The myth of the so-called vanishing Indian, which relegates Indigenous peoples to museums and views them as peoples of the past, is one of the most persistent and problematic contemporary narratives. It is, however, being actively dismantled through writing that posits Indigenous futurism, the inclusion and emphasis of Indigenous peoples and traditions in science fiction and speculative fiction, as demonstrated in Cherie Dimaline’s 2018 novel The Marrow Thieves and other works of contemporary Indigenous futurism. This novel dismantles the narrative of the vanishing Indian using Indigenous futurism and by emphasizing Indigenous family and tradition. This article intends to provide a brief investigation of the storytelling and narrative elements that Dimaline uses to posit Indigenous futurisms for Indigenous children and deconstruct the myth of the vanishing Indian. The deconstruction of this myth through literature allows defiance of the myth into popular culture; the inclusion of the book in classrooms across Canada also allows children—Indigenous and non-Indigenous alike—to become aware of the harmful nature of the myth of the vanishing Indian.