Featured on Quill & Quire's Fall PreviewA nuanced, relational, and community-minded new book from one of Canada's preeminent poets.South Side of a Kinless River wrestles with concepts of Métis identity in a nation and territory that would rather erase it. Métis identity, land loss, sexual relationships between Indigenous women and European men, and midwifery by Indigenous women of the nascent settler communities figure into these poems. They add up to a Métis woman's prairie history, one that helps us feel the violence in how those contributions and wisdoms have been suppressed and denied."Each poem is an anthem, every page showcasing the talent and necessity of this incredible poetic voice. Dumont brings the Métis tone, cadence and intricate stitch-work into all she creates." - Cherie Dimaline, author of The Marrow Thieves and Empire of the Wild"The voice of this Métis woman is as loving, tender and humane, as it is powerful, satirical and political..." - Rita Bouvier, author of a beautiful rebellion

On the occasion of the press's 40th anniversary, Brick Books is proud to present the fourth of six new editions of classic books from our back catalogue. This edition of A Really Good Brown Girl features a new Introduction by Lee Maracle, a new Afterword by the author and a new cover and design by the renowned typographer Robert Bringhurst. 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.

Marilyn Dumont's Metis heritage offers her challenges that few of us welcome. Here she turns them to opportunities: in a voice that is fierce, direct, and true, she explores and transcends the multiple boundaries imposed by society of the self. She mocks, with exasperation and sly humour, the banal exploitation of Indianness ("there it is again, the circle, that goddamned circle, as if we thought in circles, judged things on the merit of their circularity, as if all we ate was bologna and bannock and lived in teepees"); more-Indian-than-thou oneupmanship ("So, I'm having coffee with this treaty guy from up north ... I say I'm Metis like it's an apology and he says, `mmh,' like he forgives me, like he's got a big heart and mine's pumping diluted blood"); and white condescension and ignorance ("The White Judges"). She celebrates the person, clearly observing, who defines her own life. These are Indian poems; Canadian poems; human poems.