"The importance of storytelling to Cree culture, and how such stories are vital to understanding the history of the Cree and their rejuvenated future, are central to the themes examined in this visionary book. Neal McLeod examines the history of the nehiyawak (the Cree people) of western Canada from the massive upheavals of the 1870s and the reserve period to the vibrant cultural and political rebirth of contemporary times. Central to the text are the narratives of McLeod's family, which give first hand examples of the tenacity and resiliency of the human spirit while providing a rubric for reinterpreting the history of indigenous peoples, drawing on Cree worldviews and Cree narrative structures." "In a readable style augmented with extensive use of the Cree language throughout, McLeod draws heavily on original research, the methodology of which could serve as a template for those doing similar work. While the book is based on the Cree experience of the Canadian prairies, its message and methodology are applicable to all Indigenous societies."--BOOK JACKET.

"Written with primal intensity, touched with redeeming compassion, Rudy Wiebe--has explored our history, our roots and the secrets of our hearts with moral seriousness and great feeling." Governor General's Award for Fiction Citation, 1994 A powerful, major work of non-fiction, beautifully written, from the twice winner of the Governor General's Award for Fiction, and the great-great-granddaughter of Big Bear. This is a story about justice, and terrible injustices, a story about a murder, and a courtroom drama as compelling as any thriller as it unravels the events that put Yvonne Johnson behind bars for life, first in Kingston's Federal Prison for Women until the riot that closed it, and presently in the Okimaw Ochi Healing Lodge in the Cypress Hills. But above all it is the unforgettable true story of the life of a Native woman who has decided to speak out and break the silence, written with the redeeming compassion that marks all Rudy Wiebe's writing, and informed throughout by Yvonne Johnson's own intelligence and poetic eloquence. Characters and events spring to life with the vividness of fiction. The story is told sometimes in the first person by Rudy Wiebe, sometimes by Yvonne herself. He tracks down the details of Yvonne's early life in Butte, Montana, as a child with a double-cleft palate, unable to speak until the kindness of one man provided the necessary operations; the murder of her beloved brother while in police custody; her life of sexual abuse at the hands of another brother, grandfather and others; her escape to Canada - to Winnipeg and Wetaskiwin; the traumas of her life that led to alcoholism, and her slow descent into hell despite the love she found with her husband and three children. He reveals how she participated, with three others, in the murder of the man she believed to be a child abuser; he unravels the police story, taking us step by step, with jail-taped transcripts, through the police attempts to set one member of the group against the others in their search for a conviction - and the courtroom drama that followed. And Yvonne openly examines her life and, through her grandmother, comes to understand the legacy she has inherited from her ancestor Big Bear; having been led through pain to wisdom, she brings us with her to the point where she finds spiritual strength in passing on the lessons and understandings of her life. How the great-great-granddaughter of Big Bear reached out to the author of The Temptations of Big Bear to help her tell her story is itself an extraordinary tale. The co-authorship between one of Canada's foremost writers and the only Native woman in Canada serving life imprisonment for murder has produced a deeply moving, raw and honest book that speaks to all of us, and gives us new insight into the society we live in, while offering a deeply moving affirmation of spiritual healing.

An examination of the lingering effects of a hydroelectric power station on Pimicikamak sovereign territory in Manitoba, Canada. The child of South Asian migrants, Kazim Ali was born in London, lived as a child in the cities and small towns of Manitoba, and made a life in the United States. As a man passing through disparate homes, he has never felt he belonged to a place. And yet, one day, the celebrated poet and essayist finds himself thinking of the boreal forests and lush waterways of Jenpeg, a community thrown up around the building of a hydroelectric dam on the Nelson River, where he once lived for several years as a child. Does the town still exist, he wonders? Is the dam still operational? When Ali goes searching, however, he finds not news of Jenpeg, but of the local Pimicikamak community. Facing environmental destruction and broken promises from the Canadian government, they have evicted Manitoba’s electric utility from the dam on Cross Lake. In a place where water is an integral part of social and cultural life, the community demands accountability for the harm that the utility has caused. Troubled, Ali returns north, looking to understand his place in this story and eager to listen. Over the course of a week, he participates in community life, speaks with Elders and community members, and learns about the politics of the dam from Chief Cathy Merrick. He drinks tea with activists, eats corned beef hash with the Chief, and learns about the history of the dam, built on land that was never ceded, and Jenpeg, a town that now exists mostly in his memory. In building relationships with his former neighbors, Ali explores questions of land and power?and in remembering a lost connection to this place, finally finds a home he might belong to. Praise for Northern Light An Outside Magazine Favorite Book of 2021 A Book Riot Best Book of 2021 A Shelf Awareness Best Book of 2021 “Ali’s gift as a writer is the way he is able to present his story in a way that brings attention to the myriad issues facing Indigenous communities, from oil pipelines in the Dakotas to border walls running through Kumeyaay land.” —San Diego Union-Tribune “A world traveler, not always by choice, ponders the meaning and location of home. . . . A graceful, elegant account even when reporting on the hard truths of a little-known corner of the world.” —Kirkus Reviews “[Ali’s] experiences are relayed in sensitive, crystalline prose, documenting how Cross Lake residents are working to reinvent their town and rebuild their traditional beliefs, language, and relationships with the natural world. . . . Though these topics are complex, they are untangled in an elegant manner.” —Foreword Reviews (starred review)

Drawing on the insights of Indigenous feminist legal theory, Emily Snyder examines representations of Cree law and gender in books, videos, graphic novels, educational websites, online lectures, and a video game. Although these resources promote the revitalization of Cree law and the principle of miyo-wîcêhtowin (good relations), Snyder argues that they do not capture the complexities of gendered power dynamics. The majority of the resources either erase women’s legal authority by not mentioning them, or they diminish women’s agency by portraying them primarily as mothers and nurturers. Although these latter roles are celebrated, Snyder argues that Cree laws and gender roles are represented in inflexible, aesthetically pleasing ways that overlook power imbalances and difficult questions regarding interpretations of tradition. What happens when good relations are represented in ways that are oppressive? Grappling with this question, Snyder makes the case that educators need to critically engage with issues of gender and power in order to create inclusive resources that meaningfully address the everyday messiness of law. As with all legal orders, gendered oppression can be perpetuated through Cree law, but Cree law is also a dynamic resource for challenging gendered oppression.

As a small boy in remote Alberta, Darrel J. McLeod is immersed in his Cree family’s history, passed down in the stories of his mother, Bertha. There he is surrounded by her tales of joy and horror—of the strong men in their family, of her love for Darrel, and of the cruelty she and her sisters endured in residential school—as well as his many siblings and cousins, and the smells of moose stew and wild peppermint tea. And there young Darrel learns to be fiercely proud of his heritage and to listen to the birds that will guide him throughout his life. But after a series of tragic losses, Bertha turns wild and unstable, and their home life becomes chaotic. Sweet and eager to please, Darrel struggles to maintain his grades and pursue interests in music and science while changing homes, witnessing domestic violence, caring for his younger siblings, and suffering abuse at the hands of his brother-in-law. Meanwhile, he begins to question and grapple with his sexual identity—a reckoning complicated by the repercussions of his abuse and his sibling’s own gender transition. Thrillingly written in a series of fractured vignettes, and unflinchingly honest, Mamaskatch—“It’s a wonder!” in Cree—is a heartbreaking account of how traumas are passed down from one generation to the next, and an uplifting story of one individual who overcame enormous obstacles in pursuit of a fulfilling and adventurous life.