Can a critical examination of Indigenous masculinities be an honour song-one that celebrates rather than pathologizes; one that seeks diversity and strength; one that overturns heteropatriarchy without centering settler colonialism? Can a critical examination of Indigenous masculinities even be creative, inclusive, erotic? Carrying the Burden of Peace answers affirmatively. Countering the perception that "masculinity" has been so contaminated as to be irredeemable, the book explores Indigenous literary art for understandings of masculinity that exceed the impoverished inheritance of colonialism. Sam McKegney's argument is simple: if we understand that masculinity pertains to maleness, and that there are those within Indigenous families, communities and nations who identify as male, then the concession that masculinity concerns only negative characteristics bears stark consequences. It would mean that the resources available to affirm those subjectivities will be constrained, and perhaps even contaminated by shame. Indigenous masculinities are more than what settler colonialism has told us. To deny the beauty, vulnerability, and grace that can be expressed and experienced as masculinity is to concede to settler colonialism's limiting vision of the world; it is to eschew the creativity that is among our greatest strengths. Carrying the Burden of Peace weaves together stories of Indigenous life, love, eroticism, pain, and joy to map the contours of diverse, empowered, and non-dominative Indigenous masculinities. It is from here that a more balanced world may be pursued.

What do we know of masculinities in non-patriarchal societies? Indigenous peoples of the Americas and beyond come from traditions of gender equity, complementarity, and the sacred feminine, concepts that were unimaginable and shocking to Euro-western peoples at contact. Indigenous Men and Masculinities, edited by Kim Anderson and Robert Alexander Innes, brings together prominent thinkers to explore the meaning of masculinities and being a man within such traditions, further examining the colonial disruption and imposition of patriarchy on Indigenous men. Building on Indigenous knowledge systems, Indigenous feminism, and queer theory, the sixteen essays by scholars and activists from Canada, the U.S., and New Zealand open pathways for the nascent field of Indigenous masculinities. The authors explore subjects of representation through art and literature, as well as Indigenous masculinities in sport, prisons, and gangs. Indigenous Men and Masculinities highlights voices of Indigenous male writers, traditional knowledge keepers, ex-gang members, war veterans, fathers, youth, two-spirited people, and Indigenous men working to end violence against women. It offers a refreshing vision toward equitable societies that celebrate healthy and diverse masculinities.

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.