Where the Blood Mixes is meant to expose the shadows below the surface of the author's First Nations heritage, and to celebrate its survivors. Though torn down years ago, the memories of their Residential School still live deep inside the hearts of those who spent their childhoods there. For some, like Floyd, the legacy of that trauma has been passed down through families for generations. But what is the greater story, what lies untold beneath Floyd's alcoholism, under the pain and isolation of the play's main character? Loring's title was inspired by the mistranslation of the N'lakap'mux (Thompson) place name Kumsheen. For years, it was believed to mean "the place where the rivers meet"--the confluence of the muddy Fraser and the brilliant blue Thompson Rivers. A more accurate translation is: "the place inside the heart where the blood mixes." But Kumsheen also refers to a story: Coyote was disemboweled there, along a great cliff in an epic battle with a giant shape-shifting being that could transform the world with its powers--to this day his intestines can still be seen strewn along the granite walls. In his rage the transformer tore Coyote apart and scattered his body across the nation, his heart landing in the place where the rivers meet. Floyd is a man who has lost everyone he holds most dear. Now after more than two decades, his daughter Christine returns home to confront her father. Set during the salmon run, Where the Blood Mixes takes us to the bottom of the river, to the heart of a People. In 2009 Where the Blood Mixes won the Jessie Richardson Award for Outstanding Original Script; the Sydney J. Risk Prize for Outstanding Original Script by an Emerging Playwright; and most recently the Governor General's Literary Award for Drama.

Humour allows the exploration of Indigenous relationships with settler law.

No treaties were made with indigenous nations residing in those territories where now there is a Canadian province called British Columbia. Instead, a breathtaking policy of criminalization, assimilation and land rights and sovereignty extinguishment has been vigorously carried out against them. Present day governments continue that approach, now 150 years old, in processes which have recently been re-named and cosmetically improved but remain unconstitutional and are prohibited by the 1948 Genocide Convention, which terms as genocide, inter alia, deliberately inflicting on the group conditions of life calculated to bring about its physical destruction in whole or in part. Neither Britain nor Canada nor the settlers of British Columbia themselves have ever honourably addressed the peoples whose lands and resources form British Columbia. The indigenous nations in what is now called British Columbia have never joined Canada but had citizenship imposed on them. The province of BC has never fulfilled Canada’s constitutional requirements of purchasing lands from the indigenous owners before settling. The ongoing colonization of British Columbia relies on the settler population’s indifference to the indigenous peoples’ plights and rights. The Colonial Present documents the colonizer’s manufacture of a new mythology to dehumanize the native peoples and strip them of their rightful place. The interests of resource industries have dominated accounts of indigenous peoples throughout the mainstream media, the academic presses and the courts. They have substantially corrupted and impoverished the non-native understanding of indigenous peoples on whose homelands they live and work, and to which they seem to feel entitled. The indigenous nations and individuals have suffered excruciating losses. But the highest expression of official BC aspirations for reconciliation is only that they should release title to their homelands, accept a small financial, land and program funding settlement, and submit to the British Columbia Treaty Commission agenda reducing them, in legal terms, to incorporated associations exercising management capacities barely distinguishable from those of BC municipalities, while by fee simple title, their lands and rich resources are ceded to the Queen. This book is an exploration of how such a stunning string of events has happened, and British Columbians continuing attempts to rationalize them.

From bestselling true-crime author Peter Edwards and Governor General's Award-winning playwright Kevin Loring, two sons of Lytton, BC, the town that burned to the ground in 2021, comes a meditation on hometown―when hometown is gone. “It’s dire,” Greta Thunberg retweeted Mayor JanPolderman. “The whole town is on fire. It took a whole 15 minutes from the first sign of smoke to, all of a sudden, there being fire everywhere.” Before it made global headlines as the small town that burned down during a record-breaking heatwave in June 2021, while briefly the hottest placeon Earth, Lytton, British Columbia, had a curious past. Named for the author of the infamous line, “It was a dark and stormy night,” Lytton was also where Peter Edwards, organized-crime journalist and author of seventeen non-fiction books, spent his childhood. Although only about 500 people lived in Lytton, Peter liked to joke that he was only the second-best writer to come from his tiny hometown. His grade-school classmate’s nephew Kevin Loring, Nlaka’pamux from Lytton First Nation, had grown up to be a Governor General’s Award–winning playwright. The Nlaka’pamux called Lytton “The Centre of the World,” a view Buddhists would share in the late twentieth century, as they set up a temple just outside town. A gold rush in 1858 saw conflict with a wave of Californians come to a head with the Canyon War at the junction of the mighty Fraser and Thompson rivers. The Nlaka’pamux lost over thirty lives in that conflict, as did the American gold seekers. In modern times, many outsiders would seek shelter there, often people who just didn’t fit anywhere else and were hoping for a little anonymity in the mountains. Told from the shared perspective of an Indigenous playwright and the journalist son of a settler doctor who pushed back against the divisions that existed between populations, Lytton portrays all the warmth, humour and sincerity of small-town life. A colourful little town that burned to the ground could be every town’s warning if we don’t take seriously what this unique place has to teach us.

The Canadian public largely understands reconciliation as the harmonization of Indigenous–settler relations for the benefit of the nation. But is this really happening? Reconciliation politics, as developed in South America and South Africa, work counter to retributive justive in order to redress the divide opened up between survivors and perpetrators as a result of historical violence. The Theatre of Regret asks whether, within the context of settler colonialism, this approach will ultimately favour the state over the needs and requirements of Indigenous peoples. Interweaving literature, art, and other creative media throughout his analysis, David Gaertner questions the state-centred frameworks of reconciliation by exploring the critical roles that Indigenous and allied authors, artists, and thinkers play in defining, challenging, and refusing settler regret. Through close examination of its core concepts – acknowledgement, apology, redress, and forgiveness – this study exposes the colonial ideology at the root of reconciliation in Canada.

Over the course of the last twenty years, Native American and Indigenous American literary studies has experienced a dramatic shift from a critical focus on identity and authenticity to the intellectual, cultural, political, historical, and tribal nation contexts from which these Indigenous literatures emerge. The Oxford Handbook of Indigenous American Literature reflects on these changes and provides a complete overview of the current state of the field. The Handbook's forty-three essays, organized into four sections, cover oral traditions, poetry, drama, non-fiction, fiction, and other forms of Indigenous American writing from the seventeenth through the twenty-first century. Part I attends to literary histories across a range of communities, providing, for example, analyses of Inuit, Chicana/o, Anishinaabe, and Métis literary practices. Part II draws on earlier disciplinary and historical contexts to focus on specific genres, as authors discuss Indigenous non-fiction, emergent trans-Indigenous autobiography, Mexicanoh and Spanish poetry, Native drama in the U.S. and Canada, and even a new Indigenous children's literature canon. The third section delves into contemporary modes of critical inquiry to expound on politics of place, comparative Indigenism, trans-Indigenism, Native rhetoric, and the power of Indigenous writing to communities of readers. A final section thoroughly explores the geographical breadth and expanded definition of Indigenous American through detailed accounts of literature from Indian Territory, the Red Atlantic, the far North, Yucatán, Amerika Samoa, and Francophone Quebec. Together, the volume is the most comprehensive and expansive critical handbook of Indigenous American literatures published to date. It is the first to fully take into account the last twenty years of recovery and scholarship, and the first to most significantly address the diverse range of texts, secondary archives, writing traditions, literary histories, geographic and political contexts, and critical discourses in the field.

Meant for undergraduate nursing students, this book is designed to reorient and widen the students' knowledge and skills in rendering nursing care to normal and high-risk pregnant women in hospitals and community settings. The book is in concise format, and it will be of immense help to the students in their preparation for university examinations. - Compliance with INC prescribed syllabus in entirety - Text in concise format, which is easier to memorise, retain and revise - Nursing management of typical conditions drafted in easy-to-understand concise format - Line drawings instead of halftones to facilitate easy reproduction in exams - Clear, accurate illustrations for better understanding of the complex concepts - More than 450 multiple choice questions to help in quick recapitulation of key points - Exam-oriented sample questions at the end of each chapter