This edition contains the definitive versions of these works, a foreword in which Rabe examines the interwoven relationship of the plays, and an afterword in which he discusses the process of their construction.

    Carol Daniels adds an important perspective to the Canadian literary landscape.Taken from the arms of her mother as soon as she was born, Sandy was only one of over twenty thousand Aboriginal children scooped up by the federal government between the 1960s and 1980s. Sandy was adopted by a Ukrainian family and grew up as the only First Nations child in a town of white people. Ostracized by everyone around her and tired of being different, at the early age of five she tried to scrub the brown off her skin. But she was never sent back into the foster system, and for that she considers herself lucky.From this tragic period in her personal life and in Canadian history, Sandy does not emerge unscathed, but she emerges strong--finding her way by embracing the First Nations culture that the Sixties Scoop had tried to deny. Those very roots allow Sandy to overcome the discriminations that she suffers every day from her co-workers, from strangers and sometimes even from herself.

    Every time she looked in the mirror, Cepeda saw a mystery—a tapestry of races and ethnicities that came together in an ambiguous mix. With time running out, she decided to embark on an archaeological dig of sorts by using the science of ancestral DNA testing to excavate everything she could about her genetic history.Digging through memories long buried, she embarks upon a journey not only into her ancestry but also into her own history. Born in Harlem to Dominican parents, she was sent to live with her maternal grandparents in the Paraíso (Paradise) district in Santo Domingo while still a baby. It proved to be an idyllic reprieve in her otherwise fraught childhood. Paraíso came to mean family, home, belonging. When Cepeda returned to the US, she discovered her family constellation had changed. Her mother had a new, abusive boyfriend, who relocated the family to San Francisco. When that relationship fell apart, Cepeda found herself back in New York City with her father and European stepmother: attending tennis lessons and Catholic schools; fighting vicious battles wih her father, who discouraged her from expressing the Dominican part of her hyphenated identity; and immersed in the ’80s hip-hop culture of uptown Manhattan. It was in these streets, through the prism of hip-hop and the sometimes loving embrace of her community, that Cepeda constructed her own identity.Years later, when Cepeda had become a successful journalist and documentary filmmaker, the strands of her DNA would take her further, across the globe and into history. Who were her ancestors? How did they—and she—become Latina? Her journey, as the most unforgettable ones often do, would lead her to places she hadn’t expected to go. With a vibrant lyrical prose and fierce honesty, Cepeda parses concepts of race, identity, and ancestral DNA among Latinos by using her own Dominican-American story as one example, and in the process arrives at some sort of peace with her father.

    Nowhere is this more evident than in his latest play, Book of Days, which has won the Best Play Award from the American Theater Critics Association. Book of Days is set in a small town dominated by a cheese plant, a fundamentalist church, and a community theater. When the owner of the cheese plant dies mysteriously in a hunting accident, Ruth, his bookkeeper, suspects murder. Cast as Joan of Arc in a local production of George Bernard Shaw's St. Joan, Ruth takes on the attributes of her fictional character and launches into a one-woman campaign to see justice done. In Book of Days, Lanford Wilson uses note-perfect language to create characters who are remarkable both for their comic turns and for their enormous depth. "Mr. Wilson's cosmic consciousness, intense moral concern, sense of human redemption and romantic effusion have climbed to a new peak." -- Alvin Klein, The New York Times; "A significant addition to the Lanford Wilson canon . . . his best work since Fifth of July . . . Book of Days manages to combine Wilson's signature character-based whimsy with an atypically strong narrative book and politically charged underpinnings." -- Chris Jones, Variety; "Book of Days is lively storytelling by one of our best playwrights." -- Lawrence DeVine, Detroit Free Press.

    This tongue-in-cheek guide is full of advice designed to help you manage Aunty meddling and encourages you to pursue your passions—from someone who has been through it all. Qamar confesses to throwing sweatshirts over crop-tops to get out of the house without being questioned, hiding her boyfriend in a closet, and enduring overbearing parents endless pressuring her to become a doctor, lawyer, or engineer. Holding onto your cultural identity is tough. Always interfering Aunties make it even harder. But ultimately, Aunties keep our lives interesting. As an Aunty-survivor and a woman who has lived the cross-cultural experience, Qamar defied the advice of her aunties almost every step of the way, and she is here to remind you: Trust No Aunty.

    Escaping into her research, Constance decodes the Gustav Manuscript, and discovers a pair of comedies that she believes are the source for Shakespeare's Othello and Romeo and Juliet. Transported into the world of her theory, she comes face-to-face with Desdemona and Juliet and discovers that, far from shrinking violets, they are hellions full of surprises. What follows is a riotous retelling of theatrical legend that brings Constance out of her gloom and straight into a new and confident self.

    Johnson."The night of the decision in the Gerald Stanley trial for the murder of Colten Boushie, I received a text message from a retired provincial court judge. He was feeling ashamed for his time in a system that was so badly tilted. I too feel this way about my time as both defence counsel and as a Crown prosecutor; that I didn't have the courage to stand up in the court room and shout 'Enough is enough.' This book is my act of taking responsibility for what I did, for my actions and inactions." --Harold R. JohnsonIn early 2018, the failures of Canada's justice system were sharply and painfully revealed in the verdicts issued in the deaths of Colten Boushie and Tina Fontaine. The outrage and confusion that followed those verdicts inspired former Crown prosecutor and bestselling author Harold R. Johnson to make the case against Canada for its failure to fulfill its duty under Treaty to effectively deliver justice to Indigenous people, worsening the situation and ensuring long-term damage to Indigenous communities.In this direct, concise, and essential volume, Harold R. Johnson examines the justice system's failures to deliver "peace and good order" to Indigenous people. He explores the part that he understands himself to have played in that mismanagement, drawing on insights he has gained from the experience; insights into the roots and immediate effects of how the justice system has failed Indigenous people, in all the communities in which they live; and insights into the struggle for peace and good order for Indigenous people now.

    For each, the chaos of what has come before brings with it a painful legacy.“I have Stayed. I have Stayed – I have Stayed for as long as I possibly can.”

    But tragically, they were not the only Aboriginal women to suffer that year. In fact, an official report revealed that since 1980, 1,200 Canadian Aboriginal women have been murdered or have gone missing. This alarming official figure reveals a national tragedy and the systemic failure of law enforcement and of all levels of government to address the issue.Journalist Emmanuelle Walter spent two years investigating this crisis and has crafted a moving representative account of the disappearance of two young women, Maisy Odjick and Shannon Alexander, teenagers from western Quebec, who have been missing since September 2008. Via personal testimonies, interviews, press clippings and official documents, Walter pieces together the disappearance and loss of these two young lives, revealing these young women to us through the voices of family members and witnesses.Stolen Sisters is a moving and deeply shocking work of investigative journalism that makes the claim that not only is Canada failing its First Nations communities, but that a feminicide is taking place.

    A pioneering work, it will overturn complacent notions of a mutual sisterhood and the common good.

    Now comes a new edition that includes many pieces cut from the original as well as fresh material added by the author. Here finally, after twenty-two years of gathering dust, is the complete version of the groundbreaking bestseller.In this, her best-loved work, Anne Cameron has created a timeless retelling of northwest coast Native myths that together create a sublime image of the social and spiritual power of woman. Cameron weaves together the lives of legendary and imaginary characters, creating a work of fiction with an intensity of style matched by the power of its subject.

    As Whitney French says in her introduction, Black Writing Matters “injects new meaning into the word diversity [and] harbours a sacredness and an everydayness that offers Black people dignity.” An “invitation to read, share, and tell stories of Black narratives that are close to the bone,” this collection feels particular to the Black Canadian experience.

    This project is animated by a hope that debate—in the spirit of the catechesis itself—will take place in book clubs across the country, composed of people who like discussion and are energized, engaged, and jazzed by the journey of rebuilding, reconciliation, and renewal.This collection of essays returns us to the proper work of dialogue, answering some questions but inevitably, and necessarily, provoking more. I hope it will prod us to get off our big fat complacencies. We must investigate our own histories, asking questions about the land on which we work and live. What is the history of this land? Who was here before us? How did we come to occupy and define it? What was my family’s relationship to Indigenous peoples?” — Shelagh RogersDrawing from the Aboriginal Healing Foundation’s three-volume series Truth and Reconciliation—which comprises the titles From Truth to Reconciliation; Response, Responsibility, and Renewal; and Cultivating Canada—acclaimed veteran broadcast-journalist and host of The Next Chapter on CBC Radio Shelagh Rogers joins series editors Mike DeGagné and Jonathan Dewar to present these selected reflections, in reader format, on the lived and living experiences and legacies of Residential Schools and, more broadly, reconciliation in Canada.This book is available at: http://www.speakingmytruth.ca/

    This is a comeback to a position of power, influence, and creativity in Canadian civilization.John Ralston Saul argues that historic moments are always uncomfortable. The events that began late in 2012 with the Idle No More movement were not just a rough patch in Aboriginal relations with the rest of Canada. What is happening today in Aboriginal-white relations is not about guilt, sympathy, or failure, or romanticizing a view of the past. It is about citizens’ rights. It is about rebuilding relationships that were central to the creation of Canada and, equally important, central to its continued existence. Canadians are faced with the potential for those relationships to open up a more creative and accurate way of imagining ourselves, a different narrative for Canada in which we all share obligations as a society.Wide in scope but piercing in detail, The Comeback presents a powerful portrait of modern Aboriginal life in Canada in contrast to the perceived failings, often portrayed in media, that Canadians have become accustomed to. Once again, Saul presents an unfamiliar story of Canada’s past so that we may better understand its present—and imagine a better future.

    Stephansson Award for PoetryWith 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.