, redemption and healing. Knott’s writing is confident, clear, powerful and inspiring.”—Jowita Bydlowska, author of Guy: A Novel and Drunk Mom

Additional Information
366 pages | 6.00" x 9.00"

Indianthusiasm refers to the European fascination with, and fantasies about, Indigenous peoples of North America, and has its roots in nineteenth-century German colonial imagination. Often manifested in romanticized representations of the past, Indianthusiasm has developed into a veritable industry in Germany and other European nations: there are Western and so-called “Indian” theme parks and a German hobbyist scene that attract people of all social backgrounds and ages to join camps and clubs that practise beading, powwow dancing, and Indigenous lifestyles.

Containing interviews with twelve Indigenous authors, artists, and scholars who comment on the German fascination with North American Indigenous Peoples, Indianthusiasm is the first collection to present Indigenous critiques and assessments of this phenomenon. The volume connects two disciplines and strands of scholarship: German Studies and Indigenous Studies, focusing on how Indianthusiam has created both barriers and opportunities for Indigenous peoples with Germans and in Germany.

Educator Information
This work speaks to concepts of representation, Indigeneity, transnationality, and politics of decolonization.  It asks critical questions about authenticity, cultural appropriation, and probes the biased and racist aspects of what is seen as simple "honoring" of Indigenous cultures.  The interviews in this work act as mythbusters but also offer a number of conflicting Indigenous perspectives.  This work explores the transatlantic connections created by Indianthusiam.

Useful for Indigenous Studies and German Studies.

Table of Contents

1. Introduction / Hartmut Lutz, Florentine Strzelczyk, and Renae Watchman

2. I thought to myself: “Well, I’ll appropriate from the people who appropriated from us” / Ahmoo Angeconeb

3. Most people can’t be informed because of the way they are being informed / Jeannette Armstrong

4. Germany is my other Heimat now; "Groan" (poem) / John Blackbird

5. The focus on remembering … a sort of superego kind of thing / Warren Cariou

6. When the gaze turns in both directions / Jo-Ann Episkenew

7. I actually never wanted to like Germany / Audrey Huntley

8. The thorn is in my side when I’m talking to Europeans, who begin lecturing me on Indianness / Thomas King

9. You can deal with stereotypes! At least you are dealing with some knowledge / David T. McNab

10. It’s been my job to not only entertain them through my dancing and singing, but also to educate them in the actual original traditional stories / Quentin Pipestem

11. I was definitely an ambassador and sort of a mythbuster in many ways / Waubgeshig Rice

12. You can’t underestimate the influence of Karl May’s Winnetou / Drew Hayden Taylor

13. They want redemption somehow / Emma Lee Warrior

Additional Information
254 pages | 6.00" x 9.00"

Indigenous Feminism: Colonial Complexities involves naming the ways that Indigenous women, with a focus on northern Saskatchewan, are caught up at every moment in ideas and beliefs about who we are; as much as we know differently, the power of these ideas continues to press on us in all kinds of large and subtle ways. The resistance to the power of these ideas and their impact on the lives of Indigenous women has a long history, but the racism continues. The book makes a contribution toward naming the power of racism and patriarchy within Indigenous communities.

Reviews
"McKay’s Indigenous Feminism: Colonial Complexities is a layered, methodical theoretical exploration of how the powerful forces and continually created discursive practises of colonialism, Christianity, the Indian Act and Indigenous knowledge systems influence single parent, northern Saskatchewan Indigenous women’s identities and relationships in complex and sometimes contradictory ways. The women’s visions of a better future anchor their decision-making as they swim against and through the overwhelming systemic legacy of oppressive forces running through their lives and that sometimes jeopardize their relationships." - Rita Bouvier, semi-retired Metis educator and poet

Additional Information
139 pages | 6.00" x 9.00"

A new model of Indigenous identity formation in Canadian postsecondary institutions

What role does postsecondary education play in the formation of Indigenous identity? Some argue that this impact must be negative, not only because postsecondary education draws students away from their communities, but also because of the Eurocentric worldviews that dominate most institutions. However, according to a ground-breaking study by Barbara Barnes and Cora Voyageur, the truth is much more nuanced and surprising.

During their research, Professors Barnes and Voyageur followed 60 Indigenous students from a variety of backgrounds at six postsecondary institutions in western Canada, and they present their findings here. They explore how the students’ experiences fit with conventional and Indigenous identity-formation theories, and they consider the impacts of colonization and the Indian Act.

Based on the experiences of the students, Barnes and Voyageur build an entirely new model of Indigenous identity formation in Canadian postsecondary institutions.

Additional Information
144 pages | 6.00" x 9.00"

Despite a recent increase in the productivity and popularity of Indigenous playwrights in Canada, most critical and academic attention has been devoted to the work of male dramatists, leaving female writers on the margins. In Indigenous Women’s Theatre in Canada, Sarah MacKenzie addresses this critical gap by focusing on plays by Indigenous women written and produced in the socio-cultural milieux of twentieth and twenty-first century Canada.

Closely analyzing dramatic texts by Monique Mojica, Marie Clements, and Yvette Nolan, MacKenzie explores representations of gendered colonialist violence in order to determine the varying ways in which these representations are employed subversively and informatively by Indigenous women. These plays provide an avenue for individual and potential cultural healing by deconstructing some of the harmful ideological work performed by colonial misrepresentations of Indigeneity and demonstrate the strength and persistence of Indigenous women, offering a space in which decolonial futurisms can be envisioned.

In this unique work, MacKenzie suggests that colonialist misrepresentations of Indigenous women have served to perpetuate demeaning stereotypes, justifying devaluation of and violence against Indigenous women. Most significantly, however, she argues that resistant representations in Indigenous women’s dramatic writing and production work in direct opposition to such representational and manifest violence.

Educator Information
Table of Contents
Violence Against Indigenous Women and Dramatic Subversion
Reclaiming Our Grandmothers in Monique Mojica’s Princess Pocahontas and the Blue Spots and Birdwoman and the Suffragettes: A Story of Sacajawea
Community and Resistance in Marie Clements’ The Unnatural and Accidental Women and Now Look What You Made Me Do
Media, Gendered Violence, and Dramatic Resistance in Yvette Nolan’s Annie Mae’s Movement and Blade
Indigenous Women’s Theatre: A Transnational Mechanism of Decolonization
References
Index

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