Publisher’s description: Award-winning Nisga’a poet Jordan Abel’s third collection, Injun, is a long poem about racism and the representation of Indigenous peoples. Composed of text found in western novels published between 1840 and 1950 – the heyday of pulp publishing and a period of unfettered colonialism in North America – Injun then uses erasure, pastiche, and a focused poetics to create a visually striking response to the western genre. Though it has been phased out of use in our “post-racial” society, the word “injun” is peppered throughout pulp western novels. Injun retraces, defaces, and effaces the use of this word as a colonial and racial marker. While the subject matter of the source text is clearly problematic, the textual explorations in Injun help to destabilize the colonial image of the “Indian” in the source novels, the western genre as a whole, and the western canon.
Publisher’s description: When buffalo were many on the western Plains, when Cree and Blackfoot warred in unrelenting enmity, when the Sun Dance and the shaking tent were still a way of life—these were the days of Chief Thunderchild, who roamed the Saskatchewan Plains, fought and hunted, lived and sometimes nearly starved there. His stories of a fierce and vanished freedom are reprinted here, exactly as he told them to Edward Ahenakew in 1923. Chief Thunderchild was born in 1849 and died in 1927, four years after recounting his tales to Edward Ahenakew. In the second half of Voices of the Plains Cree, Old Keyam, a fictional character created by Ahenakew, tells stories about the changes Cree people experienced in the reserve era of the late 19th and early 20th century.
Publisher’s description: George Copway (Kahgegagahbowh, 1818–69), an Ojibwe writer and lecturer, rose to prominence in American literary, political, and social circles during the mid-nineteenth century. His colorful, kaleidoscopic life took him from the tiny Ojibwe village of his youth [in Canada] to the halls of state legislatures throughout the eastern United States and eventually overseas. Copway converted to Methodism as a teenager and traveled throughout the Midwest as a missionary, becoming a forceful and energetic spokesperson for temperance and the rights and sovereignty of Indians, lecturing to large crowds in the United States and Europe, and founding a newspaper devoted to Native issues. One of the first Native American autobiographies, Life, Letters and Speeches chronicles Copway’s unique and often difficult cultural journey, vividly portraying the freedom of his early childhood, the dramatic moment of his spiritual awakening to Methodism, the rewards and frustrations of missionary work, his desperate race home to warn of a pending Sioux attack, and the harrowing rescue of his son from drowning.
Publisher’s description: E. Pauline Johnson (Tekahionwake) was a Native advocate of part-Mohawk ancestry, an independent woman during the period of first-wave feminism, a Canadian nationalist who also advocated strengthening the link to imperial England, a popular and versatile prose writer, and one of modern Canada’s best-selling poets. Johnson longed to see the publication of a complete collection of her verse, but that wish remained unfulfilled during her life. Nine decades after her death, the first complete collection of all of Johnson’s known poems, many painstakingly culled from newspapers, magazines, and archives, is now available. In response to the current recognition of Johnson’s historical position as an immensely popular and influential figure of the late nineteenth and early twentieth centuries, this volume also presents a representative selection of her prose, including fiction about native-settler relations, journalism about women and recreation, and discussions of gender roles and racial stereotypes.
Description (from Canadian Theatre Encyclopedia): Almighty Voice and His Wife tells the story of a Native hero/victim from two very different perspectives. Almighty Voice was a 19th century Saskatchewan Cree, whose poaching of a settler’s cow resulted in his incarceration and escape from jail, and his shooting of a Mountie. He was finally tracked down by a large group of police and civilians, and shot. The first act provides a naturalistic portrait of Almighty Voice and his wife, White Girl. The second act shows how the story has been appropriated by a non-Native society in an attempt to locate an “almighty Native voice.” Almighty Voice is now a Ghost and his wife White Girl is the Interlocutor or Master of Ceremonies, dressed as a Mountie. Both wear whiteface, and engage in a parodic vaudeville routine which mocks the expectations and assumptions of a White audience.
Publisher’s description: In August 1880, businessman Adrian Jakobsen convinced eight Inuit men, women, and children from Hebron and Nakvak, Labrador to accompany him to Europe to be “exhibited” in zoos and Völkerschauen (ethnographic shows). Abraham, Maria, Noggasak, Paingo, Sara, Terrianiak, Tobias, and Ulrike agreed, partly for the money and partly out of curiosity to see the wonders of Europe, which they had heard about from Moravian missionaries. This story is told through several different perspectives, from Abraham’s diary, the earliest known Inuit autobiography, and the missionaries’ letters and reports, to a scholarly article, newspaper pieces, and even advertising. Many illustrations, including portraits done of the Inuit visitors, scans of some of the original documents in German, and recent photos of the abandoned Moravian mission in Hebron, round out Abraham’s intriguing and unfortunate story.