The collection includes seminal authors such as Gerald Vizenor, historically important contributions often categorized as "magical realism" by authors like Leslie Marmon Silko and Sherman Alexie, and authors more recognizable to science fiction fans like William Sanders and Stephen Graham Jones. Dillon's engaging introduction situates the pieces in the larger context of science fiction and its conventions.Organized by sub-genre, the book starts with Native slipstream, stories infused with time travel, alternate realities and alternative history like Vizenor's "Custer on the Slipstream." Next up are stories about contact with other beings featuring, among others, an excerpt from Gerry William's The Black Ship. Dillon includes stories that highlight Indigenous science like a piece from Archie Weller's Land of the Golden Clouds, asserting that one of the roles of Native science fiction is to disentangle that science from notions of "primitive" knowledge and myth. The fourth section calls out stories of apocalypse like William Sanders' "When This World Is All on Fire" and a piece from Zainab Amadahy's The Moons of Palmares. The anthology closes with examples of biskaabiiyang, or "returning to ourselves," bringing together stories like Eden Robinson's "Terminal Avenue" and a piece from Robert Sullivan's Star Waka.An essential book for readers and students of both Native literature and science fiction, Walking the Clouds is an invaluable collection. It brings together not only great examples of Native science fiction from an internationally-known cast of authors, but Dillon's insightful scholarship sheds new light on the traditions of imagining an Indigenous future.

    Despite this painful history, a number of Native Americans have found "The Jesus Way" and are proving to be a powerful voice for the Lord around the world. A full- blooded Lakota/Sioux whose bitterness toward whites was washed away by the blood of Christ, Richard Twiss shows that Native American Christians have much to offer the Church and can become a major force for reaching the lost. Full of wisdom, humor and passion, this book examines how the white Church can begin to break down the walls of anger, distrust and bitterness and move toward reconciliation and revival in our land.

    McLeod was surrounded by his Cree family’s history. In shifting and unpredictable stories, his mother, Bertha, shared narratives of their culture, their family and the cruelty that she and her sisters endured in residential school. McLeod was comforted by her presence and that of his many siblings and cousins, the smells of moose stew and wild peppermint tea, and his deep love of the landscape. Bertha taught him to be fiercely proud of his heritage and to listen to the birds that would return to watch over and guide him at key junctures of his life.However, in a spiral of events, Darrel’s mother turned wild and unstable, and their home life became chaotic. Sweet and innocent by nature, Darrel struggled to maintain his grades and pursue an interest in music while changing homes many times, witnessing violence, caring for his younger siblings and suffering abuse at the hands of his surrogate father. Meanwhile, his sibling’s gender transition provoked Darrel to deeply question his own sexual identity.The fractured narrative of Mamaskatch mirrors Bertha’s attempts to reckon with the trauma and abuse she faced in her own life, and captures an intensely moving portrait of a family of strong personalities, deep ties and the shared history that both binds and haunts them.Beautifully written, honest and thought-provoking, Mamaskatch—named for the Cree word used as a response to dreams shared—is ultimately an uplifting account of overcoming personal and societal obstacles. In spite of the traumas of Darrel’s childhood, deep and mysterious forces handed down by his mother helped him survive and thrive: her love and strength stayed with him to build the foundation of what would come to be a very fulfilling and adventurous life.

    This book is the first of its kind to address and educate a broad audience about our colonial contextual history, in a highly original way. It pulls apart the myths at the heart of our nationhood and challenges Australia to come to terms with its own past and its place within and on ‘Indigenous Countries’.This title speaks to many First Nations’ truths; stolen lands, sovereignties, time, decolonisation, First Nations perspectives, systemic bias and other constructs that inform our present discussions and ever-expanding understanding. This title is a timely, thought-provoking and accessible read.There is no part of this placethat was notis notcared forlovedby an Aboriginal or Torres Strait Islander nationThere are no treesrivershillsstarsthat were notare notsomeone’s kin

    Lives will be destroyed, families will be torn apart. Trust will be broken.When the war is over, some will return to a changed world. Will they discover that glory is a lie?Claire G. Coleman's new novel takes us to a familiar world to ask what we have learned from the past. The Old Lie might not be quite what you expect.

    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.

    He lives rough on the streets of Sydney until his father is pardoned. Together, they begin a new life and open a butcher shop. Richard’s job is to bring in beasts for slaughter. At 15 he is framed for stealing cattle and sentenced to hang. He escapes into the vast and dangerous Australian wilderness and has to survive or die with only his indomitable will to help him. How he eventually triumphs and succeeds in life is a “ripping good yarn”.

    These unforgettable children are taken by government agents from Tsartlip Day School to live at Kuper Island Residential School. The five are isolated on the small island and life becomes regimented by the strict school routine. They experience the pain of homesickness and confusion while trying to adjust to a world completely different from their own. Their lives are no longer organized by fishing, hunting and family, but by bells, line-ups and chores. In spite of the harsh realities of the residential school, the children find adventure in escape, challenge in competition, and camaraderie with their fellow students. Sometimes sad, sometimes funny, always engrossing, No Time to Say Goodbye is a story that readers of all ages won't soon forget.

    It was 1939 when the feared Indian agent visited Basil Johnston’s family and removed him and his four-year-old sister to St. Peter Claver’s school, run by the priests in a community known as Spanish, 75 miles from Sudbury.“Spanish! It was a word synonymous with residential school, penitentiary, reformatory, exile, dungeon, whippings, kicks, slaps, all rolled into one,” Johnston recalls. But despite the aching loneliness, the deprivation, the culture shock and the numbing routine, his story is engaging and compassionate. Johnston creates marvelous portraits of the young Indian boys who struggled to adapt to strange ways and unthinking, unfeeling discipline. Even the Jesuit teachers, whose flashes of humor occasionally broke through their stern demeanor, are portrayed with an understanding born of hindsight.

    Perhaps no Indian ever saw so much of American expansion or fought harder to prevent that expansion from driving his people to exile and death.He knew Zebulon Pike, William Clark, Henry Schoolcraft, George Catlin, Winfield Scott, and such figures in American government as President Andrew Jackson and Secretary of State Lewis Cass. He knew Chicago when it was a cluster of log houses around a fort, and he was in St. Louis the day the American flag went up and the French flag came down.He saw crowds gather to cheer him in Philadelphia, Baltimore, and New York - and to stone the driver of his carriage in Albany - during a fantastic tour sponsored by the government.And at last he dies in 1838, bitter in the knowledge that he had led men, women, and children of his tribe to slaughter on the banks of the Mississippi.After his capture at the end of the Black Hawk War, he was imprisoned for a time and then released to live in the territory that is now Iowa. He dictated his autobiography to a government interpreter, Antoine LeClaire, and the story was put into written form by J. B. Patterson, a young Illinois newspaperman. Since its first appearance in 1833, the autobiography has become known as an American classic.

    Life at the school is not easy, but Seepeetza still manages to find some bright spots. Always, thoughts of home make her school life bearable.An honest, inside look at life in an Indian residential school in the 1950s, and how one indomitable young spirit survived it.

    In Dancing on Our Turtle's Back: Stories of Nishnaabeg Re-Creation, Resurgence, and a New Emergence activist, editor, and educator Leanne Simpson asserts reconciliation must be grounded in political resurgence and must support the regeneration of Indigenous languages, oral cultures, and traditions of governance.Simpson explores philosophies and pathways of regeneration, resurgence, and a new emergence through the Nishnaabeg language, Creation Stories, walks with Elders and children, celebrations and protests, and meditations on these experiences. She stresses the importance of illuminating Indigenous intellectual traditions to transform their relationship to the Canadian state.Challenging and original, Dancing on Our Turtle's Back provides a valuable new perspective on the struggles of Indigenous Peoples.

    In 'Don't Take Your Love To Town' Langford writes: 'we saw a big sign saying BUNDJALUNG NATIONAL PARK and I told him he was now in my territory'.This is Ruby Langford's (Ginibi) first book and autobiography.First published in 1988, Ruby worked for over 2 years with her editor Susan Hampton to write her story to share with the world.'Don't Take Your Love To Town' paints a picture of what it was like growing up in Australia from the 1930s onwards, in a society divided between black and white, in both rural and urban areas.Beginning life on a mission in NSW, Ruby grew up surrounded by the love of her father, sisters and extended family which helped her develop her deadly sense of humour in the face of the many hardships and heartbreaks she experienced in her life.She has observed and lived the changes wrought on Aboriginal communities, the poverty and tragedies that found their way to her doorstep and yet she managed to find a way to keep smiling while bringing up her 9 children mostly on her own.Ruby Langford has lived a life rich in both sadness and joy; she has a very easy style of writing for the reader to find themselves drawn into the pages within minutes and, peppered with her wit, her story captures and holds the reader within its grasp until the end.

    Songspirals are the essence of people in this land, the essence of every clan. We belong to the land and it belongs to us. We sing to the land, sing about the land. We are that land. It sings to us.' Aboriginal Australian cultures are the oldest living cultures on earth and at the heart of Aboriginal cultures is song. These ancient narratives of landscape have often been described as a means of navigating across vast distances without a map, but they are much, much more than this. Songspirals are sung by Aboriginal people to awaken Country, to make and remake the life-giving connections between people and place. Songspirals are radically different ways of understanding the relationship people can have with the landscape.For Yolngu people from North East Arnhem Land, women and men play different roles in bringing songlines to life, yet the vast majority of what has been published is about men's place in songlines. Songspirals is a rare opportunity for outsiders to experience Aboriginal women's role in crying the songlines in a very authentic and direct form.'Songspirals are Life. These are cultural words from wise women. As an Aboriginal woman this is profound to learn. As a human being Songspirals is an absolute privilege to read.' - Ali Cobby Eckermann, Yankunytjatjara poet 'To read Songspirals is to change the way you see, think and feel this country.' - Clare Wright, award-winning historian and author 'A rare and intimate window into traditional women's cultural life and their visceral connection to Country. A generous invitation for the rest of us.' - Kerry O'Brien, Walkley Award-winning journalist

    The term “recognition” shapes debates over Indigenous cultural distinctiveness, Indigenous rights to land and self-government, and Indigenous peoples’ right to benefit from the development of their lands and resources.In a work of critically engaged political theory, Glen Sean Coulthard challenges recognition as a method of organizing difference and identity in liberal politics, questioning the assumption that contemporary difference and past histories of destructive colonialism between the state and Indigenous peoples can be reconciled through a process of acknowledgment. Beyond this, Coulthard examines an alternative politics—one that seeks to revalue, reconstruct, and redeploy Indigenous cultural practices based on self-recognition rather than on seeking appreciation from the very agents of colonialism.Coulthard demonstrates how a “place-based” modification of Karl Marx’s theory of “primitive accumulation” throws light on Indigenous–state relations in settler-colonial contexts and how Frantz Fanon’s critique of colonial recognition shows that this relationship reproduces itself over time. This framework strengthens his exploration of the ways that the politics of recognition has come to serve the interests of settler-colonial power.In addressing the core tenets of Indigenous resistance movements, like Red Power and Idle No More, Coulthard offers fresh insights into the politics of active decolonization.