This is a story of how one great-grandfather decides to give his great-grandson his special name in the Sechelt language. These traditional teaching legends come straight from the oral traditions of the Sechelt Nation.
These traditional teaching legends come straight from the oral traditions of the Sechelt Nation. Simple enough to be understood by young children, yet compelling enough for adults, they are gentle, beautifully presented cautionary tales. You’ll want to read them again and again – and you’ll learn a few words of the Shishalh language while you’re at it. Charlie Craigan is a young Sechelt artist who works in a tiny studio set up in his bedroom. He studied traditional wood carving with Sechelt Nation carvers, but learned to draw and paint by studying books.
Ch’askin is the great thunderbird whose appearance heralds rumbling thunder, a darkening sky and flashes of lightning — as well as good luck for the people of the Sechelt Nation. This compelling book recounts how this enormous and awe-inspiring bird — who looks like a golden eagle except much, much larger — aided and protected the members of the Sechelt villages for many years in many ways. From helping Chief Spelmu’lh, the father of the Sechelt Nation, build both the first longhouse and the many villages of his people, to delivering goats and grizzly bears for the hungry people to eat and creating islands from pebbles for the tired Sechelt hunters to rest, the story of Ch’askin is a story of protection, friendship and respect for fellow living beings.
Simple and compelling First Nations drawings illustrate this dynamic story that teaches respect for the environment and describes the life cycle of the salmon.
A long time ago, fire belonged only to the animals in the land above, not to those on the earth below. Curlew, keeper of the sky world, guarded fire and kept it from the earth. Coyote, however, devised a clever plan to steal fire, aided by Grizzly Bear, Wren, Snake, Frog, Eagle, and Beaver. These brave and resourceful animal beings raided the land above and risked all to steal fire from Curlew. Beaver Steals Fire is an ancient and powerful tale springing from the hearts and experiences of the Salish people of Montana. Steeped in the rich and culturally vital storytelling tradition of the tribe, this tale teaches both respect for fire and awareness of its significance, themes particularly relevant today. This unforgettable version of the story is told by Salish elder Johnny Arlee and beautifully illustrated by tribal artist Sam Sandoval.
This is an endearing story of a young Aboriginal foster child who is given a special gift by his foster mother. Her gift of warmth and thoughtfulness helps her young foster children by encouraging self-esteem, acceptance and love. Written as a simple story, it speaks of a positive foster experience.
In this redesigned edition of Scott O’Dell’s classic novel, a young Eskimo girl encounters frightening obstacles when she takes her father’s place in the Iditarod, the annual 1,172-mile dogsled race in Alaska.
A backward glimpse to pre-Colombian Cherokee Indian life as Little Wolf and his family work, play, and prepare for the harvest festival, Itse Selu. Includes Cherokee language.
The Tlingit Indians of southeastern Alaska are known for their totem poles, Chilkat blankets, and ocean-going canoes. Nora Marks Dauenhauer is a cultural emissary of her people and now tells the story of her own life within the context of her community’s. Life Woven with Song re-creates in written language the oral tradition of the Tlingit people as it records memories of Dauenhauer’s heritage–of older relatives and Tlingit elders, of trolling for salmon and preparing food in the dryfish camps, of making a living by working in canneries. She explores these recurring themes of food and land, salmon and rainforest, from changing perspectives–as a child, a mother, and a grandmother–and through a variety of literary forms. In prose, Dauenhauer presents stories such as “Egg Boat”–the tale of a twelve-year-old girl fishing the North Pacific for the first time alone–and an autobiographical piece that reveals much about Tlingit lifeways. Then in a section of short lyrical poems she offers crystalline tributes to her land and people. In a concluding selection of plays, Dauenhauer presents three Raven stories that were adapted as stage plays from oral versions told in Tlingit by three storytellers of her community. These plays were commissioned by the Naa Kahidi Theater and have been performed throughout America and Europe. They take the form of a storyteller delivering a narrative while other members of the cast act and dance in masks and costumes. Collectively, Dauenhauer’s writings form an “autoethnography,” offering new insight into how the Tlingit have been affected by modernization and how Native American culture perseveres in the face of change. Despite the hardships her people have seen, this woman affirms the goodness of life as found in family and community, in daily work and play, and in tribal traditions.
“The bear came into town in the Autumn to feed at the dump. Her cubs had been killed by hunters and she was weary. Only Bruun saw her plight…” So begins a friendship between two unlikely companions Bruun, an Inuit Eskimo boy, and a snow bear from the wild. As they spend the winter out on the sea-ice together, Bruun learns the ways of the polar bear. But when spring comes, he must return home to the ways of his own people. What will happen, years later, when the two meet again and Bruun has become a hunter?