Argues that we carry within us multiple layers of trauma--personal, familial, and cultural--that infuse the way we relate to one another.

Rebecca Pelky's story-in-poems assembles the author's research into her Native and non-Native heritage in the land now known as Wisconsin. Through the poet's ancestors-and documented through text and image-this book relates narratives of people who converged on and impacted this space in myriad ways. Written in English and Mohegan, Through a Red Place reshapes itself from page to page, asking what it means to navigate place as both colonizer and colonized. These poems seek the interior and exterior lives of beloved people and places, interacting with archives and visuals to illustrate that what is past continually interrupts and reinscribes itself upon the present. This collection embodies a refusal to go missing despite what's buried, erased, or built over, much like the ancient mound now covered by an ammunition plant. An inventive collage of geography, history, myth, translation, lineage, erasure, journalism, and photography, Through a Red Place builds a map between distances and lost stories to unearth and honor the past.

The essays in this collection reveal many fascinating, often previously unknown facts about the Red Desert in an undeveloped region of Wyoming and are complemented by a photo-essay that portrays both the beauty and the devastation that characterize the region today.

This energetic rhyming story is the first in a new Level 1 Ready-to-Read series starring a family of fun-loving monsters and their beloved red truck! Monsters high five. Monsters grin. Monsters hope their truck might win! A family of monsters enter a race with their beloved red truck. But soon they realize the race is for monster trucks, not monsters in trucks! Can they still finish in first place?

“A groundbreaking work about race and the American landscape, and a deep meditation on nature…wise and beautiful.”—Helen Macdonald, author of H is for Hawk A Foreword Reviews Best Book of the Year and Nautilus Silver Award Winner In me, there is the red of miry clay, the brown of spring floods, the gold of ripening tobacco. All of these hues are me; I am, in the deepest sense, colored. Dating back to slavery, Edgefield County, South Carolina—a place “easy to pass by on the way somewhere else”—has been home to generations of Lanhams. In The Home Place, readers meet these extraordinary people, including Drew himself, who over the course of the 1970s falls in love with the natural world around him. As his passion takes flight, however, he begins to ask what it means to be “the rare bird, the oddity.” By turns angry, funny, elegiac, and heartbreaking, The Home Place is a meditation on nature and belonging by an ornithologist and professor of ecology, at once a deeply moving memoir and riveting exploration of the contradictions of black identity in the rural South—and in America today. “When you’re done with The Home Place, it won’t be done with you. Its wonders will linger like everything luminous.”—Star Tribune “A lyrical story about the power of the wild…synthesizes his own family history, geography, nature, and race into a compelling argument for conservation and resilience.”—National Geographic

WINNER OF: Frantz Fanon Outstanding Book from the Caribbean Philosophical Association Canadian Political Science Association’s C.B. MacPherson Prize Studies in Political Economy Book Prize Over the past forty years, recognition has become the dominant mode of negotiation and decolonization between the nation-state and Indigenous nations in North America. The term “recognition” shapes debates over Indigenous cultural distinctiveness, Indigenous rights to land and self-government, and Indigenous peoples’ right to benefit from the development of their lands and resources. In a work of critically engaged political theory, Glen Sean Coulthard challenges recognition as a method of organizing difference and identity in liberal politics, questioning the assumption that contemporary difference and past histories of destructive colonialism between the state and Indigenous peoples can be reconciled through a process of acknowledgment. Beyond this, Coulthard examines an alternative politics—one that seeks to revalue, reconstruct, and redeploy Indigenous cultural practices based on self-recognition rather than on seeking appreciation from the very agents of colonialism. Coulthard demonstrates how a “place-based” modification of Karl Marx’s theory of “primitive accumulation” throws light on Indigenous–state relations in settler-colonial contexts and how Frantz Fanon’s critique of colonial recognition shows that this relationship reproduces itself over time. This framework strengthens his exploration of the ways that the politics of recognition has come to serve the interests of settler-colonial power. In addressing the core tenets of Indigenous resistance movements, like Red Power and Idle No More, Coulthard offers fresh insights into the politics of active decolonization.

An Indigenous artist blends the aesthetics of punk rock with the traditional spiritual practices of the women in her lineage in this bold, contemporary journey to reclaim her heritage and unleash her power and voice while searching for a permanent home Sasha taqʷšəblu LaPointe has always longed for a sense of home. When she was a child, her family moved around frequently, often staying in barely habitable church attics and trailers, dangerous places for young Sasha. With little more to guide her than a passion for the thriving punk scene of the Pacific Northwest and a desire to live up to the responsibility of being the namesake of her beloved great-grandmother—a linguist who helped preserve her Indigenous language of Lushootseed—Sasha throws herself headlong into the world, determined to build a better future for herself and her people. Set against a backdrop of the breathtaking beauty of Coast Salish ancestral land and imbued with the universal spirit of punk, Red Paint is ultimately a story of the ways we learn to find our true selves while fighting for our right to claim a place of our own. Examining what it means to be vulnerable in love and in art, Sasha offers up an unblinking reckoning with personal traumas amplified by the collective historical traumas of colonialism and genocide that continue to haunt native peoples. Red Paint is an intersectional autobiography of lineage, resilience, and, above all, the ability to heal.

July 9, 1947. Roswell, New Mexico. A young boy tags along with his father to the Roswell Army Air Field and witnesses something he was not to see or know about until fifty-three years later. August 5, 2000. Garden Plains, Kansas. A massive alien craft is spotted hovering by local citizens and darts off to the Northwest somewhere in Colorado, where it starts to tailgate commercial Flight 311 on its way to Oklahoma City. Three F-15 aircrafts are scrambling to intercept and investigate this unknown intruder. The alien craft darts off to the Southeast, and the three F-15s give pursuit of the unknown intruder. The alien craft is able to lose the F-15s in a thunderstorm near Roswell, and history repeats itself some fifty-three years later.

WINNER OF THE WALES BOOK OF THE YEAR AWARD 2020 SHORTLISTED FOR THE WAINWRIGHT PRIZE 2020 __________________________ 'A moving story of love, tradition and landscape.' Evening Standard, 'Books of the Year' 'A moving, multilayered memoir... extraordinary, ambitious... its scope is immense. A book that is deep in riches.' Simon Callow, Guardian 'A marvellous book... an uplifting tale of tranquillity sought and found in the nearest Britain gets to paradise.' Simon Jenkins 'There are worlds on worlds within this lyrical and profoundly cultured book. In an age of toxic artifice, this is the most necessary medicine: the tenderness of reality and the living, elemental, world.' Jay Griffiths __________________________ A multi-layered memoir of love, acceptance, finding home and the redemptive power of nature. In 2006, Mike Parker and his partner Peredur were witnesses at the civil partnership of their friends Reg and George, the first in the small Welsh town of Machynlleth. Years later, when Reg and George died within a few weeks of each other, Mike and Peredur discovered that they had been left their home: a whitewashed 'house from the children's stories', buried deep within the hills. On the Red Hill is the story of Rhiw Goch, 'the Red Hill', and its inhabitants, but also the story of a remarkable rural community and a legacy that extends far beyond bricks and mortar. It is a story that celebrates the turn of the year's wheel, of ever-changing landscapes, and of the family found in the unlikeliest of places. Highly commended by the judging panel for the 2020 Wainwright Prize for Nature Writing __________________________ 'A delightful book about beauty, joy, love and home... to be celebrated and read.' Sara Maitland 'A great queer rural triumph of a book - wonderfully passionate, funny and insightful. It overflows with love.' Tom Bullough

It is a beautiful spring day, and Luna is having a picnic in the park with her family, wearing her Mum's red hat. Luna's Mum died one year ago and she still finds it difficult to understand why. She feels that it may have been her fault and worries that her Dad might leave her in the same way. Her Dad talks to her to explain what happened and together they think about all the happy memories they have of Mum. This beautifully-illustrated storybook is designed as a tool to be read with children aged 6+ who have experienced the loss of a loved one by suicide. Suicide always causes shock, not just for the family members but for everyone around them, and children also have to deal with these feelings. The book approaches the subject sensitively and includes a guide for parents and professionals by bereavement expert, Dr Riet Fiddelaers-Jaspers. It will be of interest to anyone working with, or caring for, children bereaved by suicide, including bereavement counsellors, social workers and school staff, as well as parents, carers and other family members.