Into this peaceful scene put the prosperous, despotic Hubbard family - Ben, possessive and scheming; Oscar, cruel and arrogant; Ben's dupe, Leo, weak and unprincipled; Regina wickedly clever - each trying to outwit the other. In this melodrama, only Regina wins.

    Bernice Meetoos, a Cree woman, leaves her home in Northern Alberta following tragedy and travels to Gibsons, BC. She is on something of a vision quest, seeking to understand the messages from The Frugal Gourmet (one of the only television shows available on CBC North) that come to her in her dreams. She is also driven by the leftover teenaged desire to meet Pat Johns, who played Jesse on The Beachcombers, because he is, as she says, a working, healthy Indian man. Bernice heads for Molly’s Reach to find answers but they are not the ones she expected.With the arrival in Gibsons of her Auntie Val and her cousin Skinny Freda, Bernice finds the strength to face the past and draw the lessons from her dreams that she was never fully taught in life. Part road trip, dream quest and travelogue, the novel touches on the universality of women's experience, regardless of culture or race.Cover art by Cree author and artist, George Littlechild

    The invasion of white society threatens to change their traditional way of life, and they must choose to fight or assimilate. The story is a powerful portrait of a fading way of life. The story culminates with the historic Marias Massacre of 1870, in which the U.S. Cavalry mistakenly killed a friendly band of Blackfeet, consisting mostly of non-combatants."A major contribution to Native American literature." -- Wallace Stegner.

    Nor does his father, Tilden, a hulking former All-American footballer, or his uncle, who has lost one of his legs to a chain saw. Only the memory of an unwanted child, buried in an undisclosed location, can hope to deliver this family.

    It can also be as dark, as violent, as rapturous. In the end, there may be no difference between them.A girl grows up in Nunavut in the 1970s. She knows joy, and friendship, and parents' love. She knows boredom, and listlessness, and bullying. She knows the tedium of the everyday world, and the raw, amoral power of the ice and sky, the seductive energy of the animal world. She knows the ravages of alcohol, and violence at the hands of those she should be able to trust. She sees the spirits that surround her, and the immense power that dwarfs all of us. When she becomes pregnant, she must navigate all this.Veering back and forth between the grittiest features of a small arctic town, the electrifying proximity of the world of animals, and ravishing world of myth, Tanya Tagaq explores a world where the distinctions between good and evil, animal and human, victim and transgressor, real and imagined lose their meaning, but the guiding power of love remains.Haunting, brooding, exhilarating, and tender all at once, Tagaq moves effortlessly between fiction and memoir, myth and reality, poetry and prose, and conjures a world and a heroine readers will never forget.

    This new volume collects the author’s plays written in the past five years, including References to Salvador Dalí Make Me Hot ("effortlessly melds otherworldly fantasy with gritty realism to make sparks fly onstage."—The Journal News), Sueño (a reworking for Pedro Calderón’s Life is a Dream) and Sonnets for an Old Century, the author’s most recent work, which recently premiered in Los Angeles.Puerto Rican-born playwright José Rivera plays have been produced all over the world and his work has been translated into seven languages. His best known work includes Marisol and Each Day Dies with Sleep. "Rivera has a messianic mission to replace old and dying creeds with vibrant new visions."—Robert Brustein, New RepublicAlso available by José RiveraMarisol and Other Plays PB $15.95 1-55936-136-0 • USA

    The story deals with class conflicts, the influence of fathers, and vengeance as viewed through the third-person perspective of a young, impressionable child. It is a prequel to The Hamlet, The Town, and The Mansion, the three novels make up the Snopes trilogy.

    Sweeping all major theater awards, including the 1996 Pulitzer Prize for drama, as well as four 1996 Tony Awards including Best Musical, Best Book, and Best Score for a Musical, Rent captures the heart and spirit of a generation, refleting it onstage through the emotion of its stirring words and music, and the energy of its young cast. Now, for the first time, Rent comes to life on the page -- through vivid color photographs, the full libretto, and an utterly compelling behind-the-scenes oral history of the show's creation. Here is the exclusive and absolutely complete companion to Rent, told in the voices of the extraordinary talent behind its success: the actors, the director, the producers, and the librettist and composer himself, Jonathan Larson, whose sudden death, on the eve of the first performance, has made Rent's life-affirming message all the more poignant.

    Morrison's response to Sellars’ 2009 production of Othello is an intimate dialogue of words and music between Desdemona and her African nurse Barbary. Morrison gives voice and depth to the female characters, letting them speak and sing in the fullness of their hearts. Desdemona is an extraordinary narrative of words, music and song about Shakespeare’s doomed heroine, who speaks from the grave about the traumas of race, class, gender, war — and the transformative power of love. Toni Morrison transports one of the most iconic, central, and disturbing treatments of race in Western culture into the new realities and potential outcomes facing a rising generation of the 21st century.

    When her co-worker Andrei, an enigmatic Romanian refugee who has become the object of her fascination, suddenly vanishes, Naiko, an employee in the Undeliverable Mail Office, searches for clues to explain his disappearance and discovers the elusive nature of truth.

    Tracing how these ideas evolved, and drawing from history, the authors disrupt long-held and enduring myths such as:"Columbus Discovered America""Thanksgiving Proves the Indians Welcomed Pilgrims""Indians Were Savage and Warlike""Europeans Brought Civilization to Backward Indians""The United States Did Not Have a Policy of Genocide""Sports Mascots Honor Native Americans""Most Indians Are on Government Welfare""Indian Casinos Make Them All Rich""Indians Are Naturally Predisposed to Alcohol"Each chapter deftly shows how these myths are rooted in the fears and prejudice of European settlers and in the larger political agendas of a settler state aimed at acquiring Indigenous land and tied to narratives of erasure and disappearance. Accessibly written and revelatory, "All the Real Indians Died Off" challenges readers to rethink what they have been taught about Native Americans and history.

    Winner of the American Book AwardBased on the author's own experiences, this award-winning novel was the first to tell the story of the evacuation, relocation, and dispersal of Canadian citizens of Japanese ancestry during the Second World War.

    Joining up with three other concerned residents, Angela fights the project, reconnecting with her ancestral roots as she does so. Harrowing, lyrical, and boldly incisive, Solar Storms is a powerful examination of the clashes between cultures and traumatic repercussions that have shaped American history.

    Through her characterization of two young sisters who are removed from their family, the author poignantly illustrates the difficulties that many Aboriginal people face in maintaining a positive self-identity.

    One should not be surprised, I suppose, that it has remained vital, and immediate, for that is the nature of story. And this is particularly true of the oral tradition, which exists in a dimension of timelessness. I was first told these stories by my father when I was a child. I do not know how long they had existed before I heard them. They seem to proceed from a place of origin as old as the earth."The stories in The Way to Rainy Mountain are told in three voices. The first voice is the voice of my father, the ancestral voice, and the voice of the Kiowa oral tradition. The second is the voice of historical commentary. And the third is that of personal reminiscence, my own voice. There is a turning and returning of myth, history, and memoir throughout, a narrative wheel that is as sacred as language itself." —From the new Preface