No Home In A Homeland

The Dene, a traditionally nomadic people, have no word for homelessness, a rare condition in the Canadian North prior to the 1990s. Julia Christensen documents the rise of Indigenous homelessness and proposes solutions by interweaving analysis of the region’s unique history with personal narratives of homeless men and women in two cities – Yellowknife and Inuvik. What emerges is a larger story of displacement and intergenerational trauma, hope and renewal. Understanding what it means to be homeless in the North and how Indigenous people think about home and homemaking is the first step, Christensen argues, on the path to decolonizing existing approaches and practices.

"The Dene, a traditionally nomadic people, have no word for homelessness, a rare condition in the Canadian North prior to the 1990s. Julia Christensen documents the rise of Indigenous homelessness and proposes solutions by interweaving analysis of the region's unique history with personal narratives of homeless men and women in two cities--Yellowknife and Inuvik. What emerges is a larger story of displacement and intergenerational trauma, hope and renewal. Understanding what it means to be homeless in the North and how Indigenous people think about home and homemaking is the first step, Christensen argues, on the path to decolonizing existing approaches and practices."--

This powerful poetry collection seeks to map the emotional and spiritual territory of diaspora, violence, abuse, and exile. Kai Cheng incorporates autobiographical details from her own childhood and adult life with the rhythms of the oral storytelling tradition and fairytale motifs, poignantly depicting the plight of trans women of color.

A powerful examination of soulful journeys made to recover memory and recuperate stolen pasts in the face of unspeakable histories. Survivors of the Armenian Genocide of 1915 took refuge across the globe. Traumatized by unspeakable brutalities, the idea of returning to their homeland was unthinkable. But decades later, some children and grandchildren felt compelled to travel back, having heard stories of family wholeness in beloved homes and of cherished ancestral towns and villages once in Ottoman Armenia, today in the Republic of Turkey. Hoping to satisfy spiritual yearnings, this new generation called themselves pilgrims—and their journeys, pilgrimages. Carel Bertram joined scores of these pilgrims on over a dozen pilgrimages, and amassed accounts from hundreds more who made these journeys. In telling their stories, A House in the Homeland documents how pilgrims encountered the ancestral house, village, or town as both real and metaphorical centerpieces of family history. Bertram recounts the moving, restorative connections pilgrims made, and illuminates how the ancestral house, as a spiritual place, offers an opening to a wellspring of humanity in sites that might otherwise be defined solely by tragic loss. As an exploration of the powerful links between memory and place, house and homeland, rupture and continuity, these Armenian stories reflect the resilience of diaspora in the face of the savage reaches of trauma, separation, and exile in ways that each of us, whatever our history, can recognize.

In 1992, the Algonquins of Pikwakanagan, the only federally recognized Algonquin reserve in Ontario, launched a comprehensive land claim. The action not only drew attention to the fact that Canada had acquired Algonquin land without negotiating a treaty, but it also focused attention on the two-thirds of Algonquins who have never been recognized as Indian. Fractured Homeland is Bonita Lawrence's stirring account of how the claim forced federally unrecognized Algonquin in Ontario to confront both the issue of their own identity and the failure of Algonquin leaders � who launched the claim � to develop a more inclusive vision of nationhood.

LONGLISTED FOR THE NATIONAL BOOK AWARD “Nothing short of magic.” —Elizabeth Acevedo, New York Times bestselling author of The Poet X From the acclaimed poet featured on Forbes Africa’s “30 Under 30” list, this powerful novel-in-verse captures one girl, caught between cultures, on an unexpected journey to face the ephemeral girl she might have been. Woven through with moments of lyrical beauty, this is a tender meditation on family, belonging, and home. my mother meant to name me for her favorite flower its sweetness garlands made for pretty girls i imagine her yasmeen bright & alive & i ache to have been born her instead Nima wishes she were someone else. She doesn’t feel understood by her mother, who grew up in a different land. She doesn’t feel accepted in her suburban town; yet somehow, she isn't different enough to belong elsewhere. Her best friend, Haitham, is the only person with whom she can truly be herself. Until she can't, and suddenly her only refuge is gone. As the ground is pulled out from under her, Nima must grapple with the phantom of a life not chosen—the name her parents meant to give her at birth—Yasmeen. But that other name, that other girl, might be more real than Nima knows. And the life Nima wishes were someone else's. . . is one she will need to fight for with a fierceness she never knew she possessed.

This study argues that the private homes in transnational women's fiction reflect public legacies of colonialism. Published in Australia, Canada, India, Nigeria, Puerto Rico and the United States between 1995 and 2005, the novels use fictional houses to criticize and unsettle home and homeland, depicting their linked oppressions and exclusions.

Global changes in capital, power, technology and the media have caused massive shifts in how we define home and community, leaving redrawn territories and globalized contexts. This interdisciplinary study of the media brings together essays by accomplished critics to discuss the way film, television, music, and computer and electronic media are shaping identities and cultures in an increasingly globalized world. Ranging from intensely personal to highly theoretical, the contributors explore our complex negotiation of home and homeland in a postmodern world. Contributors: Homi Bhabha, Thomas Elsaesser, Rosa Linda Fregoso, Teshome H. Gabriel, George Lipsitz, Margaret Morse, David Morley, John Peters, Patricia Seed, Ella Shohat, and Vivian Sobchack.