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.
Not My Fate: The Story of a Nisga'a Survivor is a biography of Josephine Caplin written by "Metis-Canadian" author Janet Romain. Jo was born into a world marred by maternal abandonment, alcoholism and traumatic epileptic seizures. In grade three, she was apprehended by child services and separated from her protective brother and her early caregivers, her father and uncle, who were kind men with drinking problems. Placed into many alienating and lonely foster homes, Jo would not see her family again until she was fourteen.
The Clay We Are Made Of: Haudenosaunee Land Tenure on the Grand River is written by Susan M. Hill, a Haudenosaunee citizen (Wolf Clan, Mohawk Nation) and resident of Ohswe:ken (Six Nations of the Grand River Territory). She is an associate professor of History and the Director of First Nations Studies at University of Western Ontario. The book presents a revolutionary retelling of the history of the Grand River Haudenosaunee from their Creation Story, through European contact, to contemporary land claims negotiations.
Violence No More: The Rise of Indigenous Women maps the colonial roots and routes of this tragedy while also showing the massive, consistent and persistent resistance to it. Following the path of many Indigenous women before her, Nanibush offers potential solutions to the continued colonization of Indigenous bodies through violence. In Violence No More, Wanda Nanibush offers personal, political and historical accounts of violence against Indigenous women, children and two-spirited people.
Living on the Land: Indigenous Women's Understanding of Place, examines how patriarchy, gender, and colonialism have shaped the experiences of Indigenous women as both knowers and producers of knowledge. From a variety of methodological perspectives, contributors to the volume explore the nature and scope of Indigenous women’s knowledge, its rootedness in relationships both human and spiritual, and its inseparability from land and landscape.
Listening to the Beat of Our Drum: Stories of Parenting in a Contemporary Society is a collection of stories, inspired by a wealth of experiences across space and time from a kokum, an auntie, two-spirit parents, a Metis mother, a Tlinglit/Anishnabe Metis mother and an allied feminist mother. This book is born our of the need to share experiences and stories. Storytelling is one of the most powerful forms of passing on teachings and values that we have in our Indigenous communities.
The Winona LaDuke Chronicles: Stories from the Front Lines in the Battle for Environmental Justice is a major work, a collection of current, pressing and inspirational stories of Indigenous communities from the Canadian subarctic to the heart of Dine Bii Kaya, Navajo Nation. Chronicles is a book literally risen from the ashes - beginning in 2008 after her home burned to the ground - and collectively is an accounting of Winona's personal path of recovery, finding strength and resilience in the writing itself as well as in her work.
Les Mots Qu'il Me Reste Violette Pesheens, pensionnaire à l'école résidentielle, nord de l'ontario, 1966 is the French edition of Scholastic's Cher Journal (Dear Canada) series. This story is the work of Ojibwe scholar and author Ruby Slipperjack. This French edition is translated from English by Martine Faubert. This 178-page story diary presents the perspective of an Ojibwe girl who is forced to attend a residential school in 1966.
Will I See? is a 2016 graphic novel from Highwater Press by David Alexander Robertson. From a story idea by Iskwe and Erin Leslie, the topic of missing and murdered Indigenous women receives a new treatment in this graphic novel. Illustrated in black and white with minimal red splashes on appropriate pages, this difficult story begins with a reader warning that this graphic novel could act as a trigger because of the content about violence against women. It begins with a First Nation teen living in the city with her grandmother.