Chucky The Lonely Inukshuk

A story of magic, family, a mysterious stranger . . . and a band of marauding raccoons. Otter Lake is a sleepy Anishnawbe community where little happens. Until the day a handsome stranger pulls up astride a 1953 Indian Chief motorcycle – and turns Otter Lake completely upside down. Maggie, the Reserve’s chief, is swept off her feet, but Virgil, her teenage son, is less than enchanted. Suspicious of the stranger’s intentions, he teams up with his uncle Wayne – a master of aboriginal martial arts – to drive the stranger from the Reserve. And it turns out that the raccoons are willing to lend a hand.

A tale of adventure and discovery on a coral reef.

Chloe and Zachary must do without their personal electronics while they stay at the family cottage. With nature's playground at their feet, they discover that the great outdoors is much more fun than anything their tablets have to offer.

An Inukshuk all alone on a hill is very sad until he learns how very important and special he is to the community.

“An essential book for courses on Native film, indigenous media, not to mention more general courses . . . A very impressive and useful collection.” —Randolph Lewis, author of Navajo Talking Picture The film industry and mainstream popular culture are notorious for promoting stereotypical images of Native Americans: the noble and ignoble savage, the pronoun-challenged sidekick, the ruthless warrior, the female drudge, the princess, the sexualized maiden, the drunk, and others. Over the years, Indigenous filmmakers have both challenged these representations and moved past them, offering their own distinct forms of cinematic expression. Native Americans on Film draws inspiration from the Indigenous film movement, bringing filmmakers into an intertextual conversation with academics from a variety of disciplines. The resulting dialogue opens a myriad of possibilities for engaging students with ongoing debates: What is Indigenous film? Who is an Indigenous filmmaker? What are Native filmmakers saying about Indigenous film and their own work? This thought-provoking text offers theoretical approaches to understanding Native cinema, includes pedagogical strategies for teaching particular films, and validates the different voices, approaches, and worldviews that emerge across the movement. “Accomplished scholars in the emerging field of Native film studies, Marubbio and Buffalohead . . . focus clearly on the needs of this field. They do scholars and students of Native film a great service by reprinting four seminal and provocative essays.” —James Ruppert, author of Meditation in Contemporary Native American Literature “Succeed[s] in depicting the complexities in study, teaching, and creating Native film . . . Regardless of an individual’s level of knowledge and expertise in Native film, Native Americans on Film is a valuable read for anyone interested in this topic.” —Studies in American Indian Literatures

Fast-paced and razor-sharp dark fantasy for readers of Nicholas Eames, Anna Smith Spark and Robert Jackson Bennett "A fantastic book, full of wit and sharp humor, City of Iron and Dust careens through a modernized faerie at a breakneck pace, full of verve and unforgettable characters. Oakes spins a smart, electric, and sometimes snarky tale, showing that the beating heart of modern fantasy is alive and well." – John Hornor Jacobs, author of A Lush and Seething Hell and The Incorruptibles The Iron City is a prison, a maze, an industrial blight. It is the result of a war that saw the goblins grind the fae beneath their collective boot heels. And tonight, it is also a city that churns with life. Tonight, a young fae is trying to make his fortune one drug deal at a time; a goblin princess is searching for a path between her own dreams and others’ expectations; her bodyguard is deciding who to kill first; an artist is hunting for his own voice; an old soldier is starting a new revolution; a young rebel is finding fresh ways to fight; and an old goblin is dreaming of reclaiming her power over them all. Tonight, all their stories are twisting together, wrapped up around a single bag of Dust—the only drug that can still fuel fae magic—and its fate and theirs will change the Iron City forever.