A collection of legends and spiritual teachings that depict the mysterious manitous, mystical beings who are divine and essential forces in the spiritual life of the Ojibway. From the rich oral culture of his own Ojibway Indian heritage, Basil Johnston presents a collection of legends and tales depicting manitous, mystical beings who are divine and essential forces in the spiritual life of his people. In this collection, the first by a Native American scholar, these lively, sometimes earthy stories teach about manitous who lived in human form among the Ojibway in the early days, after Kitchi-Manitou (the Great Mystery) created all things and Muzzu-Kummik-Quae (Mother Earth) revealed the natural order of the world. With depth and humour, Johnston tells how lasting tradition was brought to the Ojibway by four half-human brothers, including Nana'b'oozoo, the beloved archetypal being who means well but often blunders. He also relates how people are helped and hindered by other entities, such as the manitous of the forests and meadows, personal manitous and totems, mermen and merwomen, Pauguk (the cursed Flying Skeleton), and the Weendigoes, famed and terrifying giant cannibals.

The legacy of the residential school system ripples throughout Native Canada, its fingerprints on the domestic violence, poverty, alcoholism, drug abuse, and suicide rates that continue to cripple many Native communities. Magic Weapons is the first major survey of Indigenous writings on the residential school system, and provides groundbreaking readings of life writings by Rita Joe (Mi'kmaq) and Anthony Apakark Thrasher (Inuit) as well as in-depth critical studies of better known life writings by Basil Johnston (Ojibway) and Tomson Highway (Cree). Magic Weapons examines the ways in which Indigenous survivors of residential school mobilize narrative in their struggles for personal and communal empowerment in the shadow of attempted cultural genocide. By treating Indigenous life-writings as carefully crafted aesthetic creations and interrogating their relationship to more overtly politicized historical discourses, Sam McKegney argues that Indigenous life-writings are culturally generative in ways that go beyond disclosure and recompense, re-envisioning what it means to live and write as Indigenous individuals in post-residential school Canada.

The legacy of the residential school system ripples throughout Native Canada, its fingerprints on the domestic violence, poverty, alcoholism, drug abuse, and suicide rates that continue to cripple many Native communities. Magic Weapons is the first major survey of Indigenous writings on the residential school system, and provides groundbreaking readings of life writings by Rita Joe (Mi'kmaq) and Anthony Apakark Thrasher (Inuit) as well as in-depth critical studies of better known life writings by Basil Johnston (Ojibway) and Tomson Highway (Cree). Magic Weapons examines the ways in which Indigenous survivors of residential school mobilize narrative in their struggles for personal and communal empowerment in the shadow of attempted cultural genocide. By treating Indigenous life-writings as carefully crafted aesthetic creations and interrogating their relationship to more overtly politicized historical discourses, Sam McKegney argues that Indigenous life-writings are culturally generative in ways that go beyond disclosure and recompense, re-envisioning what it means to live and write as Indigenous individuals in post-residential school Canada.

The Ojibway Indians' sense of humor sparkles through these stories set on the fictional Moose Meat Point Indian Reserve, connected by a dirt road to the town of Blunder Bay. If some of them seem "farfetched and even implausible," Basil L. Johnston writes, "it is simply because human beings very often act and conduct their affairs and those of others in an absurd manner." These twenty-two stories were originally collected under the title "Moose Meat and Wild Rice," Among the most memorable of the stories is "They Don't Want No Indians," in which all attempts are made to circumvent bureaucratic red tape and transport a dead Indian to his home for burial. One of the funniest is "Indian Smart: Moose Smart," which pits a moose in a lake against six Moose Meaters in two canoes. "If You Want to Play" and "Secular Revenge" are the result of misunderstanding or imperfect communication. Still other stories, like "What Is Sin?" and "The Kiss and the Moonshine," reveal the clash of different cultural approaches. All show the warm-heartedness and good will of the Ojibway Indians. If they are gently satirized, so are the whites who would change them, and with good reason. Government ineptitude and rigid piety are foisted on the Moose Meaters, who have only thirty thousand acres to move around in.

The Ojibway Indians were first encountered by the French early in the seventeenth century along the northern shores of Lakes Huron and Superior. By the time Henry Wadsworth Longfellow immortalized them in The Song of Hiawatha, they had dispersed over large areas of Canada and the United States, becoming known as the Chippewas in the latter. A rare and fascinating glimpse of Ojibway culture before its disruption by the Europeans is provided in "Ojibway Ceremonies" by Basil Johnston, himself an Ojibway who was born on the Parry Island Indian Reserve.

Johnston focuses on a young member of the tribe and his development through participation in the many rituals so important to the Ojibway way of life, from the Naming Ceremony and the Vision Quest to the War Path, and from the Marriage Ceremony to the Ritual of the Dead. In the style of a tribal storyteller, Johnston preserves the attitudes and beliefs of forest dwellers and hunters whose lives were vitalized by a sense of the supernatural and of mystery.

Rarely accessible to the general public, Ojibway mythology is as rich in meaning, as broad, as deep, and as innately appealing as the mythologies of Greece, Rome, and other Western civilizations. In Ojibway Heritage Basil Johnston introduces his people's ceremonies, rituals, songs, dances, prayers, arid legends. Conveying the sense of wonder and mystery at the heart of the Ojibway experience, Johnston describes the creation of the universe, followed by that of plants and animals and human beings, and the paths taken by the latter. These stories are to be read, enjoyed, and freely interpreted. Their authorship is perhaps most properly attributed to the tribal storytellers who have carried on the oral tradition that Johnston records and preserves in this book.

"Honour Earth Mother" is an inspiring reminder of the affection and reverence that the Native peoples of North America have had for the land.

For Native peoples the earth was special, the dwelling place of manitous and spirits and the repository of the bones of generations of ancestors. And the earth remains today a deep wellspring of revelations and unveiled mysteries for those who take time to watch, listen, and reflect.

Celebrated Ojibwa writer Basil Johnston invites us to go into the woods and meadows, mountains, valleys, and seashores to watch miracles still unfolding, to listen to nature's symphonies, to feel the pulse of the earth, to take in the fragrances, and to sense the awesome. His stories of the creatures, seasons, and landscape of the earth reveal a land that has never stopped brimming with beauty, song, and dance.