The movement was inspired by Shannen Koostachin, a young Cree woman whom George Stroumboulopoulos named as one of “five teenage girls who kicked ass in history.”All Shannen wanted was a decent education. She found an ally in Charlie Angus, who had no idea she was going to change his life and inspire others to change the country.Based on extensive documentation assembled from Freedom of Information requests, Angus establishes a dark, unbroken line that extends from the policies of John A. Macdonald to the government of today. He provides chilling insight into how Canada--through breaches of treaties, broken promises, and callous neglect--deliberately denied First Nations children their basic human rights.

    While readers are encouraged to discover the sacred country of Australia in an open-minded and sensitive manner, the intention of this book is to foster communication and understanding between all peoples and country, to bring about a range of environmental and social changes. Co-authors Bruce Pascoe and Vicky Shukuroglou hope to empower communities to tell their own stories, and for people to honour them and the country from which they have grown. Beautifully designed, all of the writing and photography in Loving Country has been created in consultation with communities. From the ingenious fish traps at Brewarrina and the rivers that feed the Great Barrier Reef, to the love stories of Wiluna and the whale story of Margaret River, there is so much to celebrate and admire about the oldest continuing culture in the world. For those who want to do more than a whistle-stop tour of Australia, this book offers some keys to unlock and reveal the heart of this loving country.

    All parties in these dramas were uncertain--hopeful and fearful--about the opportunity and challenge presented by new realities. Indians and English both believed they could control the developing relationship. Each group was curious about the other, and interpreted through their own standards and traditions. At the same time both came from societies in the process of unsettling change and hoped to derive important lessons by studying a profoundly different culture.These meetings and early relationships are recorded in a wide variety of sources. Native people maintained oral traditions about the encounters, and these were written down by English recorders at the time of contact and since; many are maintained to this day. English venturers, desperate to make readers at home understand how difficult and potentially rewarding their enterprise was, wrote constantly of their own experiences and observations and transmitted native lore. Kupperman analyzes all these sources in order to understand the true nature of these early years, when English venturers were so fearful and dependent on native aid and the shape of the future was uncertain.Building on the research in her highly regarded book Settling with the Indians, Kupperman argues convincingly that we must see both Indians and English as active participants in this unfolding drama.

    Her nonfiction is equally eloquent, and this lovely memoir offers a vivid glimpse of the landscape, the people, and the long tradition of storytelling that give her work its magical, elemental force. In a small boat like those her Native American ancestors have used for countless generations, she travels to Ojibwe home ground, the islands of Lake of the Woods in southern Ontario. Her only companions are her new baby and the baby's father, an Ojibwe spiritual leader, on a pilgrimage to the sacred rock paintings their people have venerated for centuries as mystical "teaching and dream guides," and where even today Ojibwe leave offerings of tobacco in token of their power. With these paintings as backdrop, Erdrich summons to life the Ojibwe's spirits and songs, their language and sorrows, and the tales that are in their blood, echoing through her own family's very contemporary American lives and shaping her vision of the wider world. Thoughtful, moving, and wonderfully well observed, her meditation evokes ancient wisdom, modern ways, and the universal human concerns we all share.

    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.

    Brown coolly documents with dramatic subtlety the violent rebellion on the Canadian prairie led by Riel, who some regard a martyr who died in the name of freedom, while others consider him a treacherous murderer.

    Ravensong is by turns damning, humorous, inspirational, and prophetic.

    Combining traditional historical sources with new insights from ethnography, archaeology, Indian oral tradition, and years of his original research, James Wilson weaves a historical narrative that puts Native Americans at the center of their struggle for survival against the tide of invading European peoples and cultures. The Earth Shall Weep charts the collision course between Euro-Americans and the indigenous people of the continent, from the early interactions at English settlements on the Atlantic coast, through successive centuries of encroachment and outright warfare, to the new political force of the Native American activists of today. It is a clash that would ultimately result in the reduction of the Native American population from an estimated seven to ten million to 250,000 over a span of four hundred years, and change the face of the continent forever. A tour de force of narrative history, The Earth Shall Weep is a powerful, moving telling of the story of Native Americans that has become the new standard for future work in the field.

    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.

    Within twenty years the Métis proclaimed themselves a nation and won their first battle. Within forty years they were famous throughout North America for their military skills, their nomadic life and their buffalo hunts.The Métis Nation didn’t just drift slowly into the Canadian consciousness in the early 1800s; it burst onto the scene fully formed. The Métis were flamboyant, defiant, loud and definitely not noble savages. They were nomads with a very different way of being in the world—always on the move, very much in the moment, passionate and fierce. They were romantics and visionaries with big dreams. They battled continuously—for recognition, for their lands and for their rights and freedoms. In 1870 and 1885, led by the iconic Louis Riel, they fought back when Canada took their lands. These acts of resistance became defining moments in Canadian history, with implications that reverberate to this day: Western alienation, Indigenous rights and the French/English divide.After being defeated at the Battle of Batoche in 1885, the Métis lived in hiding for twenty years. But early in the twentieth century, they determined to hide no more and began a long, successful fight back into the Canadian consciousness. The Métis people are now recognized in Canada as a distinct Indigenous nation. Written by the great-grandniece of Louis Riel, this popular and engaging history of “forgotten people” tells the story up to the present era of national reconciliation with Indigenous peoples.2019 marks the 175th anniversary of Louis Riel’s birthday (October 22, 1844)

    Chanie’s home was 400 miles away. He didn’t know that. He didn’t know where it was, nor how to find it, but, like so many kids—more than anyone will be able to imagine—he tried.

    That story—and the story of what happened afterwards—has been told many times, but always following the narrative offered by the Spaniards. After all, we have been taught, it was the Europeans who held the pens. But the Native Americans were intrigued by the Roman alphabet and, unbeknownst to the newcomers, they used it to write detailed histories in their own language of Nahuatl. Until recently, these sources remained obscure, only partially translated, and rarely consulted by scholars.For the first time, in Fifth Sun, the history of the Aztecs is offered in all its complexity based solely on the texts written by the indigenous people themselves. Camilla Townsend presents an accessible and humanized depiction of these native Mexicans, rather than seeing them as the exotic, bloody figures of European stereotypes. The conquest, in this work, is neither an apocalyptic moment, nor an origin story launching Mexicans into existence. The Mexica people had a history of their own long before the Europeans arrived and did not simply capitulate to Spanish culture and colonization. Instead, they realigned their political allegiances, accommodated new obligations, adopted new technologies, and endured.This engaging revisionist history of the Aztecs, told through their own words, explores the experience of a once-powerful people facing the trauma of conquest and finding ways to survive, offering an empathetic interpretation for experts and non-specialists alike.

    Editors Elissa Washuta and Theresa Warburton ground this anthology of essays by Native writers in the formal art of basket weaving. Using weaving techniques such as coiling and plaiting as organizing themes, the editors have curated an exciting collection of imaginative, world-making lyric essays by twenty-seven contemporary Native writers from tribal nations across Turtle Island into a well-crafted basket.Shapes of Native Nonfiction features a dynamic combination of established and emerging Native writers, including Stephen Graham Jones, Deborah Miranda, Terese Marie Mailhot, Billy-Ray Belcourt, Eden Robinson, and Kim TallBear. Their ambitious, creative, and visionary work with genre and form demonstrate the slippery, shape-changing possibilities of Native stories. Considered together, they offer responses to broader questions of materiality, orality, spatiality, and temporality that continue to animate the study and practice of distinct Native literary traditions in North America.

    Their language is forbidden, their names are changed to Jeremiah and Gabriel, and both boys are abused by priests.As young men, estranged from their own people and alienated from the culture imposed upon them, the Okimasis brothers fight to survive. Wherever they go, the Fur Queen--a wily, shape-shifting trickster--watches over them with a protective eye. For Jeremiah and Gabriel are destined to be artists. Through music and dance they soar.

    Each was a defence and elaboration of his short satirical poem The Angry Hive, 1705. The version of the Fable of 1723 and 1732 are the fullest defences of his early paradox that social benefit is the unintended consequence of personal vice. It is an argument that is generally held to lie behind Adam Smith's doctrine of the 'hidden hand' of economic development.