Many promote Reconciliation as a new way for Canada to relate to Indigenous Peoples. In Dancing on Our Turtle's Back: Stories of Nishnaabeg Re-Creation, Resurgence, and a New Emergence activist, editor, and educator Leanne Simpson asserts reconciliation must be grounded in political resurgence and must support the regeneration of Indigenous languages, oral cultures, and traditions of governance.

Simpson explores philosophies and pathways of regeneration, resurgence, and a new emergence through the Nishnaabeg language, Creation Stories, walks with Elders and children, celebrations and protests, and meditations on these experiences. She stresses the importance of illuminating Indigenous intellectual traditions to transform their relationship to the Canadian state.

Challenging and original, Dancing on Our Turtle's Back provides a valuable new perspective on the struggles of Indigenous Peoples.

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 interrogates a very important debatethat 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.

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.

Set-Point is a novel about personal, sexual, and physical identity. A voice that is at once brutally honest and humorous follows Luck Frank, a mid-20s aspiring screenwriter living in Montreal who begins work as a digital sex worker, selling data recorded on interactive erotic consoles. She keeps her work separate from her artistic and personal life until a user threatens to release her identity. Lucy struggles with body image, her mother's illness, and her feelings about her new line of work, while trying to sell a series of scripts parodying Karl Ove Knausgaard's My Struggle series. Segments of the novel take place inside of U:3D, a massive multiplayer online world-building game in which Lucy's project is produced. Unfolding in Montreal youth culture, this debut explores intellectual parody, mental and physical illness, and the relationship between technology and sex.

Walsh's writings are stunning examples of how to look, how to feel, how to see.

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 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 Separate Star collects the decolonial socialist ambitions of Red Braid Alliance through reflections on struggle, popular-philosophical inquiries, and revolutionary strategy. The roots of the collectively-authored book are in Red Braid's decade of efforts to foster the self-organization of what they referred to as subaltern social groups in tent cities, squats, and nameless low-rise apartment buildings facing demoviction in cities and towns throughout south-west British Columbia. Beyond a collection of reminiscences about such 'basebuilding' action, A Separate Star is an inquiry into the theory and practices of building a fighting political organization that orbits a centre of gravity separate from settler colonial nation states and their sophisticated civil societies. For Indigenous sovereigntists, it is a contribution from the perspective of Indigenous fighters displaced into cities and towns who are mobilizing sovereignty as a method to move beyond survival to build the revolutionary power of
Indigenous street kin. For socialists, it is a polemic for a decolonial socialism that cannot be realized without taking out the evil triumvirate of colonialism, imperialism, and capitalism.

Heather and Geoffrey -- twenty-something siblings -- become entangled in separate power struggles with a controversial professor, Dr. Barry Martin. His divisive views on masculinity have put him in the public spotlight in a way that's created both public disgust and a private lust for proximity. As Geoffrey fumbles through grandiose academic desires, and Heather attempts to orient herself in a sea of male-inflicted indignities and conflicting impulses, the performances, and the absurdities, become unwieldy.

John Loxley has worked in community economic development as a practitioner, advisor, teacher and scholar for over 30 years. The wealth of that experience is reflected in this book, which grapples with the conceptual and political complexities of addressing northern and Aboriginal poverty.

Loxley examines a number of possible approaches to economic development, placing each within a broader theoretical and policy perspective, and considering its growth potential and class impact.

Accessible and theoretically sophisticated, the book blends international development theory with northern Canadian and Aboriginal realities. It includes an important chapter on traditional Aboriginal values and culture and their relationship to the land.

The first collection celebrating the work of celebrated experimental filmmaker Rhayne Vermette, Exovede in the Darkroom is a series of responses, critical and poetic, to Vermette's visually explosive, materially distinct, and conceptually singular practice. Exploring Vermette's shorts that engage a number of 16mm collage practices, as well as her feature film Ste. Anne, a film that mesmerized festival circuit critics and audiences alike with a metered and visually resplendent story of a return to a Métis community, in which sequences of images dominate the narrative. Contributors include Jennifer Smith, Gwynne Fulton, Lawrene Bird, Mónica Savirón, Joshua Minsoo Kim, Sky Hopinka, Stephen Broomer, Claudia Sicondolfo, Inney Prakash, José Sarmiento Hinojosa, Irene Bindi, and Janet Blatter.

Rhayne Vermette was born in Notre Dame de Lourdes, Manitoba. It was while studying architecture at the University of Manitoba, that she fell into the practices of image making and storytelling. Primarily self taught, Rhayne's films are opulent collages of fiction, animation, documentary, reenactments and divine interruption. Her work has screened internationally and highlights screenings at the Berlinale, Toronto International Film Festival, New York Film Festival, Mar Del Plata IFF, Viennale, Jeonju IFF, Valdivia International FIlm Festival and DocumentaMadrid. Her first feature narrative, Ste. Anne, exploded into the world and was awarded TIFF's Amplify Voices Award for Best Canadian Feature Film in 2021.

Beginning, and ending, with moving invocations for acceptance, Natalie Hanna's lisan'alsfour (bird's tongue), introduces a personal concept of creation around loss, confirming identity, and matrilineal questions of the child of a single mother forced to immigrate to Canada from Egypt in the 1970s. Narrativistically tracing challenges to wholeness, including medicalization, childlessness, racism, loss of culture, and labouring within the law, the book then brings the reader through poems of deep mourning for the victims of Tahrir Square, Syrian bombings, the conflict in the Gaza Strip, the Beirut explosion, and gun/police violence to Black and Indigenous communities. Finally, a series of poems that describe the schism between defining and maintaining identity and the orientalised perceptions of what others have expected invites intimate and vulnerable engagement. These are poems that speak to feeling out of place, longing for gentleness, abusing alcohol to relieve grief, reassessing the body, and coming back into softness and strength despite the sorrow and pressure of trauma. Poems that reflect on sometimes graphic encounters, do so in a respectful manner that confronts atrocity, refusing impulses to avert. They therefore also have a unique multivalence, embracing an impassioned approach to literary practice as antioppression practice, through the perspective of a politically critical legal professional who is also a self-subject in a narrative of trauma and acceptance.Book's main news/pitch hooks: Arab Canadian Feminist Poetry, Daughters of Arab disapora, Intersectional identies and the law. Book tweet A poetic instersectional examination of diaspora, racism, law, violence, culture, and healing. Why natalie wrote this book: We form our identities in the context of our personal relations and daily experiences as actors, subjects, and witnesses of events. A natural extension of these experiences is the desire to make sense of the world we construct around us, from the very intimate, to the global. This collection, which gathers previously printed and new work, is concerned, in an immediate way, with how we speak or do not speak, who is entitled to speak, and how we misunderstand one another. I wanted to contribute a challenging collection of poetry from the lens of a feminist, Canadian, lawyer of Middle-Eastern background, that I would have appreciated seeing as a writer coming up in my twenties.

Critical Fictions contains essays and other writing about five contemporary artists living and working in Canada. Although quite distinct, there are threads and sympathies between them. All are Canadian, each works with abstraction, the body is central, they probe structures of power and control with wit and pathos, and each is queer. Their subversion, humour, slipperiness, and fluidity are rooted in their queerness, making them intimate bedfellows. Their work is brilliantly critical, tenderly gorgeous, and delightfully acerbic.

Next door to the chain stores are the cheap restaurants with chipped paint and handwritten signs which will never be featured in the Dining section of the Times. Alongside the renovated lofts are thousands of cramped apartments filled with books and cats, and actual studios where artists work with their hands. Ignored by the hype, without a website, the little shops and thrift stores and squats continue to thrive--sometimes at risk of being displaced, but always at risk of being simply overlooked or dismissed. Last Supper is a love letter to these places and the people who inhabit them: the vibrant beat beneath the bullshit that gives the city its charm.

Glorifying consumerism as the de facto religion of our time, Shopping Cart Pantheism offers a preposterous yet challenging invitation to participate in commodity worship. As our narrator meanders the Las Vegas Strip, its sites and monuments become examples of Christian sainthood, miracles, worship, and dogma now transformed into icons of consumerism. Satiric, witty, and deeply insightful, Shopping Cart Pantheism reveals the fraught beginnings of the twenty-first century's most pervasive neurosis.

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.

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 a labyrinth, series, list, and sect. Far from an academic typology, these discrete and overlapping studies are excerpted from the activity of a politically interested readership, for whom literature makes real demands of the one world that it describes. Includes writings on Dennis Cooper, Guy Hocquenghem, Dionne Brand, Gail Scott, Robert Glück, Kevin Killian, Renata Adler, Renee Gladman, Ted Rees, Lyn Hejinian, Harryette Mullen, and Jordy Rosenberg.

Both a daybook of anti-capitalist ideation and a homoerotic reinvention of the prairie long poem, this unique debut resonates with a love of language and experiment.

Written from within the strictures of the working day, the book's title poem issues from a practice of daily collage, comprising the first layer of a potentially interminable personal epic. As a lyric counterbalance, a central

section follows a punk band throughout dozens of countries connected by and subjugated to capital.

These poems attempt to preserve the superficiality and sincerity of fast-paced social engagement, alluding to the material conditions that permit some people--tourists, artists, musicians--free movement at the expense of others. Playful and meticulously written, ROMANS/SNOWMARE deftly circles the perimeter of the self while drawing the communal inward.

The myth of meritocracy creates distinctions between those who deserve assistance - the victims of bad luck - and those who would be better served to suffer the consequences of their own poor choices. This distinction is the basis on which Canada's entire income support system is based, and it is a relic of the 18th century. However, it is becoming more and more apparent that Canada's current income support systems are just not working. 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. It tells the stories that people with lived experience have shared with the authors, as they navigate the complicated circumstances of their lives.
The COVID-19 pandemic has shattered the illusion that income support will be there when you need it, even if you never thought you would need it. However, this shattered illusion isn't new for those with experience in these systems. Many have suffered persistent, and generational poverty. For years, people have been falling between the gaps of Canada's income support schemes. Children in foster care are not able to get ahead and thrive, Indigenous women, girls and Two Spirit persons are not able to get ahead and thrive, people who struggle with addiction are left on the fringes of our society.

Mallory Amirault's debut collection?Brine?is an ambitious land-metaphor; merging history and imagination, it's a work of poetry that doubles as a prose novel, an effort of interruption to long-standing Maritime coloniality. While excavating experiences of grief, violence, and shame?and unleashing those of love, joy, and belonging?the book's tide-like narrative and character-led intimacies do not avert from a violent and pervasive colonial thread.

At once personal, historical, and lyric, it represents for the author a life and an ethic toward creating long-term connections with Mi?kmaq communities in their home territory. Amireault describes?Brine?as an aboiteau at the shoreline of a colonial event. Engaging the elemental and political act of arriving and departing, the story is a mechanism that slowly removes salt from the Maritimes, and points to say wound.

The origins of medicare have long been told as a simple and satisfying story: a good idea, born in Saskatchewan, was championed by our Greatest Canadian, Tommy Douglas, embraced by Canadians, now stands as a cherished example of our nation's unique values. Radical Medicine is a visionary and politicized new history of medicare. It traces medicare's roots around the world--to the New Deal in the US, the October Revolution in Russia and the British Labour movement. From the 1930s to the early 1950s radical health advocates from around the Atlantic world debated how to achieve socialized medicine. Out of these debates, there emerged on the medical left a specific model for health equality--the health centre. Radical Medicine uses the personal histories of international health advocates, the history of ideas, policy debates, political insights as well as the role of emotion as a central force in social movements. Challenging dominant historical narratives that often depoliticize medicare's origins by treating it a simple manifestation of primordial prairie politics, Radical Medicine shows that, although medicare was shaped fundamentally by local forces and cultures, we can only understand its history in a world-historical context. As universal public health insurance programs crumble around the world, Radical Medicine is the medicare book we need now.