What is known about Aboriginal mental health and mental illness, and on what basis is this 'knowing' assumed? This question, while appearing simple, leads to a tangled web of theory, method, and data rife with conceptual problems, shaky assumptions, and inappropriate generalizations. It is also the central question of James Waldram's Revenge of the Windigo. This erudite and highly articulate work is about the knowledge of Aboriginal mental health: who generates it; how it is generated and communicated; and what has been - and continues to be - its implications for Aboriginal peoples. To better understand how this knowledge emerged, James Waldram undertakes an exhaustive examination of three disciplines - anthropology, psychology, and psychiatry - and reveals how together they have constructed a gravely distorted portrait of 'the Aboriginal.' Waldram continues this acute examination under two general themes. The first focuses on how culture as a concept has been theorized and operationalized in the study of Aboriginal mental health. The second seeks to elucidate the contribution that Aboriginal peoples have inadvertently made to theoretical and methodological developments in the three fields under discussion, primarily as subjects for research and sources of data. It is Waldram's assertion that, despite the enormous amount of research undertaken on Aboriginal peoples, researchers have mostly failed to comprehend the meaning of contemporary Aboriginality for mental health and illness, preferring instead the reflection of their own scientific lens as the only means to properly observe, measure, assess, and treat. Using interdisciplinary methods, the author critically assesses the enormous amount of information that has been generated on Aboriginal mental health, deconstructs it, and through this exercise, provides guidance for a new vein of research.

War, vengeance, and strange spirits all claw at the edges of this love triangle. The love of family and tradition helps sustain a culture on the verge of harrowing times. WINDIGO MOON encompasses warring tribes of the Upper Great Lakes, the Little Ice Age, the diseases introduced by foreign explorers, and the great love of Blue Heron and Red Bear.

This is a detailed ethnographic study of a therapeutic prison unit in Canada for the treatment of sexual offenders. Utilizing extensive interviews and participant-observation over an eighteen month period of field work, the author takes the reader into the depths of what prison inmates commonly refer to as the “hound pound.” James Waldram provides a rich and powerful glimpse into the lives and treatment experiences of one of society’s most hated groups. He brings together a variety of theoretical perspectives from psychological and medical anthropology, narrative theory, and cognitive science to capture the nature of sexual offender treatment, from the moment inmates arrive at the treatment facility to the day they are relased. This book explores the implications of an outside world that balks at any notion that sexual offenders can somehow be treated and rendered harmless. The author argues that the aggressive and confrontational nature of the prison’s treatment approach is counterproductive to the goal of what he calls “habilitation” -- the creation of pro-social and moral individuals rendered safe for our communities.

It is 1919, and Niska, the last Oji-Cree woman to live off the land, has received word that one of the two boys she saw off to the Great War has returned. Xavier Bird, her sole living relation, is gravely wounded and addicted to morphine. As Niska slowly paddles her canoe on the three-day journey to bring Xavier home, travelling through the stark but stunning landscape of Northern Ontario, their respective stories emerge—stories of Niska’s life among her kin and of Xavier’s horrifying experiences in the killing fields of Ypres and the Somme.

Forty-four passages of fact and fantastic fiction - legends and lore, stories and poems, descriptions and interpretations - concerned with Windigo, the horrible and terrible spirit which haunts Algonkian-speaking Indians of Canada.

Drawing attention to the ways in which creative practices are essential to the health, well-being, and healing of Indigenous peoples, The Arts of Indigenous Health and Well-Being addresses the effects of artistic endeavour on the “good life”, or mino-pimatisiwin in Cree, which can be described as the balanced interconnection of physical, emotional, spiritual, and mental well-being. In this interdisciplinary collection, Indigenous knowledges inform an approach to health as a wider set of relations that are central to well-being, wherein artistic expression furthers cultural continuity and resilience, community connection, and kinship to push back against forces of fracture and disruption imposed by colonialism. The need for healing—not only individuals but health systems and practices—is clear, especially as the trauma of colonialism is continually revealed and perpetuated within health systems. The field of Indigenous health has recently begun to recognize the fundamental connection between creative expression and well-being. This book brings together scholarship by humanities scholars, social scientists, artists, and those holding experiential knowledge from across Turtle Island to add urgently needed perspectives to this conversation. Contributors embrace a diverse range of research methods, including community-engaged scholarship with Indigenous youth, artists, Elders, and language keepers. The Arts of Indigenous Health and Well-Being demonstrates the healing possibilities of Indigenous works of art, literature, film, and music from a diversity of Indigenous peoples and arts traditions. This book will resonate with health practitioners, community members, and any who recognize the power of art as a window, an entryway to access a healthy and good life.

Life is hard for anyone in the wake of an accidental ice age and subsequent military take-over. Wendigos, mutated cannibals affected by a government-released virus, exist at the edge of society, avoiding the government Enforcers who patrol the city streets and preying upon any human unlucky enough to be turned out on their own. Jason, a Wendigo, lives alone with his dogs in his claimed territory. Shunned by his family, except for his missing brother, Jason's one goal beyond survival is to discover his brother's fate. To this end, he strikes a deal with Amica, a human investigator who has her own quest: to take revenge on the Wendigos who killed her daughter. Cooperating for mutual benefit, the two travel across the frigid landscape, witnessing the atrocities of a government caught up in its own greed for control and discovering that humanity is not necessarily a human trait.

Set in North Dakota, at a time in the early 20th century when Indian tribes were struggling to keep what little remained of their lands, 'Tracks' is a tale of passion and deep unrest.

Indigenous peoples have long suffered from exoticization. Outsiders elevate their beauty, remoteness and difference and do not see beyond this to the real problems they face. The No-Nonsense Guide to Indigenous Peoples looks beyond the exotic images, tracing the stories of different indigenous peoples from their first (and often fatal) contact with explorers and colonizers. Much of this history is told here by indigenous people themselves.They vividly describe why land and the natural world are so special to them; how it feels to be snatched from your family as a child because the government wants to "make you white"; why they are demanding that museums must return the bones of their ancestors; how can they retain their traditional culture while moving with the times; and what kinds of development are positive. This short guide discusses all this and more, raising countless issues for debate.