The Clay We Are Made Of

If one seeks to understand Haudenosaunee (Six Nations) history, one must consider the history of Haudenosaunee land. For countless generations prior to European contact, land and territory informed Haudenosaunee thought and philosophy, and was a primary determinant of Haudenosaunee identity. In The Clay We Are Made Of, Susan M. Hill presents a revolutionary retelling of the history of the Grand River Haudenosaunee from their Creation Story through European contact to contemporary land claims negotiations. She incorporates Indigenous theory, Fourth world post-colonialism, and Amerindian autohistory, along with Haudenosaunee languages, oral records, and wampum strings to provide the most comprehensive account of the Haudenosaunee’s relationship to their land. Hill outlines the basic principles and historical knowledge contained within four key epics passed down through Haudenosaunee cultural history. She highlights the political role of women in land negotiations and dispels their misrepresentation in the scholarly canon. She guides the reader through treaty relationships with Dutch, French, and British settler nations, including the Kaswentha/Two-Row Wampum (the precursor to all future Haudenosaunee-European treaties), the Covenant Chain, the Nanfan Treaty, and the Haldimand Proclamation, and concludes with a discussion of the current problematic relationships between the Grand River Haudenosaunee, the Crown, and the Canadian government.

The Haudenosaunee, more commonly known as the Iroquois or Six Nations, have been one of the most widely written-about Indigenous groups in the United States and Canada. But seldom have the voices emerging from this community been drawn on in order to understand its enduring intellectual traditions. Rick Monture’s We Share Our Matters offers the first comprehensive portrait of how the Haudenosaunee of the Grand River region have expressed their long struggle for sovereignty in Canada. Drawing from individualsas diverse as Joseph Brant, Pauline Johnson and Robbie Robertson, Monture illuminates a unique Haudenosaunee world view comprised of three distinct features: a spiritual belief about their role and responsibility to the earth; a firm understanding of their sovereign status as a confederacy of independant nations; and their responsibility to maintain those relations for future generations. After more than two centuries of political struggle Haudenosaunee thought has avoided stagnant conservatism and continues to inspire ways to address current social and political realities.

'During downtime on the pottery throwdown Keith made my hair curl with some of his tales - he's a great raconteur and recounts his story in this book as he does in real life - with joy, charm & mischief.' - Sara Cox 'Fans of Throw Down will enjoy this warm autobiography.' - Daily Mail 'An engaging read by an endearing, unassuming man who has always stayed true to his passions.' - Daily Mirror Ballet dancer. Front man in an almost famous band. Judge on The Great Pottery Throwdown. How did all that happen? By accident mostly. But I always say we make our own luck. What if an art teacher hadn't given me a lump of clay? What if the band had been really successful? What if I hadn't taken a photograph of a bowl to the buyer at Heals in London? What if she'd hated it? Or hadn't seen it... What if I hadn't agreed to dress up as Adele to make a crazy YouTube video? Every chapter of my book is based around an object (usually a pot) that's been significant in my life. It's just a trigger to let me go off in a lot of different directions and tell a few stories. A lot of stories. Dyslexia. The art teacher who changed my life. My Mother. My Father. A life-changing job interview with a man who lay under his car throughout. That video. Sifting through half-forgotten memories, trying to pick out the golden nuggets from the stuff that is definitely dross has been a curious, and at times hilarious, sometimes sad, but definitely enlightening process. So here it is - my pottery life with some very loud music and some pretty good dancing. And a lot of throwing, fettling and firing. Oh ...and a good dose of anxiety.

A stunning and lyrical debut novel Vincent Appleton smiles at his daughters, raises a gun, and blows off his head. For the Appleton sisters, life had unravelled many times before. This time it explodes. Eight-year-old Hariet, known to all as Ari, is dispatched to Cape Breton and her Aunt Mary, who is purported to eat little girls. But Mary and her partner, Nia, offer an unexpected refuge to Ari and her steadfast companion, Jasper, an imaginary seahorse. Yet the respite does not last, and Ari is torn from her aunts and forced back to her twisted mother and fractured sisters. Her new stepfather, Len, and his family offer hope, but as Ari grows to adore them, sheÍs severed violently from them too, when her mother moves in with the brutal Dick Irwin. Through the sexual revolution and drug culture of the 1960s, Ari struggles with her fatherÍs legacy and her motherÍs addictions, testing limits with substances that numb and men who show her kindness. Ari spins through a chaotic decade of loss and love, the devilish and divine, with wit, tenacity, and the astonishing balance unique to seahorses. The Clay Girl is a beautiful tour de force about a child sculpted by kindness, cruelty, and the extraordinary power of imagination, and her families „ the one sheÍs born in to and the one she creates.

Several centuries ago, the five nations that would become the Haudenosaunee — Mohawk, Oneida, Onondaga, Cayuga, and Seneca — were locked in generations-long cycles of bloodshed. When they established Kayanerenkó:wa, the Great Law of Peace, they not only resolved intractable coinflicts, but also shaped a system of law and government that would maintain peace for generations to come. This law remains in place today in Haudenosaunee communities: an Indigenous legal system, distinctive, complex, and principled. It is not only a survivor, but a viable alternative to Euro-American systems of law. With its emphasis on lasting relationships, respect for the natural world, building consensus, and on making and maintaining peace, it stands in contrast to legal systems based on property, resource exploitation, and majority rule. Although Kayanerenkó:wa has been studied by anthropologists, linguists, and historians, it has not been the subject of legal scholarship. There are few texts to which judges, lawyers, researchers, or academics may refer for any understanding of specific Indigenous legal systems. Following the United Nations Declaration on the Rights of Indigenous Peoples, and a growing emphasis on reconciliation, Indigenous legal systems are increasingly relevant to the evolution of law and society. In Kayanerenkó:wa Great Law of Peace Kayanesenh Paul Williams, counsel to Indigenous nations for forty years, with a law practice based in the Grand River Territory of the Six Nations, brings the sum of his experience and expertise to this analysis of Kayanerenkó:wa as a living, principled legal system. In doing so, he puts a powerful tool in the hands of Indigenous and settler communities.

Acclaimed potter Mary Fox, known for creating stunning gravity-defying decorative vessels as well as contemporary functional ware, tells the story of her life as an artist.

The Newbery Medal–winning author of Good Masters! Sweet Ladies! gives readers a virtuoso performance in verse in this profoundly original epic pitched just right for fans of poetry, history, mythology, and fantasy. Welcome to ancient Greece as only genius storyteller Laura Amy Schlitz can conjure it. In a warlike land of wind and sunlight, “ringed by a restless sea,” live Rhaskos and Melisto, spiritual twins with little in common beyond the violent and mysterious forces that dictate their lives. A Thracian slave in a Greek household, Rhaskos is as common as clay, a stable boy worth less than a donkey, much less a horse. Wrenched from his mother at a tender age, he nurtures in secret, aided by Socrates, his passions for art and philosophy. Melisto is a spoiled aristocrat, a girl as precious as amber but willful and wild. She’ll marry and be tamed—the curse of all highborn girls—but risk her life for a season first to serve Artemis, goddess of the hunt. Bound by destiny, Melisto and Rhaskos—Amber and Clay—never meet in the flesh. By the time they do, one of them is a ghost. But the thin line between life and death is just one boundary their unlikely friendship crosses. It takes an army of snarky gods and fearsome goddesses, slaves and masters, mothers and philosophers to help shape their story into a gorgeously distilled, symphonic tour de force. Blending verse, prose, and illustrated archeological “artifacts,” this is a tale that vividly transcends time, an indelible reminder of the power of language to illuminate the over- and underworlds of human history.

In this modern-day fable about grief, diversity, and family connections, a young girl discovers the joys--and pain--of the creative process. Winner of the Bookstagang Best of 2021: Best Conversation Starter Picture Books of 2021. Longlisted for the Klaus Flugge Prize. Ezra Jack Keats Award Honoree. Eisha lives with her mother, a ceramic artist, who helps her make a special shape out of a piece of clay. The shape reminds Eisha of her father, of the ocean, of a lemon. As Eisha goes through her neighborhood doing errands with her mother, the piece of clay hardens and then shatters into pieces when Eisha taps it. In poignant and powerful words and pictures, Kenesha Sneed shows how Eisha learns to live with the sense of loss and of the joyful power of making something new out of what is left behind. Illustrated with Sneed's bold colors, graphic lines, and gestural textures, the book celebrates diversity and shares a gentle message that we all have the ability to heal and create.