00838nam0-22002651i-450-99000039896040332120040408124405.0000039896FED01000039896(Aleph)000039896FED0100003989620020821d1918----km-y0itay50------baitay-------001yyPreparazione eonomica per il dopo gerrastudi e proposteCamera di Commercio e Industria di NapoliNapoliCamera di Commercio e Industria di Napoli1918136 p.ill.27 cmCamera di commercio e industria di Napoli9081ITUNINARICAUNIMARCBK99000039896040332104 225-8CIDINCHDINCHPreparazione eonomica per il dopo gerra134768UNINA03307nam 2200409 450 991015025140332120230808200513.00-88971-067-8(CKB)3710000000942184(MiAaPQ)EBC6862740(Au-PeEL)EBL6862740(OCoLC)1293246454(EXLCZ)99371000000094218420220218d2016 uy 0engurcnu||||||||txtrdacontentcrdamediacrrdacarrierThe red files /Lisa Bird-WilsonGibsons, British Columbia :Nightwood Editions,[2016]©20161 online resource (66 pages)0-88971-316-2 Intro -- I -- Mourning Day -- Mischief -- After Summer Holidays -- Boys' Class Date Unknown -- Girl with the Short Hair -- Miss Atwater's Class -- Métis -- Grasshopper -- This Day -- Blood Sisters -- Baby Thomas -- Farm Instructor -- The Finest in the Dominion -- Tunnel -- "Within the Circle of Civilized Conditions" -- Beside a Residential School -- II -- Standard Features -- Black-Eyed Susan -- Indian Preacher -- kâ-nêwonâskatêw -- Scrip Buyer 1905 -- Indian Tallyman -- Hundreds of Boys-A Response -- "The ██████'s Situation" -- Reply from Mr. R.F. Davey, Superintendent of Education, Indian Affairs: -- Painter -- Drowning Girl -- things that are small -- Honour Song -- III -- The Apology -- Kohkum -- Descended from Daybird -- When Someone Remembers My Father -- Cloud Naming -- My Mother Raised Me -- Taste -- Fruit -- Hands -- Mistress -- Sweep -- Cremation -- This Is a Surprise -- Acknowledgements.This debut poetry collection from Lisa Bird-Wilson reflects on the legacy of the residential school system: the fragmentation of families and histories, with blows that resonate through the generations. Inspired by family and archival sources, Bird-Wilson assembles scraps of a history torn apart by colonial violence. The collection takes its name from the federal government's complex organizational structure of residential schools archives, which are divided into “black files" and “red files." In vignettes as clear as glass beads, her poems offer affection to generations of children whose presence within the historic record is ghostlike, anonymous and ephemeral. The collection also explores the larger political context driving the mechanisms that tore apart families and cultures, including the Sixties Scoop. It depicts moments of resistance, both personal and political, as well as official attempts at reconciliation: “I can hold in the palm of my right hand / all that I have left: one story-gift from an uncle, / a father's surname, treaty card, Cree accent echo, metal bits, grit— / and I will still have room to cock a fist." The Red Files concludes with a fierce hopefulness, embracing the various types of love that can begin to heal the traumas inflicted by a legacy of violence.Canadian poetry21st centuryCanadian poetry811.6Bird-Wilson Lisa1076389MiAaPQMiAaPQMiAaPQBOOK9910150251403321The Red Files2586784UNINA