A vision shared. A manifesto. This remarkable work draws on Ojibway-, Ota’wa-, and Ishkodawatomi-Anishinabe world views, history, and lived experience to develop a wholly Ojibway-Anishinabe interpretation of the role of leadership and governance today.Arguing that Anishinabeg need to reconnect with non-colonized modes of thinking, social organization, and decision-making in order to achieve genuine sovereignty, Jerry Fontaine (makwa ogimaa) looks to historically significant models. He tells of three Ota’wa, Shawnee, and Ojibway-Anishinabe leaders who challenged aggressive colonial expansion into Manitou Aki (Creator's Land) – Obwandiac, Tecumtha, and Shingwauk. In Our Hearts Are as One Fire, Fontaine recounts their stories from an Ojibway-Anishinabe perspective using Ojibwaymowin language and knowledge woven together with conversations with elders and descendants of the three leaders.The result is a book that reframes the history of Manitou Aki and shares a vision of how Anishinabe spiritual, cultural, legal, and political principles will support the leaders of today and tomorrow.

Reframing Manitou Aki (Creator's Land) history from the perspective of the Ojibway-Anishinabe, Our Hearts Are as One Fire shares a vision for the leaders of today and tomorrow.

Jody Wilson-Raybould outlines in impassioned, inspiring prose the actions that must be taken by governments, Indigenous Nations, and all Canadians to achieve true reconciliation in this country.

The Canadian public largely understands reconciliation as the harmonization of Indigenous–settler relations for the benefit of the nation. But is this really happening?Reconciliation politics, as developed in South America and South Africa, work counter to retributive justive in order to redress the divide opened up between survivors and perpetrators as a result of historical violence. The Theatre of Regret asks whether, within the context of settler colonialism, this approach will ultimately favour the state over the needs and requirements of Indigenous peoples. Interweaving literature, art, and other creative media throughout his analysis, David Gaertner questions the state-centred frameworks of reconciliation by exploring the critical roles that Indigenous and allied authors, artists, and thinkers play in defining, challenging, and refusing settler regret.Through close examination of its core concepts – acknowledgement, apology, redress, and forgiveness – this study exposes the colonial ideology at the root of reconciliation in Canada.

The Theatre of Regret reveals the role that Indigenous and allied literatures play in challenging state-centred discourses of reconciliation in Canada.

In examining how the technologies of museum bureaucracy – the ledger book, the card catalogue, the database – operate through a colonial lens, Cataloguing Culture shines a light on access to and the return of Indigenous cultural heritage.