Among the most dynamic Aboriginal peoples in western Canada today are the Ojibwa, who have played an especially vital role in the development of an Aboriginal political voice at both levels of government. Yet, they are relative newcomers to the region, occupying the parkland and prairies only since the end of the 18th century. This work traces the origins of the western Ojibwa, their adaptations to the West, and the ways in which they have coped with the many challenges they faced in the first century of their history in that region, between 1780 and 1870.

The western Ojibwa are descendants of Ojibwa who migrated from around the Great Lakes in the late 18th century. This was an era of dramatic change. Between 1780 and 1870, they survived waves of epidemic disease, the rise and decline of the fur trade, the depletion of game, the founding of non-Native settlement, the loss of tribal lands, and the government's assertion of political control over them. As a people who emerged, adapted, and survived in a climate of change, the western Ojibwa demonstrate both the effects of historic forces that acted upon Native peoples, and the spirit, determination, and adaptive strategies that the Native people have used to cope with those forces. This study examines the emergence of the western Ojibwa within this context, seeing both the cultural changes that they chose to make and the continuity within their culture as responses to historical pressures.

The Ojibwa of Western Canada differs from earlier works by focussing closely on the details of western Ojibwa history in the crucial century of their emergence. It is based on documents to which pioneering scholars did not have access, including fur traders' and missionaries' journals, letters, and reminiscences. Ethnographic and archaeological data, and the evidence of material culture and photographic and art images, are also examined in this well-researched and clearly written history.

Graham McInnes was one of many talented young people recruited by the charismatic John Grierson to build the National Film Board of Canada during the heady days of WWII. McInnes’s memoir of these “days of high excitement” is an insider’s look at the NFB from 1939 to 1945, a vivid “origin” story of Canada’s emerging world-class film studio that provides the NFB with the kind of full-bodied vitality usually associated with the great Hollywood studios in their golden years.An art critic and CBC radio commentator when he joined the NFB in 1939 as a scriptwriter, McInnes worked on many film classics with filmmakers such as Tom Daly, Norman McLaren, Gudrun Parker, and Budge Crawley. McInnes portrays these legends as well as many other players in that dynamic world, such as Lorne Green, Morley Callaghan, and Mavis Gallant, in this stylish, witty, and affectionate recreation of the early day-to-day frenzy.One Man’s Documentary is a lively account of one of the most exciting periods in Canadian filmmaking. With style and verve, McInnes paints vivid portraits of Grierson and the others who helped make the NFB an international institution. Film historian Gene Walz’s introduction gives a full picture of the early history of the NFB as well as an account of McInnes’s fascinating life.

In his engaging memoirs, One Version of the Facts: My Life in the Ivory Tower, Dr. Henry Duckworth takes readers from his student days in Winnipeg and Chicago in the 1930s to his time as president of the University of Winnipeg (1971-1981) and chancellor of the University of Manitoba. An accomplished physicist, he wrote the first definitive text in English on mass spectroscopy, discovered the last stable isotope (platinum), and helped create important programs at universities and at the National Research Council. He also served on numerous councils for scientific and university organizations, and rubbed shoulders with Nobel Prize winners at international conferences.With humour and modesty, Henry Duckworth recalls trends, changes, and crises he witnessed throughout his long university career. He offers his observations, his opinions, his "version of the facts," providing a special insight into critical years in Canada's university education history, as well as his own specialty, atomic research.

Pipe organs were once a central (and sometimes hotly debated) part of Manitoba's cultural life. The Organ in Manitoba portrays that history--the instruments, builders, players and critics--from the date of the earliest known installations to the 1990s, and includes information on musical organizations such as the Royal Canadian College of Organists. It documents over a century of evolution and changes, from concepts of tonal design to styles of musical commentary and tastes, and includes an inventory of installations and specifications for over 100 organs. Well-illustrated with photographs and excerpts from historical reviews and other documents, it will be of interest to musicians, teachers, and music, church, and cultural historians.