But Vinia is tragically already married to Dryden's employer, Joe, manager of the Black Prince coal pit. Joe's jealousy over the growing connection between his wife and Dryden, sends Dryden into the arms of the beautiful and fiery Roberta Grant. But can Dryden ever truly forget Vinia?

    Mohi symbolises ""the hurting"" and Kabir is all about ""the healing"" that comes after it. A book written and illustrated by author,which is for everyone. for those who believe in love and compassion and for those who don't. Those who have healed and those who are still in process. Those who aren't able to move on and those who have successfully done it. It is for feminists, the activists, the believers, the gender norm shatterers.It is a gift, a book on its journey to make difference in it's reader's life.

    . . . Dauntlessly and resourcefully intellectual, Robertson can also be playful or blunt. . . . She wields language expertly, even beautifully."—The New York TimesWhat if the cinema of the present were a Möbius strip of language, a montage of statements and questions sutured together and gradually accumulating color? Would the seams afford a new sensibility around the pronoun "you"? Would the precise words of philosophy, fashion, books, architecture, and history animate a new vision, gestural and oblique? Is the kinetic pronoun cinema?These and other questions are answered in the new collection from acclaimed poet and essayist Lisa Robertson. The book is available with four different back covers, designed by artists Hadley+Maxwell.A quorum of crows will be your witness.And if you discover you were bought?You note the smell of rain, bread, and exhaust mixed with tiredness.And if you yourself are incompatible with your view of the world?And what is the subject but a stitching?Once again you are the one who promotes artifice.At 2 am on Friday, you burn with a maudlin premonition.And rankings and rankings and badges and repetitions.Lisa Robertson's book Lisa Robertson's Magenta Soul Whip was named one of the New York Times 100 Notable Books of 2010 and was longlisted for the 2011 Warwick Prize. Her other books include Debbie: An Epic, The Men, The Weather, and Occasional Work and Seven Walks from the Office for Soft Architecture. She is the 2014 Bain Swiggett Professor at Princeton University.

    Gord Hill spent two years unearthing images and researching historical information to create The 500 Years of Resistance Comic Book, which presents the story of Aboriginal resistance in a far-reaching format.Other events depicted include the 1680 Pueblo Revolt in New Mexico; the Inca insurgency in Peru from the 1500s to the 1780s; Pontiac and the 1763 Rebellion and Royal Proclamation; Geronimo and the 1860s Seminole Wars; Crazy Horse and the 1877 War on the Plains; the rise of the American Indian Movement in the 1960s; 1973's Wounded Knee; the Mohawk Oka Crisis in Quebec in 1990; and the 1995 Aazhoodena/Stoney Point resistance.With strong, plain language and evocative illustrations, The 500 Years of Resistance Comic Book documents the fighting spirit and ongoing resistance of Indigenous peoples through five hundred years of genocide, massacres, torture, rape, displacement, and assimilation: a necessary antidote to the conventional history of the Americas. Includes an introduction by activist Ward Churchill, leader of the American Indian Movement in Colorado and a prolific writer on Indigenous resistance issues.Gord Hill, a member of the Kwakwaka'wakw Nation in British Columbia, has been active in Indigenous resistance, anti-colonial, and anti-capitalist movements since 1990. He is also author of The 500 Years of Resistance, a pamphlet published by PM Press.

    He aims an anthropological eye at the realities of everyday life to show how they house the violence that continues to reverberate from the long twentieth century. In a genre-bending constellation of poetry, photography, redaction, and poetics, Belcourt ultimately argues that if signifiers of Indigenous suffering are everywhere, so too is evidence of Indigenous peoples’ rogue possibility, their utopian drive.In NDN Coping Mechanisms: Notes from the Field, the poet takes on the political demands of queerness, mainstream portrayals of Indigenous life, love and its discontents, and the limits and uses of poetry as a vehicle for Indigenous liberation. In the process, Belcourt once again demonstrates his extraordinary craft, guile, and audacity, and the sheer dexterity of his imagination.

    Includes "The Spell of the Yukon," "The Heart of the Sourdough," "While the Bannock Bakes," and "The Squaw Man."

    A revised edition of Lee Maracle's visionary book which links teaching of her First Nations heritage with feminism.

    These books are found on Goodreads lists and are #1 in many categories.Come to the Beyond for a supernatural unique read!BOOK 1: BEYOND BRIDALVEIL FALLOria is celebrating her eighteenth birthday in Yosemite National Park when she goes into the pool at the bottom of Bridalveil Fall, only to come out beyond it.In another world she learns she is The Golden Queen of the Ahwahneechee tribe, and that she is a shape shifter. Here the Dwellers of Ahwahnee fight the Evil that tries to get into the world of man. Will she find her soul mate in Grey Wolf or is he more than he appears to be? One thing is for sure, with all the magic and shape shifting happening, only the all knowing grandfather and her grandmother's wisdom can guide her through the Evil Beyond Bridalveil Fall.BOOK 2: BEYOND ORIA FALLSOria is the Golden Queen of the Ahwahneechees and a Dweller of Ahwahnee. Together with her friends she travels back to find out why the Village of Lost Souls cannot find their way home to the West. The Ale is back in this second book full of action packed magic and shapeshifting. Will Oria finally find love and happiness with Grey Wolf or will a new evil threaten her magical world Beyond Oria Falls? Join the Dwellers as they try to keep evil out of the world of man.BOOK 3: BEYOND THE WORLD OF MANThis is the third installment in the Dwellers of Ahwahnee series and with the destruction of the world of man, the Dwellers traveled to other worlds and survived for twenty years.With Oria's magic the 'Beyond' has grown and they can now come home.There is a different kind of evil in the world now. Who will survive in the 'Beyond'? This generationof shapeshifters are different and will lead the Dwellers into a new age.Spirit Walker is rebellious and has often been called a Wildcat. She has been sheltered in The Village of Lost Souls for her entire life. Now she is to become the Golden Queen of the Ahwahneechees.Her choices for the future involve adult decisions and with only her mother's journal to guide her, she must rely on the magic within the pages.

    Emma Copeland and her daughters, Claire and Isabelle, spend their summers at Songbird Cottage in Pleasant Bay, Nova Scotia. While there, Emma enjoys the company of her ruggedly handsome neighbor, Sam MacAuley, but when something happens between them, she vows never to return to Songbird Cottage.When Emma turns fifty, she rushes into a marriage with smooth-talking Andrew Schönfeld, but when he suddenly dies, Emma loses everything.With her life in shambles, and with nowhere else to stay, Emma returns to Songbird Cottage. Despite leaving without an explanation eighteen years ago, Sam is quick to Emma’s aid when she arrives on Cape Breton.As the beauty and peacefulness of Pleasant Bay begin to heal Emma, she gets some shocking news, and she discovers that she’s unwelcomed at Songbird Cottage. Will she be able to piece her life back together and get another chance at happiness?Join Emma as she begins a new life on Cape Breton Island and get to know her family and the friendly locals.This is the first book in the Pleasant Bay series.

    Continuing the comedic insight from I’m Too Young to be Seventy, these verses of memories and advice from eighty years of love, marriage, and grandchildren are sure to bring laughs.What does it mean to be eighty? In her wise and playful poems, Judith Viorst discusses love, friendship, grand parenthood, and all the particular marvels—and otherwise—of this extraordinary decade. She describes the wonder of seeing the world with new eyes—not because of revelation but because of a successful cataract operation. She promises not to gently fade away, and not to drive after daylight’s faded away either. She explains how she’s gotten to be a “three-desserts” grandmother (“Just don’t tell your mom!”), shares how memory failure can keep you married, and enumerates her hopes for the afterlife (which she doesn’t believe in, but if it does exist, her sister-in-law better not be there with her). As Viorst gleefully attests, eighty is not too old to dream, to flirt, to drink, and to dance. It’s also not too late to give up being cheap or to take up with a younger man of seventy-eight. Zesty, hopeful, and full of the pleasures of living, Viorst’s poems speak to her legions of readers, who recognize themselves in her knowing observations, in her touching reflections, and in her joyful affirmations. Funny, moving, inspirational, and true—the newest in Judith Viorst’s beloved “decades” series extols the virtues, victories, frustrations, and joys of life.

    Natalie Diaz’s brilliant second collection demands that every body carried in its pages—bodies of language, land, rivers, suffering brothers, enemies, and lovers—be touched and held as beloveds. Through these poems, the wounds inflicted by America onto an indigenous people are allowed to bloom pleasure and tenderness: “Let me call my anxiety, desire, then. / Let me call it, a garden.” In this new lyrical landscape, the bodies of indigenous, Latinx, black, and brown women are simultaneously the body politic and the body ecstatic. In claiming this autonomy of desire, language is pushed to its dark edges, the astonishing dunefields and forests where pleasure and love are both grief and joy, violence and sensuality.Diaz defies the conditions from which she writes, a nation whose creation predicated the diminishment and ultimate erasure of bodies like hers and the people she loves: “I am doing my best to not become a museum / of myself. I am doing my best to breathe in and out. // I am begging: Let me be lonely but not invisible.” Postcolonial Love Poem unravels notions of American goodness and creates something more powerful than hope—a future is built, future being a matrix of the choices we make now, and in these poems, Diaz chooses love.

    Technically brilliant, using strict, classical prosody, yet entirely modern in sensibility, Virginia Adair's poetry will play a central role in the ongoing American poetry renaissance.

    From illusions of permanence and ownership to the pain of estrangement, Liar masterfully explores feelings familiar to anyone who has ever loved — and lost. Crosbie also goes beyond this territory, examining the lover’s own complicity in her joy and suffering. Liar is a grotesque, beautiful meditation on the nature of love.

    Native American Studies. Erika T. Wurth's BUCKSKIN COCAINE is a wild, beautiful ride into the seedy underworld of Native American film. These are stories about men maddened by fame, actors desperate for their next buckskin gig, directors grown cynical and cruel, and dancers who leave everything behind in order to make it, only to realize at thirty that there is nothing left. Poetic and strange, Wurth's characters and vivid language will burn themselves into your mind, and linger. This is the raw stuff, the loud stuff, the hard stuff, the true stuff. It'll infect you in a way you won't realize at first, too. Not until days later, when you can't remember if you read this or you lived it. Trust me: you did both.-- Stephen Graham Jones BUCKSKIN COCAINE is a big voicey chorus of drugs, sex, booze, movies, and most of all the drumbeat of want, need, and desire.-- Kyle Minor