Buffy Sainte-Marie, the Authorized Biography by Andrea Warner includes a foreword by Joni Mitchell who like Buffy Sainte-Marie (Cree) has ties to Saskatchewan and writes songs with emotion and a message, both walking their own paths. In this 298-page book, the prologue describes Buffy Sainte-Marie’s early interactions with the music scene that included the likes of Bob Dylan and Joan Baez, her blacklisting, touring, show business perspective with Vanguard and other artists singing or using her songs like Elvis Presley, and the power and intrinsic value of music, resistance and protest.
Treaty # by Armand Garnet Ruffo, Ojibwe, is a collection of poems arranged in three parts: Impetus Ungainly, Travelogue Sightline and Boreal Investigative. Each part uses poetry to address historical and contemporary moments broadly related to treaties and inspired by the author's many experiences and writing contexts. Impetus Ungainly, Treaty No.9, begins with a poem, Doctrine of Discovery but with a twist. The Claim, #1: Red Space, #2: White Space, Material World and Red is a Poem are some of the poems in part one.
Crow Winter by Karen McBride, Algonquin Anishinaabe from Timiskaming First Nation in the territory that is now known as Quebec, is a story about trickster and Hazel Ellis. Returning home to Spirit Bear Point First Nation, Hazel dreams of an old crow. A new job at the Band office introduces her to evidence that will prove useful as she tries to unravel a complicated land issue involving family and historic records. Nanabush, her mother, Gus, Mia, Joni, Robby and Thomas are the links between her life, family and home and the Medicine Wheel.
Blanket Toss Under Midnight Sun, Portraits of Everyday Life in Eight Indigenous Communities by Paul Seesequasis, nîpisîhkopâwiyiniw (Willow Cree) writer, journalist, cultural advocate and commentator, is a collection of found photographs from archives, libraries and museums. The photographers included in Blanket Toss Under Midnight have relationships with their subject matter.
77 Fragments of a Familiar Ruin by Thomas King (Cherokee and Greek), an award winning novelist, short story writer, scriptwriter, and photographer, presents his first collection of poems. In 77 Fragments of a Familiar Ruin, Thomas King uses 77 poems to delve into personal, historical and contemporary issues that have affected Indigenous peoples. He does this through his interpretation of Creation stories. The poems reflect and often refer to previous poems as the past, present, future, past... and so critiques the circularity of past and contemporary issues.
The Unexpected Cop: Indian Ernie on a Life of Leadership by Ernie Louttit is the author’s story of his life as a police officer and later as an author and leader. Acknowledging what has been lost and what can still be gained or recovered in traditional learning, Louttit’s adds that young people will be champions of this new learning – oral traditions of storytelling in the midst of new media but what is taken from it will challenge how well we are grounded in what we value and believe.
In Men, Masculinity and the Indian Act, Martin Cannon, Onyota’a:ka (Oneida Nation) Turtle Clan, is about the inter-relationship between sexism and racialization. This book focuses on the impact of the Indian Act on the divisibility of Indigenous women into either/or ‘women’ or ‘Indians’. It also focuses on the collectivity of “Indians” in this Act, which affects men, women, two-spirit, transgendered or gay people.
Dreamfast, A Trail of Stories to Lead You Home, by Elizabeth Doxtater is a call to Action #95 to create a time for the children and (now) adults who were taken away from communities as children to be welcomed home, so they know they were missed and know that when they return home, they will be loved and protected. Dreamfast is a collection of short stories - a dreamfast-repatriation strategy – to say welcome home. Each story and the accompanying images is part of a connecting land bridge for those children (now) adults who seek to come home.
Performing Turtle Island: Indigenous Theatre on the World Stage is edited by Jesse Rae Archibald-Barber (Metis/Cree), Kathleen Irwin, and Moira J. Day. Performing Turtle Island cites the TRC Call to Action 83 for Indigenous and non-Indigenous artists to undertake collaborative projects and produce works that contribute to the reconciliation process. Acting on this call the two main parts of this work refer to Critical Self-Representation in Production and Training in part I: and, part II Performance in Dialogue with the Text.