Published in conjunction with an exhibition organized by the Vancouver Art gallery from February 18 to 28 May 2017.

This beautifully designed book is the first to explore Susan Point's publicly commissioned artworks from coast to coast Susan Point's unique artworks have been credited with almost single-handedly reviving the traditional Coast Salish art style. Once nearly lost to the effects of colonization, the crescents, wedges, and human and animal forms characteristic of the art of First Nations peoples living around the Salish Sea can now be seen around the world, reinvigorated with modern materials and techniques, in her serigraphs and public art installations - and in the works of a new generation of artists that she's inspired.People Among the People beautifully displays the breadth of Susan Point's public art, from cast-iron manhole covers to massive carved cedar spindle whorls, installed in locations from Vancouver to Zurich. Through extensive interviews and access to her archives, Robert D. Watt tells the story of each piece, whether it's the evolution from sketch to carving to casting, or the significance of the images and symbolism, which is informed by surviving traditional Salish works Point has studied and the Oral Traditions of her Musqueam family and elders. In her long quest to re-establish a Coast Salish footprint in Southwest British Columbia and the Pacific Northwest of the US, Point has received many honours, including the Order of Canada and the Audain Lifetime Achievement Award. This gorgeous and illuminating book makes it clear they are all richly deserved.

Quintessential British Columbia revealed through the eyes of its greatest artists and writers. Visions of British Columbia took as its starting point a major exhibition at the Vancouver Art Galley, opening to coincide with the 2010 Winter Games. The show focused on the work of more than twenty remarkable artists, including the Haida masters Bill Reid and Robert Davidson; Kwakwaka'wakw carver Willie Seaweed; modernist painters Emily Carr and Group of Seven member Frederick Varley; mentors and pioneers Jack Shadbolt and B.C. Binning; abstract painter Gordon Smith; photoconceptualists Ian Wallace and Jeff Wall; Salish artist Susan Point, Haida-Manga artist Michael Nicoll Yahgulanaas and Korean-Canadian Jin-me Yoon. Allied to the art is writing about B.C. from acclaimed authors as diverse as Douglas Coupland, Timothy Taylor, Ethel Wilson, Audrey Thomas and Wayson Choy. Malcolm Lowry's poem Happiness echoes B.C. Binning's colourful seascapes; Daphne Marlatt's reflections on overfishing parallel Susan Point's salmon sculpture. Both text and art speak to the diverse visions of this place, its peoples and its histories. This book was published in partnership with the Vancouver Art Gallery.

Kate Harris has always spent the summer with her family on her grandparents’ farm. But this year she is going to be at the beach with the Langs, family friends Kate hasn’t seen since she was a baby. She is worried that she won’t get along with the Langs’ daughter, Alison.

Susan Cerulean’s memoir trains a naturalist’s eye and a daughter’s heart on the lingering death of a beloved parent from dementia. At the same time, the book explores an activist’s lifelong search to be of service to the embattled natural world. During the years she cared for her father, Cerulean also volunteered as a steward of wild shorebirds along the Florida coast. Her territory was a tiny island just south of the Apalachicola bridge where she located and protected nesting shorebirds, including least terns and American oystercatchers. I Have Been Assigned the Single Bird weaves together intimate facets of adult caregiving and the consolation of nature, detailing Cerulean’s experiences of tending to both. The natural world is the “sustaining body” into which we are born. In similar ways, we face not only a crisis in numbers of people diagnosed with dementia but also the crisis of the human-caused degradation of the planet itself, a type of cultural dementia. With I Have Been Assigned the Single Bird, Cerulean reminds us of the loving, necessary toil of tending to one place, one bird, one being at a time.

2019 High Plains Book Award Winner for the Creative Nonfiction and Indigenous Writer categories In Bitterroot Susan Devan Harness traces her journey to understand the complexities and struggles of being an American Indian child adopted by a white couple and living in the rural American West. When Harness was fifteen years old, she questioned her adoptive father about her “real” parents. He replied that they had died in a car accident not long after she was born—except they hadn’t, as Harness would learn in a conversation with a social worker a few years later. Harness’s search for answers revolved around her need to ascertain why she was the target of racist remarks and why she seemed always to be on the outside looking in. New questions followed her through college and into her twenties when she started her own family. Meeting her biological family in her early thirties generated even more questions. In her forties Harness decided to get serious about finding answers when, conducting oral histories, she talked with other transracial adoptees. In her fifties she realized that the concept of “home” she had attributed to the reservation existed only in her imagination. Making sense of her family, the American Indian history of assimilation, and the very real—but culturally constructed—concept of race helped Harness answer the often puzzling questions of stereotypes, a sense of nonbelonging, the meaning of family, and the importance of forgiveness and self-acceptance. In the process Bitterrootalso provides a deep and rich context in which to experience life.

A gorgeous collection of prints by one of the Northwest's leading artistsOver the past thirty years Susan Point has become the preeminent Coast Salish artist of her generation, exploring many different modern and traditional themes in a wide variety of media. She has received major public commissions in her home province of British Columbia as well as throughout the Northwest coast, the traditional territory of her people, creating extraordinary monumental sculptures that grace important public buildings. Her glass sculptures are collected around the world. This is the first book devoted exclusively to her works on paper. Over the past thirty years Point has been an innovator in printmaking, adapting traditional Coast Salish themes to modern art techniques, translating the heritage of her culture to the wider world while creating a body of work that appeals to art collectors from around the globe. Her synthesis of contemporary and traditional styles has resulted in a formidable artistic accomplishment. This beautifully designed volume collects 160 of her prints together for the first time and is sure to inspire and amaze those who see it.