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The All Lit Up books longlisted for the 2024-2025 First Nations Communities READ Awards in Adult, YA, and Children’s categories.
Showing all 18 results
These poems speak with a fierce tenderness of many aspects of the poet?s life: a childhood spent on the banks of the Churchill River, the death of a beloved one, the struggle to try to find forgiveness for wrongs done to her people and the weariness of trying to redress those wrongs. a beautiful rebellion reaches one hand back to Louis Riel and one hand ahead to future Métis generations.
There is a quiet power?riverine, deep, unstoppable?that flows through these words
A debut picture book that celebrates self-love, care, and resilience with one of the most widespread plants—the dandelion.
Both a love letter to the dandelion and a call to love ourselves in a difficult world, Âmî Osâwâpikones reminds us that we are not defined as others see us. Following our young protagonist and the dandelions through the seasons, we are reminded that we are resilient, we are healers, we are funny, and we are loved.
Arctic/Amazon: Networks of Global Indigeneity offers a conversation between Indigenous Peoples of two regions in this time of political and environmental upheaval. Both regions are environmentally sensitive areas that have become hot spots in the debates circling around climate change and have long been contact zones between Indigenous Peoples and outsiders — zones of meeting and clashing, of contradictions and entanglement.
Opening with an Epistolary Exchange between the editors, Arctic/Amazon then widens to include essays by 12 Indigenous artists, curators, and knowledge-keepers about the integration of spirituality, ancestral respect, traditional knowledges, and political critique in artistic practice and more than 100 image reproductions and installation shots. The result is an extraordinary conversation about life, artistic practise, and geopolitical realities faced by Indigenous peoples in regions at risk.
Imbued with passion, creativity and insight, Brandon Reid’s debut novel is a wonderfully creative coming-of-age story exploring indigeneity, masculinity and cultural tradition.
Twelve-year-old Derik Mormin travels with his father and a family friend to Bella Bella for his grandfather’s funeral. Along the way, he uncovers the traumatic history of his ancestors, considers his relationship to masculinity and explores the contrast between rural and urban lifestyles in hopes of reconciling the seemingly unreconcilable, the beauty of each the Indigenous and “Western” way of life—hence beautiful beautiful.
He travails a storm, meets long-lost relatives, discovers his ancestral homeland; he suffers through catching fish, gains and loses companions, learns to heal trauma. In Beautiful Beautiful we delve into the mind of a gifted boy who struggles to find his role and persona through elusive circumstance, and—
All right, that’s quite enough third-person pandering; you’re not fooling anyone. Redbird here, Derik’s babysitter, and narrator of this here story. Make sure to smash that like button. We’re here to bring light to an otherwise grave subject, friends. It’s only natural to laugh while crying. I bring story to life. One minute I’m a songbird singing from a bough, the next, I’m rapture. I connect you to the realm of spirit… Well, as best I can, given your mundane allocation.
Follow us through primordial visions, dance with a cannibal (don’t worry, they’re friendly once tamed) and discover what it takes to be united. Together, we’ll have fun. Together, we are one. So tuck in, and believe what you’ll believe, for who knows what yesterday brings. Amen and all my relations, all my relations and amen.
The First Few Feet in a World of Wolves chronicles the fictionalization of the year the author spent teaching in Aupaluk (a remote Inuit community on the Ungava Coast of Nunavik). The second outlines, and explores, the history of oppression experienced by the more than five hundred Indigenous nations across northern Turtle Island at the hands of the Canadian government since the Royal Proclamation.
Told through the voice of Nomad, who finds himself very much at odds with the land itself. Nomad slowly learns how to reconnect with his fractured history as he embraces and is embraced by the Elders and his own students. Told is crisp, spare prose, this debut novel brings forward a powerful new indigenous voice to the literary landscape.
Upon learning his great-uncle Alfred has suffered a stroke, Richard sets out for Ste. Anne, in southeastern Manitoba, to find his father and tell him the news. Waylaid by memories of his stalled romance, tales of run-ins with local Mennonites, his job working a honey wagon, and struck by visions of Métis history and secrets of his family’s past, Richard confronts his desires to leave town, even as he learns to embrace his heritage.
Evoking an oral storytelling epic that weaves together one family’s complex history, Hold Your Tongueasks what it means to be Métis and francophone. Recalling the work of Katherena Vermette and Joshua Whitehead, Matthew Tétreault’s debut novel shines with a poignant, but playful character-driven meditation on the struggles of holding onto “la langue,” and marks the emergence of an important new voice.
Sandy Mecowatch, a descendant of Missinabi Cree people, falls through the ice leaving behind his wife Louise and eleven year old daughter Alison “Joe Pete”. Joe Pete’s grief propels her to risk searching for her father in the same winter conditions that took him. Along with her obedient and protective cousin Simon, they embark on a journey where they will find more than they anticipated buried beneath the snow. Their journey will unlock the ancestors and spirits embedded in the present who call back to a past marked by war and kinship, by conflict and wisdom that continue to contour their trajectory towards the future.
An unflinching reimagining of Legacy: Trauma, Story, and Indigenous Healing for young adultsWritten specifically for young adults, reluctant readers, and literacy learners, Killing the Wittigo explains the traumatic effects of colonization on Indigenous people and communities and how trauma alters an individual’s brain, body, and behavior. It explores how learned patterns of behavior — the ways people adapt to trauma to survive — are passed down within family systems, thereby affecting the functioning of entire communities. The book foregrounds Indigenous resilience through song lyrics and as-told-to stories by young people who have started their own journeys of decolonization, healing, and change. It also details the transformative work being done in urban and on-reserve communities through community-led projects and Indigenous-run institutions and community agencies. These stories offer concrete examples of the ways in which Indigenous peoples and communities are capable of healing in small and big ways — and they challenge readers to consider what the dominant society must do to create systemic change. Full of bold graphics and illustration, Killing the Wittigo is a much-needed resource for Indigenous kids and the people who love them and work with them.
Misty Lake tells the story of a young Metis journalist from Winnipeg who travels to a Dene reserve in Northern Manitoba to conduct an interview with a former residential school student. What Mary imparts in her interview will change Patty’s life profoundly, allowing the journalist to make the connections to her own troubled life in the city. Patty knows that her Metis grandmother went to residential school when she was a girl. But Patty hasn’t understood until now that she’s inherited the traumatic legacy of residential school that was passed down to her mother from her grandmother. With this new understanding, Patty embarks on a healing journey. It will take her to the Dene fishing camp at Misty Lake, a place of healing, where, with Mary, she will learn that healing begins when you can talk about your life.
Drawing on her Ojibwa roots and storytelling, Barnes shares stories that take the heart on the path to the past, nostalgic though it may be, wherein lies discovery, memories, and rhythms that ease the soul. Touching, tender but never overwrought, Barnes’ poetry brings wonder to the spirit of nature and provides a sense of connection to the things most often overlooked.
Set in the community of Listuguj, Gespe’gewa’gi, Nipugtug follows the journey of A’le’s (Mi’gmaw for Alice), a young Mi’gmaw woman, snowshoeing through the forest. There, she meets animals, Wapus (Rabbit), Wowgwis (Fox), Tia’m (Moose), Ga’qaquj (Crow) and trees, Masgwi (Birch), Qasgusi (Cedar) who guide her through both challenging and nourishing emotions of learning her Mi’gmaw language. Grounded in her relationship with the territory, A’le’s navigates memories of her language that cling to realities within and beyond her life.
Journey to the southernmost tip of the territories held by Canada. North of Middle Island opens with a collection of individual poems that
capture the spirit of the relatively isolated, sparsely populated community of
Pelee Island. The pieces explore contemporary Indigenous experience in the
natural and built environments of the island and surrounding waters. The book concludes with an epic, “rarely true” narrative of modern-day warriors, told in traditional Anglo-Saxon style—a new Lenape myth of how Deerwoman (Ahtuhxkwe) comes to Pelee Island. The events of this epic tale are loosely based on the infamous professional wrestler and actor Rowdy Roddy Piper’s time on the island and Wrestlemania XII, Piper’s notorious “Backlot Brawl” with fellow wrestler Goldust (Nkuli Punkw). Follow acclaimed Moravian of the Thames First Nation poet D.A. Lockhart on this lyrical, epic journey into the unique culture and landscapes that lie just North of Middle Island.
Ceremony, community and connection – the poems of Once the Smudge is Lit carry the reader into deeply spiritual elements of Nishnaabe/Ojibwe culture. Co-written by Cole Forrest and Kelsey Borgford, the poetry of Once the Smudge is Lit highlights the Indigenous experience in post-colonial times through explorations of themes ranging from love to community. Bogford’s and Forrest’s verses seek to open a multidimensional window into the experience of being a contemporary Nishaabe. A profound sense of movement, connection, and continuity is emphasized by Tessa Pizzale’s beautifully evocative illustrations, which include a line of smudge smoke that flows from page to page.
Award recognition for My Indian
***2022 ATLANTIC BOOK AWARDS: APMA BEST ATLANTIC-PUBLISHED BOOK AWARD – SHORTLIST***
***2022 BMO WINTERSET AWARD – LONGLIST***
***2022-2023 HACKMATACK AWARD: ENGLISH FICTION – SHORTLIST***
***2022 IPPY AWARDS: MULTICULTURAL FICTION: JUV/YA – SILVER***
Suliewey: The Sequel to My Indian continues the story of Mi’kmaw guide Sylvester Joe, whose traditional name is Suliewey, as he seeks out the last remaining Beothuk community.
In My Indian, Sylvester was hired by William Cormack in 1822 to guide him across Newfoundland in search of Beothuk encampments. In fact, he followed the advice of his Elders and guided Cormack away from the Beothuk.
In this sequel, having parted ways with Cormack at St. George’s Bay, Sylvester decides to go out on his own in search of the winter camp of the last of the remaining Beothuk.
Written as fiction by two Mi’kmaw authors, Suliewey: The Sequel to My Indian supports Mi’kmaw oral history of friendly relationships with the Beothuk.
The novel reclaims the settler narrative that the Beothuk and the Mi’kmaq of Newfoundland were enemies and represents an existing kinship between the Mi’kmaq and the Beothuk.
Rich in oral history, the descriptions of traditional ceremonies and sacred medicines, the use of Mi’kmaw language, and the teachings of two-spirit place readers on the land and embed them in the strong relationships described throughout the book.
Curious, uncanny tales blending Indigenous oral storytelling and meticulous style, from an electric voice in Canadian fiction
These are stories that are a little bit larger than life, or maybe they really happened. Tales that could be told ’round the campfire, each one-upping the next. Tales about a car that drives herself, ever loyal to her owner. Tales about an impossible moose hunt. Tales about the Real Santa(TM) mashed up with the book of Genesis, alongside SPAM stew and bedroom sets from IKEA.
G.A. Grisenthwaite’s writing is electric and inimitable, blending meticulous literary style with oral storytelling and coming away with a voice that is entirely his own. Tales for Late Night Bonfires is truly one of a kind, and not to be missed.
A story for children by Kwantlen storyteller and award-winning poet Joseph Dandurand.The Girl Who Loved the Birds is the third in a series of Kwantlen legends by award-winning author Joseph Dandurand, following The Sasquatch, the Fire and the Cedar Baskets and A Magical Sturgeon.Accompanied by beautiful gouache illustrations by Kwantlen artist Elinor Atkins, this tender children’s story follows a young Kwantlen girl who shares her life with the birds of the island she calls home. Collecting piles of sticks and moss for the builders of nests, sharing meals with the eagles and owls, the girl forms a lifelong bond with her feathered friends, and soon they begin to return her kindness.Written with Dandurand’s familiar simplicity and grace, The Girl Who Loved the Birds is a striking story of kinship and connection.
Miskozi is searching for something…
There’s something missing.
And she’s not sure what it is.
She goes on a search for herself and her culture, accompanied by her inner white girl, Waabishkizi, and guided by Ziibi, a manifestation of an ancestral river, both provoking her to try and find the answers.
She begins the journey back before she was even born, right at the seeds of colonization when her ancestors were forced to hide their culture anywhere they could.
Burying their language.
Their teachings.
Their bundles.
Their moccasins.
White Girls in Moccasins is a hilarious and poignant reclamation story that world-hops between dreams, memories, and a surreal game show. Miskozi recounts her life and is forced to grapple with her own truth, while existing in a society steeped in white supremacy.
A love letter to brown kids born in the 80s, surviving in the 90s and all those continuing to deeply reclaim.