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Return to The Meridian with New York Times bestselling author Rebecca Roanhorse’s sequel to the most critically hailed epic fantasy of 2020 Black Sun—finalist for the Hugo, Nebula, Lambda, and Locus awards.

There are no tides more treacherous than those of the heart. —Teek saying

The great city of Tova is shattered. The sun is held within the smothering grip of the Crow God’s eclipse, but a comet that marks the death of a ruler and heralds the rise of a new order is imminent.

The Meridian: a land where magic has been codified and the worship of gods suppressed. How do you live when legends come to life, and the faith you had is rewarded?

As sea captain Xiala is swept up in the chaos and currents of change, she finds an unexpected ally in the former Priest of Knives. For the Clan Matriarchs of Tova, tense alliances form as far-flung enemies gather and the war in the heavens is reflected upon the earth.

And for Serapio and Naranpa, both now living avatars, the struggle for free will and personhood in the face of destiny rages. How will Serapio stay human when he is steeped in prophecy and surrounded by those who desire only his power? Is there a future for Naranpa in a transformed Tova without her total destruction?

Welcome back to the fantasy series of the decade in Fevered Star—book two of Between Earth and Sky.

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

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

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

After the death of her estranged father, artist Rita struggles with grief and regret. There was so much she wanted to ask him – about his childhood, their family, and the Mi'kmaq language and culture from which Rita feels disconnected. But when Rita's girlfriend Molly forges an artist's residency application on her behalf, winning Rita a week to paint at an isolated cabin, Rita is both furious and intrigued. The residency is located where her father grew up.

On the first night at the cabin, Rita wakes to strange sounds. Was that a body being dragged through the woods? When she questions the locals about the cabin's history, they are suspicious and unhelpful. Ignoring her unease, Rita gives in to dark visions that emanate from the forest's lake and the surrounding swamp. She feels its pull, channelling that energy into art like she's never painted before. But the uncanny visions become more insistent, more intrusive, and Rita discovers that in the swamp's decay the end of one life is sometimes the beginning of another.

Reviews
"Green Fuse Burning is an impressively vigorous fiction debut from a truly dynamic storyteller. Tiffany Morris has laid out a concise and creepy tale that mesmerizes as it weaves through several realms, from the tangible to the spiritual. I was captivated by the looming mystery and the striking imagery that carried me like a current to the story's monumental resolution. This book is a must-read in new speculative fiction!" - Waubgeshig Rice, author of Moon of the Turning Leaves

"Morris quietly dazzles and disquiets in this weird horror novella . . . Poetic and grotesque imagery drives the novella's horror, with fluid narration fostering a sense of disconnect and dread . . . This is a subtle and refreshing twist on the cabin in the woods trope." - Publishers Weekly starred review

"A verdant alienation seeps through every page as Morris reimagines the possibilities of decay, a desperate isolation scouring the mind to reveal a torrid, seething strangeness beneath, the inevitable reckoning gathering its strength below the calm surface of the pond." - Andrew F. Sullivan, author of The Marigold and The Handyman Method

Additional Information
112 pages | 6.12" x 9.03" | Paperback

Brandi Bird's frank, transcendent poetry explores the concepts of health, language, place, and memory in this long-anticipated debut collection.

Brandi Bird's long-anticipated debut poetry collection, The All + Flesh, explores the concepts of health, language, place, and memory that connect its author to their chosen kin, blood relatives, and ancestral lands. By examining kinship in broader contexts, these frank, transcendent poems expose binaries that exist inside those relationships, then inspect and tease them apart in the hope of moving toward decolonial future(s). Bird's work is highly concerned with how outer and inner landscapes move and change within the confines of the English language, particularly the "I" of the self, a tradition of movement that has been lost for many who don't speak their Indigenous languages or live on their homelands. By exploring the landscapes the poet does inhabit, both internally and externally, Bird's poems seek to delve into and reflect their cultural lineages-specifically Saulteaux, Cree, and Métis-and how these transformative identities shape the person they are today.

I am made of centuries & carbohydrates
the development of my molars
the hunger the teeth grew
has been with me since childhood
I can't escape the mouths of others

Awards

• 2024 Poetry in English, Indigenous Voices Awards 

Reviews
"Since hearing Brandi Bird at a reading in a park in summertime recite the lines, "I know / then that there is hope / until I die & then / there is other / people's hope," I have thought about them many times, they have merged with my own consciousness. That's the power of Bird's poems-they resonate at such a visceral and cerebral level that they become a part of you. The All + Flesh marks the arrival of an endlessly moving and astounding voice in Indigenous poetry. I, for one, will be reading these poems for the rest of my life." — Billy-Ray Belcourt, author of A MINOR CHORUS

"In The All + Flesh, Brandi Bird maps the psychic space between 'NDN compartmentalization' and split prairies, from bus depots to 'endocrine storms,' from LiveJournal to a living history of relocation under land theft. 'My body is not an empire but first contact happened at / birth' and 'I eat / until my mouth needles / the dark.' With exacting lucidity, Bird's lyrics chart the body as a reservoir for colonial malice, a site of resistance, and a conduit for a voice that is visceral, immediate, and uncompromising. An absolute triumph of a debut."— Liz Howard, author of Letters in a Bruised Cosmos

Additional Information
96 pages | 6.00" x 8.00" | Paperback

From global art superstar Kent Monkman and his longtime collaborator Gisèle Gordon, a transformational work of true stories and imagined history that will remake readers' understanding of the land called North America.

For decades, the singular and provocative paintings by Cree artist Kent Monkman have featured a recurring character—an alter ego of sorts, a shape-shifting, time-travelling elemental being named Miss Chief Eagle Testickle. Though we have glimpsed her across the years, and on countless canvases, it is finally time to hear her story, in her own words. And, in doing so, to hear the whole history of Turtle Island anew. The Memoirs of Miss Chief Eagle Testickle: A True and Exact Accounting of the History of Turtle Island is a genre-demolishing work of genius, the imagined history of a legendary figure through which a profound truths emerge—a deeply Cree and gloriously queer understanding of our shared world, its past, its present, and its possibilities.

Volume Two, which takes us from the moment of confederation to the present day, is a heartbreaking and intimate examination of the tragedies of the nineteenth and twentieth century. Zeroing in on the story of one family told across generations, Miss Chief bears witness to the genocidal forces and structures that dispossessed and attempted to erase Indigenous peoples. Featuring many figures pulled from history as well as new individuals created for this story, Volume Two explores the legacy of colonial violence in the children’s work camps (called residential schools by some), the Sixties Scoop, and the urban disconnection of contemporary life. Ultimately, it is a story of resilience and reconnection, and charts the beginnings of an Indigenous future that is deeply rooted in an experience of Indigenous history—a perspective Miss Chief, a millennia-old legendary being, can offer like none other.

Blending history, fiction, and memoir in bold new ways, The Memoirs of Miss Chief Eagle Testickle are unlike anything published before. And in their power to reshape our shared understanding, they promise to change the way we see everything that lies ahead.

Additional Information
264 pages | 6.79" x 10.26" | Hardcover

An urgent first novel about breaching the prisons we live inside from one of Canada’s most daring literary talents.

An unnamed narrator abandons his unfinished thesis and returns to northern Alberta in search of what eludes him: the shape of the novel he yearns to write, an autobiography of his rural hometown, the answers to existential questions about family, love, and happiness.

What ensues is a series of conversations, connections, and disconnections that reveals the texture of life in a town literature has left unexplored, where the friction between possibility and constraint provides an insistent background score.

Whether he’s meeting with an auntie distraught over the imprisonment of her grandson, engaging in rez gossip with his cousin at a pow wow, or lingering in bed with a married man after a hotel room hookup, the narrator makes space for those in his orbit to divulge their private joys and miseries, testing the theory that storytelling can make us feel less lonely.

Populated by characters as alive and vast as the boreal forest, and culminating in a breathtaking crescendo, A Minor Chorus is a novel about how deeply entangled the sayable and unsayable can become—and about how ordinary life, when pressed, can produce hauntingly beautiful music.

Reviews
"No one breaks your heart as elegantly as Billy-Ray Belcourt. Innovative, intimate, and meticulous, A Minor Chorus is a thoughtful riot of intersections and juxtapositions, a congregation of keenly observed laments gently vivisecting the small, Northern Alberta community at its core."—Eden Robinson, author of Son of a Trickster

"The literary child of Rachel Cusk’s Outline trilogy and James Baldwin’s Giovanni’s Room, this novel builds on both, and is yet still something so new. It has the guts to centre Indigenous queer life as worthy of serious intellectual and artistic inquiry—which, of course, it always has been. We will be reading and re-reading and learning from A Minor Chorus for decades to come."—Alicia Elliott, author of A Mind Spread Out on the Ground

"An absolutely dazzling confluence of big ideas and raw emotions, told in Billy-Ray Belcourt’s singular poetic voice. A Minor Chorus is about loving, questioning, and fighting for your life, and it’s as compelling a debut novel as I’ve read in years."—Jami Attenberg, author of I Came All This Way to Meet You

"A truly exceptional novel about how the disregarded sometimes live the most remarkable lives, and how storytelling will redeem us somehow, make us less lonely. A Minor Chorus is like a song that’s over too soon; I want to play it on repeat, to memorize the words so that I can sing them to myself."—Katherena Vermette, author of The Strangers

Additional Information
192 pages | 5.20" x 7.78" | Hardcover

Blood follows a Two-Spirit Indigenous person as they navigate urbanity, queerness, and a kaleidoscope of dreams, memory, and kinship.

Conceived in the same world as their acclaimed debut, Bones, Tyler Pennock's Blood centres around a protagonist who at first has difficulty knowing the difference between connection and pain, and we move with them as they explore what it means to want. Pennock weaves longing, intimacy, and Anishinaabe relationalities to recentre and rethink their speaker's relationship to the living--never forgetting non-human kin.

This book is a look at how deep history is represented in the everyday; it also tries to answer how one person can challenge the impacts of that history. It is a reminder that Indigenous people carry the impacts of colonial history and wrestle with them constantly. Blood explores the relationships between spring and winter, ice and water, static things and things beginning to move, and what emerges in the thaw.

Reviews
"Pennock's Blood shines on the parts of the self that defy the ruthlessness of empire. By turns inward to the still and sobering power of language, and again outward to the echoes of 'leaves and wind,' a music as sensitive as it is revelatory ushers us into his unique measure of aliveness. The poet here is engaged and unafraid to look long." — Canisia Lubrin, author of The Dyzgraphxst

Additional Information
104 pages | 5.75" x 8.50" | Paperback

Powerful stories of "Metis futurism" that envision a world without violence, capitalism, or colonization.

"Education is the new buffalo" is a metaphor widely used among Indigenous peoples in Canada to signify the importance of education to their survival and ability to support themselves, as once Plains nations supported themselves as buffalo peoples. The assumption is that many of the pre-Contact ways of living are forever gone, so adaptation is necessary. But Chelsea Vowel asks, "Instead of accepting that the buffalo, and our ancestral ways, will never come back, what if we simply ensure that they do?"

Inspired by classic and contemporary speculative fiction, Buffalo Is the New Buffalo explores science fiction tropes through a Metis lens: a Two-Spirit rougarou (shapeshifter) in the nineteenth century tries to solve a murder in her community and joins the nehiyaw-pwat (Iron Confederacy) in order to successfully stop Canadian colonial expansion into the West. A Metis man is gored by a radioactive bison, gaining super strength, but losing the ability to be remembered by anyone not related to him by blood. Nanites babble to babies in Cree, virtual reality teaches transformation, foxes take human form and wreak havoc on hearts, buffalo roam free, and beings grapple with the thorny problem of healing from colonialism.

Indigenous futurisms seek to discover the impact of colonization, remove its psychological baggage, and recover ancestral traditions. These eight short stories of "Metis futurism" explore Indigenous existence and resistance through the specific lens of being Metis. Expansive and eye-opening, Buffalo Is the New Buffalo rewrites our shared history in provocative and exciting ways.

Additional Information
272 pages | 6.00" x 8.00" | Paperback

In this haunting and groundbreaking historical novel, Danielle Daniel imagines the lives of women in the Algonquin territories of the 1600s, a story inspired by her family’s ancestral link to a young girl who was murdered by French settlers.

1657. Marie, a gifted healer of the Deer Clan, does not want to marry the green-eyed soldier from France who has asked for her hand. But her people are threatened by disease and starvation and need help against the Iroquois and their English allies if they are to survive. When her chief begs her to accept the white man’s proposal, she cannot refuse him, and sheds her deerskin tunic for a borrowed blue wedding dress to become Pierre’s bride.

1675. Jeanne, Marie’s oldest child, is seventeen, neither white nor Algonquin, caught between worlds. Caught by her own desires, too. Her heart belongs to a girl named Josephine, but soon her father will have to find her a husband or be forced to pay a hefty fine to the French crown. Among her mother’s people, Jeanne would have been considered blessed, her two-spirited nature a sign of special wisdom. To the settlers of New France, and even to her own father, Jeanne is unnatural, sinful—a woman to be shunned, beaten, and much worse.

With the poignant, unforgettable story of Marie and Jeanne, Danielle Daniel reaches back through the centuries to touch the very origin of the long history of violence against Indigenous women and the deliberate, equally violent disruption of First Nations cultures.

Reviews
“Danielle Daniel renders the stories of her ancestors vividly, poetically and with deep love and respect. Daughters of the Deer gives long overdue voices to the Indigenous women who came before. A subtle, moving demonstration of how colonization attempted to strip Indigenous women of their power and place, and a testament to the enduring strength and wisdom that no colonial power could extinguish.” —Jessica McDiarmid, author of Highway of Tears: A True Story of Racism, Indifference and the Pursuit of Justice for Missing and Murdered Indigenous Women and Girls

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

Magodiz (Anishinabemowin, Algonquin dialect): a person who refuses allegiance to, resists, or rises in arms against the government or ruler of their country.

Everything that was green and good is gone, scorched away by a war that no one living remembers. The small surviving human population scavenges to get by; they cannot read or write and lack the tools or knowledge to rebuild. The only ones with any power are the mindless Enforcers, controlled by the Madjideye, a faceless, formless spiritual entity that has infiltrated the world to subjugate the human population.

A'tugwewinu is the last survivor of the Andwanikadjigan. On the run from the Madjideye with her lover, Bel, a descendant of the Warrior Nation, they seek to share what the world has forgotten: stories. In Pasakamate, both Shkitagen, the firekeeper of his generation, and his life's heart, Nitawesi, whose hands mend bones and cure sickness, attempt to find a home where they can raise children in peace without fear of slavers or rising waters. In Zhong yang, Riordan wheels around just fine, leading xir gang of misfits in hopes of surviving until the next meal. However, Elite Enforcer H-09761 (Yun Seo, who was abducted as a child, then tortured and brainwashed into servitude) is determined to arrest Riordan for theft of resources and will stop at nothing to bring xir to the Madjideye. In a ruined world, six people collide, discovering family and foes, navigating friendship and love, and reclaiming the sacredness of the gifts they carry.

With themes of resistance, of ceremony as the conduit between realms, of transcending gender, Magodiz is a powerful and visionary reclamation that Two-Spirit people always have and always will be vital to the cultural and spiritual legacy of their communities.

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

Ndè Sii Wet'aà: Northern Indigenous Voices on Land, Life, & Art is a collection of essays, interviews, short stories and poetry written by emerging and established northern Indigenous writers and artists. Centred on land, cultural practice and northern life, this ground-breaking collection shares wealth of Dene (Gwichʼin, Sahtú, Dehcho, Tłı̨chǫ, Saysi, Kaska, Dënesuiné, W?ìl?ìdeh ) Inuit, Alutiiq, Inuvialuit, Métis, Nêhiyawak (Cree), Northern Tutchone, and Tanana Athabascan creative brilliance. Ndè Sii Wet'aà holds up the voices of women and Two Spirit and Queer writers to create a chorus of voices reflecting a deep love of Indigenous cultures, languages, homelands and the north. The book includes a series of pieces and interviews from established northern artists and musicians including Leela Gilday, Randy Baillargeon (lead singer for the W?ìl?ìdeh Drummers), Inuit sisters, song-writers and throat singers Tiffany Ayalik and Inuksuk Mackay of Piqsiq, Two Spirit Vuntut Gwitchin visual artist Jeneen Frei Njootli, Nunavik singer-songwriters Elisapie and Beatrice Deere and visual artist Camille Georgeson-Usher. Ndè Sii Wet'aà also includes writing from well-known northern writers Siku Allooloo, T'áncháy Redvers (Fireweed), Antione Mountain (From Bear Rock Mountain), Glen Coulthard (Red Skin, White Masks), Catherine Lafferty (Northern Wildflower, Land-Water-Sky) and Lianne Marie Leda Charlie, in amongst the best emerging writers in the north.

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

Gideon the Ninth meets Black Sun in this queer, Māori-inspired debut fantasy about a police officer who is murdered, brought back to life with a mysterious new power, and tasked with protecting her city from an insidious evil threatening to destroy it.

The port city of Hainak is alive: its buildings, its fashion, even its weapons. But, after a devastating war and a sweeping biotech revolution, all its inhabitants want is peace, no one more so than Yat Jyn-Hok a reformed-thief-turned-cop who patrols the streets at night.

Yat has recently been demoted on the force due to “lifestyle choices” after being caught at a gay club. She’s barely holding it together, haunted by memories of a lover who vanished and voices that float in and out of her head like radio signals. When she stumbles across a dead body on her patrol, two fellow officers gruesomely murder her and dump her into the harbor. Unfortunately for them, she wakes up.

Resurrected by an ancient power, she finds herself with the new ability to manipulate life force. Quickly falling in with the pirate crew who has found her, she must race against time to stop a plague from being unleashed by the evil that has taken root in Hainak.

Reviews
"A wonderful queer noir fever dream."—Tamsyn Muir, internationally bestselling author of Gideon the Ninth

"Fiercely queer. A strange and wondrous re-imagining of noir that takes its cues from biopunk and SE Asian mythos to create something wholly different. There's real imagination at work here—I loved it."—Rebecca Roanhorse, New York Times bestselling author of Trail of Lightning and Black Sun

"The Dawnhounds packs hard-hitting, mind-bending weirdness into a story that’s still touching and human. If you’re looking for gritty queer spec fic that isn’t unrelentingly grim, you’ve found it.”—Casey Lucas, award-winning author of Into the Mire

Educator & Series Information
This book is part of The Endsong series.

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

A gender-fluid trickster character leaps from Cree stories to inhabit this raucous and rebellious new work by award-winning poet Louise Bernice Halfe.

There are no pronouns in Cree for gender; awâsis (which means illuminated child) reveals herself through shapeshifting, adopting different genders, exploring the English language with merriment, and sharing his journey of mishaps with humor, mystery, and spirituality. Opening with a joyful and intimate Foreword from Elder Maria Campbell, awâsis – kinky and dishevelled is a force of Indigenous resurgence, resistance, and soul-healing laughter.

If you’ve read Halfe’s previous books, prepared to be surprised by this one. Raging in the dark, uncovering the painful facts wrought on her and her people’s lives by colonialism, racism, religion, and residential schools, she has walked us through raw realities with unabashed courage and intense, precise lyricism. But for her fifth book, another choice presented itself. Would she carve her way with determined ferocity into the still-powerful destructive forces of colonialism, despite Canada’s official, hollow promises to make things better? After a soul-searching Truth and Reconciliation process, the drinking water still hasn’t improved, and Louise began to wonder whether inspiration had deserted her.

Then awâsis showed up—a trickster, teacher, healer, wheeler-dealer, shapeshifter, woman, man, nuisance, inspiration. A Holy Fool with their fly open, speaking Cree, awâsis came to Louise out of the ancient stories of her people, from the quiet words of the Elders, from community input through tears and laughter, from her own aching heart and her three-dimensional dreams. Following awâsis’s lead, Louise has flipped her blanket over, revealing a joking, mischievous, unapologetic alter ego—right on time.

Reviews
“There really isn’t any template for telling stories as experienced from within Indigenous minds. In her book awâsis – kinky and dishevelled, Cree poet Louise Bernice Halfe (Sky Dancer) presents a whole new way to experience story poems. It’s kinda like she writes in English but thinks in Cree. Lovely, revealing, funny, stunning. A whole new way to write!” — Buffy Sainte-Marie

“Louise Halfe knows, without question, how to make miyo-iskotêw, a beautiful fire with her kindling of words and moss gathered from a sacred place known only to her, to the Old Ones. These poems, sharp and crackling, are among one of the most beautiful fires I’ve ever sat beside.” — Gregory Scofield, author of Witness, I Am

“Louise makes awâsis out of irreverent sacred text. The darkness enlightens. She uses humor as a scalpel and sometimes as a butcher knife, to cut away, or hack off, our hurts, our pain, our grief and our traumas. In the end we laugh and laugh and laugh.” — Harold R. Johnson, author of Peace and Good Order: The Case for Indigenous Justice in Canada

“This is all about Indigenizing and reconciliation among ourselves. It’s the kind of funny, shake up, poking, smacking, and farting we all need while laughing our guts out. It’s beautiful, gentle and loving.” — Marie Campbell, author of Halfbreed (from the Foreword)

Additional Information
104 pages | 5.75" x 8.50"

Evocative of Miriam Toews’ A Complicated Kindness and Diane Warren’s Cool Water, Tara Gereaux’s novel, set in small-town Saskatchewan, dissects themes of Métis identity, female identity and motherhood, aging and regret, and finally, acceptance.

Nothing ever seems to happen in the small town of Saltus. At the Harvest Gold Inn and Restaurant off Highway 53, two waitresses spend their evening shifts delivering Salisbury steak specials and slices of pie to the regulars. But everything changes when Nadine, a headstrong single mother, and her teenager, Aaron, arrive at the Gold, where Aaron—who has repeatedly been denied appropriate gender-affirming medical care from the mainstream system—undergoes a near-fatal procedure performed by an unqualified and eccentric recluse who lives on the outskirts of Saltus.

The events that transpire that evening force each townsperson to look long and hard at themselves, at their own identities, and at the traumas and experiences that have shaped them. Told from multiple perspectives, Saltus reveals the complexities inherent in accepting the identities of loved ones, and the tragic consequences that unfold if they are ignored. It is a story about relationships with others, and, even more importantly, with ourselves.

Reviews
"Calm, measured and fearless, Gereaux skillfully, and with compassion, depicts a community in the aftermath of trauma. Based on true events, this work of fiction is both haunting and human. Gereaux’s strength is in her characters—you can’t help but feel their torments as if they were your own." — Lisa Bird-Wilson, February 2021

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

Part mystery, part ghost story, a long unsolved murder becomes the singular fixation of an Indigenous American man living in far northern Minnesota as he grapples with his identity and that of his lover, a heavily closeted white man.

On an Ojibwe reservation called Languille Lake, within the small town of Geshig at the hub of the rez, two men enter into a secret romance. Marion Lafournier, a midtwenties gay Ojibwe man, begins a relationship with his former classmate Shannon, a white man who isn't ready to acknowledge his identity. While Marion is far more open about his sexuality, neither is immune to the realities of the lives of gay men in small towns and closed societies.

Then one night, while roaming the dark streets of Geshig, Marion unknowingly brings to life the spirit of a dog from beneath the elementary school playground. The mysterious revenant leads him to the grave of Kayden Kelliher, an Ojibwe basketball star who was murdered at the age of seventeen and whose presence still lingers in the memories of the townsfolk. While investigating the fallen hero's death, Marion discovers family connections and an old Ojibwe legend that may be the secret to unraveling the mystery he has found himself in.

Set on a reservation in far northern Minnesota, This Town Sleeps explores the many ways history, culture, landscape, and lineage shape our lives, our understanding of the world we inhabit, and the stories we tell ourselves to make sense of it all.

Reviews
“Elegant and gritty, angry and funny. Staples’s work is emotional without being sentimental. Dennis unmakes something in us, then remakes it, a quilt of characters that embody this town, this place, which sleeps but doesn’t dream, or it is all a dream we want to wake up from with its characters. We move through the dream that is this novel, unable to move or not move, arrested by the striking sentences and sentiments of a voice we can’t sleep to, one which wakes in us the ability to understand so much about ourselves and the way history and time weigh on us in ways it’s both understandable to stay asleep or to have to wake up from.” —Tommy Orange, author of There, There

"This novel is a town map, a crime map, a dream map of Geshig, Minnesota, its violent histories, its denials and desires. Marion Lafournier is a perfect tour guide because he knows everybody's secrets, and he sees clearly, even in the dark. Moody, a little noir, laced with the knife-blade humor only people who have been resisting genocide for five hundred years can pull off, and composed of riveting passages that refuse to look away, This Town Sleeps will haunt you with the beauty, despair, and hope of the characters whose lives it bears witness to. A rich and compelling debut." ––Pam Houston, author of Deep Creek: Finding Hope in the High Country

“Dennis Staples’ This Town Sleeps is part mystery, part family saga, part meditation. In language subtle and precise, it explores the echoing past, both tenuous and inescapable, illuminating the resonant powers of one’s physical and cultural landscapes. It wisely asks how the place of our being shapes not only our futures, but also our personal mythologies, how we understand ourselves. How it guides what we are and are not capable of. Both intimate and sweeping, This Town Sleeps is the work of a powerful, emerging hand. Its voice is already wise and knows to look for answers both between bodies—in the dark shadows of entwining limbs—and back across the paths of those who came before us. It knows the two are never far apart. This is a marvel of a first book.” —Derek Palacio, author of The Mortifications

Additional Information
224 pages | 5.49" x 8.23"

Poems about a young two-spirit Indigenous man moving through shadow and trauma toward strength and awareness. Bones, Tyler Pennock's wise and arresting debut, is about the ways we process the traumas of our past, and about how often these experiences eliminate moments of softness and gentleness. Here, the poem's journey inward, guided by the world of dreams, seeking memories of a loving sister lost beneath layers of tragedy and abuse. With bravery, the poems stand up to the demons lurking in the many shadows of their lines, seeking glimpses of a good that is always just out of reach. At moments heartrending and gut-punching, at others still and sweet, Bones is a collection of deep and painstaking work that examines the human spirit in all of us. This is a hero's journey and a stark look at the many conditions of the soul. This is a book for survivors, for fighters, for dreamers, and for believers.

Reviews
"Here is a spare and urgent voice that speaks of 'wounds and beauty,' that gestures to a story of trauma and abuse while offering us a potent journey of self-reckoning and reclamation. Bones entwines brutality with the deepest tenderness and in its clear-eyed way asks us, as poetry must, to re-see the world." --Catherine Bush, author of Accusation and The Rules of Engagement

"Tyler Pennock's poetry unfurls like breath: measured, light, caught, whispering, and vital. It charts memory with a steady hand and unerring allegiance to locating the 'beauty/in terrible things.' Bones addresses the effects of intergenerational, state-sponsored trauma with enviable grace, inscribing and affirming life on the other side of overwhelming pain, abuse, and grief. It carries on, resilient, defiant, gazing at the stars, one breath at a time." --Laurie D. Graham, author of Settler Education

"Tyler Pennock's Bones is a soft meandering through the memories of the narrator's hearthome: a place in which trauma, kinship, abuse, and nostalgia cradle one another in a circle. Here, poetics are deployed to inspect the most minute of objects with such wild abandon that the narrator transplants us into a world rife with sharpness so as to make the image complete, focussed, lifelike, photographic even as he continually 'wish[es he] were like water'. Here we find memory and dream animated in equal measure: two spirits sitting in a basement, a headless mother, a white bear, wihtiko, and a sister slowly vanishing. Lyrical, witty, heart-wrenching, and empowering, Pennock's debut book of poetry is a contemplative epic asking us to ponder the ethics of remembrance in all of its lacings of razing and revitalization." --Joshua Whitehead, author of Full-Metal Indigiqueer and Jonny Appleseed

Additional Information
104 pages | 6.00" x 8.75"