This is a story about justice, and terrible injustices, a story about a murder, and a courtroom drama as compelling as any thriller as it unravels the events that put Yvonne Johnson behind bars for life, first in Kingston's Federal Prison for Women until the riot that closed it, and presently in the Okimaw Ochi Healing Lodge in the Cypress Hills. But above all it is the unforgettable true story of the life of a Native woman who has decided to speak out and break the silence, written with the redeeming compassion that marks all Rudy Wiebe's writing, and informed throughout by Yvonne Johnson's own intelligence and poetic eloquence.Characters and events spring to life with the vividness of fiction. The story is told sometimes in the first person by Rudy Wiebe, sometimes by Yvonne herself. He tracks down the details of Yvonne's early life in Butte, Montana, as a child with a double-cleft palate, unable to speak until the kindness of one man provided the necessary operations; the murder of her beloved brother while in police custody; her life of sexual abuse at the hands of another brother, grandfather and others; her escape to Canada - to Winnipeg and Wetaskiwin; the traumas of her life thatled to alcoholism, and her slow descent into hell despite the love she found with her husband and three children.He reveals how she participated, with three others, in the murder of the man she believed to be a child abuser; he unravels the police story, taking us step by step, with jail-taped transcripts, through the police attempts to set one member of the group against the others in their search for a conviction - and the courtroom drama that followed. And Yvonne openly examines her life and, through her grandmother, comes to understand the legacy she has inherited from her ancestor Big Bear; having been led through pain to wisdom, she brings us with her to the point where she finds spiritual strength in passing on the lessons and understandings of her life. How the great-great-granddaughter of Big Bear reached out to the author of The Temptations of Big Bear to help her tell her story is itself an extraordinary tale. The co-authorship between one of Canada's foremost writers and the only Native woman in Canada serving life imprisonment for murder has produced a deeply moving, raw and honest book that speaks to all of us, and gives us new insight into the society we live in, while offering a deeply moving affirmation of spiritual healing.

    The Toronto Book of the Dead delves into these: from ancient First Nations burial mounds to the grisly murder of Toronto’s first lighthouse keeper; from the rise and fall of the city’s greatest Victorian baseball star to the final days of the world’s most notorious anarchist. Toronto has witnessed countless lives lived and lost as it grew from a muddy little frontier town into a booming metropolis of concrete and glass. The Toronto Book of the Dead tells the tale of the ever-changing city through the lives and deaths of those who made it their final resting place.

    The Reason You Walk spans that 2012 year, chronicling painful moments in the past and celebrating renewed hopes and dreams for the future. As Kinew revisits his own childhood in Winnipeg and on a reserve in Northern Ontario, he learns more about his father's traumatic childhood at residential school. An intriguing doubleness marks The Reason You Walk, itself a reference to an Anishinaabe ceremonial song. Born to an Anishinaabe father and a non-native mother, he has a foot in both cultures. He is a Sundancer, an academic, a former rapper, a hereditary chief and an urban activist. His father, Tobasonakwut, was both a beloved traditional chief and a respected elected leader who engaged directly with Ottawa. Internally divided, his father embraced both traditional native religion and Catholicism, the religion that was inculcated into him at the residential school where he was physically and sexually abused. In a grand gesture of reconciliation, Kinew's father invited the Roman Catholic bishop of Winnipeg to a Sundance ceremony in which he adopted him as his brother. Kinew writes affectingly of his own struggles in his twenties to find the right path, eventually giving up a self-destructive lifestyle to passionately pursue music and martial arts. From his unique vantage point, he offers an inside view of what it means to be an educated Aboriginal living in a country that is just beginning to wake up to its aboriginal history and living presence. Invoking hope, healing and forgiveness, The Reason You Walk is a poignant story of a towering but damaged father and his son as they embark on a journey to repair their family bond. By turns lighthearted and solemn, Kinew gives us an inspiring vision for family and cross-cultural reconciliation, and for a wider conversation about the future of aboriginal peoples.

    The author notes, "This book traces the journey of those Indigenous people who have found a way to transcend the colonial identities which are the legacy of our history and live as Onkwehonwe, original people. It is dialogue and reflection on the process of transcending colonialism in a personal and collective sense: making meaningful change in our lives and transforming society by recreating our personalities, regenerating our cultures, and surging against forces that keep us bound to our colonial past."

    This is the tale of "The Black Donnellys"—a notorious family of Irish settlers who were viciously attacked while they slept in their Lucan, Ontario farmhouse on February 4, 1880.Here, in this definitive account of this sordid episode in Canadian history, first published in 1962 and continuously in print since then, author Orlo Miller sets out to separate fact from fiction, and legend from reality, to bring us the truth behind the Donnelly murders. Combining exhaustive research based on contemporary newspaper accounts, court records and personal diaries, with personal insights and dramatic re-creations, Miller's chilling revelations shed new light on this infamous case in the annals of Canadian crime.You will be taken on a journey of terrible bloodlust, unbending loyalties, and fatal revenge in the re-telling of an event whose infamy still lives in popular culture today.

    At 15 she tried in vain to escape by marrying a white man, only to find herself trapped in the slums of Vancouver—addicted to drugs, tempted by suicide, close to death. But the inspiration of her Cree great-grandmother, Cheechum, gives her confidence in herself and in her people, confidence she needs to survive and to thrive.Half-Breed offers an unparalleled understanding of the Métis people and of the racism and hatred they face. Maria Campbell's story cannot be denied and it cannot be forgotten: it stands as a challenge to all Canadians who believe in human rights and human dignity.

    In addition to describing the customs, manners, and traditions of the Teton Sioux, Standing Bear also offered general comments about the importance of Native cultures and values and the status of Indian peoples in American society. With the assistance of Melvin R. Gilmore, curator of ethnology at the University of Michigan, and Warcaziwin, Standing Bear’s niece and secretary, Standing Bear sought to tell the white man “just how” they “lived as Lakotans.” Land of the Spotted Eagle is generously interspersed with personal reminiscences and anecdotes, including chapters on child rearing, social and political organization, family, religion, and manhood. Standing Bear's views on Indian affairs and his suggestions for the improvement of white-Indian relations are presented in the two closing chapters.

    It is the local Indian agent, or the parish priest, or, perhaps, a Mounted Police officer.” So began the school experience of many Indigenous children in Canada for more than a hundred years, and so begins the history of residential schools prepared by the Truth & Reconciliation Commission of Canada (TRC). Between 2008 and 2015, the TRC provided opportunities for individuals, families, and communities to share their experiences of residential schools and released several reports based on 7000 survivor statements and five million documents from government, churches, and schools, as well as a solid grounding in secondary sources.A Knock on the Door, published in collaboration with the National Research Centre for Truth & Reconciliation, gathers material from the several reports the TRC has produced to present the essential history and legacy of residential schools in a concise and accessible package that includes new materials to help inform and contextualize the journey to reconciliation that Canadians are now embarked upon.Survivor and former National Chief of the Assembly First Nations, Phil Fontaine, provides a Foreword, and an Afterword introduces the holdings and opportunities of the National Centre for Truth & Reconciliation, home to the archive of recordings, and documents collected by the TRC.As Aimée Craft writes in the Afterword, knowing the historical backdrop of residential schooling and its legacy is essential to the work of reconciliation. In the past, agents of the Canadian state knocked on the doors of Indigenous families to take the children to school. Now, the Survivors have shared their truths and knocked back. It is time for Canadians to open the door to mutual understanding, respect, and reconciliation.

    And not just any bingo. It is THE BIGGEST BINGO IN THE WORLD and a chance to win a way out of a tortured life.The Rez Sisters is hilarious, shocking, mystical and powerful, and clearly establishes the creative voice of Native theatre and writing in Canada today.

    It is also a scathing attack on the “public apology” as yet another mask, as a manipulative device, which always seeks to conceal the maintenance and furtherance of the self-interest of its wearer.Clements’s powerful visual sets and soundscapes contain curtains of flames which at times assume the bodies of a chorus passing its remote judgment, devoid of both pity and fear, on the action: a merciless indictment of the cross-cultural, buried worm of avarice and self-interest hidden within the terrorism of the push to “go with the times,” to accept the iconography of a reality defined, contextualized and illuminated by others.Marie Clements writes, or, perhaps more accurately, composes, with an urbane, incisive and sophisticated intellect deeply rooted in the particulars of her place, time and history.Cast of five women and 12 men.

    To the Dene, the land owns them and it is central to their livelihood and very way of being. But the subarctic Canadian Northwest Territories are home to valuable resources, including oil, gas, and diamonds. With mining came jobs and investment, but also road-building, pipelines, and toxic waste, which scarred the landscape, and alcohol, drugs, and debt, which deformed a way of life.In Paying the Land, Joe Sacco travels the frozen North to reveal a people in conflict over the costs and benefits of development. Sacco recounts the shattering impact of a residential school system that aimed to “remove the Indian from the child”; the destructive process that drove the Dene from the bush into settlements and turned them into wage laborers; the government land claims stacked against the Dene Nation; and their uphill efforts to revive a wounded culture.

    At first she enjoys exploring the area around their new home, including the boyhood haunts of the celebrated American writer Wallace Stegner, the back roads of the Cypress Hills, the dinosaur skeletons at the T.Rex Discovery Centre, the fossils to be found in the dust-dry hills. She also revels in her encounters with the wild inhabitants of this mysterious land-three coyotes in a ditch at night, their eyes glinting in the dark; a deer at the window; a cougar pussy-footing it through a gully a few minutes' walk from town.But as Savage explores further, she uncovers a darker reality-a story of cruelty and survival set in the still-recent past--and finds that she must reassess the story she grew up with as the daughter, granddaughter, and great-granddaughter of prairie homesteaders.Beautifully written, impeccably researched, and imbued with Savage's passion for this place, A Geography of Blood offers both a shocking new version of plains history and an unforgettable portrait of the windswept, shining country of the Cypress Hills.

    Kinsella meant little or nothing to readers of Canadian fiction. Dance Me Outside, a collection of stories about the Indian reserve near Hobbema in southern Alberta, changed all that. Then came Scars and now Born Indian, a new collection of stories about such old friends as Silas Ermineskin, Frank Fence-post and Mad Etta. Comedy is rare in Canadian writing and Kinsella is treasured above all for his sense of humour. He also knows how to tell a story, which makes him a delightful companion in any season.

    Then an ordinary day in Mr. Bee’s history class turns extraordinary, and Echo’s life will never be the same. During Mr. Bee’s lecture, Echo finds herself transported to another time and place—a bison hunt on the Saskatchewan prairie—and back again to the present. In the following weeks, Echo slips back and forth in time. She visits a Métis camp, travels the old fur-trade routes, and experiences the perilous and bygone era of the Pemmican Wars.Pemmican Wars is the first graphic novel in a new series, A Girl Called Echo, by Governor General Award–winning writer, and author of Highwater Press’ The Seven Teaching Stories, Katherena Vermette.

    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.