Eskimo Pie: A Poetics of Inuit Identity examines Dunning's lived history as an Inuk who was born, raised and continues to live south of sixty. Her writing takes into account the many assimilative practices that Inuit continue to face and the expectations of mainstream as to what an Inuk person can and should be. Her words examine what it is like to feel the constant rejection of her work from non-Inuit people and how we must all in some way find the spirit to carry through with what we hold to be true demonstrating the importance of standing tall and close to our words as Indigenous Canadians. We are the guardians of our work regardless of the cost to ourselves as artists and as Inuit people, we matter.
Drawing on both lived experience and cultural memory, Norma Dunning brings together six powerful new short stories centred on modern-day Inuk characters in Tainna. Ranging from homeless to extravagantly wealthy, from spiritual to jaded, young to elderly, and even from alive to deceased, Dunning’s characters are united by shared feelings of alienation, displacement and loneliness resulting from their experiences in southern Canada. In Tainna—meaning “the unseen ones” and pronounced Da‐e‐nn‐a—a fraught reunion between sisters Sila and Amak ends in an uneasy understanding. From the spirit realm, Chevy Bass watches over his imperilled grandson, Kunak. And in the title story, the broken-hearted Bunny wanders onto a golf course on a freezing night, when a flock of geese stand vigil until her body is discovered by a kind stranger. Norma Dunning’s masterful storytelling uses humour and incisive detail to create compelling characters who discover themselves in a hostile land where prejudice, misogyny and inequity are most often found hidden in plain sight. There, they must rely on their wits, artistic talent, senses of humour and spirituality for survival; and there, too, they find solace in shining moments of reconnection with their families and communities.
I woke up with Moses Henry’s boot holding open my jaw and my right eye was looking into his gun barrel. I heard the slow words, “Take. It. Back.” I know one thing about Moses Henry; he means business when he means business. I took it back and for the last eight months I have not uttered Annie Mukluk’s name. In strolls Annie Mukluk in all her mukiness glory. Tonight she has gone traditional. Her long black hair is wrapped in intu’dlit braids. Only my mom still does that. She’s got mukluks, real mukluks on and she’s wearing the old-style caribou parka. It must be something her grandma gave her. No one makes that anymore. She’s got the faint black eyeliner showing off those brown eyes and to top off her face she’s put pretend face tattooing on. We all know it’ll wash out tomorrow. — from "Annie Muktuk" When Sedna feels the urge, she reaches out from the Land of the Dead to where Kakoot waits in hospital to depart from the Land of the Living. What ensues is a struggle for life and death and identity. In “Kakoot” and throughout this audacious collection of short stories, Norma Dunning makes the interplay between contemporary realities and experiences and Inuit cosmology seem deceptively easy. The stories are raucous and funny and resonate with raw honesty. Each eye-opening narrative twist in Annie Muktuk and Other Stories challenges readers’ perceptions of who Inuit people are.
"Calling Down the Sky" is a poetry collection that describes deep personal experiences and post generational effects of the Canadian Aboriginal Residential School confinements in the 1950's when thousands of First Nations, Métis, and Inuit children were placed in these schools against their parents' wishes. Many were forbidden to speak their language and practice their own culture. The author portrays how the ongoing impact of the residential schools problem has been felt throughout generations and has contributed to social problems that continue to exist today.
The Rumour is a collection of poetry that exposes many important issues of Indigenous discrimination, poverty, drug abuse, brutal violence, love, family, and complex human relationships. As a skilled painter, Joseph A. Dandurand portrays the essence of strong connections with rich Indigenous history, culture, traditions, and family values with broad but precise strokes. The poems come from author's lifetime experience living on the Kwantlen First Nation reserve and give a true picture of the resilience and the struggles Indigenous people experience in everyday life.
This unique anthology presents a wide variety of approaches to an ethnomusicology of Inuit and Native North American musical expression. Contributors include Native and non-Native scholars who provide erudite and illuminating perspectives on aboriginal culture, incorporating both traditional practices and contemporary musical influences. Gathering scholarship on a realm of intense interest but little previous publication, this collection promises to revitalize the study of Native music in North America, an area of ethnomusicology that stands to benefit greatly from these scholars' cooperative, community-oriented methods. Contributors are T. Christopher Aplin, Tara Browner, Paula Conlon, David E. Draper, Elaine Keillor, Lucy Lafferty, Franziska von Rosen, David Samuels, Laurel Sercombe, and Judith Vander.
A reissue of TALKING TURKEYS by street poet Benjamin Zephaniah. Talking Turkeys is an unconventional collection of straight-talking poems about heroes, revolutions, racism, love and animal rights, among other subjects, that will entice many new readers to poetry. It is his very first ground-breaking children's poetry collection - playful, clever and provocative - this is performance poetry on the page at its very best. Benjamin Zephaniah was born in Birmingham and then spent some of his early years in Jamaica. He came to London when he was 22 and his first book of poetry for adults was published soon after. He appears regularly on radio and TV including a Desert Island Discs appearance, literary festivals, and has also taken part in plays and films. He is most well-known for his performance poetry with a political edge for both children and adults and gritty teenage fiction. His collections Talking Turkeys, Wicked World and Funky Chickens broke new ground in children's poetry. He is the only Rastafarian poet to be short-listed for the Chairs of Poetry for both Oxford and Cambridge University and has been listed in The Times' list of 50 greatest postwar writers. Benjamin now lives in Lincolnshire.
“Don’t say in the years to come that you would have lived your life differently if only you had heard this story. You’ve heard it now.” —Thomas King, in this volume Read, Listen, Tell brings together an extraordinary range of Indigenous stories from across Turtle Island (North America). From short fiction to as-told-to narratives, from illustrated stories to personal essays, these stories celebrate the strength of heritage and the liveliness of innovation. Ranging in tone from humorous to defiant to triumphant, the stories explore core concepts in Indigenous literary expression, such as the relations between land, language, and community, the variety of narrative forms, and the continuities between oral and written forms of expression. Rich in insight and bold in execution, the stories proclaim the diversity, vitality, and depth of Indigenous writing. Building on two decades of scholarly work to centre Indigenous knowledges and perspectives, the book transforms literary method while respecting and honouring Indigenous histories and peoples of these lands. It includes stories by acclaimed writers like Thomas King, Sherman Alexie, Paula Gunn Allen, and Eden Robinson, a new generation of emergent writers, and writers and storytellers who have often been excluded from the canon, such as French- and Spanish-language Indigenous authors, Indigenous authors from Mexico, Chicana/o authors, Indigenous-language authors, works in translation, and “lost“ or underappreciated texts. In a place and time when Indigenous people often have to contend with representations that marginalize or devalue their intellectual and cultural heritage, this collection is a testament to Indigenous resilience and creativity. It shows that the ways in which we read, listen, and tell play key roles in how we establish relationships with one another, and how we might share knowledges across cultures, languages, and social spaces.
Poetry from beloved lead guitarist of the multi-platinum record selling legendary band Triumph Reinvention is a largely autobiographical collection of poetry — a project that followed on the heels of Rik Emmett retiring from a touring musician’s and college educator’s life in early 2019. Inside all of the slashes that define him — singer/songwriter/guitarist/rock star/teacher/columnist — writing has always been his strongest avocation, and the poetic style of “Ultra Talk,” in particular, offered a welcome spark for a songwriter’s freedom of expression. This creative license is organized under seven headings – The Humanities, Life & Death, There’s Politics in Everything, Double Helix, Soapbox Sermonettes, Time Time Time, and Ars Nova 2020. Rik’s poetry (literally) reinvents his own retirement, and it’s not just some aging dilettante’s bucket list fancy. He discovered a sincere way to tie up a lot of loose ends, fulfill dormant promise, and eschew show biz tangents. Reinvention, his first book, makes some sense of a life that always went in a lot of different directions at once. Finally, he’s given himself permission to chase a mode of self-expression with less commercial potential … than jazz guitar recordings.
A New York Times Notable Book for 2011 One of The Economist's 2011 Books of the Year People speak different languages, and always have. The Ancient Greeks took no notice of anything unless it was said in Greek; the Romans made everyone speak Latin; and in India, people learned their neighbors' languages—as did many ordinary Europeans in times past (Christopher Columbus knew Italian, Portuguese, and Castilian Spanish as well as the classical languages). But today, we all use translation to cope with the diversity of languages. Without translation there would be no world news, not much of a reading list in any subject at college, no repair manuals for cars or planes; we wouldn't even be able to put together flat-pack furniture. Is That a Fish in Your Ear? ranges across the whole of human experience, from foreign films to philosophy, to show why translation is at the heart of what we do and who we are. Among many other things, David Bellos asks: What's the difference between translating unprepared natural speech and translating Madame Bovary? How do you translate a joke? What's the difference between a native tongue and a learned one? Can you translate between any pair of languages, or only between some? What really goes on when world leaders speak at the UN? Can machines ever replace human translators, and if not, why? But the biggest question Bellos asks is this: How do we ever really know that we've understood what anybody else says—in our own language or in another? Surprising, witty, and written with great joie de vivre, this book is all about how we comprehend other people and shows us how, ultimately, translation is another name for the human condition.
