Drew Hayden Taylor is an award-winning playwright, novelist, journalist, and filmmaker. Born and raised on the Curve Lake First Nation in Ontario (Anishnawbe), Drew has had over a hundred productions of his plays and enjoys spreading the gospel of Indigenous literature across the world.
Perhaps one of the most seminal plays to come out of the First Nations community, if not the Canadian theatre community in general. It starts off with the simplest of plots, seven Indigenous women plan to leave their community on Manitoulin Island to participate in the world's largest bingo game in Toronto. It’s funny, tragic, and a wonderful introduction to the colourful world which we come from.
Winner of the Dora Mavor Moore Award for Best New Play
Nominated for the Governor General's Award
This award-winning play by Native playwright Tomson Highway is a powerful and moving portrayal of seven women from a reserve attempting to beat the odds by winning at bingo. And not just any bingo. It is THE BIGGEST BINGO IN THE WORLD and a chance to win a way out of a tortured life.
The Rez Sisters is hilarious, shocking, mystical and powerful, and clearly establishes the creative voice of Native theatre and writing in Canada today.
Observant of the world around me, and intellectual, I discovered my ideal way of life at age 16 when I read Kroeber's massive textbook Anthropology, 1948 edition. Anthropologists study everything human, everywhere and all time. Archaeology particularly appealed to me because it is outdoors, physical, plus its data are only the residue of human activities, challenging us to figure out what those people, that place and time, did and maybe thought. As a woman from before the Civil Rights Act, a career was discouraged; instead, I did fieldwork with my husband, and on my own, worked with First Nations communities on ethnohistorical research. Maverick, uppity, unstoppable, like in these books.
Out of the feminist movement in American archaeology came this thick testament to the number and importance of women archaeologists and ethnographers who worked in the American Southwest before the U.S. Civil Rights Act made discrimination illegal. As a woman who had been ignored and even brutally put down by men archaeologists, reading of these hardworking, persistent, and some of them brilliant women thrilled me. Over and above the revelations of great researchers who often collaborated with First Nations people, the book is a treasure of stories about pioneer conditions in the Southwest, discoveries of famous ruins, and early anthropologists breaking through into native communities.
Women scholars, writers, curators, and philanthropists have played important roles in the study of Native American cultures of the Southwest. For much of the twentieth century, however, their work has been overlooked. The essays in this book, which grew out of the landmark conference known as Daughters of the Desert, help to rectify the appropriation, erasure, disparagement, and invisibility that many women anthropologists have suffered. A number of essays are biographical or intellectual histories, such as Parezo on Matilda Coxe Stevenson, Hieb on Elsie Clews Parsons, Babcock on Ruth Benedict, Lamphere on Gladys Reichard, and Lange on Esther Goldfrank. Others…
I don’t think of myself as a dreamer but, rather, a hard-headed activist scholar. Globally, most of us live under the domination of production for trade. We have ceded co-governance of production—collectively deciding what we produce, how we produce it, and for whom—to the abstract logic of markets operated via money. We face two great challenges reproduced by capitalism—growing socio-political inequities and ecological unsustainability. So, I argue that we must replace monetary values and operating systems with ‘real’, social and ecological, values and production for demand, for the basic needs of humans and the planet. Postcapitalism means moving beyond money to realize our self-value and emancipation.
This amazing, super scrapbook of text, photos, and other images richly chronicles more than two centuries of resistance and protests in the land we now call Australia.
Since the 1788 invasion, radicals, refugees, resisters, and revolutionaries have included First Nations peoples, the oldest continuing living culture in the world, who had covered the entire continent before capitalist settlement. Creatively and constructively engaged in campaigns and interventions in the outdated politicking of unrepresentative political parties, over 500 such instances are detailed in this book.
One of several exciting cultural works produced by McIntyre, he both records and analyzes struggles and strategies for diverse forms of emancipation pointing beyond capitalism.
This book reveals Australia’s radical past through more than 500 tales of Indigenous resistance, convict revolts and escapes, picket line hijinks, student occupations, creative direct action, street art, media pranks, urban interventions, squatting, blockades, banner drops, guerilla theatre, and billboard liberation. Twelve key Australian activists and pranksters are interviewed regarding their opposition to racism, nuclear power, war, economic exploitation, and religious conservatism via humor and creativity. Featuring more than 300 spectacular images How to Make Trouble and Influence People is an inspiring, and at times hilarious, record of resistance that will appeal to readers everywhere.
Drew Hayden Taylor is an award-winning playwright, novelist, journalist, and filmmaker. Born and raised on the Curve Lake First Nation in Ontario (Anishnawbe), Drew has had over a hundred productions of his plays and enjoys spreading the gospel of Indigenous literature across the world.
An amazing play that explores the repercussions of Residential schools on the Indigenous population, and how its effects are frequently intergenerational. Winner of Canada’s Governor General’s Award for Best Drama, this play spares no one as it sheds light on the damage and healing happening in Indigenous communities across the country.
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…
Having grown up on S.E. Hinton, I love a good, gritty young adult novel that doesn’t pull any punches! In my book, Black Chuck, four misfit teens suddenly find themselves cast adrift after the very charismatic Shaun dies, leaving them to navigate their way to adulthood without their leader. All the books on this list are coming-of-age stories about kids growing up in tough circumstances, finding love, making mistakes, getting hurt, and ultimately finding joy in a world that at times seems set against them.
I’m sneakily recommending a trilogy here, of which this is the first book. By turns funny, gritty, dark, difficult, and magical, this book by Eden Robinson, who is a member of the Haisla and Heiltsuk First Nations from the Pacific Northwest, is another coming-of-age novel that dives into the gritty realism of life on a reservation, as well as the deep, magical roots of Haisla mythology.
Shortlisted for the Scotiabank Giller Prize: With striking originality and precision, Eden Robinson, the author of the classic Monkey Beach and winner of the Writers’ Trust of Canada Fellowship, blends humour with heartbreak in this compelling coming-of-age novel. Everyday teen existence meets indigenous beliefs, crazy family dynamics, and cannibalistic river otters . . . The exciting first novel in her trickster trilogy.
Everyone knows a guy like Jared: the burnout kid in high school who sells weed cookies and has a scary mom who's often wasted and wielding some kind of weapon. Jared does smoke and drink too much, and…
The short answer is, a retired university professor (Fred) and the coordinator of Natural Areas for the University of Illinois (James). That answer, however, doesn’t give a clue as to how we came to write our book. Fred and his wife established a small three-acre prairie on their land in 2003. They then enlisted James and Grand Prairie Friends, the local conservation organization he headed at the time, to help manage the prairie. Eventually, Fred, who had photographically documented the growth of the prairie and the beauty to be found therein, proposed that he and James describe the prairie with photos so that others could also learn to enjoy it. The rest, as they say, is history.
A beautiful and lyrical book, this sumptuous display of wonderful photographs by Frank Oberle is supplemented by text by John Madson. Madson describes in lyrical prose the reactions of early French explorers when they encountered prairie for the first time, and then recounts the subsequent settlement and plowing of the prairie. It is not really possible to get a true sense of what an open prairie must have been like 300 years ago, but this book will give readers a bit of its flavor.
Tallgrass Prairie is an inspired tribute to a uniquely American landscape. John Madson's elegant text blends history and natural science with observations drawn from a lifetime on the prairie. Noted photographer Frank Oberle's remarkable images are alive with the prairie's timeless grace-its yearly pageant of wildflowers, vast skies, wildlife, and wind-swept seas of grass. Tallgrass Prairie was published in partnership with The Nature Conservancy, for years a leader in efforts to preserve and restore native prairies. It includes a directory to the best remaining examples of tallgrass prairie throughout the country.
A century of prejudice is laid bare in these books, but within their pages are countless subtle and overt ways that gay Australian men have given homophobes the big middle finger. We may not always have thrived, but through resistance, migration, verbal agility, notoriety, and sheer resilience, collectively we have conquered. I stand on enormous shoulders at a time when queer writing is proliferating on an inevitable tide of equality that has risen across my lifetime in this country. My selections encompass first nations and migrant stories, some of the pioneers of our gay literature, and ‘outside’ voices bravely looking in to discern us with dignity.
Homophobia appears to have been the least of Jack Charles’ worries. If it ever bothered him, he barely lets it register in this memoir of a creative life lived both on the fringes and in the spotlight. Perhaps that’s the point, that his eloquent, good-humoured approach always seemed to scotch the haters right from the get-go. In an unbendingly honest self-reflection, Charles also pulls off describing himself as a “poof”, a very Australian term of derision that has been reclaimed by many. His ‘born again’ tale similarly relates how he survived in the face of terrible prejudices endured by Aboriginal and Torres Strait Islanders—the First Nations people of Australia—and their vibrant, resilient spirit. An uplifting gem.
Stolen from his mother and placed into institutional care when he was only a few months old, Uncle Jack was raised under the government’s White Australia Policy. The loneliness and isolation he experienced during those years had a devastating impact on him that endured long after he reconnected with his Aboriginal roots and discovered his stolen identity. Even today he feels like an outsider; a loner; a fringe dweller.
In this honest and no-holds-barred memoir, Uncle Jack reveals the ‘ups and downs of this crazy, drugged up, locked up, fucked up, and at times unbelievable, life’. From his sideline as…
I am an Australian author and an avid reader. Although I love reading books set in other countries, I particularly enjoy stories that take place in Australia, as I can really identify with them. I especially relate to those set in the Australian outback or small rural towns, as for several years I lived in remote indigenous communities in the Northern Territory. I understand how in small towns it is very difficult to keep secrets, as everybody knows everyone else’s business, and I now realise this is becoming an underlying theme in my writing. I have a Master of Arts in Creative Writing from the University of Tasmania.
I really enjoyed reading all the #OwnVoice short stories, several of which have intersectional representation, in Kindred: 12 Queer #LoveOzYA Stories. The twelve authors demonstrate a wide range of writing styles, writing about different themes in a variety of genres from medieval to contemporary to dystopian. It’s a book you can return to again and again, choosing different stories to read depending on your mood and interests.
Twelve of Australia’s best writers from the LGBTQ+ community are brought together in this ground-breaking collection of YA short stories.
What does it mean to be queer? What does it mean to be human? In this powerful #LoveOzYA collection, twelve of Australia’s finest writers from the LGBTQ+ community explore the stories of family, friends, lovers and strangers – the connections that form us. This inclusive and intersectional #OwnVoices anthology for teen readers features work from writers of diverse genders, sexualities and identities, including writers who identify as First Nations, people of colour or disabled. With short stories by bestsellers, award…
Drew Hayden Taylor is an award-winning playwright, novelist, journalist, and filmmaker. Born and raised on the Curve Lake First Nation in Ontario (Anishnawbe), Drew has had over a hundred productions of his plays and enjoys spreading the gospel of Indigenous literature across the world.
A historical play that tells the story of a single Cree warrior doing battle with the Canadian military. Each of the two acts approaches the story differently. The first is more linear and poetic, the second more lyrical and surreal. Many have said they loved the first act and hated the second. And vice versa. Whatever you may feel, an excellent exploration of colonization as seen through the eyes of a poet.
Drew Hayden Taylor is an award-winning playwright, novelist, journalist, and filmmaker. Born and raised on the Curve Lake First Nation in Ontario (Anishnawbe), Drew has had over a hundred productions of his plays and enjoys spreading the gospel of Indigenous literature across the world.
Many of the plays written by Indigenous playwrights are usually dark and critical. This play is a little different. It’s an unabashed comedy celebrating the Indigenous sense of humour. Essentially, the play is about two German entrepreneurs who travel to a First Nations community planning to build the world’s largest Native theme park, called Ojibway world. The play deals with stereotypes and the global marketing of culture.
A consortium of German developers shows up on the fictional Otter Lake Reserve with a seemingly irresistible offer to improve the local economy: the creation of “Ojibway World,” a Native theme park designed to attract European tourists, causing hilarious personal and political divisions within the local community.
The Berlin Blues concludes Drew Hayden Taylor’s Blues quartet, showcasing contemporary stereotypes of First Nations people, including a fair number that originate from Indigenous communities themselves, to the often outraged delight of his international audiences.
Yet Europeans and other ethnic groups are not exempt from Taylor’s incisive but good-humoured caricatures. Central to the…
