Here are 100 books that Moon of the Crusted Snow fans have personally recommended if you like
Moon of the Crusted Snow.
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I think about the positive identity development of Native youth all the time and not just because I am an educator and author. I love my Ojibwe language and culture, but I want to turn Native fiction on its head. We have so many stories about trauma and tragedy with characters who lament the culture that they were always denied. I want to show how vibrant and alive our culture still is. I want gripping stories where none of the Native characters are drug addicts, rapists, abused, or abusing others. I want to demonstrate the magnificence of our elders, the humor of our people, and the power of forgiveness and reconciliation.
Cherie Dimaline's book really spoke to me because, in addition to great story-telling, it sets Native people in a post-apocalyptic setting.
As Native people, we are so often portrayed as ancient rather than modern. So this work connected the ancient and the modern in a novel way. With relatable characters searching for family and community, it was relatable and real even in the world the book describes.
Humanity has nearly destroyed its world through global warming, but now an even greater evil lurks. The indigenous people of North America are being hunted and harvested for their bone marrow, which carries the key to recovering something the rest of the population has lost: the ability to dream. In this dark world, Frenchie and his companions struggle to survive as they make their way up north to the old lands. For now, survival means staying hidden-but what they don't know is that one of them holds the secret to defeating the marrow thieves.
The Victorian mansion, Evenmere, is the mechanism that runs the universe.
The lamps must be lit, or the stars die. The clocks must be wound, or Time ceases. The Balance between Order and Chaos must be preserved, or Existence crumbles.
Appointed the Steward of Evenmere, Carter Anderson must learn the…
I’ve been a science fiction fan for as long as I can remember. As someone who never quite felt like I fit in, these stories became a kind of refuge and revelation for me. They taught me that being on the outside looking in can be its own kind of superpower—the ability to see the world differently, to question it, and to imagine something better. I’m drawn to characters who are flawed, searching, and human, because they remind me that courage and belonging are choices we make, not gifts we’re given. That’s the heart of every story I love and the kind I try to write.
I’d read the reviews, so I was prepared for a great book. I wasn’t prepared to be thrown out of my comfort zone—but in the best possible way.
Mandel made me sit with what it really means to lose everything and still create something beautiful. It’s not about saving the world; it’s about creating a new dream and making it your home. I loved how it celebrates art, memory, and the strange persistence of humanity even when everything else is gone.
This book reminded me that hope is often raw, painful, and ultimately necessary.
'Best novel. The big one . . . stands above all the others' - George R.R. Martin, author of Game of Thrones
Now an HBO Max original TV series
The New York Times Bestseller Winner of the Arthur C. Clarke Award Longlisted for the Baileys Women's Prize for Fiction National Book Awards Finalist PEN/Faulkner Award Finalist
What was lost in the collapse: almost everything, almost everyone, but there is still such beauty.
One snowy night in Toronto famous actor Arthur Leander dies on stage whilst performing the role of a lifetime. That same evening a deadly virus touches down in…
As both a high school teacher and an activist, I am preoccupied by the world we are leaving to the next generation. And as a long-time Toronto resident, I also just love seeing my city get destroyed in fiction, which is far more cathartic than watching it get bungled up in real life. I am drawn to the type of story that exposes the wounds that run deep in our political, economic, and social structures. The best dystopian fiction shines a mirror on our history and our present, and brings the experiences of marginalized voices—for whom the apocalypse is not merely theoretical—to a broader audience.
Hopkinson’s stunning debut plunges the reader into a wildly inventive future Toronto. She seamlessly weaves together the politics of race, class, and gender, inflected with the rich culture and history of the Caribbean diaspora.
Despite the grim post-apocalyptic setting, the characters are part of a community, surviving through solidarity and mutual aid. There are no easy answers or neat resolutions to be found here—the fraught, tenuous connections between families and lovers are messy and grounded.
Sadly, many of the elements of this 1998 novel have proven prophetic, and this book is still a clarion call 25 years later.
The rich and the privileged have fled the city, barricaded it behind roadblocks, and left it to crumble. The inner city has had to rediscover old ways -- farming, barter, herb lore. But now the monied need a harvest of bodies, and so they prey upon the helpless of the streets. With nowhere to turn, a young woman must open herself to ancient truths, eternal powers, the tragic mystery surrounding her mother and grandmother. She must bargain with gods, and give birth to new legends.
Magical realism meets the magic of Christmas in this mix of Jewish, New Testament, and Santa stories–all reenacted in an urban psychiatric hospital!
On locked ward 5C4, Josh, a patient with many similarities to Jesus, is hospitalized concurrently with Nick, a patient with many similarities to Santa. The two argue…
As both a high school teacher and an activist, I am preoccupied by the world we are leaving to the next generation. And as a long-time Toronto resident, I also just love seeing my city get destroyed in fiction, which is far more cathartic than watching it get bungled up in real life. I am drawn to the type of story that exposes the wounds that run deep in our political, economic, and social structures. The best dystopian fiction shines a mirror on our history and our present, and brings the experiences of marginalized voices—for whom the apocalypse is not merely theoretical—to a broader audience.
Another Toronto post-apocalyptic novel (sorry, but we are the centre of the universe, after all).
Hernandez’ dystopia is also caused by climate catastrophe, ushering in a fascist dictatorship that imprisons BIPOC, disabled, and queer people in labour camps. This relentless story exposes the lie of Canadian politeness and civility, the fraught politics of allyship, and the complicity and banality of evil required to maintain authoritarian structures.
It’s a grim read and often its reach exceeds its grasp, but woven through it is queer joy and resilience and I admire that it doesn’t pull its punches.
The author of the acclaimed novel Scarborough weaves an unforgettable and timely dystopian tale about a near-future, where a queer Black performer and his allies join forces to rise up when an oppressive regime gathers those deemed "Other" into concentration camps.
Set in a terrifyingly familiar near-future, with massive floods leading to rampant homelessness and devastation, a government-sanctioned regime called The Boots seizes on the opportunity to round up communities of color, the disabled, and the LGBTQ+ into labour camps.
In the shadows, a new hero emerges. After he loses his livelihood as a drag queen and the love of…
I was born on the Oneida reservation in Wisconsin. Raised during the often troubled, often wonderful decade of the 1960s, I learned to stand up for what I thought was right. I joined forces with my beautiful wife during our high school years, and together, we ran away to build our own life aided by the Oneida principle of “looking ahead seven generations.” Encountering many obstacles along the way, including a poetry professor who said that what I wrote wasn’t poetry and a theater professor who said that if what I wrote was any good it was already being done. Still, I continue to write.
This book gives a nice accounting of American Colonialism and their response to the People who inhabited this country prior to being discovered (sic). I was especially enlightened by the undertaking of explaining the Second Amendment from an understanding of the times and the people. Seeing how the three fears of the times no longer exist.
Even before the Revolutionary War, American colonists feared and fought "merciless Indian savages," and through the following centuries, American law and policy have been molded by the relentless tradition of Indian-hating. From proportional representation and restrictions on the right to bear arms, to the break-up of tribal property rights and the destruction of Indian culture and family, the attacks on tribal governance and people continue and remain endemic. More than just a study of the progression of law, this book balances each chapter's history with the relating of a traditional Anishinaabe story or teaching, providing both context and a roadmap…
As an Anishinaabe writer, my award-winning/nominated books, Murder on the Red River andGirl Gone Missing, feature Cash Blackbear; a young, Native woman, who solves crimes for the county sheriff. Oprah Magazine 2020 listed me as a Native American Author to read. I received Minnesota's 2020 McKnight Distinguished Artist Award. My script, Say Their Names, had a staged reading with Out of Hand Theater, Atlanta, 2021. Vazquez and I received the Loft’s 2017 Spoken Word Immersion Fellowship for work with incarcerated women. I have been a friend, colleague, and peer with the authors recommended. We might currently be a small crew writing but we are a mighty, award-winning crew.
Jim Northrup, Fond du lac Ojibwe author, was my writing mentor from the time I met him in 1991 until he passed away in 2015. He would always ask, “What are you writing today?” That was his way of encouraging me to keep writing.His crime novel, Dirty Copper is the story of Luke Warmwater, who returns to the Reservation after serving in Vietnam. Luke becomes a deputy sheriff on the Rez and sees firsthand the war raging below the appearance of peace.
I would listen to Jim talk about his writing and the progress he was making on his story as he wrote it. Listening to him encouraged me to keep going with my writing. Jim’s way of storytelling through the written word is something I have tried to emulate.
Dirty Copper, the prequel to Walking the Rez Road, tells the story of Luke Warmwater, an Anishinaabe soldier, as he returns to the Reservation after serving in Vietnam. Once again, Luke is torn between duty and morality as he becomes a deputy sheriff on the Rez and sees firsthand the war raging below the appearance of peace.
A Duke with rigid opinions, a Lady whose beliefs conflict with his, a long disputed parcel of land, a conniving neighbour, a desperate collaboration, a failure of trust, a love found despite it all.
Alexander Cavendish, Duke of Ravensworth, returned from war to find that his father and brother had…
Nearly forty years ago, as a young poet, I started going to a storytelling circle in Toronto, thinking it would be a good venue to recite my poems. What I heard there awakened something in me. When I was a child, my parents read me wonder tales, and I soon began to read them on my own. Now I was hearing these stories, the way they were heard for millennia before anyone wrote them down. Today, I am a storyteller, I am married, and I am a professor who teaches a course on storytelling and writes about stories – all because of those weekly gatherings years ago and the storytellers there.
This is a book about stories of the land I live on.
My home is in Winnipeg, on the edge of the flatland called “the Prairies” in Canada and “the Great Plains” in the United States. But the land doesn’t care about the Canada-US border. And that border is nothing but an imposition on the older nations whose territory I live in: the Red River Métis, and the Anishinaabeg.
These Indigenous Peoples have ancient living traditions of oral storytelling, and this book, by Anishinaabeg scholars, celebrates their stories’ spiritual, practical, and political power.
A teaching shared by storyteller Kathleen Delores Westcott tells us “the story is a living being. It’s alive.” That teaching has helped me to understand how stories attract us, get inside us, change, and move across boundaries.
For the Anishinaabeg people, who span a vast geographic region from the Great Lakes to the Plains and beyond, stories are vessels of knowledge. They are bagijiganan, offerings of the possibilities within Anishinaabeg life. Existing along a broad narrative spectrum, from aadizookaanag (traditional or sacred narratives) to dibaajimowinan (histories and news) - as well as everything in between - storytelling is one of the central practices and methods of individual and community existence. Stories create and understand, survive and endure, revitalize and persist. They honour the past, recognise the present, and provide visions of the future.
I love America. I was born here, I live here, and I will die here. Like Walt Whitman, I am mad for this place, and I treasure the soil beneath my feet, the water I drink, and the air I breathe. Unfortunately, the soil I love so much has been marinated in the blood of previous generations, the water I drink is filled with the filthy effluent of a greedy, industry-centered culture, and the air I breathe is bitter, choking me with cancer-causing toxins. Why do I care so much about books that describe the destruction of the North American continent? Because the destruction has not stopped!!!!!!!!
The Falcon was one of the many books I studied while researching The Spirit Keeper, and John Tanner’s contemporary description of life among the Ojibwa continues to haunt me. Although captivity narratives were once very popular in America, Tanner did not achieve fame or fortune from his life story. What he did achieve, however, was a clear record of the steady destruction of the rich and varied native cultures of North America as Colonial forces slowly eroded the entire ecosystem of the continent. Because this story was written shortly after the events described, it’s a challenging read, but once you get into the rhythm of the 19th century language, you won’t be able to put the book down.
John Tanner's fascinating autobiography tells the story of a man torn between white society and the Native Americans with whom he identified.
For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.
I’ve always loved “big books,” novels that are described as sagas and chronicles yet whose primary focus is on singular, nuanced characters. I like seeing the ways that lives intersect and reflect each other across decades, and I enjoy being immersed in one world and then dropped, with the turn of a page, into another equally engrossing one. I am the author of the novel Rebellion as well as numerous short stories and essays. Raised in St. Louis, Missouri, I spent several years living in China and a year as the Writer-in-Residence at St. Albans School in Washington, D.C. I now live in Wisconsin, where I write and teach creative writing.
I can never decide which of Erdrich’s books is my favorite, but The Plague of Doves is definitely a major contender. Erdrich’s novelistic style is more like a chorus than a solo: she presents various stories involving different characters in different times, but the stories are in orbit around the central conflict, in this case, a pair of horrific crimes committed long ago. Yet even when the content is dark, her writing is so beautiful that my primary feeling reading it is joy. For me, the title of this book perfectly captures that contradictory experience.
A beautiful, compelling, utterly original new novel from one of the most important American writers of our time, and winner of the National Book Award for Fiction, 2012
Pluto, North Dakota, is a town on the verge of extinction. Here, everybody is connected - by love or friendship, by blood, and, most importantly, by the burden of a shared history.
Growing up on the reservation is Evelina Harp, witty and ambitious, and prone to falling hopelessly in love. Listening to her grandfather's tales, she learns of a horrific crime that has marked both Ojibwe and whites. Nobody understands it better…
It is April 1st, 2038. Day 60 of China's blockade of the rebel island of Taiwan.
The US government has agreed to provide Taiwan with a weapons system so advanced that it can disrupt the balance of power in the region. But what pilot would be crazy enough to run…
As an Anishinaabe writer, my award-winning/nominated books, Murder on the Red River andGirl Gone Missing, feature Cash Blackbear; a young, Native woman, who solves crimes for the county sheriff. Oprah Magazine 2020 listed me as a Native American Author to read. I received Minnesota's 2020 McKnight Distinguished Artist Award. My script, Say Their Names, had a staged reading with Out of Hand Theater, Atlanta, 2021. Vazquez and I received the Loft’s 2017 Spoken Word Immersion Fellowship for work with incarcerated women. I have been a friend, colleague, and peer with the authors recommended. We might currently be a small crew writing but we are a mighty, award-winning crew.
I met Carole LaFavor, Ojibwe, when I was writing for community newspapers and local magazines. I wrote a profile of LaFavor detailing her activism work in the Native community. Later, we were both in a writing group. I first heard some of the early writing she was doing for Evil Dead Center. She was the first Native woman I met writing crime and she inspired me to keep going on the book I was writing at the time. University of Minnesota Press re-released Evil Dead Center in 2017 with the forward reading, “to underscore the significance of her writing to the Indigenous literary canon, to remind us of the power of her activism for HIV-positive Native peoples, and to return her important claims for the centrality of Two-Spirit peoples, bodies, and histories to the public eye.” - Lisa Tatonetti
An Ojibwa woman has been found dead on the outskirts of the Minnesota Red Earth Reservation. The coroner ruled the death a suicide, but after an ex-lover comes back into her life saying foul play was involved, Renee LaRoche wants to prove otherwise. As the events begin to unfold, Renee conducts a presumably normal welfare check on a young Ojibwa boy in foster care. After she learns the boy has suffered abuse, Renee finds herself amid an investigation into the foster care system and the deep trauma it has inflicted on the Ojibwa people. As Renee uncovers horrible truths, she…
