Eighteen-year-old Daunis Fontaine has never quite fit in, both in her hometown and on the nearby Ojibwe reservation. She dreams of a fresh start at college, but when family tragedy strikes, Daunis puts her future on hold to look after her fragile mother. The only bright spot is meeting Jamie, the charming new recruit on her brother Levi’s hockey team.
“Pull over, Grandma! Hurry!” Johnny says. Grandma does, and Johnny runs to show her what he spotted near the ditch: a sleeping pheasant. What Grandma sees is a small feathery hump. When Johnny wants to take it home, Grandma tries to tell him that the pheasant might have been hit by a car. But maybe she could use the feathers for her craftwork? So home with Grandma and Johnny the pheasant goes . . .
It’s hard to say who is most surprised by what happens next—Grandma, Johnny, or the pheasant. But no one will be more delighted than the reader at this lesson about patience and kindness and respect for nature, imparted by Grandma’s gentle humor, Johnny’s happy hooting, and all the quiet wisdom found in Cheryl Minnema’s stories of Native life and Julie Flett’s remarkably evocative and beautiful illustrations.
Native families from Nations across the continent gather at the Dance for Mother Earth Powwow in Ann Arbor, Michigan.
In a high school gym full of color and song, people dance, sell beadwork and books, and celebrate friendship and heritage. Young protagonists will meet relatives from faraway, mysterious strangers, and sometimes one another (plus one scrappy rez dog).
They are the heroes of their own stories.
Featuring stories and poems by:
David A. Robertson
Andrea L. Rogers
Cynthia Leitich Smith
Monique Gray Smith
Erika T. Wurth
In this lyrical story-poem, written in Anishinaabemowin and English, a child and grandmother explore their surroundings, taking pleasure in the familiar sights that each new season brings.
The year is 1884, and 15-year-old George Gillies lives in the Washington Territory, near the border with British Columbia. In this newly settled land, white immigrants have an uneasy relationship with the Native Indians. When George and his siblings discover the murdered body of a local white man, suspicion immediately falls on a young Indian named Louie Sam. George and his best friend, Pete, follow a lynch mob north into Canada, where the terrified boy is seized and hung.
“On the day that you were born, Kokolimalayas, the Bone Man, drank the river dry and devoured all the people except you and me. When you are old enough to be a warrior, you will bring the waters back and people will live here once again”.Ever since he was a young boy, Nulwee has been told the frightening story of the Bone Man by his Grandmother. She has always warned him that if he was to wake the enormous skeletal creature, that he would then have to defeat him in battle to save their village. Nulwee lives in dread of that moment. How will a small boy be able to destroy the fearless Bone Man?
First published in 1990, this edition is a hand sewn trade paperback. Originally a first printing, several hundred copies were mistakenly bound in the wrong order. Recently discovered in a box in Chax Press’s former studio, these copies have been painstakenly unbound,correctly paginated, and hand-sewn with Irish linen thread, making an edition which is an improvement on the original paperback edition, at the same price.
This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it.
Nimoshom loved to drive the school bus. Every day, on the way to and from school, he had something to say. Sometimes, he told the kids silly stories. Sometimes, he taught the kids a new word in Cree.
For thousands of years, Inuit women practised the traditional art of tattooing. Created with bone needles and caribou sinew soaked in seal oil or soot, these tattoos were an important tradition for many women, symbols stitched in their skin that connected them to their families and communities. But with the rise of missionaries and residential schools in the North, the tradition of tattooing was almost lost. In 2005, when Angela Hovak Johnston heard that the last Inuk woman tattooed in the traditional way had died, she set out to tattoo herself and learn how to tattoo others. What was at first a personal quest became a project to bring the art of traditional tattooing back to Inuit women across Nunavut, starting in the community of Kugluktuk. Collected in this beautiful book are moving photos and stories from more than two dozen women who participated in Johnston’s project. Together, these women are reawakening their ancestors’ lines and sharing this knowledge with future generations.