She doesn’t talk about high finance or managing money; instead, she goes far deeper to explore debt as an ancient and central motif in religion, literature, and the structure of human societies. By looking at how debt has informed our thinking from preliterate times to the present day, from the stories we tell of revenge and sin to the way we order social relationships, Atwood argues that the idea of what we owe may well be built into the human imagination as one of its most dynamic metaphors. Her final lecture addresses the notion of a debt to nature and the need to find new ways of interacting with the natural world before it is too late.

    The explosive controversy and resulting lawsuit also raised a far more fundamental question: Who owns history? Many Indians see archeologists as desecrators of tribal rites and traditions; archeologists see their livelihoods and science threatened by the 1990 Federal reparation law, which gives tribes control over remains in their traditional territories.In this new work, Thomas charts the riveting story of this lawsuit, the archeologists' deteriorating relations with American Indians, and the rise of scientific archeology. His telling of the tale gains extra credence from his own reputation as a leader in building cooperation between the two sides.

    For six years Linda Melvern has worked on the story of this horrendous crime, and this book, a classic piece of investigative journalism, is the result. Its new and startling information has the making of an international scandal.The book contains a full narrative account of how the genocide unfolded and describes its scale, speed and intensity. And the book provides a terrible indictment, not just of the UN Security Council, but even more so of governments and individuals who could have prevented what was happening but chose not to do so.Drawing on a series of in-depth interviews, the author also tells the story of the unrecognized heroism of those who stayed on during the genocide - volunteer UN peacekeepers, their Force Commander the Canadian Lt.-General Romeo A. Dallaire, and Philippe Gaillard, the head of a delegation of the International Committee of the Red Cross, helped by medical teams from Medecins Sans Frontieres.The international community, which fifty years ago resolved that genocide never happened again, not only failed to prevent it happening in Rwanda, but, as this book shows, international funds intended to help the Rwandan economy actually helped to create the conditions that made the genocide possible. Documents held in Kigali, the Rwandan capital, as well as hitherto unpublished evidence of secret UN Security Council deliberations in New York, reveal a shocking sequence of events.What happened in Rwanda shows that despite the creation of an organisation set up to prevent a repetition of genocide - for the UN is central to this task - it failed to do so, even when the evidence was indisputable. At a time when increasing attention is being given to the need for UN reform, this book provides evidence to urgently accelerate and focus that process. Only by understanding how and why the genocide happened can there be any hope that this new century will break with the dismal record of the last.

    Readers already know Gray as an award-winning biographer, a writer who has brilliantly captured significant individuals and dramatic moments in our history. Now, in The Promise of Canada, she weaves together masterful portraits of nine influential Canadians, creating a unique history of the country over the past 150 years.What do these people—from George-Étienne Cartier and Emily Carr to Tommy Douglas, Margaret Atwood, and Elijah Harper—have in common? Each, according to Charlotte Gray, has left an indelible mark on our country. Deliberately avoiding a “top down” approach to our history, Gray has chosen people whose ideas have caught her imagination, ideas that over time have become part of our collective conversation. She also highlights many other Canadians, past and present, who have added to the ongoing debate over how we see ourselves, arguing that Canada has constantly reimagined itself in every generation since 1867.Beautifully illustrated with evocative black and white images and colourful artistic visions of our country, The Promise of Canada is a fresh take on our history that offers fascinating insights into how we have matured and yet how—150 years after Confederation and beyond—we are still a people in progress. Charlotte Gray makes history come alive as she opens doors into our past, our present and our future, inspiring and challenging readers to envision the Canada they want to live in.

    People are waking up to the seedy history of the world's art collections, and are starting to ask difficult questions about what the future of museums should look like. In The Whole Picture, art historian and Uncomfortable Art Tour guide Alice Procter provides a manual for deconstructing everything you thought you knew about art, and fills in the blanks with the stories that have been left out of the art history canon for centuries. The book is divided into four chronological sections, named after four different kinds of art space:The Palace The Classroom The Memorial The Playground Each section tackles the fascinating and often shocking stories of five different art pieces, including the propaganda painting that the East India Company used to justify its control in India; the Maori mokomokai skulls that were traded and collected by Europeans as 'art objects'; and Kara Walker's controversial contemporary sculpture A Subtlety, which raised questions about 'appropriate' interactions with art. Through these stories, Alice brings out the underlying colonial narrative lurking beneath the art industry today, and suggests different ways of seeing and thinking about art in the modern world.The Whole Picture is a much-needed provocation to look more critically at the accepted narratives about art, and rethink and disrupt the way we interact with the museums and galleries that display it.

    Black Americans are fighting for civil rights, the counterculture is trying to subvert the Vietnam War, and women are fighting for their liberation. Indians were fighting, too, though it's a fight too few have documented, and even fewer remember. At the time, newspapers and television broadcasts were filled with images of Indian activists staging dramatic events such as the seizure of Alcatraz in 1969, the storming of the Bureau of Indian Affairs building on the eve of Nixon's re-election in 1972, and the American Indian Movement (AIM)-supported seizure of Wounded Knee by the Oglala Sioux in 1973. Like a Hurricane puts these events into historical context and provides one of the first narrative accounts of that momentous period.Unlike most other books written about American Indians, this book does not seek to persuade readers that government policies were cruel and misguided. Nor is it told from the perspective of outsiders looking in. Written by two American Indians, Paul Chaat Smith and Robert Allen Warrior, Like a Hurricane is a gripping account of how for a brief, but brilliant season Indians strategized to change the course and tone of American Indian-U.S. government interaction. Unwaveringly honest, it analyzes not only the period's successes but also its failures.Smith and Warrior have gathered together the stories of both the leaders and foot soldiers of AIM, conservative tribal leaders, top White House aides, and the ordinary citizens caught up in the maelstrom of activity that would shape a new generation of political thought. Here are insider accounts of how local groups coalesced to form a national movement for change. Here, too, is a clear-eyed assessment of the period's key leaders: the fancy dance revolutionary Clyde Warrior, the enigmatic Hank Adams, and AIM leaders Dennis Banks and Russell Means. The result is a human story of drama, sacrifice, triumph, and tragedy that gives a ground-level view of events that forever changed the lives of Americans, particularly American Indians.

    This fact remained unnoticed by most settlers, however, since non-aboriginals just didn’t get the joke. For most of written history, a stern, unyielding profile of “the Indian” dominated the popular mainstream imagination. Indians, it was believed, never laughed. But Indians themselves always knew better. As an award-winning playwright, columnist, and comedy-sketch creator, Drew Hayden Taylor has spent 15 years writing and researching aboriginal humor. For Me Funny, he asked a noted cast of writers from a variety of fields — including such celebrated wordsmiths as Thomas King, Allan J. Ryan, Mirjam Hirch, and Tomson Highway — to take a look at what makes aboriginal humor tick. Their hilarious, enlightening contributions playfully examine the use of humor in areas as diverse as stand-up comedy, fiction, visual art, drama, performance, poetry, traditional storytelling, and education.

    After finishing mission school they return to their Gwich'in community in the Northwest Territories. Their lives revolve around bootleggers, the bar, drug abuse and meaningless sex. James and Jake try to dull their painful memories of the school. Each hides a dark secret that fuels his nightmares. Enough alcohol silences the demons for a night; a gun and a single bullet silences demons forever. When a friend commits suicide and a former priest appears on television, the community is shattered. James and Jake confront their childhood abuse and break the silence to begin a journey of healing and rediscovery.

    Powerless to change their fortunes, they are separated, and each put into different foster homes. Yet over the years, the bond between them grows. As they each make their way in a society that is, at times, indifferent, hostile, and violent, one embraces her Métis identity, while the other tries to leave it behind. In the end, out of tragedy, comes an unexpected legacy of triumph and reclamation.In this Critical Edition, editor Cheryl Suzack has chosen ten critical essays to accompany one of the best-known texts by Canadian Aboriginal author Beatrice Culloden/Mosionier.

    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/

    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.

    Mainstream feminists rarely talk about meeting basic needs as a feminist issue, argues Mikki Kendall, but food insecurity, access to quality education, safe neighborhoods, a living wage, and medical care are all feminist issues. All too often, however, the focus is not on basic survival for the many, but on increasing privilege for the few. That feminists refuse to prioritize these issues has only exacerbated the age-old problem of both internecine discord and women who rebuff at carrying the title. Moreover, prominent white feminists broadly suffer from their own myopia with regard to how things like race, class, sexual orientation, and ability intersect with gender. How can we stand in solidarity as a movement, Kendall asks, when there is the distinct likelihood that some women are oppressing others?

    Its accessible and vivid prose makes clear the links between crime and politics in a period of gathering economic crisis.

    While visions of pristine, uninhabited nature led to the creation of these parks, they also inspired policies of Indian removal. By contrasting the native histories of these places with the links between Indian policy developments and preservationist efforts, this work examines the complex origins of the national parks and the troubling consequences of the American wilderness ideal. The first study to place national park history within the context of the early reservation era, it details the ways that national parks developed into one of the most important arenas of contention between native peoples and non-Indians in the twentieth century.

    Weaving these texts together, Peck brilliantly imagines the book that Baldwin never wrote. In his final years, Baldwin had envisioned a book about his three assassinated friends, Medgar Evers, Malcolm X, and Martin Luther King. His deeply personal notes for the project have never been published before. Peck s film uses them to jump through time, juxtaposing Baldwin s private words with his public statements, in a blazing examination of the tragic history of race in America.