Life at the school is not easy, but Seepeetza still manages to find some bright spots. Always, thoughts of home make her school life bearable.An honest, inside look at life in an Indian residential school in the 1950s, and how one indomitable young spirit survived it.

    It is especially a cry from the heart. As if the tenderness and poetry were dumbfounded before the eruption of a volcano. Natasha Kanapé Fontaine reveals herself as a poet and Innu woman. She loves. She cries. She shouts ... to come into the world again. "A beautiful collection of poems that has the reader enter the Borean “countryside” and walk through it, almost spiritually, and brings us to very roots of a tradition that reunites the dead and living, and with it, the burning ancestral memories that provide a possibility of endless secrets of stones and matter." —Hugues Corriveau, Le Devoir This collection is primarily a search within oneself, of love, the body en route to expectation and ecstasy; a search supported by a lively writing, an explosion of impressions towards nature evocative of a Dali painting. The energy of the image surprises here, one is amazed by the force of this bright and concise language. "Natasha Kanapé Fontaine speaks of blades, vertebrae, back, nerves; she uses a whole lexicon of the skeleton that evokes the structure of the body, its frame, which supports it, which gives it its strength. A call to movement, her poetry is one of action rather than contemplation: we dance, we are walking, we are standing. "—Cousins ​​de personnes (Paris) "Natasha Kanapé Fontaine has written a book as pure as a diamond taken from coal, like the first sentence uttered after awakening from being drunk the night before. She has succeeded, in these deeply moving pages, to begin to ask the fundamental questions of origins, beauty, death and the passage of time.” —Maxime Catellier, Le Libraire (Quebec)

    These unforgettable children are taken by government agents from Tsartlip Day School to live at Kuper Island Residential School. The five are isolated on the small island and life becomes regimented by the strict school routine. They experience the pain of homesickness and confusion while trying to adjust to a world completely different from their own. Their lives are no longer organized by fishing, hunting and family, but by bells, line-ups and chores. In spite of the harsh realities of the residential school, the children find adventure in escape, challenge in competition, and camaraderie with their fellow students. Sometimes sad, sometimes funny, always engrossing, No Time to Say Goodbye is a story that readers of all ages won't soon forget.

    The poems in Admission Requirements attempt to discover what is required of us when we cut across our material and psychic geographies. Simultaneously full and empty of its origins, the self is continually taxed of any certainties and ways of being. The speaker in these poems is engaged in a kind of fieldwork, surveying gardens, communities, and the haphazard cityscape, where the reader is presented with the paradoxes of subsumed histories. With understated irony and unsettling imagery, the poems address the internal conflicts inherent in contemporary living.

    Unacknowledged by his father, an American GI, the child is welcomed into the Inuit community with astonishment and delight. Elsa, however, must come to terms with the conflicting values implied by her son’s dual heritage.Gabrielle Roy’s last novel, Windflower is both a moving account of one woman’s tragic dilemma and a sensitive portrait of a society in transition.

    Iris, a young hostess, is forced to pull a double despite resolving to avoid the charming chef and his wealthy restaurateur wife. Just tables over, Damian, a hungover and self-loathing server, is trying to navigate a potential punch-up with a pair of lit customers who remain oblivious to the rising temperature in the dining room. Meanwhile Olive, a young woman far from her northern home, watches it all unfurl from the fast and frozen street.Through rolling blackouts, we glimpse the truth behind the shroud of scathing lies and unrelenting abuse, and discover that resilience proves most enduring in the dead of this winter’s tale.

    As perhaps the best-known contemporary Canadian play and a poetic drama of enormous theatrical power, The Ecstasy of Rita Joe had a major influence in awakening consciousness to the “Indian problem” both in whites and Natives themselves.Cast of five women and 15 men. With a preface by Chief Dan George.The Ecstasy of Rita Joe premiered November 23, 1967 at the Vancouver Playhouse.

    In it she extends her poetic range in poems about the violences of history and the relationships among women and between cultures. Though she writes tenderly about the clumsiness of love and reminds us of each day's fragility, both the intensity and the irony of her vision are at their height. Passionately rooted in out time and space, these poems impel us to reexamine our lives.

    Tess and Emily are reeling after their ugly separation and fighting over ownership of the embryos that were supposed to grow their family together. And thousands of miles away, the unknown man who served as anonymous donor to them all is being held in captivity in Somalia. While his life remains in precarious balance, his genetic material is a source of both creation and conflict.What does it mean to be a family in our rapidly shifting world? What are our responsibilities to each other with increasing options for how to create a family?As these characters grapple with life-altering changes, they will find themselves interconnected in ways they cannot have imagined, and forced to redefine what family means to them.

    As the investigation goes forward, community attitudes are revealed, and the truth slowly comes to light.Fire Starters is one book in The Debwe Series.

    "An unflaggingly witty and often moving slice of life . . . Poor Super Man explodes on to the stage like a bold comic strip, complete with snappy captions and hard, bright, witty dialogue," writes the Edmonton Journal.

    She writes about what having an abortion alone felt like because her boyfriend wouldn’t sell his guitar to buy a plane ticket. She writes about the purple flesh of her nipple and pleasure so loud that the world must sigh and shut its blinds—for it cannot taste the desire it has not lived. She writes when grief takes her down to the white tile floor of her kitchen and keeps her there all night. She writes how the brown of an espresso smells in white sheets brought by an Italian who played her legs like a harp all night. She writes her disdain for the commercialization of spiritualism and in the same breath demands that people heed their gut before their guru. She writes how the numbness of grief feels the Monday morning after a suicide. She writes of surfing naked in broad daylight—what freedom tastes like, what dust feels like hitting the back of her legs in the muggy heat of May as she tears through the jungle with the teeth of her heart. She writes about the yellow of fireflies, the bitterness of kicking horse coffee in a blue tin cup, and the taste of air cleaned by hemlocks. She writes of Austin, where cowboys walk in boots that echo on sidewalks stained with love. She writes about her disdain for marriage, politics, pensions, the military, and university—she questions everything and writes the truths we are too afraid to tell ourselves. She doesn’t find her radical vulnerability brave, she finds it common sense—like breathing.This Is For The Women Who Don’t Give A Fuck is a poetry collection of Robinson’s heart. Her work is a diverse assortment of gut-wrenching stories, powerful anecdotes, whimsical observations, and overall joyful expressions. She relinquishes social constructs with command and grace. Her rare eloquence is mesmerizing and inclusive to all readers. This collection takes you to extraordinary places and doesn’t return you quite the same.

    Hers is a beautiful and daring vision of political, spiritual, and ecological transformation."All Our Relations" features chapters on the Seminoles, the Anishinaabeg, the Innu, the Northern Cheyenne, and the Mohawks, among others."One of the pleasures of reading "All Our Relations" is discovering the unique voices of Native people, especially Native women, speaking in their own Native truths."-"Women's Review of Books"..".as Winona LaDuke describes, in moving and often beautiful prose, [these] misdeeds are not distant history but are ongoing degradation of the cherished lands of Native Americans."-"Public Citizen News"..".a rare perspective on Native history and culture."-"Sister to Sister/S2S""Hers is a beautiful and daring vision of political, spiritual, and ecological transformation. "All Our Relations" is essential reading for everyone who cares about the fate of the Earth and indigenous peoples."-"Winds of Change""No ragtag remnants of lost cultures here. Strong voices of old, old cultures bravely trying to make sense of an Earth in chaos."-"Whole Earth"

    Winner of the 1999 Governor General's Award for Poetry and shortlisted for the 1999 Pat Lowther Award and the 1999 Dorothy Livesay Award for Poetry (BC Book Prize). SONGS FOR RELINQUISHING THE EARTH contains many poems of praise and grief for the imperiled earth drawing frequently on Jan Zwicky's experience as a musician and philosopher and on the landscapes of the prairies and rural Ontario.SONGS FOR RELINQUISHING THE EARTH was first published by the author in 1996 as a handmade book, each copy individually sewn for its reader in response to a request. It appeared between plain covers on recycled stock, with a small photo (of lavender fields) pasted into each copy. The only publicity was word of mouth.Part of Jan Zwicky's reason for having the author be the maker and distributor of the book was a desire to connect the acts of publication and publicity with the initial act of composition, to have a book whose public gestures were in keeping with the intimacy of the art. She also believed the potential audience was small enough that she could easily sew enough copies to fill requests as they came in. While succeeding in recalling poetry's public life to its roots, she was wrong about the size of that audience and her ability to keep up with demand as word spread, Hence, this facsimile edition. In publishing it, Brick Books has attempted to remain as faithful as possible to the spirit of those original gestures, while making it possible for more readers to have access to this remarkable book.

    Revolving around three interlocking lives, it offers, among other things, a detailed inside look at the work of paramedics, and entertaining celebrity gossip.