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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.
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Unless there is snow on the ground, never speak their name aloud.
The more they eat the hungrier they become, and they are starving.
Collecting Richard Van Camp’s prose stories of the Wheetago in one volume for the first time, alongside new short illustrations from artist, Christopher Shy.
Humanity’s greed has unleashed the horror that generations of keepers of the land have warned us about. Wheetago War Stories collects the short stories; On the Wings of this Prayer, The Fleshing, The Truth Between Us, Widow, Lying in Bed Together, Summoners, and Wheetago War.
Combing traditional Tlicho Dene storytelling with modern horror sensibilities, Richard’s unique voice conjures a compelling feast of the macabre for the lover of tales to be read by candlelight or by a campfire, far from civilization.
Christopher Shy continues the successful collaboration with Richard begun in the Wheetago War graphic novel series, by creating new spot illustrations to these stories, snapshots of the world Richard’s words evoke.
This collection includes Wheetago War, the short story that has been adapted into a multi-award winning stop-frame animated movie by Amanda Strong and Spotted Fawn Productions, called “Inkwo, for when the starving return.”
Where the Blood Mixes is meant to expose the shadows below the surface of the author’s First Nations heritage, and to celebrate its survivors. Though torn down years ago, the memories of their Residential School still live deep inside the hearts of those who spent their childhoods there. For some, like Floyd, the legacy of that trauma has been passed down through families for generations. But what is the greater story, what lies untold beneath Floyd’s alcoholism, under the pain and isolation of the play’s main character?
Loring’s title was inspired by the mistranslation of the N’lakap’mux (Thompson) place name Kumsheen. For years, it was believed to mean “the place where the rivers meet”—the confluence of the muddy Fraser and the brilliant blue Thompson Rivers. A more accurate translation is: “the place inside the heart where the blood mixes.” But Kumsheen also refers to a story: Coyote was disemboweled there, along a great cliff in an epic battle with a giant shape-shifting being that could transform the world with its powers—to this day his intestines can still be seen strewn along the granite walls. In his rage the transformer tore Coyote apart and scattered his body across the nation, his heart landing in the place where the rivers meet.
Can a person survive their past; can a people survive their history? Irreverently funny and brutally honest, Where the Blood Mixes is a story about loss and redemption. Caught in a shadowy pool of alcoholic pain and guilt, Floyd is a man who has lost everyone he holds most dear. Now after more than two decades, his daughter Christine returns home to confront her father. Set during the salmon run, Where the Blood Mixes takes us to the bottom of the river, to the heart of a People.
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.
Two neighbouring families, one Indigenous and one white, dine together during Truth and Reconciliation Week. As cultural misunderstanding, colonial violence, and racism both covert and overt surface, White Noise asks, “How do we deal with internalized racism? Do we keep pushing it away … or do we make a change?” Taran Kootenhayoo’s answer is both emotionally intense and outrageously hilarious, a blistering comedic exploration of what it means to live in so-called Canada.
Cast of 1 Indigenous woman, 2 white women, 2 Indigenous men, and 1 white man