Bearskin Diary

Raw and honest, Bearskin Diary gives voice to a generation of First Nations women who have always been silenced, at a time when movements like Idle No More call for a national inquiry into the missing and murdered Aboriginal women. Carol Daniels adds an important perspective to the Canadian literary landscape. Taken from the arms of her mother as soon as she was born, Sandy was only one of over twenty thousand Aboriginal children scooped up by the federal government between the 1960s and 1980s. Sandy was adopted by a Ukrainian family and grew up as the only First Nations child in a town of white people. Ostracized by everyone around her and tired of being different, at the early age of five she tried to scrub the brown off her skin. But she was never sent back into the foster system, and for that she considers herself lucky. From this tragic period in her personal life and in Canadian history, Sandy does not emerge unscathed, but she emerges strong—finding her way by embracing the First Nations culture that the Sixties Scoop had tried to deny. Those very roots allow Sandy to overcome the discriminations that she suffers every day from her co-workers, from strangers and sometimes even from herself.

There are too many stories about Indigenous women who go missing or are murdered, and it doesn’t seem as though official sources such as government, police or the courts respond in a way that works toward finding justice or even solutions. At least that is the way Wren StrongEagle sees it. Wren is devastated when her twin sister, Raven, mysteriously disappears after the two spend an evening visiting at a local pub. When Wren files a missing persons report with the local police, she is dismissed and becomes convinced the case will not be properly investigated. As she follows media reports, Wren realizes that the same heartbreak she’s feeling is the same for too many families, indeed for whole Nations. Something within Wren snaps and she decides to take justice into her own hands. She soon disappears into a darkness, struggling to come to terms with the type of justice she delivers. Throughout her choices, and every step along the way, Wren feels as though she is being guided. But, by what?

In her debut short story collection, Quednau offers unsettling examinations of “what really happened” with rich, complex characters that might equally arouse our suspicions or sympathy: we pay attention. She gives voice to the interludes between actions, what almost occurred, or might yet, the skewed time of “before” and acute reckoning of “afterward.” Seemingly innocent gestures leave their marks in comeuppance: the blurt of an intimate nickname becoming an ad hoc striptease in a public place, a parked car leading to a woman flailing in a dunk tank, a garage sale with no early birds ending in vengeance, the redemptive act of shucking corn with an ex-husband’s new lover transforming into greater loss. These stories attest to Quednau’s belief that the most significant moments in our lives—the things that alter us—lie in the margins, just out of sight of what was once presumed or predicted. In these short fictions timing is everything, the rusted twentieth-century myths of ownership or conquest are set against the incoming reality of pandemic, our separate notions of love or of courage, of painful transformation, yet to be believed.

A nationally bestselling book on the struggle of addiction and the power of Indigenous resilience. Helen Knott, a highly accomplished Indigenous woman, seems to have it all. But in her memoir, she offers a different perspective. In My Own Moccasins is an unflinching account of addiction, intergenerational trauma, and the wounds brought on by sexual violence. It is also the story of sisterhood, the power of ceremony, the love of family, and the possibility of redemption. With gripping moments of withdrawal, times of spiritual awareness, and historical insights going back to the signing of Treaty 8 by her great-great grandfather, Chief Bigfoot, her journey exposes the legacy of colonialism, while reclaiming her spirit. " In My Own Moccasins never flinches. The story goes dark, and then darker. We live in an era where Indigenous women routinely go missing, our youth are killed and disposed of like trash, and the road to justice doesn't seem to run through the rez. Knott's journey is familiar, filled with the fallout of residential school, racial injustice, alcoholism, drugs, and despair. But she skillfully draws us along and opens up her life, her family, and her communities to show us a way forward. It's the best kind of memoir: clear-eyed, generous, and glorious....Bear witness to the emergence of one of the most powerful voices of her generation." -- Eden Robinson, author of Son of a Trickster and Monkey Beach (from the foreword) "Helen Knott speaks truth to the experience of Indigenous women living through the violence of colonized spaces and she does so with grace, beauty and a ferocity that makes me feel so proud." -- Leanne Betasamosake Simpson , author of This Accident of Being Lost "Helen writes beautifully and painfully, about her own life and the lives of many of our sisters. A strong, gentle voice removing the colonial blanket and exposing truth." -- Maria Campbell , author of Halfbreed "An incredible debut that documents how trauma and addiction can be turned into healing and love. I am in awe of Helen Knott and her courage. I am a fan for life. Wow." -- Richard Van Camp , author of The Lesser Blessed "Heartfelt, heartbreaking, triumphant and raw, In My Own Moccasins is a must-read for anyone who's ever felt lost in their life... Actually, it's a must-read for anyone who appreciates stories of struggle, redemption and healing. Knott's writing is confident, clear, powerful and inspiring." -- Jowita Bydlowska , author of Guy: A Novel and Drunk Mom "Powerful, filled with emotion." -- Carol Daniels, author of Bearskin Diary and Hiraeth "A beautiful rendering of how recovery for our peoples is inevitably about reconnecting with Indigenous identities, lands, cultural and healing practices." -- Kim Anderson , author of Reconstructing Native Womenhood

In this vital début, Kyla Jamieson sifts through the raw material of her life before and after a disabling concussion in search of new understandings of self and worth. Energized by the tensions between embodiment and dissociation, Body Count flickers between Vancouver and New York, passing through dreamscapes and pain states. Both earnest and irreverent, comedic and cosmic, these poems come from a full heart (“You came here / for a kind of truth / & I want to give / you everything”) that often finds its way obstructed by fear, anxiety, and the myriad ways trauma can pattern a life. Here, we see the work of removing the barriers between this heart and the world, and glimpse the labour it takes to heal a body and mind discarded by capitalism. One part rape culture protest anthem, one part long-distance love story, one part invisible illness testimony, and 100% epistolary intimacy, Body Count is a tonic for the times we live in, an open invitation to question the textures of our realities, the ways we inhabit our bodies, and the futures we envision for ourselves and our communities.

The narrator recounts his journey to Leningrad as the story of the 1867 travels of Fyodor Dostoyevsky and his new wife, Anna Grigoryevna, also unfolds.

Dieser Band präsentiert Beiträge namhafter Autor:innen zur translatorischen Theorie und Praxis. Die Themen reichen von der Ausgestaltung der Disziplin, unter anderem mit Blick auf zentrale Grundfragen des Übersetzens, Aspekte von Multimodalität und soziokognitive Translationsprozesse, bis hin zu Studien aus dem Feld der (Literary) Translator Studies, in denen Übersetzer:innen als Gestalter:innen im Zentrum stehen. Weitere Abschnitte widmen sich dem weiten Feld der literarischen Übersetzung, mit Fallstudien zu Übersetzungen aus verschiedenen Genres (Belletristik, Lyrik, Theatertexte, Operntexte, Jugendliteratur, Comics), sowie dem Wirken von fiktionalen Translator:innen in Film und Literatur. Ein persönlicher Nachklang mit Fokus auf dem Operntext als Übersetzungsphänomen runden den Sammelband ab. Der Band richtet sich an Forscher:innen aus der Translationswissenschaft und verwandten Disziplinen. Er liefert einen Einblick in rezente zentrale Entwicklungen des Fachs und spiegelt die facettenreiche Themenvielfalt aktuellen translationswissenschaftlichen Schaffens.

A knife-sharp new collection of stories and songs from award-winning Nishnaabeg storyteller and writer Leanne Betasamosake Simpson that rebirths a decolonized reality, one that circles in and out of time and resists dominant narratives or comfortable categorization. This Accident of Being Lost is the knife-sharp new collection of stories and songs from award-winning Nishnaabeg storyteller and writer Leanne Betasamosake Simpson. These visionary pieces build upon Simpson's powerful use of the fragment as a tool for intervention in her critically acclaimed collection Islands of Decolonial Love. A crow watches over a deer addicted to road salt; Lake Ontario floods Toronto to remake the world while texting “ARE THEY GETTING IT?”; lovers visit the last remaining corner of the boreal forest; three comrades guerrilla-tap maples in an upper middle-class neighbourhood; and Kwe gets her firearms license in rural Ontario. Blending elements of Nishnaabeg storytelling, science fiction, contemporary realism, and the lyric voice, This Accident of Being Lost burns with a quiet intensity, like a campfire in your backyard, challenging you to reconsider the world you thought you knew.