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In her poignant, affecting autoethnography, Stories of Raising Boys, Julie-Ann Scott-Pollock investigates the meaning of disability, gender, race, and privilege in contemporary culture. Scott-Pollock is a white mother living with a physical disability raising four boys—Theo, a three-year-old risktaker; Tony, ten, who lives with seizures; Vinny, eight, who is gender expansive; and five-year-old Nico, who is also gender expansive and experiences anxiety. They live on the southeastern U.S. coast with their father, Evan, and their baby sister, Rosalie.

Through narrative analysis, Scott-Pollock compares and contrasts her circumstances to the ways in which adult interviewees manage the same lived experiences as her sons. She also includes their opinions about masculinity and identity, as well as parenting boys. In doing so, Stories of Raising Boys deepens the cultural complexity of parent–child relationships and expands our collective understanding of how they form and emerge. In addition, Scott-Pollock uses a metaphor of swimming through the ocean near her family’s home to illustrate resisting marginalization while also promoting strong cultural identities, especially in turbulent waters.

Stories of Raising Boys offers an absorbing cultural reflection on the intersectionality of identity, power, and privilege. 

The Kuna Indians of Panama, probably best known for molas, their colorful appliqué blouses, also have a rich literary tradition of oral stories and performances. One of the largest indigenous groups in the South American tropics, the majority of them (about 70,000) reside in Kuna Yala, a string of island and mainland villages stretching along the Caribbean coast. It is here that Joel Sherzer lived among them, photographing and recording their verbal performances, which he feels are representative of the beauty, complexity, and diversity of the oral literary traditions of the indigenous peoples of Latin America.

This book is organized into three types of texts: humorous and moralistic stories; myths and magical chants; and women's songs. While quite different from one another, they share features characteristic of Kuna literature as a whole, including appreciation of their environment and a remarkable knowledge of their plants and animals; a belief in spirits as an important component of their world in curing, magic, and aesthetics; and, especially, great humor and a sense of play.

Vividly illustrated by a Kuna artist and accompanied by photographs that lend a sense of being present at the performances, the texts provide readers with a unique aesthetic perspective on this rich culture while preserving an endangered and valuable indigenous oral tradition.

A memoir of lessons learned from an Ojibwe grandmother during the time of Relocation
 

Why, her mother asked, did Janis keep running away from kindergarten? She wanted to go home. But not to the house they had just moved to in Duluth, with its gravel yard and traffic noise. She was a country girl, and home was the log cabin among the wildflowers on the Leech Lake Indian Reservation in Bena, Minnesota. Knowing they were now going to stay in the city, Janis’s parents offered her a compromise: during the summer, Janis could leave the bustle of Duluth and live with her grandmother on the Fond du Lac Reservation, listening to stories, learning Ojibwe, and finding her place in the world. In Sugar Bush Babies, Janis A. Fairbanks returns to that time of Relocation, dislocation, and discovery, taking us home with her through stories of childhood and lessons learned at her grandmother’s knee, enveloped in love and tradition.

Through the eyes of a child and the teachings of an elder, Fairbanks revisits her life during Indian Relocation from reservations to urban areas, from Ojibwe villages to white communities whose ideas about Indians came from Hollywood Westerns. Recalling her early childhood at Leech Lake, her school days in Duluth, and her summers in Fond du Lac, Janis brings the gifts of living history full circle, continuing the traditions of carrying family lore, women’s wisdom, and Indigenous culture from generation to generation.

There are tales told at nighttime or during thunderstorms; lessons in Native medicine; stories of Grandma’s recollections of boarding school, Daddy’s days as a lumberjack, and Mother’s special powers; memories of wash days and dancing, of powwows and Girl Scout camp, of snaring rabbits, selling lilacs, and attending the circus. A lyrical memoir, Sugar Bush Babies conveys the eloquence of women speaking and sharing through generations and the lasting power of tradition.

Native American legends, shipping tales, folklore, and myths spanning the last 150 years are gathered together for the first time in this collection. The presence of Native American culture, the unpredictable climate, the dangerous closeness of the shoreline, and the bloody history of shipping on the Lakes contribute greatly to the uniqueness of maritime literature on the Lakes.

Sweetwater, Storms, and Spirits will appeal to those interested in both Native American literature and history and Great Lakes maritime history, and to those who simply enjoy a good maritime tale. The collection is a seabag of different kinds of stories, myths, and tales that together create a picture of life as it has been lived on the Great Lakes.