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September 30 is Truth and Reconciliation Day in Canada: a day to mourn the Indigenous children lost to and abused in Canada’s residential school system, and a resounding call to know and action the 94 Calls to Action in the Truth and Reconciliation Commission of Canada’s report. These books, from personal memoirs to essays to novels to poetry collections, are a place to get started.
Showing 65–80 of 85 results
John Brady McDonald, MBSFA, a Nêhiyawak-Métis multidisciplinary artist and writer from Treaty Six Territory in Saskatchewan, Canada, is an award-winning author of multiple books who has presented at literary festivals around the world. Before all this, however, he was a young, urban Indigenous youth, struggling with addictions, the streets, and the pain and turmoil of intergenerational trauma as a residential school survivor and the child of residential school survivors.
These raw, lyrical poems are a glimpse of the birth of a poet, recklessly using language and words with abandon and without restraint. It is the poetry of an individual experimenting with the language, mixing the influences of Shakespeare and Jim Morrison with the teenage-Goth writing style of youth-the base metals from which a lifetime of words was forged.
Originally published by Kegedonce Press in 2004, The Glass Lodge was presented across Canada and the United States at esteemed festivals. Chosen for the First Nations Communities Read program, it was also nominated for the Anskohk Aboriginal Book of the Year in 2005.
Now, here is that seminal work in a brand-new edition, re-edited and restored, illustrated with images of many of the original, handwritten poems, and with author’s notes providing frank, fascinating insight into what gave rise to each of these verses: the outpouring of language that marked the birth of a remarkable writer.
“Fort McMurray First Nation chief Cree charts his path from a horrific childhood to a fulfilling life in this moving debut. [His] optimism rings true, even as his blunt account of state-sanctioned abuse haunts. The result is an affecting, hard-won testament to the power of perseverance.” — Publishers Weekly
A vital account of the life and many names of Robert Cree, and his plan for a peaceful, sincere, and just path to reconciliation in an angry and chaotic world.
His mother called him “Bobby Mountain.” Elders called him “Great Man.” His people called him “Chief.” Oil men called him “Mr. Cree.” But the government called him “Number 53.” Robert Cree was all of these while facing his people’s oppressors and freeing the ghosts of tortured spirits.
The Many Names of Robert Cree is his first-person account of survival in a brutally racist residential school system designed to erase traditional Indigenous culture, language, and knowledge. It is also the story of an epic life of struggle and healing, as Cree takes the wisdom of his ancestors and a message of reconciliation to the halls of government and to industry boardrooms.
In the storytelling tradition of his people, Cree recounts his early years in the bush, his captivity at a residential school, his struggles with addiction, his political awakening as one of Canada’s youngest First Nation Chiefs, and the rising Indigenous activism of the late 20th and early 21st centuries. He also recounts the oil industry’s arrival on his poverty-stricken reserve and the ensuing struggle to balance economic opportunity with environmental challenges.
Throughout, Cree’s leadership is rooted in his unshakable commitment to the sacred traditional teachings of his people. His beliefs give him the strength to focus on hope, dignity, and building a better future for his community. Now a respected Elder and spiritual leader, Cree champions forgiveness as a powerful force that can bring healing and transformation for all.
Winner of the 2017 Governor General’s Literary Award (Young People’s Literature – Text)
Winner of the 2017 Kirkus Prize
Winner of the 2018 Sunburst Award
Winner of the 2018 Amy Mathers Teen Book Award
Winner of the 2018 Burt Award for First Nations, Inuit and Métis Young Adult Literature
Just when you think you have nothing left to lose, they come for your dreams.
Humanity has nearly destroyed its world through global warming, but now an even greater evil lurks. The Indigenous people of North America are being hunted and harvested for their bone marrow, which carries the key to recovering something the rest of the population has lost: the ability to dream. In this dark world, Frenchie and his companions struggle to survive as they make their way up north to the old lands. For now, survival means staying hidden – but what they don’t know is that one of them holds the secret to defeating the marrow thieves.
It’s 1950 in the deserts of Southern California. Evangelist Brother Cain has a booming trade; his tent revival show moves from town to town, fleecing crowds desperate for something to believe in. When he discovers Mary, a Ntlaka’pamux woman from BC’s Nicola Valley, reading the Bible, he puts her onstage, renames her Grace, and displays her as a miracle: an Indian who can read. A grand, sweeping story of friendship and redemption, The Ministry of Grace is a powerful look at people struggling to live, love, and retain dignity in a heartless world.
This debut poetry collection from Lisa Bird-Wilson reflects on the legacy of the residential school system: the fragmentation of families and histories, with blows that resonate through the generations.Inspired by family and archival sources, Bird-Wilson assembles scraps of a history torn apart by colonial violence. The 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 as clear as glass beads, her poems offer affection to generations of children whose presence within the historic record is ghostlike, anonymous and ephemeral.The collection also explores the larger political context driving the mechanisms that tore apart families and cultures, including the Sixties Scoop. It depicts moments of resistance, both personal and political, as well as official attempts at reconciliation: “I can hold in the palm of my right hand / all that I have left: one story-gift from an uncle, / a father’s surname, treaty card, Cree accent echo, metal bits, grit– / and I will still have room to cock a fist.”The Red Files concludes with a fierce hopefulness, embracing the various types of love that can begin to heal the traumas inflicted by a legacy of violence.
Gerry Smith grew up in a small town about fifty-five kilometres from Temagami, the hometown of his long-absent father, Dale King. But he’s never met the once-legendary hockey player. Even after Gerry, as an adult, reconnects with his Anishinaabe relatives on his dad’s side of the family, Dale remains a mystery — a missing puzzle piece and a mythic villain. It’s not until his late twenties, juggling a commercial pilot career, a troubled marriage, and a young son of his own, that Gerry gets a call from Dale. Meeting for the first time in a dodgy sports bar in Toronto, Dale pitches Gerry on a dangerous but lucrative business venture, setting in motion an unlikely partnership that will test how far both father and son will go in the name of family.
Drawing on both Anishinaabe storytelling and film noir influences, The Return of the Nish explores the tragedy of lost opportunities, the cyclical nature of time, and how people and places return to us in new lights.
These are the Stories is a memoir presented in short chapters, comprising the life of a survivor of the Sixties Scoop. Christine Miskonoodinkwe Smith reveals her experiences in the child welfare system and her journey towards healing in various stages of her life. As an adult, she was able to reconnect with her birth mother. Though her mother passed shortly afterwards, that reconnection allowed the author to finally feel “complete, whole, and home.” The memoir details some of the author’s travels across Canada as she eventually made a connection with the Peguis First Nation in Manitoba.
A memoir in the vein of Colleen Hele Cardinal’s Raised Somewhere Else and Alicia Elliot’s A Mind Spread Out On the Ground, These are the Stories is an inspirational and courageous telling of a life story.
After a hunting trip one fall, a family in the far reaches of so-called Canada’s north return to nothing but an empty space where their home once stood. Finding themselves suddenly homeless, they have no choice but to assimilate into settler-colonial society in a mining town that has encroached on their freedom.
An intergenerational coming-of-age novel, This House Is Not a Home follows Kǫ̀, a Dene man who grew up entirely on the land before being taken to residential school. When he finally returns home, he struggles to connect with his family: his younger brother whom he has never met, his mother because he has lost his language, and an absent father whose disappearance he is too afraid to question.
The third book from acclaimed Dene, Cree and Metis writer Katłįà, This House Is Not a Home is a fictional story based on true events. Visceral and embodied, heartbreaking and spirited, this book presents a clear trajectory of how settlers dispossessed Indigenous Peoples of their land — and how Indigenous communities, with dignity and resilience, continue to live and honour their culture, values, inherent knowledge systems, and Indigenous rights towards re-establishing sovereignty. Fierce and unflinching, this story is a call for land back.
The elders in Those Who Know have devoted their lives to preserving the wisdom and spirituality of their ancestors. Despite insult and oppression, they have maintained sometimes forbidden practices for the betterment of not just their people, but all humankind.First published in 1991, Dianne Meili’s book remains an essential portrait of men and women who have lived on the trapline, in the army, in a camp on the move, in jail, in residential schools, and on the reserve, all the while counselling, praying, fasting, healing, and helping to birth further generations.In this 20th anniversary edition of Those Who Know, Meili supplements her original text with new profiles and interviews that further the collective story of these elders as they guide us to a necessary future, one that values Mother Earth and the importance of community above all else.
A treaty is a contract. A treaty is enduring. A treaty is an act of faith. A treaty at its best is justice. It is a document and an undertaking. It is connected to place, people and self. It is built on the past, but it also indicates how the future may unfold. Armand Garnet Ruffo’s TREATY # is all of these. In this far-ranging work, Ruffo documents his observations on life &ndash and in the process, his own life &ndash as he sets out to restructure relationships and address obligations nation-to-nation, human to human, human to nature. Now, he undertakes a new phase in its restoration. He has written his TREATY # like a palimpsest over past representations of Indigenous bodies and beliefs, built powerful connections to his predecessors, and discovered new ways to bear witness and build a place for them, and all of us, in his poems. This is a major new work from an important, original voice.
Winner of the Prix des libraires, the Indigenous Voices award, the Prix littéraire des enseignant.e.s de Français, and the Coup de Cœur Renaud-Bray, finalist for the Prix Alain-Grandbois, and finalist for the Governor General’s Literary Award for Translation
Dual-language edition
The poems in Uiesh / Somewhere are rooted in Innu Elder Joséphine Bacon’s experiences of moving between the nomadic ways of her Ancestors in the northern wilderness of Nitassinan and the clamour of the city. Wherever she is, Bacon is attentive to the smallest details of her environment, from the moon and the stars, the Northern Lights, and the falling snow, to the sirens of fire engines and the noise of a busy bar night. From her quiet centre, she listens to the voices of the Old Ones, whose stories are alive within her, and reflects on the beauty and the pain of her long life.
An updated edition of Herb Belcourt’s remarkable life story with a brand-new foreword by the author.
The eldest of ten children, Belcourt grew up in a small log home near the Métis settlement of Lac Ste. Anne during the Depression. His father purchased furs from local First Nations and Métis trappers and, with arduous work, began a family fur trading business that survives to this day. When Belcourt left home at 15 to become a labourer in coal mines and sawmills, his father told him to save his money so he could work for himself. Over the next three decades, Belcourt began a number of small Alberta businesses that prospered and eventually enabled him to make significant contributions to the Métis community in Alberta.
Belcourt has devoted over 30 years of his life to improving access to affordable housing and further education for Aboriginal Albertans. In 1971, he co-founded CanNative Housing Corporation, a nonprofit agency charged with providing homes for urban Aboriginal people who confronted housing discrimination in Edmonton and Calgary. In 2004, Belcourt and his colleagues established the Belcourt Brosseau Métis Awards Fund, a $13-million endowment with a mandate to support the educational dreams of Métis youth and mature students in Alberta and to make a permanent difference in the lives of Métis Albertans.
This bestselling, innovative picture book introduces readers to the concept of Etuaptmumk—or Two-Eyed Seeing, the gift of multiple perspectives in the Mi’kmaw language—as we follow a group of young children connecting to nature as their teacher.
A poetic, joyful celebration of the Lands and Waters as spring unfolds: we watch for Robin’s return, listen for Frog’s croaking, and wonder at maple tree’s gift of sap. Grounded in Etuaptmumk, also known as Two-Eyed Seeing—which braids together the strengths of Indigenous and non-Indigenous ways of knowing—and the Mi’kmaq concept of Netukulimk—meaning to protect Mother Earth for the ancestors, present, and future generations—Walking Together nurtures respectful, reciprocal, responsible relationships with the Land and Water, plant-life, animals and other-than-human beings for the benefit of all.
The generation to which Joe and Josephine Crowshoe belonged spanned more than the length of their lifetimes. That generation fought heroically in world wars and at the same time raised children under a paternalistic federal regime that denied both a culture and a heritage. The Crowshoes regained their heritage and shared it with the larger community, gaining respect from all the people with whom they were in contact and becoming articulate representatives and the holders of stories, legends, and customs. The interviews in Weasel Tail track not just their personal stories but the stories of a people who insisted on being recognized and a culture born out of the land of southern Alberta. Paralleling the interviews, Mike Ross has included historical photographs and documentation of a world and people who are a rich part of Alberta’s history.
A multilingual collection by emerging Indigenous poet Kalli Van Stone combines Salish languages with English and revitalizes ancestral traditions.
Interdisciplinary artist Kalli Van Stone embraces syilx and Secwépemc language in these sparse yet potent poems. welík’t—which means “sparkle” in the Secwepemctsín language—captures the story, song and dance which help heal the ongoing intergenerational impacts of colonialism and the residential school, day school and current education systems.
The structure of Interior Salish music and its healing powers are alive in many of Van Stone’s poems. The collection itself is framed in three sections for each language—nsyilxcn, Secwepemctsín and English—and translations accompany each piece.
With the poet’s artwork interspersed throughout the pages, welík’t is a rich celebration of creativity and coalescence.
In these poems, E. McGregor combines the lore of family history with personal memory, vividly parsing patterns of inheritance, particularly through the maternal line.
What Fills Your House Like Smoke begins and ends at the deathbed of the writer’s Metis grandmother. In between, McGregor composes an incomplete and wildly imaginative biography of the grandmother, interrogated by family photographs, stories, and the scant paper trail she left behind.
McGregor sifts through the complexities of motherhood, daughterhood, anxiety, intimate relationships and addiction, weaving family history with memory to make sense of what is carried on. Especially affecting are poems about childhood, and the people who disappear from a child’s life, and the struggle to live as a societal outsider, finding strength in self-definition and the power of narrative.
As these poems unfold, they move us toward an understanding of maternal inheritance, shifting identities, forgiveness, and finally love.