A forgotten Haudenosaunee social song beams into the cosmos like a homing beacon for interstellar visitors. A computer learns to feel sadness and grief from the history of atrocities committed against First Nations. A young Native man discovers the secret to time travel in ancient petroglyphs. Drawing inspiration from science fiction legends like Arthur C. Clarke, Isaac Asimov and Ray Bradbury, Drew Hayden Taylor frames classic science-fiction tropes in an Aboriginal perspective. The nine stories in this collection span all traditional topics of science fiction--from peaceful aliens to hostile invaders; from space travel to time travel; from government conspiracies to connections across generations. Yet Taylor's First Nations perspective draws fresh parallels, likening the cultural implications of alien contact to those of the arrival of Europeans in the Americas, or highlighting the impossibility of remaining a "good Native" in such an unnatural situation as a space mission. Infused with Native stories and variously mysterious, magical and humorous, Take Us to Your Chief is the perfect mesh of nostalgically 1950s-esque science fiction with modern First Nations discourse.

A consortium of German developers shows up on the fictional Otter Lake Reserve with a seemingly irresistible offer to improve the local economy: the creation of  Ojibway World," a Native theme park designed to attract European tourists, causing hilarious personal and political divisions within the local community.The Berlin Blues concludes Drew Hayden Taylor's Blues quartet, showcasing contemporary stereotypes of First Nations people, including a fair number that originate from Indigenous communities themselves, to the often outraged delight of his international audiences.Yet Europeans and other ethnic groups are not exempt from Taylor's incisive but good-humoured caricatures. Central to the motivation of these German developers are the hugely successful and best-selling adventure novels of the German author Karl May, whose work Adolf Hitler recommended as  good wholesome reading for all ages." Written in the early twentieth century, they popularized Rousseau's image of Indigenous peoples as  Noble Savages" among European, and especially German youth, and have led to the creation of Karl May theme parks all over central Europe, where adult tourists can shed their inhibitions and play Cowboys and Indians with a seriousness as ridiculous as it is abandoned. This is identity politics stripped of its politically correct hyper-seriousness and dramatized to its absurd and ultimately hilarious conclusion.The Berlin Blues premiered in Los Angeles at Native Voices in February 2007, touring to New York (at the Museum of the American Indian), and then to the museum in Washington D.C. the following May, followed by a reading tour in Germany. In Canada it was produced at Magnus Theatre in Thunder Bay in January 2008, and then by Persephone Theatre in Saskatoon.

"Dead White Writer on the Floor" uses two literary conventions--theatre of the absurd and mystery novels--to create one of the funniest and thought-provoking plays ever about identity politics. In Act One, six "savages"; noble, innocent, ignorant, fearless, wise and gay, respectively; find themselves in a locked room with the body of a white writer, which they stash in a closet. None of them can figure out how he died or which of them might have killed him. They realize as they point fingers at each other, however, that they are all profoundly unhappy with their lives as they've been constructed over the past four hundred years: Old Lodge Skins wants to know what it feels like to be a young man; Billy Jack wonders what spreading healing rather than pain would feel like; Injun Joe is desperate for an education; Kills Many Enemies is exhausted by his deadly seriousness and yearns for a sense of humour; Pocahontas seeks to feel respected as a woman rather than lusted after as a child sex object; and Tonto wants to "come out of the canyon" and be the one wearing the mask for a change. Gradually, they figure out that the latest iteration of Gutenberg's invention buzzing like a beehive on the dead writer's desk is actually a dream-catcher, which they can use to rewrite their lives in the image of their own inner beings.
Imagine their surprise when they reappear in the same locked room in Act Two as Mike, Jim, Bill, John, Sally and Fred--attending an A.A. meeting and bickering among themselves about reserve politics, unmanageable family relationships and whether Bingo has a place in their new air-conditioned casino--and realize the white writer must still be very much alive in their community; his body in the closet is still warm

"A sleepy native reservation. A troubled teen girl. A vampire returns home."

Nothing ever happens on the Otter Lake reservation. But when 16-year-old Tiffany discovers her father is renting out "her" room, she's deeply upset. Sure, their guest is polite and keeps to himself. But he's also a little creepy.

Little do Tiffany, her father or even her astute Granny Ruth suspect the truth. The mysterious Pierre L'Errant is actually a vampire, returning to his tribal home after centuries spent in Europe. But Tiffany has other things on her mind: her new boyfriend is acting weird, disputes with her father are escalating, and her estranged mother is starting a new life with somebody else.

Fed up and heartsick, Tiffany threatens drastic measures and flees into the bush. There, in the midnight woods, a chilling encounter with L'Errant changes everything... for both of them.

A mesmerizing blend of Gothic thriller and modern coming-of-age novel, The Night Wanderer is unlike any other vampire story.