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Witness, I Am
Witness, I Am is divided into three gripping sections of new poetry from one of Canada’s most recognized poets. The first part of the book, “Dangerous Sound,” contains contemporary themed poems about identity and belonging, undone and rendered into modern sound poetry. “Muskrat Woman,” the middle part of the book, is a breathtaking epic poem that considers the issue of missing and murdered indigenous women through the reimagining and retelling of a sacred Cree creation story. The final section of the book, “Ghost Dance,” raids the autobiographical so often found in Scofield’s poetry, weaving the personal and universal into a tapestry of sharp poetic luminosity. From “Killer,” Scofield eerily slices the dreadful in with the exquisite: “I could, this day of proficient blooms, / take your fingers, / tie them down one by one. This one for the runaway, / this one for the joker, / this one for the sass-talker, / this one for the judge, / this one for the jury. / Oh, I could kill you.”
Kipocihkân
The first anthology of urban Aboriginal songs by Gregory Scofield is a retrospective of the award-winning poet's pivotal work to date. The word kipocihkan is Cree slang for someone who is mute or unable to speak, and charted in this book is Scofield's journey out of that silence to become one of the most powerful voices of our time. "I make offerings to my Grandmothers and Grandfathers when I write. I ask them to come and sit with me, to give me courage and strength. I ask them to help me be honest, reflective of the ceremony that I am about to begin. I ask them to guide me, to help me touch people. I ask to make good medicine, even out of something bad. When people read my work it's not just the book that they read, it's the medicine behind the words. That's where the power comes from. That's where the healing comes from." --Scofield in January Magazine
Love Medicine and One Song
Description not found.
Wâpikwaniy
None
The Gathering
In The Gathering, Gregory Scofield applies the sacred teachings of the Medicine Wheel to the harsh reality of life on the skids. Using poetry as a healing metaphor, he embarks on a personal journey that parallels the historic and contemporary displacement of the M�tis people. With anger, humor, and powerful language, The Gathering offers rare insight into the world of Canada's M�tis, creating a bridge between Native and non-Native worlds.
Native Canadiana
"[Scofield's] lyricism is stunning, gets within the skin. Be careful. These songs are so beautiful they are dangerous." - Native American poet, singer, and storyteller Joy Harjo "These are poems that dig deeply into oral tradition in order to speak shattering truths of street life in 'the urban rez.'" - The Small Press Magazine
Louis
I am a poet With auburn-brown hair, An ember of curls The newspapers will one day Catch.
Masculindians
What does it mean to be an Indigenous man today? Between October 2010 and May 2013, Sam McKegney conducted interviews with leading Indigenous artists, critics, activists, and elders on the subject of Indigenous manhood. In offices, kitchens, and coffee shops, and once in a car driving down the 401, McKegney and his participants tackled crucial questions about masculine self-worth and how to foster balanced and empowered gender relations. Masculindians captures twenty of these conversations in a volume that is intensely personal, yet speaks across generations, geography, and gender boundaries. As varied as their speakers, the discussions range from culture, history, and world view to gender theory, artistic representations, and activist interventions. They speak of possibility and strength, of beauty and vulnerability. They speak of sensuality, eroticism, and warriorhood, and of the corrosive influence of shame, racism, and violence. Firmly grounding Indigenous continuance in sacred landscapes, interpersonal reciprocity, and relations with other-than-human kin, these conversations honour and embolden the generative potential of healthy Indigenous masculinities.
Maskisina
None
Who Took My Sister?
Poetry. Indigenous Studies. Joining a host of important contemporary voices such as Gregory Scofield, Liz Howard and Leanne Betasamosake Simpson, Mi'kmaq writer Shannon Webb-Campbell's WHO TOOK MY SISTER? is a collection of poems and letters written to the many members of her community that hold and carry trauma; they are a choir and a haunting testament. Falling somewhere between Indigenous wisdom and contemporary poetic strategies WHO TOOK MY SISTER? creates a space where readers are brought face to face with Mother Earth, Grandfather Sky, waterways, ancestors who give voice to the land, extreme national genocide, and Indigenous women whose lives are cut short by the colonial agenda. Laced...
