Truly universal in its themes, Dreaming In Indian will shatter commonly held stereotypes and challenge readers to rethink their own place in the world. Divided into four sections, ‘Roots,’ ‘Battles,’ ‘Medicines,’ and ‘Dreamcatchers,’ this book offers readers a unique insight into a community often misunderstood and misrepresented by the mainstream media.Additional authors: Julia Shaw, Raquel Simard, Alida Kinnie Starr, Arigon Starr, Kris Statnyk, Patty Stein, Aja Sy, Tanya Tagaq Gillis, Adriane Tailfeathers, Kit Thomas, Michelle Thrush, Faith Turner, Jeffrey Veregge, Tonya-Leah Watts, Shannon Webb-Campbell, Abigail Whiteye, Jade Willoughby and Darrel Yazzie Jr.

    At the age of seven she was sent to residential school, and her horrific experiences of abuse there left her without a voice, timid and nervous, never sure, never trusting, and always searching.This is the story of Myrtle battling to recover her voice.This is the story of her courage and resilience throughout the arduous process required to make a claim for compensation for the abuse she experienced at residential school--a process that turned out to be yet another trauma at the hands of the colonial power.This is the story of one woman finally standing up to the painful truth of her past and moving beyond it for the sake of her children and grandchildren. In recounting her tumultuous life, Fox weaves truth and fiction together as a means of bringing clarity to the complex emotions and situations she faced as she walked her path toward healing.

    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.

    Born into a Metis family of Cree, Scottish, English and French descent, but never told of his heritage, Gregory knew he was different, his feelings of displacement only heightened by a family life marked by poverty, illness, abuse and loss. Separated from his mother when he was just five, sent to live with strangers and extended family, he tried to make sense of a world which often didn't make any sense at all. As he grew, clinging to the edge of an already misunderstood society, Gregory faced his own diversity and rejection from the Native community, who were unable to accept him for himself.This is Gregory Scofield's traumatic, tender and redeeming story of his fight to discover himself -- a young man who has become an acclaimed, award-winning poet, celebrated for his sensual imagery and lyrical use of Cree words and rhythms. He is a gifted writer, inspired by his heritage, his "brothers and sisters, " and his art. Thunder Through My Veins is proof of that art, a story of wholeness, of a young man finally able to harmonize often very disparate voices into one joyful song. Universal in its themes and in the delicate but powerful emotional moments that speak to all readers, Thunder Through My Veins is a beautiful, painful and tremendously hopeful book.

    Now she's a senior Daily Beast reporter happily married to another woman. A lot in her life has changed, but what hasn't changed is her deep love of Red State America, and of queer people who stay in so-called "flyover country" rather than moving to the liberal coasts. In Real Queer America, Allen takes us on a cross-country road-trip stretching all the way from Provo, Utah to the Rio Grande Valley to the Bible Belt to the Deep South. Her motto for the trip: "Something gay every day." Making pit stops at drag shows, political rallies, and hubs of queer life across the heartland, she introduces us to scores of extraordinary LGBT people working for change, from the first openly transgender mayor in Texas history to the manager of the only queer night club in Bloomington, Indiana, and many more.Capturing profound cultural shifts underway in unexpected places and revealing a national network of chosen family fighting for a better world, Real Queer America is a treasure trove of uplifting stories and a much-needed source of hope and inspiration in these divided times.

    Interviews with a Guatemalan national leader discuss her country's political situation and the resulting violence, which has claimed the lives of her brother, mother, and father.

    The only people still able to dream are North America's Indigenous people, and it is their marrow that holds the cure for the rest of the world. But getting the marrow, and dreams, means death for the unwilling donors. Driven to flight, a fifteen-year-old and his companions struggle for survival, attempt to reunite with loved ones and take refuge from the "recruiters" who seek them out to bring them to the marrow-stealing "factories."

    Her first book, published in 1941, was titled Klee Wyck ("Laughing One"), in honour of the name that the Native people fo the west coast gave her as an intrepid young woman. The book was a hit with both critics and the public, won the prestigious Governor Generals' Award and has been in print ever since.Emily Carr wrote these twenty-one word sketches after visiting and living with Native people, painting their totem poles and villages, many of them in wild and remote areas. She tells her stories with beauty, pathos and a vivid awareness of the comedy of people and situations.A few years after Carr's death, signifcant deletions were made to her book for an educational edition. This new, beautifully designed keepsake volume restores Klee Wyck to its original published verison, making the complete work available for th e first tim in more than fifty years. In her intriguing introduction, archivist and writer Kathryn Bridge puts Klee Wyck into the context of Emily Carr's life and reveals the story behind the expurgations.

    Now, Nepantla will appear for the first time in print as a survey of poetry by queer poets of color throughout U.S. history, including literary legends such as Audre Lorde, James Baldwin, June Jordan, Ai, and Pat Parker alongside contemporaries such as Natalie Diaz, Ocean Vuong, Danez Smith, Joshua Jennifer Espinoza, Robin Coste Lewis, Joy Harjo, Richard Blanco, Erika L. Sanchez, Jericho Brown, Carl Phillips, Tommy Pico, Eduardo C. Corral, Chen Chen, and more.

    Don't Call Us Dead opens with a heartrending sequence that imagines an afterlife for black men shot by police, a place where suspicion, violence, and grief are forgotten and replaced with the safety, love, and longevity they deserved here on earth. Smith turns then to desire, mortality the dangers experienced in skin and body and blood and a diagnosis of HIV positive. "Some of us are killed / in pieces," Smith writes, some of us all at once. Don't Call Us Dead is an astonishing and ambitious collection, one that confronts, praises, and rebukes America--"Dear White America"--where every day is too often a funeral and not often enough a miracle.

    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.

    But tragically, they were not the only Aboriginal women to suffer that year. In fact, an official report revealed that since 1980, 1,200 Canadian Aboriginal women have been murdered or have gone missing. This alarming official figure reveals a national tragedy and the systemic failure of law enforcement and of all levels of government to address the issue.Journalist Emmanuelle Walter spent two years investigating this crisis and has crafted a moving representative account of the disappearance of two young women, Maisy Odjick and Shannon Alexander, teenagers from western Quebec, who have been missing since September 2008. Via personal testimonies, interviews, press clippings and official documents, Walter pieces together the disappearance and loss of these two young lives, revealing these young women to us through the voices of family members and witnesses.Stolen Sisters is a moving and deeply shocking work of investigative journalism that makes the claim that not only is Canada failing its First Nations communities, but that a feminicide is taking place.

    Unmoored from his birth family and caught between twin alienating forces of Somali tradition and Western culture, Mohamed must forge his own queer coming of age. What follows in this fierce and unrelenting account is a story of one young man's nascent sexuality fused with the violence wrought by displacement.

    In this poetic work inspired by Hortense Spillers, Gumbs offers an alternative approach to Black feminist literary criticism, historiography, and the interactive practice of relating to the words of Black feminist thinkers. Gumbs not only speaks to the spiritual, bodily, and otherworldly experience of Black women but also allows readers to imagine new possibilities for poetry as a portal for understanding and deepening feminist theory.

    Preciado shows the ways in which the synthesis of hormones since the 1950s has fundamentally changed how gender and sexual identity are formulated, and how the pharmaceutical and pornography industries are in the business of creating desire. This riveting continuation of Michel Foucault's The History of Sexuality also includes Preciado's diaristic account of his own use of testosterone every day for one year, and its mesmerizing impact on his body as well as his imagination.