Lisa Bird-Wilson

"When we first meet Ruby, a Métis woman in her 30s, she's a mess. She's angling to sleep with her therapist while also rekindling an old relationship with a man who was - let's just say - a mistake. As we will soon learn, however, Ruby's story is far broader and deeper than its rollicking, somewhat lighthearted first chapter. This is the story of a woman in search of herself, in every sense. Given up for adoption as an infant, Ruby was raised by a white couple who understand little of her Indigenous heritage. Growing up Ruby longs to know where she comes from and who her people are. This is the great mystery that hovers over her life and the book. Through a non-chronological structure, we meet the people who have shaped her life: her adoptive parents; her birth parents and grandparents; the men and women Ruby has been romantically involved with. All these characters form a kaleidoscope of stories, giving Ruby's life dignity and meaning"--

A Novel

Probably Ruby

A debut short story collection from one of Canada's most exciting new Aboriginal voices. "In our family, it was Trish who was Going To Be Trouble; I was Such a Good Girl." At times haunting, at times hilarious, Just Pretending explores the moments in life that send us down pathways predetermined and not-yet-forged. These are the liminal, defining moments that mark irreversible transitions n girl to mother, confinement to freedom, wife to murderer. They are the melodramatic car-crash moments n the outcomes both horrific and too fascinating to tear our eyes from. And they are the unnoticed, infinitely tiny moments, seemingly insignificant (even ridiculous) yet holding the power to alter, to transform, to make strange. What links these stories is a sense of characters working n both with success and without, through action or reaction n to separate reality from perception and to make these moments into their lives' new truths.

Just Pretending

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.

Lisa Bird-Wilson

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