A young bison growing up on the plains in the late 1800s faces peril at the hands of soldiers, who are destroying the great buffalo herds as a way to control native tribes. He is befriended by a native warrior and a white hunter who try to save him and his herd from annihilation.
Abenaki artists Gerard Tsonakwa and his wife Yolaikia Wapitaska, working in stone, bone and wood, bring the ancient legends of the Abenaki people into the industrial age through juxtaposition of the stories with their masks and sculptures. This volume, illustrated with many of the works that have toured more than thirty museums since 1992, evokes ancient connections embodied in the legends and lore of traditional peoples.
Mary Tall
Mountain is a Native writer whose “lantern voices seek to lead us out of the given darkness,” and “her work, like seasoned oak, is full of heat and fire, simplicity and compassion,” writes poet and scholar Alfred Robinson. The poems in this collection confront death and engage the sacred. Joy Harjo calls each poem “a track, and the series of tracks makes a bridge back to the ‘light on the tent wall,’ which is the sacred place of the songs, the stories that created us.”
When the caribou herds fail to return in the spring, famine becomes so acute that a young Eskimo boy sets out alone in search of food.
Collection of stories depicting Native life in urban and reservation settings.
Presents the history, culture, and contemporary life of the northeastern Native American people who, in the 1400s, migrated from the North Atlantic coast and settled around the Great Lakes.
Marilyn Dumont’s Metis heritage offers her challenges that few of us welcome. Here she turns them to opportunities in a voice that is fierce, direct, and true, she explores and transcends the multiple boundaries imposed by society on the self. She mocks, with exasperation and sly humour, the banal exploitation of Indianness, more-Indian-than-thou oneupmanship, and white condescension and ignorance. She celebrates the person, clearly observing, who defines her own life. These are Indian poems, Canadian poems, human poems.
A young Ojibway girl, struggling over the fact that her father has died, spends a summer in the bush with her grandmother and finds her own identity and voice. Things have been hard for her family since her father’s accidental death in a logging accident, and Ray has been unable to express her grief. In school, the green eyes she inherited from her father are unusual for a child from an Ojibway background in a northern Ontario town and get her noticed in ways she doesn’t enjoy. At home, Ray believes that her mother, grieving herself and busy with Ray’s younger brother and sister, no longer needs her. Ray becomes so withdrawn that at times she hardly speaks. At the end of this beautiful and empowering story, which begins in 1978, the withdrawn green-eyed girl has found her voice and is not afraid to use it.
Based on an Athabascan Indian legend passed along for many generations from mothers to daughters of the upper Yukon River area in Alaska, this is the suspenseful, shocking, ultimately inspirational tale of two old women abandoned by their tribe during a brutal winter famine. Though these two women have been known to complain more than contribute, they now must either survive on their own or die trying. In simple but vivid detail, Velma Wallis depicts a landscape and way of life that are at once merciless and starkly beautiful. In her old women, she has created two heroines of steely determination whose story of betrayal, friendship,community, and forgiveness will carve out a permanent place in readers’ imaginations.
A young boy is having trouble sleeping at night. He is being called to fulfill his destiny, a destiny which lives on today in the traditions and culture of the Dene people and their relationship to the caribou and the land on which they live.