Arbeiter Ring Publishing

1919 is often recalled as the year of the Winnipeg General Strike, but it was also the year that water from Shoal Lake first flowed in Winnipeg taps. For the Anishinaabe community of Shoal Lake 40 First Nation, construction of the Winnipeg Aqueduct led to a chain of difficult circumstances that culminated in their isolation on an artificial island where, for almost two decades, they have lacked access to clean drinking water. In Aqueduct: Colonialism, Resources, and the Histories We Remember, Adele Perry analyses the development of Winnipeg's municipal water supply as an example of the history of settler colonialism. Drawing from a rich archive of historical sources, this timely book exposes the cultural, social, political, and legal mechanisms that allowed the rapidly growing city of Winnipeg to obtain its water supply by dispossessing an Indigenous people of their land, and ultimately depriving them of the very commodity--clean drinking water--that the city secured for itself.

À travers les récits de 13 survivants des pensionnats autochtones, Mnidoo Bemaasing Bemaadiziwin révèle comment la force vitale innée — mnidoo bemaasing bemaadiziwin — a permis de résister à l’assimilation.

In August of 2016, Cree youth Colten Boushie was shot dead by Saskatchewan farmer Gerald Stanley. Using colonial and socio-political narratives that underlie white rural settler life, the authors position the death of Boushie and trial of Stanley in relation to Indigenous histories and experiences in Saskatchewan. They point to the Stanley case as just one instance of Indigenous peoples' presence being seen as a threat to settler colonial security, then used to sanction the exclusion, violent treatment, and death of Indigenous peoples and communities.

Un hommage intellectuel vibrant à Ian Angus, où treize chercheurs internationaux explorent les frontières entre Canadian Studies, phénoménologie et théorie critique des médias.

Sex Work Activism In Canada donne la parole aux travailleurs et travailleuses du sexe, révélant des décennies de luttes, de solidarité et de résistance à travers le pays.

ROMANS/SNOWMARE mêle journal intime anticapitaliste et réinvention homoérotique du poème long des prairies, où la langue se fait arme et caresse.

Lucy Frank is a 20-something old aspiring screenwriter who takes up digital sex-work to pay the bills. Circulating a confused social atmosphere of half-engagement with lovers, friends, and co-workers in present-day Montreal-Lucy struggles with her self-image, an eating disorder, and the illness of her mother. Haunted by self-doubt and a desire to believe in her work and worth, Lucy volleys between self-sabotage and ambition as she tries to develop a parodic script set within a massive multiplayer world-building game. She is thrown into amplified chaos when one of her sex-work clients threatens to dox her.

Et si la violence fondatrice des États-nations se cachait aussi dans l’idéologie moderne ? BlackLife déconstruit, avec une rigueur implacable, les mécanismes d’effacement et de destruction des vies noires au Canada.

Et si la naissance de la santé publique au Canada cachait une histoire bien plus vaste et internationale ?

Dick Miller, acteur culte de Hollywood, a marqué le cinéma sans jamais chercher les projecteurs. Découvrez l’histoire vraie de cet homme modeste devenu légende, entre anecdotes savoureuses et portraits intimes des plus grands réalisateurs.

Winnipeg, 1870–2020 : comment le colonialisme de peuplement a façonné une ville et ses inégalités. Stolen City révèle les mécanismes de la domination économique et raciale dans les Prairies canadiennes, entre héritages et redeveloppement urbain.

À travers les récits de Gidigaa Migizi, aîné anishinaabe, Michi Saagiig Nishnaabeg offre une histoire orale inédite et une vision décoloniale de l’Ontario.

Through eight extended poem-sections, World's End, sits beyond the city's gates, from relocating to an Ottawa suburb after a quarter century in Centretown, to the birth of the author's third child. World's End, examines the lyric across and beyond barriers, propelled by language and fueled by the pitter-patter of tiny feet. World's End, is an opening..Through eight extended poem-sections, World's End, sits beyond the city's gates, from relocating to an Ottawa suburb after a quarter century in Centretown, to the birth of the author's third child. World's End, examines the lyric across and beyond barriers, propelled by language and fueled by the pitter-patter of tiny feet. World's End, is an opening..

A wide-ranging book, A Separate Star: Politics and Strategy for Anti-Capitalist, Anti-Colonial, and Anti-Imperialist Struggle records the thinking behind the Red Braid Alliance for Decolonial Socialism's ambitious five-year experiment in community organizing with the singular goal of building the revolutionary power of subaltern people. Theorizing Red Braid's experiences of struggle against eviction and homelessness, A Separate Star draws lessons and critiques from these specific experiences and broader historical revolutionary context, presenting challenging forms of revolutionary socialist politics and organization against the hegemony of settler colonial capitalism. A Separate Star explores the class composition of Canada in the 21st Century; subalternity and class struggle in an imperialist and settler colonial society; decolonization and anti-colonial struggle; gender power and revolution; the limits of "white abolition" for ending white supremacy; and imperialism and the strategy of revolutionary defeatism. The result is a unique document that offers crucial political context and strategic lessons and proposals to confront the challenges that face anti-capitalist, anti-colonial, and anti-imperialist movements today. Red Braid's record of their collective experiences and critiques casts a light that illuminates obstacles and potential pathways for newcomers to radical organizing as well as for fighters long engaged in struggle.A wide-ranging book, A Separate Star: Politics and Strategy for Anti-Capitalist, Anti-Colonial, and Anti-Imperialist Struggle records the thinking behind the Red Braid Alliance for Decolonial Socialism's ambitious five-year experiment in community organizing with the singular goal of building the revolutionary power of subaltern people. Theorizing Red Braid's experiences of struggle against eviction and homelessness, A Separate Star draws lessons and critiques from these specific experiences and broader historical revolutionary context, presenting challenging forms of revolutionary socialist politics and organization against the hegemony of settler colonial capitalism.

A student becomes intrigued by a mysterious friend whose intimate relationship with the history of the mill town where he grew up informs his politics and enigmatic writing. With curiosity that often breaches the private boundaries of friendship, the student's warm and comedic accounts repeatedly shift to a narrative space where the harsh conditions, operations, and confines of the residents of the mill town are explored in clinical detail.A student becomes intrigued by a mysterious friend whose intimate relationship with the history of the mill town where he grew up informs his politics and enigmatic writing. With curiosity that often breaches the private boundaries of friendship, the student's warm and comedic accounts repeatedly shift to a narrative space where the harsh conditions, operations, and confines of the residents of the mill town are explored in clinical detail.

The very first collection celebrating her work, Exovede in the Darkroom is a series of responses, critical and poetic, to Métis experimental filmmaker Rhayne Vermette's visually explosive and materially intimate practice. It was while studying architecture that Vermette, primarily self-taught, fell into image making and storytelling. Her films are opulent collages of fiction, animation, documentary, reenactments, and divine interruption. Invoking Vermette's two central influences-Louis Riel's "exovede" as outsider, and Carlo Mollino's "darkroom" as the psychic site of secluded experiment-the collection explores Vermette's powerful shorts that engage a number of 16mm collage practices, as well as her astounding feature film Ste. Anne, a work that mesmerized the film world internationally with the visually resplendent story of a return. Contributors include Irene Bindi, Lawrence Bird, Janet Blatter, Stephen Broomer, Gwynne Fulton, José Sarmiento Hinojosa, Sky Hopinka, Joshua Minsoo Kim, Suzanne Morrissette, , Claudia Sicondolfo, Jennifer Smith.The very first collection celebrating her work, Exovede in the Darkroom is a series of responses, critical and poetic, to Métis experimental filmmaker Rhayne Vermette's visually explosive and materially intimate practice. It was while studying architecture that Vermette, primarily self-taught, fell into image making and storytelling. Her films are opulent collages of fiction, animation, documentary, reenactments, and divine interruption. Invoking Vermette's two central influences-Louis Riel's "exovede" as outsider, and Carlo Mollino's "darkroom" as the psychic site of secluded experiment-the collection explores Vermette's powerful shorts that engage a number of 16mm collage practices, as well as her astounding feature film Ste. Anne, a work that mesmerized the film world internationally with the visually resplendent story of a return.

Bebakhshid revolves around intimate identity intersections of being Iranian, an immigrant, and a woman. Mosall touches everyday banalities as well as challenges, exploring familial relationships, as well as chosen social environments. Her work is social commentary on the treatment and experience of Middle Easterners, as well as a focussed view of realities of its youth not just challenges, but the romantic and mundane experiences of the everyday. Instead of being separated into parts, Bebakhshid transverses more intimate accounts, storylines, and snippets, weaving narrative poetry throughout, to foreground the importance of community and relationships.Bebakhshid revolves around intimate identity intersections of being Iranian, an immigrant, and a woman. Mosall touches everyday banalities as well as challenges, exploring familial relationships, as well as chosen social environments. Her work is social commentary on the treatment and experience of Middle Easterners, as well as a focussed view of realities of its youth not just challenges, but the romantic and mundane experiences of the everyday. Instead of being separated into parts, Bebakhshid transverses more intimate accounts, storylines, and snippets, weaving narrative poetry throughout, to foreground the importance of community and relationships.

Tracing through Indigenous institutional development in Winnipeg, and providing a unique perspective on the history of Indigenous housing development, education, and economic development, Indigenous Resistance and Development in Winnipeg 1960-2000 explores Indigenous resistance in Winnipeg through the work of various Winnipeg institutions, including The Indian and Métis Friendship Centre, Children of the Earth and Niji Mahkwa schools, The Indigenous Women?s Collective of Manitoba: Dibenimisowin (We Own Ourselves), the Ma Maw Wi Chi Itata Centre, The Native Women?s Transition Centre, and Two Spirited People of Manitoba, among others. Taking on a rich historical grounding and encompassing a new generation of Indigenous organizing, this is the first book that explores Winnipeg history exclusively through the impactful development and resistance work of Indigenous organizations. Contributors include Nicole Lamy, Shauna MacKinnon, Kathy Mallett, Lawrie Deane, Lynne Fernandez, Doris Young, Annetta Armstrong, Josie Hill, John Loxley, Chantal Fiola, and Albert McLeod.Exploring the rich historical grounding of Indigenous peoples grassroots organizing developed through resistance and community work, Indigenous Resistance & Development in Winnipeg 1960-2000 traces Indigenous city development through the decades, encompassing generations of Indigenous community organizers. It is the first book that recounts Winnipeg history exclusively through the impactful development and resistance work of Indigenous people and organizations..

In her bold departure from conventional art criticism, Hannah Godfrey looks to the work of five contemporary queer visual artists, with attention to, and affection for, the wit, subversion, and many complexities of each of their practices. Shifting through written forms as experiential coves, Critical Fictions is a collection of inventive responses that are delicately linked, and devoted to their subjects. Alongside the five artists-Derek Dunlop, Kristin Nelson, Hagere Selam shimby Zegeye-Gebrehiwot, Andrea Oliver Roberts, and Logan MacDonald-Godfrey shares a keen interest in intricacies of queer power, the body, and abstraction. Her varied approach to criticism embraces stories, poetry, essays, and other textual formations as means of wayfaring through the work of art. In these pages the reader will find not only celebrations of the depth, beauty, and acuity of the artworks discussed, but explorations of the imaginative thoroughfares they open up.In her bold departure from conventional art criticism, Hannah Godfrey looks to the work of five contemporary queer visual artists, with attention to, and affection for, the wit, subversion, and many complexities of each of their practices. Shifting through written forms as experiential coves, Critical Fictions is a collection of inventive responses that are delicately linked, and devoted to their subjects. Alongside the five artists-Derek Dunlop, Kristin Nelson, Hagere Selam shimby Zegeye-Gebrehiwot, Andrea Oliver Roberts, and Logan MacDonald-Godfrey shares a keen interest in intricacies of queer power, the body, and abstraction. Her varied approach to criticism embraces stories, poetry, essays, and other textual formations as means of wayfaring through the work of art. In these pages the reader will find not only celebrations of the depth, beauty, and acuity of the artworks discussed, but explorations of the imaginative thoroughfares they open up.

The lives and conditions of Black women are inseparable from, and inextricably linked to, all dimensions of social and political life. Black Women Under State centres on the realities of Black women, both in-process and theory, who are living at the intersections of race, poverty, surveillance, and social services. Abdillahi, who is uniquely positioned as a community organizer, practitioner, public intellectual, and scholar, engaged twenty women living at these life intersections in the greater Toronto area. The text undertakes a deep and studied inquiry into these women's subjective experiences of surveillance while on the province of Ontario's social assistance program Ontario Works and interrogates the dimensional effects of those experiences. Offering a timely and crucial contribution to the discourse around abolition, Abdillahi makes explicit the ways in which social systems are made opaque so that we don't connect them to the carceral state; this concept of carceral care talks to abolition as the broad concept that it is a fully-embraced understanding that abolition dismantles systems of policing that extend beyond the institution we call the police. Three major themes emerge through her inquiry: surveillance, poverty, and morality each interconnected to a larger social and public policy discourse. Abdillahi employs Critical Race Theory and Black Feminist Thought as primary theoretical lenses as she animates the lives of these women, alongside and in conversation with existing research, theory and practice, revealing direct links among their experience, in order to demonstrate the shared, longstanding, and ongoing historicity of the interconnectedness of Black women's experience globally. The vast majority of the book's citations are from Black Canadians, giving the text its own narrative around citational practice. Through a dynamic interlacing of contemporary critical thought and lived experience, Black Women Under State contributes to filling a gap in social policy literature, which has typically disregarded the subjective experiences of Black women or treated them as a mere addendum.The lives and conditions of Black women are inseparable from, and inextricably linked to, all dimensions of social and political life. Black Women Under State centres on the realities of Black women, both in-process and theory, who are living at the intersections of race, poverty, surveillance, and social services. Abdillahi, who is uniquely positioned as a community organizer, practitioner, public intellectual, and scholar, engaged twenty women living at these life intersections in the greater Toronto area. The text undertakes a deep and studied inquiry into these women's subjective experiences of surveillance while on the province of Ontario's social assistance program Ontario Works and interrogates the dimensional effects of those experiences. Offering a timely and crucial contribution to the discourse around abolition, Abdillahi makes explicit the ways in which social systems are made opaque so that we don't connect them to the carceral state; this concept of carceral care talks to abolition as the broad concept that it is a fully-embraced understanding that abolition dismantles systems of policing that extend beyond the institution we call the police. Three major themes emerge through her inquiry: surveillance, poverty, and morality each interconnected to a larger social and public policy discourse. Abdillahi employs Critical Race Theory and Black Feminist Thought as primary theoretical lenses as she animates the lives of these women, alongside and in conversation with existing research, theory and practice, revealing direct links among their experience, in order to demonstrate the shared, longstanding, and ongoing historicity of the interconnectedness of Black women's experience globally. The vast majority of the book's citations are from Black Canadians, giving the text its own narrative around citational practice. Through a dynamic interlacing of contemporary critical thought and lived experience, Black Women Under State contributes to filling a gap in social policy literature, which has typically disregarded the subjective experiences of Black women or treated them as a mere addendum.

With moving invocations for softness and strength, the poems in lisan al'asfour introduce a personal concept of creation around loss and matrilineage, and explore the schism between defining and maintaining identity. These are poems that speak to our efforts to make sense of the worlds we construct, and the collection embraces an impassioned approach to literary practice as anti-oppression practice, through the perspective of the critical self-subject.With moving invocations for softness and strength, the poems in lisan al'asfour introduce a personal concept of creation around loss and matrilineage, and explore the schism between defining and maintaining identity. These are poems that speak to our efforts to make sense of the worlds we construct, and the collection embraces an impassioned approach to literary practice as anti-oppression practice, through the perspective of the critical self-subject.

What is a novel? What is a revolution? Is there anything new under the sun? In these essays, poet and critic Cam Scott contemplates the novel in various guises-as culture and technology; as labyrinth, series, list, and sect. Far from academic essays, these discrete and overlapping studies take up the activity of a politically interested readership, for whom literature makes real demands of the one world that it describes. Situating gay men's experimental writing of the AIDS crisis within the cultures of neoliberal deregulation, and drafting a radical latency of the pre-revolutionary city, these essays fasten their interest to spaces of unexpected stylistic and thematic encounter.In these essays, poet and critic Cam Scott contemplates the novel in various guises-as culture and technology; as labyrinth, series, list, and sect. Far from academic essays, these discrete and overlapping studies take up the activity of a politically interested readership, for whom literature makes real demands of the one world that it describes. Situating gay men's experimental writing of the AIDS crisis within the cultures of neoliberal deregulation, and drafting a radical latency of the pre-revolutionary city, these essays fasten their interest to spaces of unexpected stylistic and thematic encounter.

Nde S Wet'aa: Northern Indigenous Voices on Land, Life & Art is a collection of essays, interviews, short stories, and poetry written by emerging and established northern Indigenous writers and artists. Centered on land, cultural practice and northern life, this ground-breaking collection shares wealth of Dene (Gwich'in, Sahtú, Dehcho, Tch, Saysi, Kaska, Dënesiné, Wìlìdeh) Inuit, Alutiiq, Inuvialuit, Métis, Nêhiyawak (Cree), Northern Tutchone, and Tanana Athabascan creative brilliance. Nde S Wet'aa holds up the voices of women and Two-Spirit and Queer writers to create a chorus of voices reflecting a deep love of Indigenous cultures, languages, homelands, and the north. The book includes a series of pieces and interviews from established northern artists and musicians including Leela Gilday, Randy Baillargeon (lead singer for the Wìlìdeh Drummers), Inuit sisters, song-writers and throat singers Tiffany Ayalik and Inuksuk Mackay of Piqsiq, Two-Spirit Vuntut Gwitchin visual artist Jeneen Frei Njootli, Nunavik singer-songwriters Elisapie and Beatrice Deere and visual artist Camille Georgeson-Usher. Nde S Wet'aa also includes writing from well-known northern writers Siku Allooloo, T'áncháy Redvers (Fireweed), Antione Mountain (From Bear Rock Mountain), Glen Coulthard (Red Skin, White Masks), Katà Lafferty (Northern Wildflower, Land-Water-Sky, and Lianne Marie Leda Charlie, in amongst the best emerging writers in the north.Nde S Wet'aa: Northern Indigenous Voices on Land, Life & Art is a collection of essays, interviews, short stories, and poetry written by emerging and established northern Indigenous writers and artists. Centered on land, cultural practice and northern life, this ground-breaking collection shares wealth of Dene (Gwich'in, Sahtú, Dehcho, Tch, Saysi, Kaska, Dënesiné, Wìlìdeh) Inuit, Alutiiq, Inuvialuit, Métis, Nêhiyawak (Cree), Northern Tutchone, and Tanana Athabascan creative brilliance. Nde S Wet'aa holds up the voices of women and Two-Spirit and Queer writers to create a chorus of voices reflecting a deep love of Indigenous cultures, languages, homelands, and the north. The book includes a series of pieces and interviews from established northern artists and musicians including Leela Gilday, Randy Baillargeon (lead singer for the Wìlìdeh Drummers), Inuit sisters, song-writers and throat singers Tiffany Ayalik and Inuksuk Mackay of Piqsiq, Two-Spirit Vuntut Gwitchin visual artist Jeneen Frei Njootli, Nunavik singer-songwriters Elisapie and Beatrice Deere and visual artist Camille Georgeson-Usher. Nde S Wet'aa also includes writing from well-known northern writers Siku Allooloo, T'áncháy Redvers (Fireweed), Antione Mountain (From Bear Rock Mountain), Glen Coulthard (Red Skin, White Masks), Katà Lafferty (Northern Wildflower, Land-Water-Sky, and Lianne Marie Leda Charlie, in amongst the best emerging writers in the north.

For 30 years Meeka Walsh has been the Editor of the Canadian art magazine, Border Crossings. A selection of her much-admired essays published in each issue of that magazine have been selected for this substantial book. Malleable Forms is a book of 47 essays, rich and broad in ideas and subjects as far-ranging as art, architecture, literature, family, place, dogs, spirituality, birds, rabbits, and whimsy. But it isn't just about the subjects presented in the essays but the way in which Walsh has made connections inside the essays. "Kim Gordon: Star Turns" examines the memoir of Sonic Youth's Kim Gordon takes the reader on a trip that includes surprising links between Gordon and Ab Ex painter Robert Motherwell. "Rilke: Speaking Longing" measures the poetic sensibilities of Rainer Maria Rilke, Cynthia Ozick, and Vladimir Nabokov. "Say Bird: A Consideration of Interspecies Romance" describes the romantic tale of a courtship between a woman and a blue jay. Noted international critic and art writer, Barry Schwabsky, has written an introductory essay. The persistent engagement of memory winds through the book and resonant is EM Forster's dictum, "Only connect." Walsh makes her particular kind of connections throughout.For 30 years Meeka Walsh has been the Editor of the Canadian art magazine, Border Crossings. A selection of her much-admired essays published in each issue of that magazine have been selected for this substantial book. Malleable Forms is a book of 47 essays, rich and broad in ideas and subjects as far-ranging as art, architecture, literature, family, place, dogs, spirituality, birds, rabbits, and whimsy. But it isn't just about the subjects presented in the essays but the way in which Walsh has made connections inside the essays. "Kim Gordon: Star Turns" examines the memoir of Sonic Youth's Kim Gordon takes the reader on a trip that includes surprising links between Gordon and Ab Ex painter Robert Motherwell. "Rilke: Speaking Longing" measures the poetic sensibilities of Rainer Maria Rilke, Cynthia Ozick, and Vladimir Nabokov. "Say Bird: A Consideration of Interspecies Romance" describes the romantic tale of a courtship between a woman and a blue jay. Noted international critic and art writer, Barry Schwabsky, has written an introductory essay. The persistent engagement of memory winds through the book and resonant is EM Forster's dictum, "Only connect." Walsh makes her particular kind of connections throughout.

A satirical campus novel, Dumb-Show shrewdly confronts the cultural politics of masculinity through a narrative that twists the structure of Henry IV. A controversial Canadian professor of political science at a Toronto university rises to power when his political views divide the student body. Two siblings, one a student at the university, develop isolated personal relationships with the professor, and find themselves spiralling to infamy alongside him. Parker's second novel shadows the rise and fall of a corrupt king, observes a young and lazy boy's attempt to make a name for himself, and, tearing a hole in the hyper-masculine power narrative, interrogates a woman's internal search to power. Expanding from the brutal introspection first seen in Parker's Set-Point, Dumb-Show takes brilliant aim at personal power relations, leaving no player unscathed.A satirical campus novel, Dumb-Show shrewdly confronts the cultural politics of masculinity through a narrative that twists the structure of Henry IV. A controversial Canadian professor of political science at a Toronto university rises to power when his political views divide the student body. Two siblings, one a student at the university, develop isolated personal relationships with the professor, and find themselves spiralling to infamy alongside him. Parker's second novel shadows the rise and fall of a corrupt king, observes a young and lazy boy's attempt to make a name for himself, and, tearing a hole in the hyper-masculine power narrative, interrogates a woman's internal search to power. Expanding from the brutal introspection first seen in Parker's Set-Point, Dumb-Show takes brilliant aim at personal power relations, leaving no player unscathed.

Radical Trust: Basic Income For Complicated Lives explores the notion that a basic income is a compassionate and dignified response to poverty and income inequality in Canada. Through extensive testimonials with those that the "social safety net" fails most dramatically, it tells the stories of lived experience, as individuals navigate the complicated circumstances of their lives. The myth of meritocracy creates distinctions between the deserving, a distinction that is the basis on which Canada's entire income support system rests. It's become apparent that Canada's current income support systems do not work.. The COVID-19 pandemic shattered the illusion that income support will be there when you need it. But this shattered illusion isn't new for those with lived experience in these systems. Many have suffered persistent, and generational poverty. For years, Canada's income support schemes have failed Children in foster care, Indigenous women, girls and Two Spirit persons, people who struggle with addiction, and many others who are left on the fringes of our society.Radical Trust: Basic Income For Complicated Lives explores the notion that a basic income is a compassionate and dignified response to poverty and income inequality in Canada. Through extensive testimonials with those that the "social safety net" fails most dramatically, it tells the stories of lived experience, as individuals navigate the complicated circumstances of their lives. The myth of meritocracy creates distinctions between the deserving, a distinction that is the basis on which Canada's entire income support system rests. It's become apparent that Canada's current income support systems do not work.. The COVID-19 pandemic shattered the illusion that income support will be there when you need it. But this shattered illusion isn't new for those with lived experience in these systems. Many have suffered persistent, and generational poverty. For years, Canada's income support schemes have failed Children in foster care, Indigenous women, girls and Two Spirit persons, people who struggle with addiction, and many others who are left on the fringes of our society.

Commencing by explaining how the word Ininew' refers to the phrase 'mixing of four,' Wilfred Buck embarks upon a series of dazzling stories: herein is the story of how I lived and how I died and how I lived again along with the dreams I have dreamed and the visions I have seen. In this unique collection of writings Buck, an Ininew Dream Keeper (Pawami niki titi cikiw), illustrates, four separate stages of personal experience. The stories in I Have Lived Four Lives' are designed as aids to the discovery and healing for Indigenous youth, and encompass a range of hilarious and vivid recollections that revolve around visions and dreams, and that ultimately trace Buck's path to becoming a teacher in Indigenous cosmology and astronomy.Commencing by explaining how the word Ininew' refers to the phrase 'mixing of four,' Wilfred Buck embarks upon a series of dazzling stories: herein is the story of how I lived and how I died and how I lived again along with the dreams I have dreamed and the visions I have seen. In this unique collection of writings Buck, an Ininew Dream Keeper (Pawami niki titi cikiw), illustrates, four separate stages of personal experience. The stories in I Have Lived Four Lives' are designed as aids to the discovery and healing for Indigenous youth, and encompass a range of hilarious and vivid recollections that revolve around visions and dreams, and that ultimately trace Buck's path to becoming a teacher in Indigenous cosmology and astronomy.

'I'd rather have a transorbital lobotomy / Than a transnational economy.' In his new book of poetry, Colin Smith's droll humour and meticulous control of language are metered out to explore the stakes of pain and the pain of folly. Language plays throughout the text, bringing a blithe tone to dark matters, and evoking fruitful tensions for the reader. Scattered topics of climate change, labour disputes, war, and massive inequities within cities are encountered by a voice that seems to scorn humanity as much as it delights in human language. Permanent Carnival Time is laugh-out-loud language poetry..

Inspired by Athanasius' The Temptations of St. Anthony in which the protagonist is repeatedly beset by desert demons, My Claustrophobic Happiness offers La Betty, a wealthy condo inhabitant whose cloistered consumer object worship provides her with fragile protection against supernatural visitations of representatives from a reality outside. Psychoanalyst Jeanne Randolph approaches La Betty's psyche with distinctively transcendental wit, unveiling an unstable and absurdly fragile existence of repetition in denial. Lush and playful descriptions of La Betty's objects and her surreal psychological space enfold a series of complex conundrums around identity's relationship to consumerism. My Claustrophobic Happiness' crafted vignettes present a satiric and prophetic depiction of the isolated mind and body that is hauntingly prescient.

Small Predatorsfollows a collective of student activists as they cope with the aftermath of a violent political demonstration carried out against their university by a member of their collective, Mink. The story's narrator, Fox, recounts Mink's addiction to a form of physical self-harm, both a violence motivated by guilt of privilege and a method of coping with political vulnerability. As Fox navigates her anger with Mink, debating whether or not she should confront or forgive her, we discover that each member of the collective is performing their own acts of self-violence. As Canadian millennials, Fox and her friends were born into the era of climate anxiety-told again and again that more must be done to save humanity's future at the same time that pipelines were expanded, rainforests were cleared, and chemical waste was dumped into the ocean. Struggling to imagine a resistance that isn't futile, the young activists turn violently on themselves and each other, creating sites of political action and care within their physical bodies. This vibrant debut combines prose with lists, poetry, and structural experimentation.

Drawing on interviews with 51 anti-authoritarian organizers to investigates what it means to struggle for "the commons" within a settler colonial context, Unsettling the Commons (ARP Books) interrogates a very important debate that took place within Occupy camps and is taking place in a multitude of movements in North America around what it means to claim "the commons" on stolen land. Travelling back in history to show the ways in which radical left movements have often either erased or come into clear conflict with Indigenous practices of sovereignty and self-determination-all in the name of the "struggle for the commons", the book argues that there are multiple commons or conceptualizations of how land, relationships, and resources are shared, produced, consumed, and distributed in any given society. As opposed to the liberal politics of recognition, a political practice of unsettling and a recognition of the incommensurability of political goals that claim access to space/territory on stolen land is put forward as a more desirable way forward.

Written from a female and Indigenous perspective, the poems in Indianland incorporate Anishinaabemowin throughout. Lesley Belleau explores rich themes of sexuality, birth, memory, and longing, as well as touchstone issues in Indigenous politics including Elijah Harper, Murdered and Missing Indigenous Women, forced sterilizations, and Kanesatake with immediacy and intimacy. This multiform collection moves from present day to first contact and back to the present, immersing us in images of blood, plants (milkweed, yarrow, cattails), and petroglyphs, and grounding the book in the beloved land of which it speaks.