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The memoir genre is flush with inspiring stories about children who overcame horrific abuse to become healthy, functioning adults. If Stephanie Thornton Plymale’s American Daughter were merely that type of memoir, it would still be impressive. Plymale spent her childhood fending for herself as one of five kids raised by a mentally ill and drug-addicted mother. At times, the children slept in a car and scavenged for their own food; other times they were wards of the state.

However, the memoir Plymale has written supersedes the journey of perseverance with an investigation into her family’s fascinating but tragic past. When Plymale’s mother announced that she was dying of lung cancer, the author decided to learn more about her family history while she still could. For starters, she had no idea who her father was. Her mom often claimed that she was related to George Washington—which everyone dismissed as either a delusion or an outright lie. And when ill, her mom had often taken on alternate personalities, including a sad 11-year-old girl who was always afraid of getting pregnant. What, Plymale had long wondered, was that really about?

The family history that Plymale discovers is wilder than anyone could have guessed. Readers will find themselves recalibrating their judgments about villains and victims and questioning how one family could fall so far down through the cracks. The title American Daughter is a reference both to the author’s determination to survive and succeed and to America’s failing social systems, like mental healthcare, child protective services and the justice system.

Tough topics like sexual abuse, kidnapping and miscarriage make this a heavy read at times. But for anyone looking for a moving tale of finding a way to give the love we don’t receive, American Daughter will resonate.

But for anyone looking for a moving tale of finding a way to give the love we don’t receive, American Daughter will resonate.

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In the spring of 2015, at the still-vigorous age of 87, Hans Lichtenstein agreed to a road trip. Accompanied by his son Jonathan, he would travel by car, ferry and train from Wales to Berlin, Germany, where, in 1939, Hans’ mother put him on a train to England to escape the Nazis. At 12 years old, Hans was one of 10,000 mostly Jewish children who escaped through what came to be known as the Kindertransport, fleeing the tragic ending that many of their families could not avoid. In Hans’ son’s eloquent and poignant memoir, The Berlin Shadow, ghosts from that time in history continue to haunt them both.

This reverse journey loomed ominously for the author. Often at odds with his “difficult” father, Jonathan, by then a father himself, as well as a professor and acclaimed playwright, feared that “such a trip could break the small amount of fondness that had only recently arisen between us.” The people and places that haunted Hans were as yet unknown to his son. He knew Hans hated Volkswagens and would not tolerate hearing Hitler’s name. Visits with relatives were rare and mysterious. Yet as Hans’ health grew more problematic, they understood he was running out of time to find some peace—or at least relief from his nightmares.

Jonathan’s own memories of his father’s erratic, dangerous behaviors—such as speeding them all in the family car toward the edge of a seaside cliff—left little room for bonding. When Hans, a physician beloved by his community, discounted his own children’s illnesses, he came close to causing their deaths. Jonathan paints vivid pictures of it all, interspersing their troubled past in Wales with their present in history-haunted Berlin. He writes in such vibrant detail that his words become like a map of the city, containing everything from streets to shops to family gravesites. Revelations ignite the landscape as father and son draw closer.

“It’s not just what you remember, it’s how you remember,” the author commented on an episode of the “History Extra” podcast. The Berlin Shadow casts a truly memorable light on both.

In 1939, Hans Lichtenstein’s mother put him on a train from Berlin to England. In 2015, he and his son Jonathan returned to Berlin in search of peace.

An earthquake isn’t a single moment. The event itself might be destructive, rending the earth apart and slamming it together along fault lines, but the effects begin before that moment and can extend long after the fracture.

Nadia Owusu plays with this metaphor in Aftershocks. Her father’s death when Owusu was in her early teens was a central tremor in her life. Owusu adored her father, whose work with the United Nations carried the family across continents. Her relationships with her mothers were more complicated: her birth mother, who abandoned Owusu and her sister after their parents’ divorce; her aunt, who took the girls in afterward; and her stepmother, with whom Owusu competed for her father’s attention. Later, when her stepmother suggested that Owusu’s father may not have died of the cancer listed on his death certificate, Owusu wrestled with her understanding of the family that raised her.

“Sometimes I think my memories are more about what didn’t happen than what did, who wasn’t there than who was,” Owusu writes. “My memories are about leaving and being left. They are about absence.”

Owusu’s complex racial and national identities also inform her sense of self. The nationalities of her Ghanaian father, Armenian American birth mother and Tanzanian stepmother influence Owusu’s daily life, and moving between continents—Africa, Europe, North America—leaves her feeling even more out of place. Owusu, a Whiting Award-winning writer and urban planner, explores how those cultures have intersected with and influenced her personal experiences.

Aftershocks is an intimate work told in an imaginative style, with the events that shaped its author rippling throughout her nonlinear story. The structure mimics the all-consuming effect that a moment—a personal earthquake—can have on a life.

Aftershocks is an intimate work told in an imaginative style, with the events that shaped its author rippling throughout her nonlinear story.

Liz Tichenor’s The Night Lake: A Young Priest Maps the Topography of Grief surprised me. I felt surprise at the grace with which Tichenor shares her walk through shadow. I was surprised by how deeply Tichenor’s articulation of her experience of faith resonated with my own, and by her brushes with the mystical divine that jolted me and left me feeling uncertain. Some might feel surprise at priests cursing in the face of unimaginable grief.

Whatever your experience of grief, and whatever your experience of faith, The Night Lake will manage to surprise you, too. But it’s not easy reading.

On the night Tichenor raced to the hospital behind an ambulance carrying her 1-month-old son, she was a fledgling priest in her late 20s, living with her husband and their two young children at an Episcopalian summer camp. This was her first job flying solo, and her life seemed to be at that early stage when anything could blossom at any moment. But in truth, Tichenor was already acquainted with hardship before she found her son unresponsive in their bedroom. Her mother, after years of dealing with pernicious and unrelenting alcoholism, had taken her own life only a year before.

So when Tichenor’s son died suddenly due to an undiagnosed medical condition, she plunged into the deep end. In the months that followed, she was buoyed by the love and support of her husband, daughter and community of friends, but Tichenor could not always keep her head above the waves of depression, her own relationship to alcohol and an emotional hangover from years of being mothered by an addict.

As Tichenor moved through her grief, she longed simply for someone to sit with her in her pain. Early in the book, she discusses the roots of the word “com-passion” (to suffer with) and in so doing reveals an important truth: To live in connection with others in an imperfect world, we must suffer with them. Readers practice that com-passion with Tichenor as they read her story. None of its events are hurried, and so you feel suspended with her in each stage of her grieving.

This is not simply a book for those who have found themselves mired in such grief. It teaches all of us how to be with those who are going through tragedy, how to be vulnerable and how to practice com-passion.

Whatever your experience of grief, and whatever your experience of faith, The Night Lake by Liz Tichenor will manage to surprise you.

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“Divorce, divorce, divorce.” Homeira Qaderi’s phone screen lit up with these words from her husband, ending their arranged marriage—and her parental rights to their baby son. This heartbreaking act comes not at the beginning of her searing memoir, Dancing in the Mosque: An Afghan Mother’s Letter to Her Son, but near its inevitable conclusion, as a woman who could not conform to the strictures of Taliban-ruled Afghanistan must face the bitter consequences. Her journey from rebellious child to courageous teacher, acclaimed storyteller and, finally, despairing mother feels like a secret that needed to be told. Someday, Qaderi writes to her son, Siawash, from her chosen exile in California, she hopes their story will mean other Afghan mothers will not meet the same fate.

Qaderi’s childhood in Herat, occupied by Russians and later ruled by the Taliban, was fraught with violence. Bullets flew everywhere. Soldiers strode through streets and into homes. Books were forbidden for girls, and her mother “was like a spider trying to safeguard me within her web.” Her grandmother chastised her curiosity and fearlessness, but her father encouraged her. She was still a teenager when she began teaching boys and girls together, a forbidden act. Their classroom was a stifling tent that served as a mosque, and they kept their notebooks hidden in their Qurans lest Taliban soldiers found them learning instead of praying. Risking discovery and death for a few moments of youthful joy, Qaderi once even allowed dancing.

Interspersed among grim descriptions of Taliban rule and Qaderi’s heartbroken letters to her lost son are stunning passages describing the austere beauty of her homeland, which she still mourns. Yet her grief begs an even harder question: What does it take for a parent to choose hope for a greater good over their own child?

“Divorce, divorce, divorce.” Homeira Qaderi’s phone screen lit up with these words from her husband, ending their arranged marriage—and her parental rights to their baby son. This heartbreaking act comes not at the beginning of her searing memoir, Dancing in the Mosque: An Afghan Mother’s…

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The history of HIV/AIDS in the U.S. is often told from the perspectives of white, openly gay men who lived in major cities. But that’s not even close to the whole story. Ruth Coker Burks’ All the Young Men tells of the HIV-positive men who lived and died in the deeply conservative state of Arkansas, where the stigma of homosexuality was nearly as deadly as the virus.

In 1986, Burks was 26 and visiting a friend in the hospital when she became aware of a young man dying of AIDS in another room. The medical staff, disgusted by the disease, neglected him in his final hours. As a devout Christian, Burks couldn’t bear to let the man die hungry, scared and alone.

She soon developed a reputation in Hot Springs, Arkansas, as someone who would help care for gay men dying of the virus. Many of the men who came to her were from religious families who believed that, through illness and death, these men got what was coming to them. Refusing to treat people with HIV as outcasts made Burks a pariah in her community and particularly in her church, where appearances mattered more than anything. As a single mom, Burks was well versed in the conservative social politics of the South and adept at “killing them with kindness.” She showed great ingenuity as she shamed politicians, businessmen and medical workers into taking action on behalf of AIDS patients.

Throughout the memoir, it’s hard not to fall in love with Burks for her big-heartedness and enduring sense of humor in the face of suffering. However, All the Young Men isn’t an uplifting book. Ignorance, denial and cruelty have always been, and always will be, killers. But as Burks forges a path alongside these vulnerable men, her embrace of education and rejection of bigotry light the way forward for us all.

The history of HIV/AIDS in the U.S. is often told from the perspectives of white, openly gay men who lived in major cities. But that’s not even close to the whole story. Ruth Coker Burks’ All the Young Men tells of the HIV-positive men who…

January may be a time for resolutions, but it’s also a time for celebrating all we accomplished the year before. We’re treating ourselves to these books as we begin the new year with hope.

Everyone’s a Aliebn When Ur a Aliebn Too

How can something so cute be so devastating? In this comic book, Jonny (Jomny) Sun takes a goofy premise—a cute alien is sent to Earth to document human activity—and milks it for every drop of philosophical and existential wisdom. It’s sweet, silly, sentimental, but also frightening. At first, I was hesitant to choose this book for this month’s theme, but the more I thought about it, the more I realized that its waves of emotion are a treat. It’s an indulgence and a wonder to step outside of your brain—all three pounds of tissue and synapses—and see the world through the eyes of a kind alien. And it feels good, life-affirming and joyous to know that I’m not the only one who’s so pensive about this life thing. This book is a friend—a friend who challenges you, but they do it because they love you.

—Eric, Editorial Intern


The Best of Me

I’ve read everything David Sedaris has ever written. I own every book he’s ever published. So perhaps some will call it “indulgent” or “difficult to justify” when I nonetheless buy his latest collection, The Best of Me, since it’s a compilation of previously published works. But here’s the thing—this isn’t just another retrospective volume of an author’s most popular works, selected on the basis of their fame. Instead, Sedaris chose each piece himself, based on a metric only he could know, and I’m curious to see which wild cards he included. I know, for example, that “Santaland Diaries,” which first launched him to fame on “This American Life” in 1992, is excluded. But that essay from Dress Your Family in Corduroy and Denim where he drowns a mouse in a bucket? It’s there. Surprise, delight, confusion, nausea—I’m eager for whatever reactions this book will incite.

—Christy, Associate Editor


Braiding Sweetgrass

It’s been six years since Robin Wall Kimmerer’s luminous collection of nature essays was first published, and I’ve given away every copy I’ve ever owned. That’s fitting: Braiding Sweetgrass endows its reader with the recognition that the world has offered us endless gifts, leading us first to gratitude and then to minidewak, the giving of our own gifts as thanks and recompense in a “covenant of reciprocity.” Kimmerer’s book inspires courage to fight for the Earth amid climate urgency, reveals new ways of knowing and seeing while protecting Indigenous wisdom and fosters a community that actively seeks to heal humanity’s relationship with the world. I’ll keep giving away copies of this book, but this special edition, reissued with letterpress-printed illustrations to celebrate the 40th anniversary of the fabulous indie press Milkweed Editions, will be a gift I give myself.

—Cat, Deputy Editor


Catherine the Great

Do I need more biographical tomes of powerful, take-no-prisoners women on my shelves? Yes. Yes, I do. There is nothing that relaxes me more than sinking into an enormous book full of royal scandals and opulent palaces— bonus points if someone gets poisoned via byzantine plot. I read Robert K. Massie’s superb biography of Catherine the Great earlier this year, and I have been peppering my poor boyfriend with anecdotes about her ever since. For example: When Catherine fell ill early on in her engagement to Peter, the future emperor of Russia, she would pretend to be unconscious in order to eavesdrop on the people gathered around her sickbed. Massie loves Catherine even more than I do. He explores her glamorous court and magnetic personality with flair and precision in this absolute masterpiece of a biography.

—Savanna, Associate Editor


The Duke and I

I’m still pretty new to the wide and wonderful world of Romancelandia, though most of the books I read for pleasure in 2020 were romance novels. I bounced happily back and forth between contemporary and historical settings, from Helen Hoang’s The Kiss Quotient to Evie Dunmore’s Bringing Down the Duke. The only thing I love more than a happy ending is a new series I can dive in to and get lost in for volume after volume, and a friend who knows this about me recommended Julia Quinn’s Bridgerton books more than a year ago. Now that Shonda Rhimes is adapting the sprawling series for Netflix, I want to make sure I’ve read at least the first few books before I watch the first season of the show, which drops on December 25, so I’m planning to pick up The Duke and I and let it sweep me off my feet and into the new year.

—Stephanie, Associate Editor

January may be a time for resolutions, but it’s also a time for celebrating all we accomplished the year before. We’re treating ourselves to these books as we begin the new year with hope.

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Christa Parravani’s new memoir, Loved and Wanted: A Memoir of Choice, Children, and Womanhood, traces the story of an unexpected pregnancy. Like most women who seek abortions, Parravani is already a mother, and due to tight finances and home stress, she does not want to add another child to her family. But in her new home state of West Virginia, access to the procedure is severely limited. Had she stayed in California, undoubtedly her life would have been different.

As the pregnancy progresses, Parravani’s husband returns to California to provide additional financial support. Parravani is left alone with two young daughters in West Virginia, where she runs out of grocery money, crawls up and down the stairs of her rented home and hides her struggles from colleagues. Her job as an English professor, the only stable work the family has, is a financial lifeline amid a frightening sea of debt.

Ultimately, Parravani is interested in how individual women make reproductive choices in the face of complex geographical, medical and financial circumstances. In tangible and heartbreaking ways, she illustrates how each of these things impacts both her already born daughters and her soon-to-arrive son. In particular, the medical care she receives in West Virginia makes this reviewer cringe.

Parravani carefully situates her narrative in the context of reproductive journalism and research, such as the recent Turnaway study, which examined the effects of unintended pregnancy on women’s lives over 10 years. What emerges is not simply a portrait of Parravani’s difficult marriage, painful health issues and stressful financial burdens, but a complex picture of the unsayable circumstances that shape one woman’s relationship to her body, to her choice to have children or not, and to the cost of that decision. In saying the unsayable, Parravani is unflinching and brave, offering a sometimes brutal yet undeniably powerful testimony of the mundane and tragic conditions that influence many abortion-seeking women. Parravani does love and want her children, yet the world in which she lives makes it difficult to receive them with open arms without a high personal cost.

Christa Parravani’s new memoir, Loved and Wanted: A Memoir of Choice, Children, and Womanhood, traces the story of an unexpected pregnancy. Like most women who seek abortions, Parravani is already a mother, and due to tight finances and home stress, she does not want to add…

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“This book is a diary of my parents’ decline.”

So opens novelist Elizabeth Berg’s new biographic memoir, I’ll Be Seeing You. Yes, her prologue speaks bluntly, but don't be deterred. Though this book does bear witness to the inevitability of aging and loss, it is nonetheless a small gem shining with Berg’s signature largesse—generous gifts of poetic insight, close observance, vulnerability, honesty, humor and grace.

Berg’s father, a tough U.S. Army “lifer,” is in the early stages of Alzheimer’s disease, while his wife of more than 67 years tries to cope. Though he's always been autocratic and demanding, Berg’s father unconditionally adores his wife. “She was the place where he put his tenderness,” Berg writes. Eventually, his gradual descent into dementia, along with his wife’s advancing age, force the couple to move from their longtime home into a two-bedroom apartment in an assisted living facility.

Berg and her sister try to negotiate and navigate this upheaval with their parents’ best interests at heart, but complications arise. Their father is increasingly confused and isolated, and their usually even-tempered mother becomes angry—an understandable reaction to her two-pronged grief over losing her husband to dementia and leaving a beloved home. “My mother was enraged," Berg writes. "Her heart was breaking because her house was being taken from her, which is to say that her life was.”

From the fall of 2010 to the summer of 2011, short diary entries focus mainly on the events of Berg’s aging parents’ lives, as the author and her sister step in to be their parents’ loving—and often frustrated—family caregivers. “It’s hard to know how to rescue someone. It’s hard to know how to help them in the way they need to be helped,” she writes in one entry. Such rueful reflections are blended with an appreciation of ordinary moments, making each entry a story in miniature—cameos of the joys and pains of family life, and the challenges and rewards of caregiving for loved ones.

Readers familiar with Berg’s novels know that her stories wonderfully encompass the comforts of beauty and wry humor, but they never sugarcoat life’s hard truths. The same is true of I'll Be Seeing You, which mines the wisdom hidden in difficult times. “Life is a minefield at any age," Berg writes. "If we’re smart, we count our blessings between the darker surprises. When I look at my parents’ lives, I know they were lucky. And still are.”

“This book is a diary of my parents’ decline.”

So opens novelist Elizabeth Berg’s new biographic memoir, I’ll Be Seeing You. Yes, her prologue speaks bluntly, but don't be deterred. Though this book does bear witness to the inevitability of aging and loss, it is nonetheless a small…

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“Recovering” Buddhist priest and “vegetable whisperer” Deborah Madison reveals the heart and mind of the chef behind an iconic San Francisco restaurant and numerous vegetarian cookbooks in her honest, beguiling memoir, An Onion in My Pocket. The title is derived from an opening anecdote: After spending the day making pizza with her ex, Madison attended a Spanish class and, searching her pockets for pen and paper, pulled out an onion leftover from pizza-making and plunked it on her desk. “People started to laugh. To me, it was utterly normal,” she writes.

Madison relays her life in a swingy style, moving from her childhood in Davis, California, to her college days, to her post-college migration to the San Francisco Zen Center amid that city’s counterculture heyday. She lived in the Zen community for 20 years and started her culinary path as their head cook. Later, she did a stint at Alice Waters’ famed Chez Panisse and eventually helped found (then helm) the acclaimed vegetarian restaurant Greens. An Onion in My Pocket offers a layered, intimate look at Zen life, the making of a soulful, artful chef and the genesis and growth of a writer. It’s also an ode to nourishment, sustenance and gratitude for the earth’s bounty, vegetal and otherwise.

“Recovering” Buddhist priest and “vegetable whisperer” Deborah Madison reveals the heart and mind of the chef behind an iconic San Francisco restaurant and numerous vegetarian cookbooks in her honest, beguiling memoir, An Onion in My Pocket. The title is derived from an opening anecdote: After…

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Attentive readers of Meave Leakey’s masterful memoir, The Sediments of Time: My Lifelong Search for the Past, will learn a few details about her personal life. She was recruited by the great Louis Leakey for paleontological research in Africa in 1965, after sexism prevented her from working as a marine biologist. After completing her Ph.D., she returned to Kenya in 1969 for good. She fell in love with Louis’ son, Richard Leakey, despite his obnoxious reputation and the fact that he was then in an unhappy marriage. They had two daughters, who spent “field season” in remote areas of Kenya hunting fossils with their parents and their collaborators. After Richard was named the head of Kenya’s wildlife conservation department to end a rampage of elephant poaching, Meave became head of the field research operation and spent much of her life apart from him, especially as he became more involved in politics. Years later, long after Richard had lost his legs in a plane crash, she donated a kidney to him. And so on.

But the main and most illuminating parts of The Sediments of Time are about the tedious, painstaking years spent hunting for the fossilized remains of our species’ precursors. Drawing on field notes, interviews and research papers, Meave recounts the work that led to some of her and her team’s greatest discoveries. She demonstrates the astonishing amount of knowledge that can be gained, for example, through meticulous examination of something as seemingly unimportant as a prehistoric baby tooth. She writes of the shoestring budgets paleontologists operate on, the competition for research grants and the need for significant discoveries to maintain funding—and of the collaborative nature of the field’s efforts despite the competition for money. She also hails the positive impact of new communication and digital technologies in the field.

Best of all, Meave and her co-writer, her youngest daughter Samira Leakey, write clearly and compellingly about what these discoveries mean. In a fascinating chapter inspired by the birth of her grandchildren, Meave explores the advantages for our species of having parents who live long beyond childbearing years. Other chapters concern the development of our most distinguishing features: walking on two feet, the amazing mobility of our hands and the size of our brains. Some readers may find this all goes too deep into the sands of time, but many more will find it a thrilling account.

Attentive readers of Meave Leakey’s masterful memoir, The Sediments of Time: My Lifelong Search for the Past, will learn a few details about her personal life. She was recruited by the great Louis Leakey for paleontological research in Africa in 1965, after sexism prevented her…

“Innocence doesn’t exist. Complicity is everywhere,” writes Michele Morano in Like Love, a collection of autobiographical essays about romantic relationships that are not quite amorous. There's a piece about a man with whom she slept—literally—during a summer in graduate school; one about an elderly landlord she found herself having dinner with whenever her live-in boyfriend was away; and others about strangers like Tomas, who becomes her travel companion during a stopover trip to Germany.

Many of the encounters in Like Love are brief, but one figure returns throughout the text: Morano’s mother, Rita, an unlikely subject for a book mostly about sexual affairs that never materialize. Morano’s relationship with Rita is fraught with both bitterness and infatuation. The long-legged, beautiful woman appears early in the second essay, “Breaking and Entering,” which details the disintegration of Morano’s parents’ marriage; and she returns in “Evenings at the Collegeview Diner,” an essay that explains how Morano’s first job allowed her to rebuild a relationship with both her parents. Rita is arguably the love of Morano’s life, though she died never knowing this. In “All the Power This Charm Doth Owe,” Rita visits then-grad student Morano in Iowa City and clearly wants to stay, but Morano dodges her mother’s intimations and commences falling in love with the man who will help her conceive her next complicated love interest: her son. The final essay examines Morano’s anxieties as a new mother and newly orphaned daughter who is initially unsure whether she really loves her child.

Like Love asks readers to destigmatize our most illogical iterations of love—the love we have for our parents, platonic friends, children and, sometimes, other people’s children—because even when love is inevitably flawed, it is perfectly natural. From her explanations of the brain’s activity as we fall head over heels for someone, to a breakdown of Shakespeare’s A Midsummer Night’s Dream, Morano makes clear that even though we are all complicit in love and its ensuing chaos, our only obligation is to experience it. “Feel the presence,” writes Morano at the end of Like Love, “the ever-presence of romance in all its many forms, most of which are puzzles, mysteries that point us toward deep reflection on who we are and how we live.”

“Innocence doesn’t exist. Complicity is everywhere,” writes Michele Morano in Like Love, a collection of autobiographical essays about romantic relationships that are not quite amorous.
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“His story. My story. . . . It’s our story,” writes David A. Robertson about his father, Don. And so it is in Black Water: Family, Legacy, and Blood Memory, a family history embedded in a memoir that shimmers with love and pain.

As a child born in 1935, Don didn’t have official Indigenous status, despite his heritage. He spent nine months of the year camping with his family on their trapline in the far north of Manitoba, Canada. Then the Family Allowances Act of 1945 changed their way of life. The act provided financial support for every child with a permanent address, so Don’s family was forced to give up their trapline, except for brief spring runs. Don went to a public school, where he had to abandon his native language, Swampy Cree. He later devoted his educational career to ensuring that Indigenous people’s languages and culture were respected and preserved, earning the government’s support as he established programs across Canada. Black Water begins and ends with the story of the Black Water traplines that meant sustenance, survival and community for generations of Swampy Cree.

Yet Don and his European Canadian wife decided not to tell their three children that they were “First Nations kids,” believing that knowledge of their Swampy Cree roots would be a burden for them. This decision left their son David feeling like a puzzle with a missing piece. As a teenager with dark skin, Robertson grew up far from a trapline, in a mostly white neighborhood in Winnipeg, Manitoba, denying he was “Indian” and laughing along with racist jokes. When his parents separated, he spent 10 years without his father, except for weekends and golf games. Hurt, angry and increasingly anxious about everything, Robertson eventually confronted and reconciled with Don. With that came the revelation of his Cree heritage. Many journeys to Norway House along Lake Winnipeg followed, revealing his family’s roots, his “blood memory” and stories to be passed down to his own children.

Claiming one’s heritage, learning where “home” truly is, is an oft-told tale, but Robertson infuses his story with a wisdom that binds his own discoveries to the common experience of sharing family legacies with future generations. Memory is a gift we owe our children, he says. Listen to your own storytellers and hold them close while you can.

Robertson binds his personal story of learning about his Cree ancestry with to the common experience of sharing family legacies with future generations.

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