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They introduce the seven characters: Akiwenzii, the old man who represents the narrator's will; Ninaatig, the maple tree who represents their lungs; Mindimooyenh, the old woman, their conscience; Sabe, a gentle giant, their marrow; Adik, the caribou, their nervous system; and Asin and Lucy, the humans who represent their eyes, ears, and brain.\u003c\/p\u003e\u003cp\u003eSimpson's book \u003ci\u003eAs We Have Always Done\u003c\/i\u003e argued for the central place of storytelling in imagining radical futures. \u003ci\u003eNoopiming\u003c\/i\u003e (Anishinaabemowin for in the bush) enacts these ideas. The novel's characters emerge from deep within Abinhinaabeg thought to commune beyond an unnatural urban-settler world littered with SpongeBob Band-Aids, Ziploc baggies, and Fj llr ven K nken backpacks. 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This Accident of Being Lost is the knife-sharp new collection of stories and songs from award-winning Nishnaabeg storyteller and writer Leanne Betasamosake Simpson. These visionary pieces build upon Simpson's powerful use of the fragment as a tool for intervention in her critically acclaimed collection Islands of Decolonial Love.  A crow watches over a deer addicted to road salt; Lake Ontario floods Toronto to remake the world while texting “ARE THEY GETTING IT?”; lovers visit the last remaining corner of the boreal forest; three comrades guerrilla-tap maples in an upper middle-class neighbourhood; and Kwe gets her firearms license in rural Ontario. 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Moving through genres, shifting through time, amikwag stories become a lens for the life-giving possibilities of dams and the world-building possibilities of blockades, deepening our understanding of Indigenous resistance as both a negation and an affirmation. Widely recognized as one of the most compelling Indigenous voices of her generation, Simpson's work breaks open the intersections between politics, story, and song, bringing audiences into a rich and layered world of sound, light, and sovereign creativity. 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In As We Have Always Done, Leanne Betasamosake Simpson locates Indigenous political resurgence as a practice rooted in uniquely Indigenous theorizing, writing, organizing, and thinking.  Indigenous resistance is a radical rejection of contemporary colonialism focused around the refusal of the dispossession of both Indigenous bodies and land. Simpson makes clear that its goal can no longer be cultural resurgence as a mechanism for inclusion in a multicultural mosaic. 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Mashkawaji (they\/them) lies frozen in the ice, remembering a long-ago time of hopeless connection and now finding freedom and solace in isolated suspension. They introduce us to the seven main characters: Akiwenzii, the old man who represents the narrator’s will; Ninaatig, the maple tree who represents their lungs; Mindimooyenh, the old woman who represents their conscience; Sabe, the giant who represents their marrow; Adik, the caribou who represents their nervous system; Asin, the human who represents their eyes and ears; and Lucy, the human who represents their brain. Each attempts to commune with the unnatural urban-settler world, a world of SpongeBob Band-Aids, Ziploc baggies, Fjällräven Kånken backpacks, and coffee mugs emblazoned with institutional logos. And each searches out the natural world, only to discover those pockets that still exist are owned, contained, counted, and consumed. Cut off from nature, the characters are cut off from their natural selves.   Noopiming is Anishinaabemowin for “in the bush,” and the title is a response to English Canadian settler and author Susanna Moodie’s 1852 memoir Roughing It in the Bush. To read Simpson’s work is an act of decolonization, degentrification, and willful resistance to the perpetuation and dissemination of centuries-old colonial myth-making. It is a lived experience. It is a breaking open of the self to a world alive with people, animals, ancestors, and spirits, who are all busy with the daily labours of healing — healing not only themselves, but their individual pieces of the network, of the web that connects them all together. 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Recently, as she skied on this path against the backdrop of uncertainty, environmental devastation, rising authoritarianism and ongoing social injustice, her mind turned to the water in the creek and an elemental question: What might it mean to truly listen to water? To know water? To exist with and alongside water?    So began a quest to understand her people's historical, cultural, and ongoing interactions with water in all its forms (ice, snow, rain, perspiration, breath). Pulling together these threads, Leanne began to see how a \"Theory of Water\" might suggest a radical rethinking of relationships between beings and forces in the world today. In this inventive work, Simpson draws on Nishnaabeg origin stories while artfully weaving the work of influential writers and artists alongside her personal memories and experience—and in doing so, reimagines water as a catalyst for radical transformation, capable of birthing a new world.    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