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Covering Indigenous adventures from Ontario?s Walpole Island to Northern Saskatchewan to the BC coast, #IndianLovePoems is a poetry collection that delves into the humour and truths of love and lust within Indigenous communities. Sharing stories in search of The One, or even better, the One-Night-Stand, or the opening of boundaries this collection fearlessly sheds light on the sharing and honesty that comes with discussions of men, women, sex, and relationships, using humour to explore the complexities of race, culture and intent within relationships.
David Groulx’s latest collection offers his readers a handful of poems as cutting and brilliant as glass shards, offering glimpses of the anger, pain and lost beauties of his ancestors. These poems cut deep with their clear-eyed honesty, their stripped away pain and suffering. A subtle weaving of black humour and fleeting touches of beauty, as well at the careful craftsmanship of the writing make these poems iconic. This is a collection that should not be missed.
The inspiration for the collection comes from American Poet Charles Bukowski who wrote “In between the punctuating agonies, life is such a gentle habit.” Following this theme of extraordinary ordinariness, A Gentle Habit is a collection of six new short stories focusing on the addictions of a diverse group of characters attempting normalcy in an unnatural world.
A Moon Made of Copper is a collection of non-fiction poems that look at the continual maturing and growth of a human being. The poems were written while touring across Canada, and they capture Bose’s experiences meeting people, wandering different cities, and getting into adventures and mis-adventures. A poetic journey through pain and loss, and ultimately towards healing.
Deluxe redesign of the Gerald Lampert Award-winning classic.
On the occasion of the press’s 40th anniversary, Brick Books is proud to present the fourth of six new editions of classic books from our back catalogue. This edition of A Really Good Brown Girl features a new Introduction by Lee Maracle, a new Afterword by the author and a new cover and design by the renowned typographer Robert Bringhurst.
First published in 1996, A Really Good Brown Girl is a fierce, honest and courageous account of what it takes to grow into one’s self and one’s Métis heritage in the face of myriad institutional and cultural obstacles. It is an indispensable contribution to Canadian literature.
I am looking at a school picture, grade five, I am smiling easily … I look poised, settled, like I belong. I won an award that year for most improved student. I learned to follow really well. –from “Memoirs of a Really Good Brown Girl”
“No other book so exonerates us, elevates us and at the same time indicts Canada in language so eloquent it almost hurts to hear it.” –Lee Maracle, from the Introduction
In this poetry collection, Joséphine Bacon challenges our traditional notions of culture and perception, landscape and wilderness, the limits of experience, and the nature of human being. With a surreal blend of emotions and memories, “A Tea in the Tundra / Nipishapui Nete Mushuat” portrays a complex and ever-shifting landscape of possibilities. The author passionately reveals a finely wrought sensibility, which elevates the subtle scenery of life’s everyday events. The French-language edition of this book was shortlisted for the 2014 Governor General’s Literary Award for poetry.
Aboriginal rights do not belong to the broader category of universal human rights because they are grounded in the particular practices of aboriginal people. So argues Peter Kulchyski in this provocative book from the front lines of indigenous people’s struggles to defend their culture from the ongoing conquest of their traditional lands. Kulchyski shows that some differences are more different than others, and he draws a border between bush culture and mall culture, between indigenous people’s mode of production and the totalizing push of state-led capitalism.
Aboriginal Rights Are Not Human Rights provides much needed conceptual and historical analysis of aboriginal and treaty rights in Canada, and offers concrete suggestions to transform the current policy paradigm into one that supports and invigorates indigenous cultures in a contemporary context.
Almighty Voice and His Wife shakes up a familiar story from the Saskatchewan frontier, reimagining it from the postmodern late twentieth century. The “renegade Indian story” transforms into both an eloquent tale of tragic love and an often hilarious, fully theatrical exorcism of the hurts of history. A modern classic about the place of First Nations people in Canada.
AnHonest Woman by Jónína Kirton confronts us with beauty and ugliness in the wholesome riot that is sex, love, and marriage. From the perspective of a mixed-race woman, Kirton engages with Simone de Beauvoir and Donald Trump to unravel the norms of femininity and sexuality that continue to adhere today.
Kirton recalls her own upbringing, during which she was told to find a good husband who would “make an honest woman” out of her. Exploring the lives of many women, including her mother, her contemporaries, and well-known sex-crime stories such as the case of Elisabeth Fritzl, Kirton mines the personal to loosen the grip of patriarchal and colonial impositions.
An Honest Woman explores the many ways the female body is shaped by questions that have been too political to ask: What happens when a woman decides to take her sexuality into her own hands, dismissing cultural norms and the expectations of her parents? How is a young woman’s sexuality influenced when she is perceived as an “exotic” other? Can a woman reconnect with her Indigenous community by choosing Indigenous lovers?
Daring and tender in their honesty and wisdom, these poems challenge the perception of women’s bodies as glamorous and marketable commodities and imagine an embodied female experience that accommodates the role of creativity and a nurturing relationship with the land.
With this special 20th Anniversary edition, Richard Van Camp re-releases his first bestselling collection of short stories. There is pain in these stories and there is loss. There is death, but there is also rebirth, and there is always the search from each of the narrators for personal truth. This collection of hilarious and profound stories is where beloved recurring characters Torchy, Sfen, Snowbird, Clarence and Brutus first appeared. Larry Sole from The Lesser Blessed>/i> also appears in this collection, alongside many other characters, all of them linked by themes of hope, the spirit of friendship, and hunger.
Richard has gone on to publish four other short story collections, but Angel Wing Splash Pattern is where his love of the short story–“those perfect universes”–all began. This beautifully redesigned 20th anniversary edition, with a new introduction by the author and two new graphic-novel style stories, proves once again that Richard Van Camp is a master of the short story.
When Annie Pootoogook won the Sobey Art Award in 2006, she cracked the glass ceiling for Inuit art, securing its place in contemporary Canadian art discourse and establishing herself as an artist of international importance. Her achievement sparked critical discussion around contemporary art as well as the absence, and growing presence, of Inuit art: an important conversation that continues to this day.
The life and death of Annie Pootoogook is a story of national significance. The complex narratives weaving through her short life speak to possibility and heartbreak, truth and reconciliation, the richness of community, and the depths of tragedy. These complexities are recorded in her arresting pencil crayon compositions. Her frank, sometimes challenging, sometimes amusing images of everyday life, acutely observed and marked by a linear control as taut as a wire, declare her as a major contributor to the landscape of contemporary Inuit art.
Annie Pootoogook: Cutting Ice accompanied an exhibition organized by the McMichael Canadian Art Collection, the gallery of record for works on paper from Annie Pootoogook’s Inuit community of Kinngait (Cape Dorset). Under the direction of Nancy Campbell, this publication and the exhibition serve to commemorate the life and work of a remarkable artist after her tragically early death.
***IPPY AWARDS: BEST REGIONAL NON-FICTION: CANADA-WEST – SILVER***
***INDIGENOUS VOICES AWARDS 2021, PUBLISHED PROSE IN ENGLISH: CREATIVE NON-FICTION AND LIFE-WRITING: FINALIST***
***FIRST NATION COMMUNITIES READ AWARDS 2021/22: LONGLIST***
***NEXT GENERATION INDIE BOOK AWARDS, REGIONAL (NON-FICTION): FINALIST***
***THE MIRAMICHI READER‘S 2020 MOST PROMISING AUTHOR AWARD***
***BMO WINTERSET AWARD 2020 LONGLIST***
In Approaching Fire, Michelle Porter embarks on a quest to find her great-grandfather, the Métis fiddler and performer Léon Robert Goulet. Through musicology, jigs and reels, poetry, photographs, and the ecology of fire, Porter invests biography with the power of reflective ingenuity, creating a portrait which expands beyond documentation into a private realm where truth meets metaphor.
Weaving through multiple genres and traditions, Approaching Fire fashions a textual documentary of rescue and insight, and a glowing contemplation of the ways in which loss can generate unbridled renewal.
A gender-fluid trickster character leaps from Cree stories to inhabit this racous and rebellious new work by award-winning poet Louise Bernice Halfe.
There are no pronouns in Cree for gender; awâsis (which means illuminated child) reveals herself through shape-shifting, adopting different genders, exploring the English language with merriment, and sharing his journey of mishaps with humor, mystery, and spirituality. Opening with a joyful and intimate Introduction from Elder Maria Campbell, awâsis – kinky and dishevelled is a force of Indigenous resurgence, resistance, and soul-healing laughter.
If you’ve read Halfe’s previous books, prepared to be surprised by this one. Raging in the dark, uncovering the painful facts wrought on her and her people’s lives by colonialism, racism, religion, and residential schools, she has walked us through raw realities with unabashed courage and intense, precise lyricism. But for her fifth book, another choice presented itself. Would she carve her way with determined ferocity into the still-powerful destructive forces of colonialism, despite Canada’s official, hollow promises to make things better? After a soul-searching Truth and Reconciliation process, the drinking water still hasn’t improved, and Louise began to wonder whether inspiration had deserted her.
Then awâsis showed up–a trickster, teacher, healer, wheeler-dealer, shapeshifter, woman, man, nuisance, inspiration. A Holy Fool with their fly open, speaking Cree, awâsis came to Louise out of the ancient stories of her people, her Elders, from community input (through tears and laughter), from her own full heart and her three-dimensional dreams. Following awâsis’s lead, Louise has flipped her blanket over, revealing a joking, mischievous, unapologetic alter ego–right on time.
“Louise Halfe knows, without question, how to make miyo-iskotêw, a beautiful fire with her kindling of words and moss gathered from a sacred place known only to her, to the Old Ones. These poems, sharp and crackling, are among one of the most beautiful fires I’ve ever sat beside.” –Gregory Scofield, author of Witness, I Am
“Louise makes awâsis out of irreverent sacred text. The darkness enlightens. She uses humor as a scalpel and sometimes as a butcher knife, to cut away, or hack off, our hurts, our pain, our grief and our traumas. In the end we laugh and laugh and laugh.” –Harold R. Johnson, author of Peace and Good Order: The Case for Indigenous Justice in Canada
“This is all about Indigenizing and reconciliation among ourselves. It’s the kind of funny, shake up, poking, smacking and farting we all need while laughing our guts out. It’s beautiful, gentle and loving.” –Maria Campbell, author of Halfbreed (from the Introduction)
“There really isn’t any template for telling stories as experienced from within Indigenous minds. In her book awâsis – kinky and dishevelled, Cree poet Louise Bernice Halfe – Skydancer presents a whole new way to experience story poems. It’s kinda like she writes in English but thinks in Cree. Lovely, revealing, funny, stunning. A whole new way to write!” –Buffy Sainte-Marie
Winner of the City of Vancouver Book Award
Finalist for the Rogers Writers’ Trust Fiction Prize.
Carleigh Baker likes to make light in the dark. Whether plumbing family ties, the end of a marriage, or death itself, she never lets go of the witty, the ironic, and perhaps most notably, the awkward. Despite the title, the resolution in these stories isn’t always tragic, but it’s often uncomfortable, unexpected, or just plain strange. Character digressions, bad decisions, and misconceptions abound.
While steadfastly local in her choice of setting, Baker’s deep appreciation for nature takes a lot of these stories out of Vancouver and into the wild. Salmon and bees play reoccurring roles in these tales, as do rivers. Occasionally, characters blend with their animal counterparts, adding a touch of magic realism. Nature is a place of escape and attempted convalescence for characters suffering from urban burnout. Even if things get weird along the way, as Hunter S. Thompson said, “When the going gets weird, the weird turn pro.”
In Bad Endings, Baker takes troubled characters to a moment of realization or self-revelation, but the results aren’t always pretty.
As the prime suspect in a workplace accident, Floyd has to get out of town fast. Pursued by the RCMP, he heads through the Rockies for Burnaby, BC, along the route of the Trans Mountain Pipeline. By the time he reaches the Pacific, Floyd has experienced changes: his gait widening, muscles bulging, sense of smell heightening…
“Bearskin Diary is a humane, unflinching portrayal of a woman asserting her voice and claiming space in an often hostile nation.”
In Beautiful Razor, Al Hunter explores the span between the sensual and the profane; the distance of which can sometimes be vast or on the razor’s edge. This much awaited collection is the third poetry book written by the former Rainy River First Nations Chief, along with Spirit Horses and The Recklessness of Love.
A collection of words and imagery from diverse voices grounded in the land that explore community in relation to time. Filmmaker/writer, Darlene Naponse, curates a gathering of expression about time that has passed, time that is now and time that comes.
The poems in “Between the Moments” immerse the reader deep into the reflection of humanity and tangible reality of life to explore the moments of perplexity and simplicity of life. Throughout the book, the author roams the crevices of her desire and invites us into the world filled with tides and stars, mirages and reflections, moments of confusion and enlightenment to resolve deep emotional issues and to find the light in the darkness. In “Between the Moments” the emotions are overlapping and the feelings are evolving until the end of the night.