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: Slash is Jeannette Armstrong’s first novel. It poignantly traces the struggles, pain and alienation of a young Okanagan man who searches for truth and meaning in his life. Recognized as an important work of literature, Slash is used in high schools, colleges and universities.
Publisher’s description: Maria Campbell’s [auto]biography is a classic, vital account of a young Métis woman’s struggle to come to terms with the joys, sorrows, loves and tragedies of her northern Saskatchewan childhood. Maria was a strong and sensitive child who lived in a community robbed of its pride and dignity by the dominant culture. At 15 she tried in vain to escape by marrying a white man, only to find herself trapped in the slums of Vancouver—addicted to drugs, tempted by suicide, close to death. But the inspiration of her Cree great-grandmother, Cheechum, gives her confidence in herself and in her people, confidence she needs to survive and to thrive. Half-Breed offers an unparalleled understanding of the Métis people and of the racism and hatred they face. Maria Campbell’s story cannot be denied and it cannot be forgotten: it stands as a challenge to all Canadians who believe in human rights and human dignity.
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: With a title derived from John A. Macdonald’s moniker for the Métis, The Pemmican Eaters explores Marilyn Dumont’s sense of history as the dynamic present. Combining free verse and metered poems, her latest collection aims to recreate a palpable sense of the Riel Resistance period and evoke the geographical, linguistic/cultural, and political situation of Batoche during this time through the eyes of those who experienced the battles, as well as through the eyes of Gabriel and Madeleine Dumont and Louis Riel. Included in this collection are poems about the bison, seed beadwork, and the Red River Cart, and some poems employ elements of the Michif language, which, along with French and Cree, was spoken by Dumont’s ancestors. In Dumont’s The Pemmican Eaters, a multiplicity of identities is a strengthening rather than a weakening or diluting force in culture.
Publisher’s description: Life Among the Qallunaat is the story of Mini Aodla Freeman’s experiences growing up in the Inuit communities of James Bay and her journey in the 1950s from her home to the strange land and stranger customs of the Qallunaat, those living south of the Arctic. Her extraordinary story, sometimes humorous and sometimes heartbreaking, illustrates an Inuit woman’s movement between worlds and ways of understanding. It also provides a clear-eyed record of the changes that swept through Inuit communities in the 1940s and 1950s. Mini Aodla Freeman was born in 1936 on Cape Hope Island in James Bay. Life Among the Qallunaat was first published in 1978 and is the third book in the First Voices, First Texts series, which publishes lost or underappreciated texts by Indigenous writers. This critical edition of Mini Aodla Freeman’s groundbreaking work includes revisions based on the original typescript, an interview with the author, and an afterword by Keavy Martin, Julie Rak, and Norma Dunning.
Publisher’s description: Taking fantasy literature beyond the stereotypes, Daniel Heath Justice’s acclaimed Thorn and Thunder novels are set in a world resembling eighteenth-century North America. The original trilogy is available here for the first time as a fully revised one-volume novel. The story of the struggle for the green world of the Everland, home of the forest-dwelling Kyn, is an adventure tale that bends genre and gender.
Publisher’s description: Set along the Pacific Northwest Coast in the 1950s, Ravensong tells the story of a Native [Coast Salish] community devastated by an influenza epidemic. Stacey, a 17-year-old Native [Coast Salish] girl, struggles with the clash between white society’s values and her family’s traditional ways, knowing that her future lies somewhere in between. Celia, her sister, has visions from the past, while Raven warns of an impending catastrophe before there is any reconciliation between the two cultures. In this passionate story about a young woman’s quest for answers, author Lee Maracle speaks unflinchingly of the gulf between two cultures: a gulf that Raven says must be bridged. Ravensong is a moving drama that includes elements of prophecy, mythology, cultural critique, and humour. Featuring a preface by Lee Maracle and cover art by Métis artist Christi Belcourt, this revitalized edition is ideal for use in Literature and Gender and Women’s Studies programs.
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.