Sweetest Kulu, a charming bedtime poem, written by acclaimed Inuk throat singer Celina Kalluk describes the gifts given to a newborn baby by all the animals of the Arctic. Lyrically and tenderly told by a mother speaking to her own little Kulu, an Inuktitut term of endearment often bestowed upon babies and young children, this visually stunning book is infused with the traditional Inuit values of love and respect for the land and its animal inhabitants. Author Celina Kalluk was born and raised in Resolute Bay, Nunavut.
Once in a Blue Moon is a fictional account told in simple rhyming verse about the rare appearance of a blue moon. A blue moon is a second full moon in a calendar month. The author who identifies as Metis is also the illustrator for this book suggested for primary level students. Published by Groundwood Books in 2017. Selected for the 2018 FNCR longlist for First Nation Communities Read.
Joseph A. Dandurand is a member of Kwantlen First Nation located on the Fraser River about twenty minutes east of Vancouver. He resides there with his three children Danessa, Marlysse, and Jace. Joseph received a Diploma in Performing Arts from Algonquin College and studied Theatre and Direction at the University of Ottawa. Joseph is the Heritage/Lands Officer for his people and has been performing his duties for 20 years now. He has been tasked with protecting his people’s heritage from the many destructive elements of development in the Kwantlen territory.
From one of Canada's most recognized poets, Witness, I Am delves into the critical issue of Missing and Murdered Indigenous Women through the retelling of an atayohkewin, a Cree Sacred Story; builds on the autobiographical arc of Gregory Scofield's eight collections of poetry; and reimagines Metis identity and belonging as contemporary sound poetry, weaving the personal and universal into a tapestry of sharp poetic luminosity. Longlisted title on the 2017 First Nation Communities Read program.
The Red Files is inspired by family and archival sources, Lisa Bird-Wilson assembles scraps of a history torn apart by colonial violence. The poetry collection takes its name from the federal government's complex organizational structure of residential schools archives, which are divided into black files and red files. In vignettes clear as glass beads, her poems offer affection to generations of children whose presence within the historic record is ghostlike, anonymous and ephemeral.
Shannon Webb-Campbell's Still No Word seeks the appearance of the self in others and the recognition of others within the self. Patient, searching, questioning, and at times heartbreaking - these poems reveal the deep past within the present tense and the interrelations that make our lives somehow both whole and unfinished. And though Webb-Campbell is political at times, this is not politics for the sake of politics: here, it's a matter of the human heart. Ranging from reflective to angry, from sensual to humourous, her poetry inhabits that mercurial space between the public and the priv
Totem Poles and Railroads 2017 FNCR succinctly defines the 500-year-old relationship between Indigenous nations and the corporation of Canada. In this, her fifth poetry collection, Janet Rogers expands on that definition with a playful, culturally powerful and, at times, experimental voice. She pays honour to her poetic characters - real and imagined, historical and present day - from Sacajawea to Nina Simone.
In her second collection of poetry, Passage, Gwen Benaway examines what it means to experience violence and speaks to the burden of survival. Traveling to Northern Ontario and across the Great Lakes, Passage is a poetic voyage through divorce, family violence, legacy of colonization, and the affirmation of a new sexuality and gender. Previously published as a man, Passage is the poet’s first collection written as a transwoman. Striking and raw in sparse lines, the collection showcases a vital Two Spirited identity that transects borders of race, gender, and experience.