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In the spring, the bear returns to the forest, the glacier returns to its source, and the salmon returns to the fresh water where it was spawned. Drawing on the special relationship that the Native people of southeastern Alaska have always had with nature, Blonde Indian is a story about returning.

Told in eloquent layers that blend Native stories and metaphor with social and spiritual journeys, this enchanting memoir traces the author’s life from her difficult childhood growing up in the Tlingit community, through her adulthood, during which she lived for some time in Seattle and San Francisco, and eventually to her return home. Neither fully Native American nor Euro-American, Hayes encounters a unique sense of alienation from both her Native community and the dominant culture. We witness her struggles alongside other Tlingit men and women—many of whom never left their Native community but wrestle with their own challenges, including unemployment, prejudice, alcoholism, and poverty.

The author’s personal journey, the symbolic stories of contemporary Natives, and the tales and legends that have circulated among the Tlingit people for centuries are all woven together, making Blonde Indian much more than the story of one woman’s life. Filled with anecdotes, descriptions, and histories that are unique to the Tlingit community, this book is a document of cultural heritage, a tribute to the Alaskan landscape, and a moving testament to how going back—in nature and in life—allows movement forward.

These autobiographical essays by a member of the Coeur d'Alene tribe interweave personal experiences with striking portraits of relatives, both living and dead, to form a rich tapestry of history, storytelling, and remembrance. Hale's is a story of intense and resonant beauty. Breathtaking in its range and authority, Bloodlines is an important addition to the literature of women of color.

In the rural areas of south-central Mexico, there are believed to be witches who transform themselves into animals in order to suck the blood from the necks of sleeping infants. This book analyzes beliefs held by the great majority of the population of rural Tlaxcala a generation ago and chronicles its drastic transformation since then.

"The most comprehensive statement on this centrally important ethnographic phenomenon in the last forty years. It bears ready comparison with the two great classics, Evans-Pritchard's Witchcraft Among the Azande and Clyde Kluckhohn's Navaho Witchcraft."—Henry H. Selby

The north is a treasure trove of folklore. From magical creatures of the old country to legends of the mysterious and macabre, such lore is a fascinating record of the stories people held on to and the customs, foods, and cures that filled their lives. Collected in the 1930s as part of the Federal Writers’ Program, a Depression-era works project, these are the stories of Norwegian and Swiss immigrants, Native American medicine men and storytellers, and pioneers with memories of the earliest days of settlement in the Old Northwest. In search of stories, legends, songs, and other scraps of traditional knowledge, researchers fanned out across Wisconsin and other states. The resulting handwritten notes, thousands of pages in length, capture history as people remembered it. Blue Men and River Monsters collects the most interesting and noteworthy of these tales, placing them alongside stunning artwork collected by the Federal Art Project in Wisconsin. Peruse these pages and discover a new history of the people and places of the old north.

A union organizer returns to her hometown and her high school sweetheart, only to discover unexpected peril. A middle-aged man walks to meet his wife at work one day and loses her forever. A young writer's stage fright destroys her work and her marriage but offers her a new life. In Blue Money, Susan Hubbard creates a world in which the most ordinary things can be magical, and the most ordinary people can be extraordinary.

"Selling the House" is the enchanting story of Marianne, a young housewife whose life is altered forever by a mysterious stranger. He suddenly appears on her doorstep one morning, offers to buy her home, quotes poetry, and just as suddenly disappears. Marianne soon discovers, however, that the stranger wants more than her house—he wants her. Although she does not accept the man's proposition, Marianne has been changed by it. His words echo throughout her life. "If she sometimes had trouble sleeping, if she spent more time reading poetry or staring out the window . . . well, those were small aberrations in an otherwise quite satisfactory life."

Strangers appear and disappear in Blue Money. Shoes charm and cure. A soiled shirt conjures conscience, and a clean one promises new identity. Hubbard brilliantly weaves these fantastic elements into the fabric of her fiction.

Women's relationships with men—whether they be fathers, lovers, or strangers—are a prominent theme of Hubbard's collection. "What Friends Are For" captures this theme at its most humorous and bizarre in the strange mishaps of two young girls trying to rid their lives of the stepfathers they despise. When their plan fails miserably, the girls are forced to accept the unwanted men, but not without finding brief comfort in the humor of their failure. "Then I start laughing too--a laugh I've never laughed before, like some exotic bird, high and shrill and free—and now [we're] laughing so hard that the voices outside fade away entirely."

Praised by Ploughshares as "an assured storyteller and a complex narrative stylist," Hubbard excels at writing spare yet powerfully evocative prose. Haunting in its suspense and subtle grace, Blue Money celebrates Hubbard's marvelous ability to explore the power of imagination.

Winner of 2006 The Society of Midland Authors Adult Fiction Award

Children who anesthetize—and dress up—small wild animals in an ill-fated attempt to cheer their grieving mother; childhood friends who ritually return every year to the site of their near-kidnapping; an awkward teen trying to find his place among the cultural ruins of Greek Mythology Camp; brothers brought together, if not by mutual understanding, by a strange need to steal airport baggage: these are some of the characters who inhabit—and invariably tell—the stories in Joe Meno's Bluebirds Used to Croon in the Choir. Oddballs and charmers and would-be lovers, they are souls not so much lost as wandering, looking for something better, almost getting laid, trying to explain or, if all else fails, to entertain—and this they unfailingly do. Rarely has fiction so understated produced such hilarity and heartbreak.

Novelist, music journalist, and playwright Meno writes squarely in the American tradition of wringing large effects from small change, revealing the subtlety in the broad stroke, and conveying complexity with seeming simplicity. Celebrated for its "unflinching honesty" (Entertainment Weekly) and for its "poetic and visceral style" (Booklist), his work resonates with the unmistakable magic and curious mystery of modern life.

"Extraordinary memoir. . . . His story will break your heart."—El Palacio

"This story was fascinating. . . . One worth the telling and one which will stay with the reader."—American Desert Magazine

"Recommended."—Choice

Every year between 1920 and 1970, almost one million of New York City's Jewish population summered in the Catskills. Hundreds of thousands still do. While much has been written about grand hotels like Grossinger's and the Concord, little has appeared about the more modest bungalow colonies and kuchaleins ("cook for yourself" places) where more than 80 percent of Catskill visitors stayed.

These were not glamorous places, and middle-class Jews today remember the colonies with either aversion or fondness. Irwin Richman's narrative, anecdotes, and photos recapture everything from the traffic jams leaving the city to the strategies for sneaking into the casinos of the big hotels. He brings to life the attitudes of the renters and the owners, the differences between the social activities and swimming pools advertised and what people actually received. He reminisces about the changing fashion of the guests and owners—everything that made summers memorable.

The author remembers his boyhood: what it was like to spend summers outside the city, swimming in the Neversink, "noodling around," and helping with the bungalow operation, while Grandpa charged the tenants and acted as president of Congregation B'nai Israel of Woodbourne, N.Y. He also traces the changes in the Catskills, including the influx of Hasidic families. Richman talks about what it's like to go back and to see the ghosts of resorts along the roads he once traveled.

From neighborhoods as large as Chelsea or the Castro, to locales limited to a single club, like The Shamrock in Madison or Sidewinders in Albuquerque, gay areas are becoming normal. Straight people flood in. Gay people flee out. Scholars call this transformation assimilation, and some argue that we—gay and straight alike—are becoming “post-gay.” Jason Orne argues that rather than post-gay, America is becoming “post-queer,” losing the radical lessons of sex.

In Boystown, Orne takes readers on a detailed, lively journey through Chicago’s Boystown, which serves as a model for gayborhoods around the country. The neighborhood, he argues, has become an entertainment district—a gay Disneyland—where people get lost in the magic of the night and where straight white women can “go on safari.” In their original form, though, gayborhoods like this one don’t celebrate differences; they create them. By fostering a space outside the mainstream, gay spaces allow people to develop an alternative culture—a queer culture that celebrates sex.

Orne spent three years doing fieldwork in Boystown, searching for ways to ask new questions about the connective power of sex and about what it means to be not just gay, but queer. The result is the striking Boystown, illustrated throughout with street photography by Dylan Stuckey. In the dark backrooms of raunchy clubs where bachelorettes wouldn’t dare tread, people are hooking up and forging “naked intimacy.” Orne is your tour guide to the real Boystown, then, where sex functions as a vital center and an antidote to assimilation.

In a compelling mix of literary narrative and ethnography, anthropologist Alma Gottlieb and writer Philip Graham continue the long journey of cultural engagement with the Beng people of Côte d’Ivoire that they first recounted in their award-winning memoir Parallel Worlds. Their commitment over the span of several decades has lent them a rare insight. Braiding their own stories with those of the villagers of Asagbé and Kosangbé, Gottlieb and Graham take turns recounting a host of unexpected dramas with these West African villages, prompting serious questions about the fraught nature of cultural contact.

 

Through events such as a religious leader’s declaration that the authors’ six-year-old son, Nathaniel, is the reincarnation of a revered ancestor, or Graham’s late father being accepted into the Beng afterlife, or the increasing, sometimes dangerous madness of a villager, the authors are forced to reconcile their anthropological and literary gaze with the deepest parts of their personal lives. Along with these intimate dramas, they follow the Beng from times of peace through the times of tragedy that led to Côte d’Ivoire’s recent civil conflicts. From these and many other interweaving narratives—and with the combined strengths of an anthropologist and a literary writer—Braided Worlds examines the impact of postcolonialism, race, and global inequity at the same time that it chronicles a living, breathing village community where two very different worlds meet.

The vast, unsettling landscape of the American Southwest is as much a character in Ryan Harty's debut collection, Bring Me Your Saddest Arizona, as the men and women who inhabit its award-winning stories. In eight vivid tales of real life in the west, Harty reminds us that life's greatest challenge may be to find the fine balance between desire and obligation.

A high school football player must make a choice between family and friends when his older brother commits an act of senseless violence. A middle-aged man must fly to Las Vegas to settle his dead sister's estate, only to discover that he must first confront his guilt over his sister's death. A young teacher tries to help a homeless girl, but, as their lives intertwine, he begins to understand that his generosity is motivated by his own relenting sense of lonliness. Well-intentioned but ultimately human, the characters in these stories often fall short of achieving grace. But the possibility of redemption, like the Sonoran Desert at the edge of Bring Me Your Saddest Arizona's suburban landscapes, is never far off. Harty's characters are as complicated as the people we know, and his vision of life in the west is as hopeful as it is strikingly real.

This report presents an analysis of a prehistoric Pueblo community in structural, functional, and evolutionary terms; it is a sequel to William A. Longacre's Archaeology as Anthropology. The emphasis is on social organization (including the patterning of community activities) and on understanding changes in this organization in terms of adaptive responses to a shifting environment.

A brilliant, experimental ethnography, Brushed by Cedar is destined to change the way anthropologists write about the people they befriend.

Crisca Bierwert has created a fresh poststructural ethnography that offers new insights into Coast Salish cultures. Arguing against the existence of a master narrative, she presents her understanding of these Native American peoples of Washington state and British Columbia, Canada, through poetic bricolage, offering the reader a pastiche of rich cultural images. Bierwert employs postmodern literary and social analyses to examine many aspects of Salish culture: legends and their storytellers; domestic violence; longhouse ceremonies; the importance and power of place; and disputes over fishing rights. Her reflections overlap as a dialogue would, weaving throughout the book significant threads of Salish knowledge and creating a nonauthoritative text that nonetheless speaks knowingly.

This book represents the future of contemporary anthropology. Unlike traditional ethnography, it makes no attempt to portray a complete picture of the Coast Salish. Instead, Bierwert utilizes a critical and diffuse approach that defies colonial, syncretic, and hegemonic structures and applies advanced literary theory to the creation of ethnography.

Brushed by Cedar is an important guideline for anyone who writes about other cultures and will be expecially useful to classes in the methodology and history of ethnography, as well as to scholars specializing in Native American studies or oral literatures.

The journals and diaries of John M. Roberts provide an intimate view of the life and dthoughts of a young schoolmaster, miller, itenerant bookseller, and farmer in centreal Ohio in a time of rising sectional crisis and Civil War.

By the last two decades of the twentieth century, Ohio women had held positions as university presidents, chief executive officers, judges, superintendents of schools, and lieutenant governor. They had won Pulitzer Prizes and, in one case, the Nobel Prize for Literature.

But these women stood on the shoulders of those who came before: the pioneering women who helped tame the Ohio frontier, who filled the breach, who worked for reform, and who struggled for their own rights as citizens of one of the most prosperous states in the Union.

Buckeye Women is an accessible and comprehensive account of the role Ohio women have assumed in the history of the state and a narrative of their hardships and of the victories that have been won in the past two hundred years.

In this timely contribution to the Ohio Bicentennial Series, Professor Stephane Booth has written a rich and well-researched volume, providing for the first time a record of the vast and pivotal accomplishments shared by the women of Ohio over the last two centuries and documenting their contribution to the state’s remarkable heritage.

This anthology highlights central values and traditions in Native American societies, exploring the ongoing struggles and survival power of Native American people today. The essays and stories by well-known writers provide an excellent introduction for general readers as well as high school and college students. The stories and historical events are drawn especially from the tribes of the Great Lakes region, such as the Ojibwa (Chippewa) of Wisconsin, and are part of a continuing, sustaining storytelling tradition.
    Starting with the opening selection, “The Circle of Stories,” which reaffirms the relationship of humans to all living things, the anthology emphasizes themes of connectedness and survival in essays on the environment, identity, community allegiance and treaty rights, marginalization and assimilation in American society, and conflict within the educational system. Several selections about Trickster tales introduce traditions of humor, irony, and imagination that have come to embody native survival, liberation, and continuance.
    The authors included in Buried Roots and Indestructible Seeds are Kim Blaeser, Joseph Bruchac, George Cornell, Fred Hoxie, James Oberly, Denise Sweet, Tom Vennum, and Gerald Vizenor.

This modest collection of short stories, written between 1946 and 1964, is the first by this influential Portuguese man of letters to be published in English. Their subjects often prominent historical figures, all are densely written, cerebral. The title story describes the tortured creative process of a famous 16th century Portuguese poet as he sets out to write his most celebrated poem. "A Night of Nativity" reports a fervent conversation between a Roman tribune and St. Paul. The whimsical "Sea of Stones" tells how the seventh century English monk, the Venerable Bede, forced the stones of an ancient Druid temple to speak. These 11 short stories are for the most part highly moralistic, at their best arguing the strict Catholic tenets of faith; less successful are the author's anguished attempts to describe the artistic temperament. Tantalizing by the promise they show, the short narratives are unfleshed, lacking the spark of animation. As a collection, with an informative foreword by the author's close colleague, they supplement our scant knowledge of this scholar and social activist.