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LPG FNIM Highlights Group Catalogue (Updated) 2020

By (author): Marie-Andree Gill Translated by: Kristen Renee Miller



Product Form:


Form detail:

UK Trade
Paperback , UK Trade


Apr 09, 2020
$18.00 CAD


7.75in x 5.25 x 0.25 in | 120 gr

Page Count:

96 pages
Book*hug Press
POETRY / American / Native American

Spawn is a braided collection of brief, untitled poems, a coming-of-age lyric set in the Mashteuiatsh Reserve on the shores of Lake Piekuakami (Saint-Jean) in Quebec. Undeniably political, Gill's poems ask: How can one reclaim a narrative that has been confiscated and distorted by colonizers?

The poet's young avatar reaches new levels on Nintendo, stays up too late online, wakes to her period on class photo day, and carves her lovers' names into every surface imaginable. Encompassing twenty-first-century imperialism, coercive assimilation, and 90s-kid culture, the collection is threaded with the speaker's desires, her searching: for fresh water to "take the edge off," for a "habitable word," for sex. For her "true north"—her voice and her identity.

Like the life cycle of the ouananiche that frames this collection, the speaker's journey is cyclical; immersed in teenage moments of confusion and life on the reserve, she retraces her scars to let in what light she can, and perhaps in the end discover what to "make of herself".

Praise for Spawn:

"Spawn is an epic journey that follows the ouananiche in their steadfast ability to hold: rigid, shimmering, hardened to the frigid waters of winter, in all of its capacities of and for whiteness. Here, poems summon a spawn of wonderworking dreams: 'a woman risen up from all these winter worlds, heaped with ice [and] ready to start again'." —Joshua Whitehead, author of Jonny Appleseed

"Spawn is unforgettable poetry of the highest order." —Kaveh Akbar, author of Calling a Wolf a Wolf

"Gill's poems are like small treasures clutched in buried tree roots, preserving 'the chalky veins' of ancestral memory pulsing just below our modern hustle." —Kiki Petrosino, author of White Blood

Marie-Andrée Gill is Pekuakamishkueu and identifies primarily as a poet. Mother, friend, lover, student, her research and creative work concern transpersonal and decolonial love. Bridging kitsch and existentialism, her writing is rooted in territory and interiority, combining her Quebec and Ilnu identities. She is the author of three books from La Peuplade: Béante, Frayer, and Chauffer le dehors. In 2018 she was the winner of an Indigenous Voices Award. She lives in L'Anse-Saint-Jean, Québec.

Kristen Renee Miller's poems and translations appear in POETRY, The Kenyon Review, Guernica, The Offing, and Best New Poets 2018. A recipient of fellowships from The Kentucky Arts Council, Vermont Studio Center, Blackacre Conservancy, and the Kentucky Foundation for Women, she lives in Louisville, Kentucky, where she is the Managing Editor at Sarabande Books.

For more information contact
[email protected]

"The journey of Gill’s lyric speaker is at once relatable in its
particulars and distinctively evocative. Miller’s skillful translation makes vivid a landscape and language that will transport readers." - Publishers Weekly

"This collection of poems is exquisite, exploring delicately and deeply the connection between person and place." - Rachel Daum, American Literary Translators Association

"Gill, by contrast, is intimately familiar with violence, but from the
side of the victim rather than the perpetrator. She writes about the claustrophobia of life on a reserve ("get me out of these fifteen square kilometres") and the conditions that have been foisted upon her by a historically rapacious colonial system of governance: : "I am a village that didn’t have a choice." - Steven Beattie, Quill and Quire

"The most impressive part of this book is how such few words carry such
grand emotions, how the poetry seems to build an entire landscape then touch on every part of its poetic world. The “spawn” seems to be both the poetic voice and the poem itself. Through the lyrical transformations, through the linguistic translation, at the end of the book it was I the reader who felt changed." - Clara Altfeld, The Kenyon Review

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