Indigenous Peoples in Canada

The Indigenous intercultural theology proposed in this groundbreaking work by Dr. Carmen Lansdowne seeks to reframe many of the (often unspoken) assumptions about the field of Christian mission. Dr. Lansdowne searches out answers to the question: If Indigenous hearts are broken by Christianity, what is it in Christian theology that is life giving at all? This book will be essential reading for lay and professional theologians and church leaders; it is also a key contribution to the field of Indigenous Studies, especially as a study of Indigenous-Christian encounter.

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

Judge, senator, and activist. Father, grandfather, and friend. This is Murray Sinclair’s story—and the story of a nation—in his own words, an oral history that forgoes the trappings of the traditional written memoir to center Indigenous ways of knowledge and storytelling. As Canada moves forward into the future of reconciliation, one of its greatest leaders guides us to ask the most important and difficult question we can ask of ourselves: Who are we?

For decades, Senator Sinclair has fearlessly educated Canadians about the painful truths of our history. He was the first Indigenous judge in Manitoba, and only the second Indigenous judge in Canadian history. He was the Chair of the Truth and Reconciliation Commission, and remains one of the foremost voices on Reconciliation. And now, for the first time, he will share his full story—and his full vision for our nation—with readers across Canada.

Drawing on Senator Sinclair’s unique experiences, and his perspectives regarding Indigenous identity, human rights, and justice in Canada, Who We Are will examine the roles of history, resistance, and resilience in the pursuit of finding that path forward, and healing the damaged relationship between Indigenous Peoples and non-Indigenous peoples in Canada. And in doing so, it will reveal Senator Sinclair’s life in a new and direct way, exploring how all of these experiences shaped him as an Anishinaabe man, father, and grandfather.

Structured around the four questions that have long shaped Senator Sinclair’s thinking and worldview—Where do I come from? Where am I going? Why am I here? Who am I?—Who We Are will take readers into the story of his remarkable life as never before, while challenging them to embrace an inclusive vision for our shared future.

The book includes the What We Have Learned report, created by the Truth and Reconciliation Commission of Canada (TRC).

Reviews
“Who We Are is a very special, very important book. With deep humility, surprising humour, and abiding humanity—all the 'humes,' if you will—Murray Sinclair made me feel as though I was sitting beside him at a campfire, listening to stories and teachings from his most remarkable life. I could hear his voice. I could feel the fire. I could imagine a better world. But Murray Sinclair asks us to do more than imagine it. By sharing with unflinching honesty what shaped him as a visionary leader, he calls us to change the world, to make it better for each new generation, and to honour the sacredness of Creation. I will return to Who We Are again and again, for his stories, his soulful poems, and his guidance. This book, so much about understanding where we have come from, is a gift to where we are going.”—Shelagh Rogers, O.C., Chancellor of Queen’s University and Honorary Witness in the Truth and Reconciliation Commission

“It would be impossible to quantify Murray Sinclair’s impact on this place that we call Canada. He’s said that since education got us into this mess, education must get us out of it. If that’s true, and I believe it is, he is one of our most important teachers. The pursuit of reconciliation takes place on a long and winding road. It will take generations to reach our destination, but this book and Sinclair’s voice will stand the test of time, guiding us in his wisdom and the example he has set in how he has lived his life.”—David A. Robertson, bestselling author of the Misewa Saga Series

Additional Information
480 pages | 5.18" x 8.00" | Paperback

From ground zero of this country's most important project: reconciliation

Niigaan Sinclair has been called provocative, revolutionary, and one of this country's most influential thinkers on the issues impacting Indigenous cultures, communities, and reconciliation in Canada. In his debut collection of stories, observations, and thoughts about Winnipeg, the place he calls "ground zero" of Canada's future, read about the complex history and contributions of this place alongside the radical solutions to injustice and violence found here, presenting solutions for a country that has forgotten principles of treaty and inclusivity. It is here, in the place where Canada began—where the land, water, people, and animals meet— that a path "from the centre" is happening for all to see.

At a crucial and fragile moment in Canada's long history with Indigenous peoples, one of our most essential writers begins at the centre, capturing a web spanning centuries of community, art, and resistance.

Based on years' worth of columns, Niigaan Sinclair delivers a defining essay collection on the resilience of Indigenous peoples. Here, we meet the creators, leaders, and everyday people preserving the beauty of their heritage one day at a time. But we also meet the ugliest side of colonialism, the Indian Act, and the communities who suffer most from its atrocities.

Sinclair uses the story of Winnipeg to illuminate the reality of Indigenous life all over what is called Canada. This is a book that demands change and celebrates those fighting for it, that reminds us of what must be reconciled and holds accountable those who must do the work. It's a book that reminds us of the power that comes from loving a place, even as that place is violently taken away from you, and the magic of fighting your way back to it.

Awards

•  Winner of the 2024 Governor General's Literary Award for Nonfiction.

Additional Information
384 pages | 5.14" x 7.92" | b&w photos throughout | Paperback

Winter Count draws inspiration from the Plains First Nations practices of recording significant events each winter, a visual reminder that helps structure histories and traditions passed down to future generations. This handsome volume explores how winter has long shaped Indigenous, Canadian settler, and northern European art, uniting different cultural perspectives through such diverse topics as storytelling, effects of light, physical adaptation, and community and isolation.

Presenting a selection of works spanning from the early 19th century to the present day — including artists such as Kenojuak Ashevak, J.E.H. MacDonald, Claude Monet, Kent Monkman, Megan Musseau, and Jin-me Yoon — Winter Count features approximately 170 plates, along with illustrated essays by curators from the National Gallery of Canada. The result is a book that invites readers to see winter anew — not as a season to be endured, but as a source of invention, connection, and mutual respect across time and place.

Educator Information
Dual-language: English and French

Additional Information
304 pages | 9.00" x 12.00" | Paperback

A major publication, Worlds on Paper: Drawings from Kinngait features over 150 never-before-seen original drawings by internationally renowned Inuit artists from Kinngait (Cape Dorset).

In 1990, the celebrated printmaking studio in Kinngait (Cape Dorset) transferred their complete drawings archive to the McMichael Canadian Art Collection in Ontario for safekeeping. The McMichael recently completed the digitization of this invaluable treasury of works, making it accessible to communities across the Arctic as well as to the wider public.

Worlds on Paper, an exhibition led by Inuit curator Emily Laurent Henderson, explores the profound impact and importance of drawing in Kinngait, not just as a precursor to printmaking, but as a vital and enduring discipline in its own right. This groundbreaking Inuit-led publication includes essays by Susan Aglukark, Kyle Aleekuk, Mark Bennett, Napatsi Folger, Jamesie Fournier, Janice Grey, Jonas Laurent Henderson, Jessica Kotierk, Nicole Luke, Malayah Maloney, Aghalingiak Ohokannoak, Jocelyn Piirainen, Krista Ulukuk Zawadski, and others, and explores the transition from traditional life on the land to 21st century community living.

Kinngait is renowned internationally for printmaking but an exploration of the drawings archive reveals careers previously overlooked while also allowing established artists to be seen in a new light. Dreaming Forward provides a richer understanding of the creativity that blossomed in Kinngait over four decades, as the print making studio rose to international renown. This publication animates the legacy of Kinngait Studio and its role in generating, nurturing, and promoting artists who continue to challenge expectations and provoke fresh understandings.

Additional Information
320 pages | 10.00" x 11.00" | 200 colour artwork and archival photographs | Hardcover 

A bold, provocative collection of essays exploring the historical and contemporary Indigenous experience in Canada.

With authority and insight, Truth Telling examines a wide range of Indigenous issues framed by Michelle Good’s personal experience and knowledge.

From racism, broken treaties, and cultural pillaging, to the value of Indigenous lives and the importance of Indigenous literature, this collection reveals facts about Indigenous life in Canada that are both devastating and enlightening. Truth Telling also demonstrates the myths underlying Canadian history and the human cost of colonialism, showing how it continues to underpin modern social institutions in Canada.

Passionate and uncompromising, Michelle Good affirms that meaningful and substantive reconciliation hinges on recognition of Indigenous self-determination, the return of lands, and a just redistribution of the wealth that has been taken from those lands without regard for Indigenous peoples.

Truth Telling is essential reading for those looking to acknowledge the past and understand the way forward.

Reviews
“With blistering clarity, Michelle Good exposes the contradictions at the heart of Canada, but also imagines beyond them, setting out a specific vision for an Indigenous future governed by us. Good’s essays, woven with personal testimony, are deeply researched and traverse great swaths of history and policy; they are also very rousing and moving. No Canadian can feign ignorance of the Indigenous struggle when this book is within arm’s reach.” — Billy-Ray Belcourt, author of A Minor Chorus

"Good reminds us what the truth in Truth and Reconciliation actually requires of all of us: Indigenous peoples and Canadians. Addressing storytelling and historical myth-making, this book would have changed my nineteen-year-old world had it been available and rendered normative for my teachers. Good’s work is formidable, elemental and reminiscent of Cardinal’s Unjust Society. This work, should be required reading for every Canadian. Smart, generous and insightful. 'There is no such thing as Crown Land. It is all Indigenous land.' Good writes. This truth resonates. Serves notice: it is time." — Dr. Tracey Lindberg, Law Professor, author of Birdie

“Truth Telling is at once heartfelt, instructive, and authentic, expertly exploring the key issues that have shaped the Indigenous reality in Canada.… This collection is an indispensable resource.” — Waubgeshig Rice, author of Moon of the Crusted Snow

“As Canadians search for a national approach to reconciliation... this book reminds us of how we arrived at this moment.…[and] is the kind of reference that will help us navigate our fraught journey.” — Dr. Eldon Yellowhorn, Professor of Indigenous Studies, Simon Fraser University

“Truth Telling is a powerful, urgent, and necessary book that gets to the heart of true reconciliation and maps a course for achieving it. Bridging personal stories and lived experiences with sharp historical analysis, Michelle Good’s writing is both beautiful and heartbreaking. Honest, forthright, and powerful, Truth Telling offers insights and analysis that every policymaker and politician—indeed, any person who calls Canada “home”— can and must read. Urgently.” — 2023 Balsillie Prize for Public Policy Jury

Educator Information
Truth Telling is a collection of essays about the contemporary Indigenous experience in Canada.

Additional Information
232 pages | 5.00" x 7.50" | Paperback

My name is Corinne George. I am Wet’suwet’en with Gitksan lineage from the Gidimt’en (Bear) Clan. This is my truth, and through sharing my truth, I strive for ongoing healing and to continue the journey of reconciliation. As a Wet’suwet’en woman born and raised on what is now known as the “Highway of Tears,” it was not uncommon to receive inferior treatment. There were even times when I was overtly targeted. It has been very common for people to outwardly refuse to acknowledge my existence as a human being. I was always afraid to share my truth because I did not want to be stigmatized. I am the daughter of a residential school survivor and a WWII veteran. As a result of colonization, I have encountered incredible levels of trauma. I need to acknowledge and speak my truth. As I share my pain and experiences, I have gathered self-awareness and every time I speak about my trauma, I heal a little bit more. I do not deserve to be treated like I do not exist. Despite the historical impacts of colonization and trauma, my connections to my ancestral ways and my identity have been critical. This is how I survived and how I strive to thrive.

Educator Information
Recommended for ages 16+.

Additional Information
128 pages | 5.10" x 7.50" | Paperback

A poignant and inspiring memoir of the people and challenges that shaped the life and career of Canada's most decorated Indigenous athlete.

Over the course of his incredible career, Bryan Trottier set a new standard of hockey excellence. A seven-time Stanley Cup champion (four with the New York Islanders, two with the Pittsburgh Penguins, and one as an assistant coach with the Colorado Avalanche), Trottier won countless awards and is a member of the Hockey Hall of Fame and the Canadian Sports Hall of Fame. In 2017, he was named one of the NHL's Top 100 Players of All Time.

Trottier grew up in Val Marie, Saskatchewan, the son of a Cree/Chippewa/Metis father and an Irish-Canadian mother. All Roads Home offers a poignant, funny, wise, and inspiring look at his coming of age, both on and off the ice. It is a unique memoir in which Trottier shares stories about family, friends, teammates, and coaches, the lessons that he has learned from them, and the profound impact they have had in shaping the person he has become.

Some of the incredible characters featured in the book include Trottier's father Buzz; legendary Islanders coach Al Arbour; teammates Clark Gillies and Mike Bossy; and the Penguins' Mario Lemieux, to name but a few. He'll also talk about the high school English teacher and guidance counsellor who helped him develop self-confidence and encouraged him as a writer: Governor General's Award–winning poet, Lorna Crozier.

All Roads Home also includes a Foreword from bestselling author Jesse Thistle (From the Ashes) and two very special Afterwords: one from Trottier's daughter, Lindsy Ruthven, and the other from his life-long friend, beloved hockey great Dave "Tiger" Williams.

Additional Information
304 pages | 5.16" x 7.95" | Paperback

Honouring the scholarship of Métis matriarchs

While surveying the field of Indigenous studies, Laura Forsythe and Jennifer Markides recognized a critical need for not only a Métis-focused volume, but one focused on the contributions of Métis women. To address this need, they brought together work by new and established scholars, artists, storytellers, and community leaders that reflects the diversity of research created by Métis women as it is lived, considered, conceptualized, and re-imagined.

With writing by Emma LaRocque and other pioneers of Métis studies, Around the Kitchen Table looks beyond the patriarchy to document and celebrate the scholarship of Métis women. Focusing on experiences in post-secondary environments, this collection necessarily traverses a range of methodologies. Spanning disciplines of social work, education, history, health care, urban studies, sociology, archaeology, and governance, contributors bring their own stories to explorations of spirituality, material culture, colonialism, land-based education, sexuality, language, and representation. The result is an expansive, heartfelt, and accessible "community of Métis thought," as articulated by Markides.

Reverent and revelatory, this collection centres the strong aunties and grandmothers who have shaped Métis communities, culture, and identities with teachings shared in classrooms, auditoriums, and around the kitchen table.

Reviews
"Inspiring, healing, and future-facing, this long overdue book gives us valuable new insights into the histories and identities of Métis people." — Kim Anderson

"Around the Kitchen Table is an exciting and thought-provoking contribution to the fields of Métis Studies and Indigenous feminism. Reading this book is like sitting down to visit with a strong cup of tea and your favourite aunties. It will inspire readers to think about matriarchy in new and exciting ways, teaching us what it means to be Métis women, good relatives, and innovative scholars." — Cheryl Troupe

Educator Information
Other contributors: Jennifer Adese, Christi Belcourt, Hannah Bouvier, Rita Bouvier, Vicki Bouvier, Robline Davey, Leah Marie Dorion, Marilyn Dumont, Nicki Ferland, Chantal Fiola, Lucy Fowler, Chelsea Gabel, Janice Cindy Gaudet, Emily Haines, Shalene Jobin, Emma LaRocque, Amanda LaVallee, Lynn Lavallee, Avery Letendre, Kirsten Lindquist, Yvonne Poitras Pratt, Angela Rancourt, Lisa Shepherd, Allyson Stevenson, Kisha Supernant, Caroline Tait, Angie Tucker, Dawn Wambold

Table of Contents

Contributors
Foreword by Caroline Tait
The Work of Métis Women: An Introduction – Jennifer Markides

Part One: Identity

1. Brown Names – Marilyn Dumont
2. We Know Ourselves – Lisa Shepherd
3. Kaa-waakohtoochik: The Ones Who Are Related to Each Other – Vicki Bouvier
4. The Roots Always Remain: Reconnecting to Our Communities in the Twenty-First Century – Angie Tucker
5. For the Love of Place―Not Just Any Place: Selected Metis Writings – Emma Larocque
6. Coming Home through Métis Research – Allyson Stevenson
7. Valuing Métis Identity in the Prairies through a “5 R” Lens: Our Digital Storytelling Journey – Chelsea Gabel and Amanda LaVallee
8. Prenatal/Postpartum Ceremonies and Parenting as Michif Self-Determination – Chantal Fiola
9. Medicine Women – Jennifer Adese
10. Lii Michif – Lisa Shepherd

Part Two: Women in the Academy

11. Metis Women as Contributors to the Academy Despite Colonial Patriarchy – Laura Forsythe
12. Connecting to Our Ancestors Through Archaeology: Stories of Three Métis Women Academics – Kisha Supernant, Dawn Wambold, and Emily Haines
13. Métis Women Educating in the Academy – Yvonne Poitras Pratt and Jennifer Markides
14. Structural and Lateral Violence Toward Metis Women in the Academy – Lynn Lavallee

Part Three: Research Methodology

15. Métis Research and Relationality: Auntie Governance, the Visiting Way, and Kitchen Table Reflections – Kirsten Lindquist, Shalene Jobin, Avery Letendre
16. Lii Taab di Faam Michif/Metis Women’s Kitchen Table: Practicing Our Sovereignty – Cindy Gaudet and Angela Rancourt
17. Wahkotowin: An Approach to Indigenous (Land-Based) Education – Nicki Ferland
18. Kaa-natoonamaan taanshi chi-ishi-natoonikeeyaan: My Search for how to Research Things (in a Queer Métis paradigm) – Lucy Fowler
19. Differentiating Métis Feminism – Robline Davey
20. Celebrating the Wisdom of Our Métis Matriarchs: Sewing Our Wellness All Together—Kood Toot Aansamb – Leah Dorion, Janice Cindy Gaudet, Hannah Bouvier
21. if the land could speak – Rita Bouvier

Bibliography
Art – Christi Belcourt

Additional Information
200 pages | 6.00" x 9.00" | index, bibliography | Paperback

Sewing new understandings.

Indigenous beadwork has taken the art world by storm, but it is still sometimes misunderstood as static, anthropological artifact. Today’s prairie artists defy this categorization, demonstrating how beads tell stories and reclaim cultural identity. Whether artists seek out and share techniques through YouTube videos or in-person gatherings, beading fosters traditional methods of teaching and learning and enables intergenerational transmissions of pattern and skill.

In Bead Talk, editors Carmen Robertson, Judy Anderson, and Katherine Boyer gather conversations, interviews, essays, and full-colour reproductions of beadwork from expert and emerging artists, academics, and curators to illustrate the importance of beading in contemporary Indigenous arts. Taken together, the book poses and responds to philosophical questions about beading on the prairies: How do the practices and processes of beading embody reciprocity, respect, and storytelling? How is beading related to Indigenous ways of knowing? How does beading help individuals reconnect with the land? Why do we bead?

Showcasing beaded tumplines, text, masks, regalia, and more, Bead Talk emphasizes that there is no one way to engage with this art. The contributors to this collection invite us all into the beading circle as they reshape how beads are understood and stitch together generations of artists.

Reviews
“An evocative, aesthetically gorgeous book that is rich in knowledge, relationality, and experience. Curated with care, rooted in artistic practice and lived experience, and embodying a polyvocal, collaborative spirit, it immerses the reader in the world of Indigenous beadwork on the prairies. Bead Talk carries teachings about decolonial love, healing and medicine, cultural knowledges, political and theoretical modes of action, gendered experience, and more. I can’t think of any other book like this—it is a gift!” — Aubrey Hanson

Educator Information
Contributors: Ruth Cuthand, Dayna Danger, Sherry Farrell Racette, Marcy Friesen, Felicia Gay, Franchesca [Fran] Hebert-Spence, Audie Murray, Cathy Mattes.

Table of Contents

Foreword – Brenda Macdougall

Who We Are

Introduction – Carmen Robertson, Judy Anderson, and Katherine Boyer

Part I: Conversations

1. Mentoring/Beading – Ruth Cuthand and Marcy Friesen

2. mîkisistahêwin (bead medicine) – Judy Anderson and Audie Murray

3. Parallel Lines Move Along Together: A Beaded Line that Connects Me to You – Katherine Boyer and Dayna Danger

4. The Power of Gathering: Revisiting the Seeds of Ziigimineshin – Franchesca Hebert-Spence and Carmen Robertson

5. Beads, Blood, and Curating Ruth Cuthand’s Art – Felicia Gay and Carmen Robertson

Part II: Essays

6. “Until We Bead Again”: The BU Beading Babe and Embodying Lateral Love and Generous Reciprocity – Cathy Mattes

7. Visiting Kin: Indigenous Flatland Beading Aesthetics – Carmen Robertson

8. If the Needles Don’t Break and the Thread Doesn’t Tangle: Beading Utopia – Sherry Farrell Racette

Afterword: Spreading the Bead Love Far and Wide

Additional Information
240 pages | 6.00" x 8.50" | 62 colour illustrations | Paperback 

When matriarchs begin to disappear, there is a choice to either step into the places they left behind, or to craft a new space.

Helen Knott’s bestselling debut memoir, In My Own Moccasins, wowed reviewers, award juries, and readers alike with its profoundly honest and moving account of addiction, intergenerational trauma, resilience, and survival. Now, with her highly anticipated second book, Knott exceeds the highest of expectations with a chronicle of grief, love, and legacy. Having lost both her mom and grandmother in just over six months, forced to navigate the fine lines between matriarchy, martyrdom, and codependency, Knott realizes she must let go, not just of them, but of who she thought she was.

Woven into the pages are themes of mourning, sobriety through loss, and generational dreaming. Becoming a Matriarch is charted with poetic insights, sass, humour, and heart, taking the reader over the rivers and mountains of Dane Zaa territory in Northeastern British Columbia, along the cobbled streets of Antigua, Guatemala, and straight to the heart of what matriarchy truly means. This is a journey through pain, on the way to becoming.

Through writing, reflecting, and dreaming I found my way to the real lessons.
I found permission to become whoever I needed to be.
I found permission to live a life and not just endure it.
I found permission to belong deeply to myself.
I found permission to lay to rest the sorrow of the women before me and to cultivate joy for us in its place.

Awards

• 2024 BC Book Awards - The George Ryga Award for Social Awareness in Literature winner

Reviews
“In enchantingly vivid language and with a compelling narrative arc, Helen Knott’s new masterpiece is a memoir of grief and joy, loss and rediscovery, flight and return and, above all, a paean to the beautiful, eternal, soothing and all-encompassing power of matriarchy.” —Gabor Maté MD, author of The Myth of Normal: Trauma, Illness and Healing in a Toxic Culture

“Knott lays out that which all Indigenous women know and feel on a cellular level—we are only here because of the women, the matriarchs, the warriors, the survivors, the courageous ones, the fierce ones, the loving ones who came before us. Beautifully, tenderly Knott maps out for the reader the intrinsic way Indigenous women lift up, celebrate and support one another. Even when no one else does. We always have each other. We see each other. We are each other’s medicine. And there is no greater gift. These are the stories Indigenous women must tell—the journeys, reclamation and place of matriarchs. Present in Knott’s words are paths to reconciliation for everyone.” —Nahanni Fontaine, Member of the Legislative Assembly of Manitoba

“Becoming a Matriarch is a vivid, lyrical exploration of womanhood, loss, grief, and eventually, self-love, braided together with radiance and wisdom. Knott brilliantly uses memory as a tool for self-exploration and growth. The land, dreams and body are in constant communication: ‘My body knows the mountains and rivers and berry bushes that it comes from.’ Throughout the book you can’t help but ask yourself, what does it mean to come from strong women and still allow yourself space to be loved? Becoming a Matriarch teaches us that joy can exist inside the cracks of the most tumultuous times in our lives and love can still bloom if we let it.” —Chelene Knight, author of Dear Current Occupant and Junie

“Becoming a Matriarch is a feast of remarkable, colourful, deep and profoundly raw storytelling. Helen Knott is one of the greatest Indigenous literary artists of our time.” —Brandi Morin, author of Our Voice of Fire: A Memoir of a Warrior Rising

Additional Information
224 pages | 5.18" x 8.00" | Paperback

The first comprehensive study of Indian residential schools in the North.

In this ground-breaking book, Crystal Gail Fraser draws on Dinjii Zhuh (Gwich'in) concepts of individual and collective strength to illuminate student experiences in northern residential schools, revealing the many ways Indigenous communities resisted the institutionalization of their children.

After 1945, federal bureaucrats and politicians increasingly sought to assimilate Indigenous northerners--who had remained comparatively outside of their control--into broader Canadian society through policies that were designed to destroy Indigenous ways of life. Foremost among these was an aggressive new schooling policy that mandated the construction of Grollier and Stringer Halls: massive residential schools that opened in Inuvik in 1959, eleven years after a special joint committee of the House of Commons and the Senate recommended that all residential schools in Canada be closed.

By Strength, We Are Still Here shares the lived experiences of Indigenous northerners from 1959 until 1982, when the territorial government published a comprehensive plan for educational reform. Led by Survivor testimony, Fraser shows the roles both students and their families played in disrupting state agendas, including questioning and changing the system to protect their cultures and communities.

Centring the expertise of Knowledge Keepers, By Strength, We Are Still Here makes a crucial contribution to Indigenous research methodologies and to understandings of Canadian and Indigenous histories during the second half of the twentieth century.

Reviews
"By Strength, We Are Still Here demonstrates an intergenerational process of love and strength. Fraser's methodology, theory work, and incredibly thorough research are in and of themselves lifegiving, vital, and serve as an example to all other scholars." — Omeasoo Wahpasiw

"By integrating survivor testimony with archives, Fraser points towards the Indigenous resistance revealed in the ellipses and gaps in the colonial record. This is very important work." — Chris Trott

Educator Information
Table of Contents

Glossary

A Note on Region and Terminology

Introduction—By Strength, We Are Still Here.

Chapter One—“If anyone is going to jail for this, I’m taking it”: Our Relatives Speak

• Education in Nanhkak Thak Before the Arrival of Settlers
• Indian Day and Residential Schools
• The Construction of Inuvik

Chapter Two—Calls Grow. “Listen! It’s louder now. From here, from there. Indian voices, Métis voices, demanding attention, demanding equality!"

Chapter Three—“The long process of tearing our family apart”

Chapter Four—“Making us into nice white kids.”

Chapter Five—“The hazards that can result from too permissive or undisciplined sexual behaviour.”

Chapter Six—“To find that inner peace, it was so important for us all.”

Chapter Seven—“These are our children and they are very precious to us.”

Conclusion—“We knew the value of strength.”

Appendix A

Endnotes

Additional Information
320 pages | 6.00" x 9.00" | 69 b&w illustrations, index, bibliography | Paperback 

An eighty-year overview of wood and argillite carving by Indigenous women artists on the Northwest Coast.

Though women of the Northwest Coast have long carved poles, canoes, panels, and masks, many of these artists have not become as well known outside their communities as their male counterparts. These artists are cherished within their communities for helping to keep traditional carving practices alive, and for maintaining the dances, songs, and ceremonies that are intertwined with visual art production. This book, and an associated exhibition at the Audain Art Museum, gathers a range of sculptural formats by Indigenous women in order to expand the discourse of carving in the region.

Both the exhibition and publication are co-curated by Dana Claxton, artist, filmmaker and head of the University of British Columbia's Department of Art History, Visual Art and Theory; and Dr. Curtis Collins, the AAM's Director & Chief Curator. Commentaries by Skeena Reece, Claxton, and Marika Swan, and interviews with artists Dale Campbell and Mary Anne Barkhouse are presented alongside more than one hundred artworks from public and private collections across North America, including several newly commissioned pieces.

Featured artists include:
- Ellen Neel (Kwakwaka'wakw, 1916-1966) - Freda Diesing (Haida, 1925-2002) - Doreen Jensen (Gitxsan, 1933-2009) - Susan Point (Musqueam, b. 1952) - Dale Campbell (Tahltan, b. 1954) - Marianne Nicolson (Kwakwaka'wakw, b. 1969) - Arlene Ness (Gitxsan, b. 1970s) - Melanie Russ (Haida, b. 1977) - Marika Swan (Nuu-chah-nulth, b. 1982) - Morgan Asoyuf (Ts'msyen, b. 1984) - Cori Savard (Haida, b. 1985) - Cherish Alexander (Gitwangak, b. 1987) - Stephanie Anderson (Wetsuwet'en, b. 1991) - Veronica Waechter (Gitxsan, b. 1995)

Awards

• Winner of the 2025 Bill Duthie Booksellers' Choice Award

Additional Information
160 pages | 9.20" x 1.10" | 120 colour photos | Hardcover 

Part look-book, part memoir, and part history, this beautifully illustrated monument to a singular designer who helped inspire the growing Indigenous fashion movement is also a powerful demonstration of the enduring resonance and possibilities of Haida art.

Inspired by a discussion with celebrated Haida artist Bill Reid, Haida designer Dorothy Grant made it her life's mission to bring her culture's traditional art into contemporary fashion while adhering to the principle of Yaguudang, or respect for oneself and others. The 1989 launch of her Feastwear collection, featuring modern silhouettes hand-appliquéd with Northwest Coast formline, immediately established her at the forefront of Indigenous fashion in North America, and she has since hosted runway shows and trunk sales from Paris to Vancouver to Tokyo. Her clients include Indigenous leaders, national politicians, and global celebrities, and her garments can be found in museums and galleries around the world, including the Metropolitan Museum of Art.

Dorothy Grant: An Endless Thread is the first monograph to celebrate her trailblazing career. It features new photography of dozens of garments spanning the past four decades, modeled in studio and natural settings in Vancouver and Haida Gwaii, alongside sketches, traditional button robes and spruce-root weaving, and personal stories and reflections from Grant. Essays by Haida repatriation specialist and museologist Sdahl Ḵ'awaas Lucy Bell and curator India Rael Young place Grant in the long continuum of Haida fashion and trace the many innovations and accomplishments of her journey, and Haida curator and artist Kwiaahwah Jones, a longtime assistant to Grant, shares behind-the-scenes insights and memories. An associated exhibition, Dorothy Grant: Raven Comes Full Circle, opened at Haida Gwaii Museum in July 2024.

Educator Information
The publisher notes this work is from Dorothy Grant in collaboration with the Haida Gwaii Museum. Contributors to this work include:

• Sdahl Ḵ’awaas Lucy Bell
• Taa.uu ’Yuuwans Nika Collison
• Kwiaahwah Jones
• India Rael Young

Additional Information
168 pages | 9.44" x 10.35" | Hardcover 

Delores Churchill, Haida weaver, shares the stories of her life, her culture and the importance of passing cultural knowledge from one generation to the next. Told with humility, humour and deep respect, From a Square to a Circle is a testament to the values of her people, a technical guide to her masterful weaving skills and a gift to the reader at every point along her journey.

Part memoir, part how-to guide, this book shines light on Delores’s weaving teachers, including her strong-minded mother Selina (Ilst’ayaa), whose teachings Delores once resisted as a child. The Haida are connected to weaving through their history, which goes back thousands of years ago as shown through discoveries like the 4,000-year-old baskets at south Baranof.

Walk with Delores as she harvests cedar bark for baskets, Selina teaching “by modelling and then leaving the learner to imitate.” Learn the weaving harvest and preparation terminology. Follow the steps of how to prepare cedar bark, harvest spruce roots, and learn natural dye recipes. Photos and diagrams are visual aids that accompany the steps to Haida weaving techniques and instructions.

Having passed her skills on to hundreds of people, believing that “weaving belongs to all of us,” Delores wishes to share the knowledge of basketweaving where beginners and skilled weavers are able to express their distinct selves, just as every coastal Indigenous weaving style is unique. The love for basketweaving displayed in Delores’s writing is sure to make readers yearn to try their own hand at the craft.

Additional Information
256 pages | 8.00" x 10.00" | 240 Photographs | Paperback