A picture of the Riel Resistance from one of Canada's preeminent MéŽtis poets With a title derived from John A. Macdonald's moniker for the MéŽtis, The Pemmican Eaters explores Marilyn Dumont's sense of history as the dynamic present. Combining free verse and metered poems, her latest collection aims to recreate a palpable sense of the Riel Resistance period and evoke the geographical, linguistic/cultural, and political situation of Batoche during this time through the eyes of those who experienced the battles, as well as through the eyes of Gabriel and Madeleine Dumont and Louis Riel. Included in this collection are poems about the bison, seed beadwork, and the Red River Cart, and some poems employ elements of the Michif language, which, along with French and Cree, was spoken by Dumont's ancestors. In Dumont's The Pemmican Eaters, a multiplicity of identities is a strengthening rather than a weakening or diluting force in culture.

How a Poem Moves is a collection of 35 short essays that walk readers through an array of contemporary poems. Sol is a dynamic teacher, and delivers essays that demonstrate poetry's range and pleasures through encounters with individual poems that span traditions, techniques, and ambitions.

Pemmican Empire explores the fascinating and little-known environmental history of the role of pemmican (bison fat) in the opening of the British-American West.

First published in 1996, A Really Good Brown Girl is a fierce, honest and courageous account of what it takes to grow into one's self and one's Metis heritage in the face of myriad institutional and cultural obstacles. It is an indispensable contribution to Canadian literature

What did great adventurers eat during their expeditions to the far corners of the world? How did they view the role of food in their survival and wellbeing? What about hikers and backpackers today who set out to enjoy nature, pushing their own boundaries of comfort for adventure. How does food impact their experience? And what do they have in common with pilgrims and soldiers? Food is a significant element of our relationship with nature. Whether a historical expedition or a weekend camping trip, a journey made on foot requires sustenance. Without mastering our relationship with food we would have not been to the South Pole or summited Mt. Everest or expanded to the west of America. However, in the reporting of these expeditions so far food has rarely taken a central role. It is possible to take a different stance and look at our time on trails with food as the leading character. Here, Demet Güzey offers a fun and interesting read on the social and cultural history, developments and challenges in food on trails and in the wild. She explores personal accounts, news articles and anecdotes to highlight how food has accompanied us in mountaineering, desert travel, and pilgrimage, in the army or on the street. From tinned foods to foraging in the wild, worm-infested hardtack to palate-dulling army rations, loss of appetite in high altitude to starvation at the trenches, no stone is left unturned in this tour of how we manage food on foot, and how disasters happen when we do not manage it so well. Readers will delight in both the stories of many of the famous explorations and the more current journeys.

When Brendan Kane accepts a stranger’s offer of work--two years on a ship departing the following morning--the nature of the journey isn't divulged. It matters not, though, for Kane is directionless himself, having just witnessed the Civil War's horrors only to return North with nothing but the clothes on his back and as many dead soldiers' letters as he could carry in his pockets. Aboard the mysterious Narthex, Kane meets a ramshackle crew that includes an eccentric doctor and a three-handed Muslim full of horrifying lore. Kane learns only that they're sailing for the Artic in search of gold or maybe whales. But when it turns out the Narthex's destination is a temperate paradise hidden amidst glaciers–a mythical place–Kane and his cohorts must struggle to survive not only the bleak Artic conditions, but the loosening grip on sanity of an egomaniacal captain and the data-obsessed doctor. With each second that passes, it seems increasingly unlikely any of them will get out alive.

Indigenous Poetics in Canada broadens the way in which Indigenous poetry is examined, studied, and discussed in Canada. Breaking from the parameters of traditional English literature studies, this volume embraces a wider sense of poetics, including Indigenous oralities, languages, and understandings of place. Featuring work by academics and poets, the book examines four elements of Indigenous poetics. First, it explores the poetics of memory: collective memory, the persistence of Indigenous poetic consciousness, and the relationships that enable the Indigenous storytelling process. The book then explores the poetics of performance: Indigenous poetics exist both in written form and in relation to an audience. Third, in an examination of the poetics of place and space, the book considers contemporary Indigenous poetry and classical Indigenous narratives. Finally, in a section on the poetics of medicine, contributors articulate the healing and restorative power of Indigenous poetry and narratives.