An inquest was called and four recommendations were made to prevent another tragedy. None of those recommendations were applied.More than a quarter of a century later, from 2000 to 2011, seven Indigenous high school students died in Thunder Bay, Ontario. The seven were hundreds of miles away from their families, forced to leave home and live in a foreign and unwelcoming city. Five were found dead in the rivers surrounding Lake Superior, below a sacred Indigenous site. Jordan Wabasse, a gentle boy and star hockey player, disappeared into the minus twenty degrees Celsius night. The body of celebrated artist Norval Morrisseau’s grandson, Kyle, was pulled from a river, as was Curran Strang’s. Robyn Harper died in her boarding-house hallway and Paul Panacheese inexplicably collapsed on his kitchen floor. Reggie Bushie’s death finally prompted an inquest, seven years after the discovery of Jethro Anderson, the first boy whose body was found in the water.Using a sweeping narrative focusing on the lives of the students, award-winning investigative journalist Tanya Talaga delves into the history of this small northern city that has come to manifest Canada’s long struggle with human rights violations against Indigenous communities.

    Bob Joseph’s book comes at a key time in the reconciliation process, when awareness from both Indigenous and non-Indigenous communities is at a crescendo. Joseph explains how Indigenous Peoples can step out from under the Indian Act and return to self-government, self-determination, and self-reliance—and why doing so would result in a better country for every Canadian. He dissects the complex issues around truth and reconciliation, and clearly demonstrates why learning about the Indian Act’s cruel, enduring legacy is essential for the country to move toward true reconciliation.

    He was playing softball as a child when the opposing team began to war-whoop when he was at bat. It was just one of many incidents that formed Wente's understanding of what it means to be a modern Indigenous person in a society still overwhelmingly colonial in its attitudes and institutions.As the child of an American father and an Anishinaabe mother, Wente grew up in Toronto with frequent visits to the reserve where his maternal relations lived. By exploring his family's history, including his grandmother's experience in residential school, and citing his own frequent incidents of racial profiling by police who'd stop him on the streets, Wente unpacks the discrepancies between his personal identity and how non-Indigenous people view him.Wente analyzes and gives voice to the differences between Hollywood portrayals of Indigenous peoples and lived culture. Through the lens of art, pop culture, and personal stories, and with disarming humour, he links his love of baseball and movies to such issues as cultural appropriation, Indigenous representation and identity, and Indigenous narrative sovereignty. Indeed, he argues that storytelling in all its forms is one of Indigenous peoples' best weapons in the fight to reclaim their rightful place.Wente explores and exposes the lies that Canada tells itself, unravels "the two founding nations" myth, and insists that the notion of "reconciliation" is not a realistic path forward. Peace between First Nations and the state of Canada can't be recovered through reconciliation--because no such relationship ever existed.

    Poemland alternates brilliantly between the deadpan, the spectacular, and the outrageous.If you open your mouth to start to complain I will fill it with whipped cream . . .There is a floating sadness nearby . . .Chelsey Minnis is the author of three previous collections. A graduate of the University of Colorado at Boulder and the Iowa Writers' Workshop, she currently lives in Boulder, Colorado.

    The highway is known as the 'Highway of Tears', and it has come to symbolize a national crisis.Journalist, Jessica McDiarmid, investigates the devastating effect these tragedies have had on the families of the victims and their communities, and how systemic racism and indifference have created a climate where Indigenous women are over-policed, yet under-protected. Through interviews with those closest to the victims--mothers and fathers, siblings and friends--McDiarmid offers an intimate, first-hand account of their loss and relentless fight for justice. Examining the historically fraught social and cultural tensions between settlers and Indigenous peoples in the region, McDiarmid links these cases to others across Canada--now estimated to number up to 4,000--contextualizing them within a broader examination of the undervaluing of Indigenous lives in this country.Highway of Tears is a powerful story about our ongoing failure to provide justice for missing, and murdered, Indigenous women, and a testament to their families and communities' unwavering determination to find it.

    The first nonfiction work by one of the most distinctive prose stylists of our era, Joan Didion's Slouching Towards Bethlehem remains, decades after its first publication, the essential portrait of America—particularly California—in the sixties.It focuses on such subjects as John Wayne and Howard Hughes, growing up a girl in California, ruminating on the nature of good and evil in a Death Valley motel room, and, especially, the essence of San Francisco's Haight-Ashbury, the heart of the counterculture.

    Now, in The Forest Lover she traces the courageous life and career of Emily Carr, who, more than Georgia O'Keeffe or Frida Kahlo, blazed a path for modern women artists. Overcoming the confines of Victorian culture, Carr became a major force in modern art by capturing an untamed British Columbia and its indigenous peoples just before industrialization changed them forever. From illegal potlatches in tribal communities to artists studios in pre World War I Paris, Vreeland tells her story with gusto and suspense, giving us a glorious novel that will appeal to lovers of art, native cultures, and lush historical fiction.

    Many were written in response to the grim tide of emotions, memories, dreams and nightmares that arose in her as the Truth and Reconciliation process unfolded. With fearlessly wrought verse, Halfe describes how the experience of the residential schools continues to haunt those who survive, and how the effects pass like a virus from one generation to the next. She asks us to consider the damage done to children taken from their families, to families mourning their children; damage done to entire communities and to ancient cultures. Halfe’s poetic voice soars in this incredibly moving collection as she digs deep to discover the root of her pain. Her images, created from the natural world, reveal the spiritual strength of her culture.

    George Orwell's prophetic, nightmarish vision of "Negative Utopia" is timelier than ever-and its warnings more powerful in this three-act adaptation.

    What did I know of our language but pieces? Would I teach her to be pieces? Until a friend comforted, Don’t worry, you and your daughter will learn together. Today she stood sunlight on her shoulders lean and straight to share a song in Diné, her father’s language. To sing she motions simultaneously with her hands; I watch her be in multiple musics.—from “WHEREAS Statements”WHEREAS confronts the coercive language of the United States government in its responses, treaties, and apologies to Native American peoples and tribes, and reflects that language in its officiousness and duplicity back on its perpetrators. Through a virtuosic array of short lyrics, prose poems, longer narrative sequences, resolutions, and disclaimers, Layli Long Soldier has created a brilliantly innovative text to examine histories, landscapes, her own writing, and her predicament inside national affiliations. “I am,” she writes, “a citizen of the United States and an enrolled member of the Oglala Sioux Tribe, meaning I am a citizen of the Oglala Lakota Nation—and in this dual citizenship I must work, I must eat, I must art, I must mother, I must friend, I must listen, I must observe, constantly I must live.” This strident, plaintive book introduces a major new voice in contemporary literature.

    From stories about a childhood spent wishing she could change everything about her life (including her parents), to her chronically delayed puberty, and the self-esteem issues that accompany a flat chest, Vaz doesn’t pull any punches. She takes us through her college years, where under the vigilance of Catholic nuns she grappled with a major decision—to have or not have pre-marital sex as well as the discovery that the female body is capable of some very strange sounds at very inappropriate times. Out of respect for various ex-boyfriends, she will dwell on just one man—her wheat-eating, milk-drinking Jat husband. From their extra-long courtship (that he didn’t tell his mother about), to their wedding day and beyond, there are lessons for every girl who has ever thought ‘one day I’d like to be married’. The lesson is: ‘Don’t say you weren’t warned’

    An updated and considerably revised version of the ancient Greek legend of Pygmalion and Galatea, the 20th-century story pokes fun at the antiquated British class system. In Shaw's clever adaptation, Professor Henry Higgins, a linguistic expert, takes on a bet that he can transform an awkward cockney flower seller into a refined young lady simply by polishing her manners and changing the way she speaks. In the process of convincing society that his creation is a mysterious royal figure, the Professor also falls in love with his elegant handiwork.The irresistible theme of the emerging butterfly, together with Shaw's brilliant dialogue and splendid skills as a playwright, have made Pygmalion one of the most popular comedies in the English language. A staple of college drama courses, it is still widely performed.

    Brown.From its inception in California in 1974 to its Broadway revival in 2022, the Obie Award–winning for colored girls who have considered suicide/when the rainbow is enuf has excited, inspired, and transformed audiences all over the country for nearly fifty years. Passionate and fearless, Shange’s words reveal what it meant to be a woman of color in the 20th century. First published in 1975, when it was praised by The New Yorker for “encompassing…every feeling and experience a woman has ever had,” for colored girls who have considered suicide/when the rainbow is enuf will be read and performed for generations to come. Now with new introductions by Jesmyn Ward and Broadway director Camille A. Brown, and one poem not included in the original, here is the complete text of a groundbreaking dramatic prose poem that resonates with unusual beauty in its fierce message to the world.

    Drama. Elisa Gabbert's L'HEURE BLEUE, OR THE JUDY POEMS, goes inside the mind of Judy, one of three characters in Wallace Shawn's The Designated Mourner, a play about the dissolution of a marriage in the midst of political revolution. In these poems, Gabbert imagines a back story and an emotional life for Judy beyond and outside the play. Written in a voice that is at once intellectual and unselfconscious, these poems create a character study of a many-layered woman reflected in solitude, while engaging with larger questions of memory, identity, desire, surveillance, and fear.

    And it's not just the Arctic. The whole world is changing in dangerous, unpredictable ways. Sheila Watt-Cloutier has devoted her life to protecting what is threatened and nurturing what has been wounded. In this culmination of Watt-Cloutier's regional, national, and international work over the last twenty-five years, The Right to Be Cold explores the parallels between safeguarding the Arctic and the survival of Inuit culture, of which her own background is such an extraordinary example. This is a human story of resilience, commitment, and survival told from the unique vantage point of an Inuk woman who, in spite of many obstacles, rose from humble beginnings in the Arctic to become one of the most influential and decorated environmental, cultural, and human rights advocates in the world.