Native American Books

California has the most culturally diverse Indian ethnography of any U.S. state. Since California habitats range from coastal near- rainforest to dry desert, the Indians have developed a wide range of cultural and technological innovations to deal with it. The linguistic relations are also complex and diverse, a particular interest of mine, and I thought Kroeber did a fine job of discussing this, too. Altogether, Kroeber spent 17 years compiling and writing this great work, and it shows.

Some of the tribes understandably receive more coverage than others, because little was known about them at the time. For example, the Wappo and Washo Indians only have four and half pages each in the book, but the Yokuts section has 70 pages, but this is understandable given the original publication date of 1925 by the U.S. Government Printing Office. Since then, our knowledge of many of the tribes has become significantly greater, or at least less sketchy, but you'll have to consult other sources for that.

One notable thing about the book is the photos of various individuals, most of which could probably not be obtained today--such as the picture of the "Karok man in warrior custume in rod armor and helmut," or the "Hupa (man) measuring dentalium money against tattoos on his forearm," two truly quite striking photographic portrayals.

Despite its deficiencies (which are still modest considering how old it is), this still ranks as the best compendium of knowledge about California Indians, and one of the greatest ethnographies ever written.

On a personal note, I thought I'd mention I had Kroeber's son, Ted, as my psychological statistics professor at San Francisco State back in the mid-70's. Although I never had the opportunity to meet the father, Ted was a really cool psych. prof., and I enjoyed his class. He said his father would often tell him and his sister Ursula (Ursula LeGuin, who became a famous science fiction author), stories about the Indians when they were children, and he would occasionally regale us with stories about his famous father in class, which helped to break up the necessary discipline and technical rigors of a statistics class.

Alfred Kroeber deserves admiration as one of those men who ensured that our knowledge of Native American peoples would not be lost. He is perhaps best known as the friend of Ishi and, sometimes, for his concept of "culture" as "superorganic", but it is this work that I feel is his most lasting contribution.

Though some of the information has been corrected by subsequent researchers (checking Kroeber's work against more recent publications is reasonable), the Handbook remains useful to anyone who wants an overview or details about the numerous peoples who inhabited the state before the coming of the Spanish in 1769.

Where Kroeber is sketchiest is, of course, where the peoples had been exterminated before his investigations began shortly after the turn of the century. His work on the Yokuts and the Mojave, on the other hand, is extensive and helps us to understand some of the culture of their now missing neighbors. He has left no people unaccounted for. Thanks to this volume, interest in the California Indians has been stimulated for all time and with that interest has come a desire to preserve.

All California history lovers and anthropologists need this book on their shelves.

The content of this book is EXCELLENT. However, the "hardcover" version is just a hard cover slapped on OVER the paperback--not worth the extra $100+.

In 2008, Minnesota celebrates its 150th year of statehood. And there have been some historical discussions about the state's handling of various local Indian tribes when the white man arrived--and the Indians were moved to reservations.

In August 1862, the Indian chiefs lost control of their people--because they were starving and angry, waiting for food that was promised by the government, food being held by men at the Agency warehouse.

In a time when it was often "kill or be killed," the reality of the early settlers jumps off the page. Featured is the Owen family: abusive and no-good father John; Ma; Hawk, 18; and Jake, 17 - Hawk, Jake and John's stories told first person in different chapters.

I can hardly find the words to tell how exciting this excellent storytelling is. Author Williams neatly wove fact and fiction to make this a real page-turner. Of course, being from the Ft. Ridgely area took me on a personal journey.

When Hawk and his father clash, the father kicks him off the farm in Ottertail County in northwestern Minnesota. A map shows the distances covered by foot, horse or ox carts, and it was amazing how far people walked those days.

This, the first in a three-part series, finds first Hawk wandering on his own, and then follows Jake, full of revenge because of his mother's murder by Indians. We are with them as they survive, meet with good and bad people-and use every stay-alive skill taught them by an uncle.

Hawk was befriended by the Métis (may-TEE), decedents of European traders who interbred with native woman. Most were French-Canadian trappers/traders who drove ox carts. Jake became reclusive, keeping a step ahead of trouble. John Owen sank even lower than he was as a father and husband.

Space does not allow room to tell their stories-but to say that if you love well-written history-and stories about survival, love, friendship-this series is for you.

Book 2, Sophie's Hawk: Spirit of the Raptor, continues the saga, as does Book 3, Hawk's Quest: A Superior Pursuit (2008) continues with the Owen boys as they find their way, make homes and families and again move around the state.

Any history buff, regardless of where you live, will love this author's storytelling ability.

Armchair Interviews says: IF you love historical fiction that seem so real that you root for the characters, this series is for you. Read the series in order so you know the characters.

Hawk's Valley is an fantastic book. The kind of book that you will sit down and read and hate to set down. Easy to follow, because you feel like your taking the journey with the characters in the story. All kinds of feelings flow in this book. Anger, excitement, humor. The kind of book you will read time and time again. Reading it a second time now, anticipating the sequel. Again, its fantastic!

Outstanding!!! It's one of those that you want to read again and again! The story is about a family as told through the eyes of three of the main characters, each giving a new perpsective on what happened on "that fateful day in 1861" that led them on their adventures to find one another. Throughout the story the paths of these characters cross in very subtle ways. There are so many complexities to the plot, yet it is an easy and enjoyable read. There were moments where I found myself laughing out loud and others where my heart was racing in suspense. The characters are so vivid and it was hard to tell which parts of the story were fiction and which were true accounts in Minnesota history. It was an enjoyable way to learn the real story behind some of the names and legends. I can't wait for the sequel!!

"I am here.
I am here, now.
I have been here, always."

Edmund J. Ladd (Zuni).

In 1989, the Museum of Indian Arts and Culture in Santa Fe, NM, began to put together a project designed to present Native American culture, traditions, and contemporary life from an Indian point of view: not looking in from the outside but looking out from the inside, not analyzing in the way of anthropologists but giving its Indian contributors themselves a place to raise their manifold voices. The process thus begun resulted in a fascinating permanent exhibition presenting all aspects of Native American life from its historic origins to modernity, from arts and crafts to farming and hunting, and from the sacred to the secular (if that distinction applies at all, for there is a profoundly spiritual element to every single act performed over the course of the day). Endowed with a multitude of exhibits - many of them of priceless value - and using traditional displays as well as a multimedia approach combining various audiovisual tools, from its inception the exhibition rested on one inimitable centerpiece: the multi-timbred choir of the First People's very own voices.

Bearing the same title as the exhibition and illustrated by numerous photos, "Here, Now, and Always" provides an additional forum for these voices and sends them out into the world at large. "Listen carefully. Let the stories carry you to the center created by each Native community. Here, at the intersection of sky and earth, you will find the Southwest's people," the museum's former archeology curator, Sarah Schlanger, is quoted at the end of the introductory text to the book's first part, "Ancestors." And thus, the book's Dine (Navajo), Hopi, Zuni, Apache, Tohono O'odham (Pima) and manifold Pueblo contributors become messengers of their respective peoples; talking about Earth Mother, Sun Father, Changing Woman, Spider Woman and Spider Man, Salt Woman, the Great Spirit, the formation of the first clans and their wanderings, the sacred places marking their world and the meaning of home and community, the interrelation of the elements and man's interaction with them, the significance of clay, salt, corn, and tobacco, of minerals and precious stones, and of farming and hunting, the cycles of life, time, and the seasons, the importance of language, oral tradition, and sacred ceremonies in cultural preservation, and obstacles overcome and new challenges arising.

"Each mountain carries precious knowledge. Each is symbolized by certain birds, insects, trees, plants, songs, and prayers. Try to remember this when you think you might want to bulldoze these mountains. Let the sacred remain," warns Gloria Emerson (Dine) in the chapter entitled "Elements." Anthony Dorame (Tesuque Pueblo) explains about cycles that they are "circles that travel in straight lines." In the chapter on agriculture he recounts how his people revived their already-forgotten life as farmers, and wonders, "Today, we again hear the musical thump of a watermelon being split open in the field. Will we forget again what we now remember?" and later on, he adds that "[w]hen the branch is broken, the twig cannot survive. Without our language and without our ways, you cannot survive as a people." Similarly, recalling the young Zunis shipped off to Pennsylvania in the 1800s, all of whom died from loneliness after having been cut off from their cultural roots, Edmund J. Ladd (Zuni) - whose words also provided the project's title - reflects that these days, it is his people's language that is dying from loneliness. In the chapter entitled "Arts," Michael Lacapa (Apache/Hopi/Tewa) adds that the word "art" does not exist in his language at all, and muses, "We make pieces of life to see, touch, and feel. Shall we call it 'art'? I hope not. It may lose its soul. It is life. It is people." And in talking about a mid-20th century professor's prediction that traditional Indian life would vanish within a matter of years due to the spread of a cash economy, federal relocation policies, and WWII veterans' reluctance to return to their prewar lifestyle, Dave Warren (Santa Clara Pueblo) points out that like the footprints and handholds left behind by their ancestors in the southwestern canyons, cliffs, and plateaus, "tradition is deeply etched into our very being. ... [W]e are of these spaces, places, and times. We leave our footprints for another generation; we leave our handholds to steady their journey."

Bringing together all these and many other voices, "Here, Now, and Always" pays tribute to the rich heritage of the Southwest's Native people, and builds a unique bridge to a way of life, traditions, and beliefs sidelined and on the brink of extinction practically from the moment the first white man set down his conqueror's foot in the region, although these very traditions had survived in (largely) peaceful coexistence for centuries before. A slim volume of less than 100 pages, the book is nevertheless powerful testimony to the First People's resilience and ability to adapt to altered circumstances while maintaining the core of their cultural values. As such, it is highly recommended reading - and hopefully, also an incentive to one day go and see the exhibition from which it originates.

"Together we traveled,
in search of the center place.
In numbers we grew.
The center place had not been found.
The gods divided the people.
Some traveled north,
to the land of winter.
Some traveled south,
to the land of summer.
We are the people."

Edmund J. Ladd (Zuni).

Les malades dans l'hopital de Sells, dans l'etat d'Arizona, prennent de la cuisine traditionnelle du sud-ouest. Se guerit-on lorsqu'on se sent lie avec le culture et la terre maternaux? En fait, les danses qui se font pendant la scheresse se servent de l'energie de la creation liee, depuis les danseurs, jusqu'aux ancestres, aux descendants et a l'univers entier. Les arts du sud-ouest, eux aussi, se font, pour lier le passe, le moment actuel et l'avenir du culture, du peuple et de l'univers. Ainsi sont-ils beaux et serviables, tels que de la poterie, du tissage, et de la vannerie. A vrai dire, les peaux-rouges se croient originaires des terres tout autour des rivieres Colorado, Gila, Rio Grande, Salt et San Juan, les destinations finales de tous leurs esprits lies aussi.

Patients in the hospital at Sells, Arizona, are away from what they're used to drink and eat. So they're served traditional foods. Respecting the traditional link to nature and people keeps up physical and spiritual strength. In contrast, in the 19th century, Zuni boys and girls were sent to Carlyle, Pennsylvania. They didn't feel part of a community or nature. They'd felt both in the southwest. They never made it back home. They died from loneliness.

In the southwest, life has always been about getting along with nature and people. One traditional way that southwestern cultures do this is through dance. Music sounds within the dancer. That energy joins the dancer to all creation. So the dancer becomes linked with human energy, such as ancestors and future generations.

The dancer also links to natural energy, such as rain clouds. This is why the Hopi rain dance brings rain. In fact, the Hopi say that their corn, grown unirrigated, and their way of life, in harmony with nature and people, will save the world. The Apache also got through war, reservation poverty, depression and censorship by drawing energy from community, nature, and prayers.

It should be no surprise, then, that a southwestern work of art has a link and use too. Pottery stands for the sacred earth bowl. Traditional designs keep the tie strong between past, present and future generations.

HERE, NOW, & ALWAYS comes out of an exhibition at the Museum of Indian Arts and Culture in Santa Fe, New Mexico. Along with artworks, such as beautifully useful basketry, pottery and weavings, there are also audios, videos and writings of southwesterners on ancestors, community, cycles of nature and people, and survival.

Southwesterners believe they didn't come from somewhere else. They've always been here first, right from the start, along the Colorado, Gila, Rio Grande, Salt and San Juan rivers. They'll also be the last. For example, the Hopi believe that the life of their people began at the Grand Canyon. That also will be their final spiritual home.

This is a spectacularly beautiful book. Hundreds of exquisite photographs of Indian pottery and other pre-historic artifacts, plus maps, drawings, and paintings illustrate the text.

The illustrations accompany about 20 essays on the Indians of southern and midwestern United States from archaic times until contact with Europeans. The essays vary in quality and interest, but most are well written in scholarly but accessible prose. The contributors include anthropologists, art historians, folklorists, and members of several Indian tribes. Footnotes and a substantial bibliography round out a scholarly and artistic book of real merit.

Throughout the book the continuity of ancient Indian cultures with those known to the Europeans is emphasized. One of the most interesting essays concerns the people of Cahokia, the largest Northamerican archaelogical site dating from about 1200 AD, in which the author speculates about the identity of the inhabitants, relating them to present day Indian tribes. Other essays concern the Bread Dance of the Shawnee Indians -- written by a Shawnee -- and the cultural continuity from pre-historic to present day Caddo Indians. Hopewell, Poverty Point, Moundville, and other important pre-historic Indian cultures are also given meticulous attention.

Smallchief

The sheer number of gorgeous images in this book is breathtaking. But for many readers I suspect the most astonishing image might be a fairly simple one on page 17: a rendering of a orderly semicircle of structures facing a river, it is a city in Louisiana----in 1500 B.C. This book reveals Native American civilizations rivaling what we know of the Maya and Inca, but in the heartland of North America.

In the south and Midwest a series of sophisticated cultures left behind artifacts and even structures that we are just now beginning to study and understand. For example, the Hopewell site in Ohio, where "the most dramatic" sacred structures were "geometric in form and combined circular, oval, square, octagonal, or other elements in compositions covering hundreds of acres."

The artistry of the artifacts presented here is amazing, and this book has a generous selection of large, excellent photographs. But the prose is equally good: intelligent but intelligible, often with an interesting narrative. Even the occasional semiotic language is used as vocabulary rather than jargon. Not only does this book explore so much about these next-to-unknown cultures, but it provides an exemplary context of explaining a worldview shared by many Native cultures and peoples. Although this is a scholarly presentation based on a traveling art exhibit, it is pretty graceful about integrating contemporary Native views and information. It's only in recent years that scholars have taken the testimony of contemporary Native Americans about their own culture as seriously as they take their own theories about old artifacts that survived.

For all of these reasons I count this book as instantly one of my most treasured.

I saw the show in Chicago!!! Amazingly, the book, due to the excellent phothgraphy and printing comes close to the gallery experience. The text is insightful. A definite buy. I bought the book at the museum shop($60) and immediately purchased two copies for friends from my favorite bookseller - Mother Amazon!

people should be reading this stuff, not the same old boring Plato/Homer stuff. This is the interesting stuff, the trickster who gets tricked and then tricks others. It's so valuable. And beautiful. And underrated.

Just like Beck's "Shamans & Kushtakas" this book is a great reference on Tlingit & Haida mythology. She does an excellent job in both books passing on the legends of old into the 21st century. I am a Haida indian and I think she did a wonderful job

Having grown up in Alaska, I've had much exposure to Native Alaskan culture and have always loved reading or hearing their folklore. This particular book is a great collection of Tlingit-Haida legends, each of which is a sort of "how things came to be this way" story. They explain why a certain clan took a particular crest, or how a legendary hero came to fame, etc. What I found especially interesting is the comparison with folklore from other cultures. Each story is accompanied by a short introduction in which the author shows us the parallels between these tales and similar ones in Greek, Roman, and Egyptian mythology. The stories are set down in clear, simple language, but are still vivid and engrossing. My one criticism of the book would be that it's too short. There are only nine legends included, and this makes for only a small sampling of Tlingit-Haida lore. I would have loved to see more. However, I will not knock any point off my rating for this. The fact that I wish it had gone on longer only attests to its overall quality. This is a terrific book, easy to read, and I'd highly recommend it to anyone interested in native folklore.

You should buy this book for several reasons, but just being the last book that Linda Schele ever wrote should be enough. It will be a long time before someone with her talents helps put ink and photos on paper again. It's a collector's item. FFD

This book is well worth the price and a must for anyone interested in maya art and culture. Aside from the full color photographs of maya figurines from museums in both Mexico and the US, I also like the layout of the text which is divided into 10 chapters categorizing the figurines pictured and describing each one with extra explanations when needed. Definetely one of of the best books on the subject, highly recommendable.

The extraordinary photos in this book depict some of the most beautiful artifacts made by the Maya. Even the size and proportions of the book is intended to remind the reader of the Maya codices. I had the rare privilege to travel with both of the authors, and their enthusiasm and devotion to the Maya culture are exceptional. Their talents are apparent in this book and I recommend it to anyone with any interest in Mesoamerican cultures.

This book was a great help in my quest to acquire more information regarding the interaction between the Native American People and their horses. It is very difficult to find any information on this subject, let alone such specific information about the interaction between a particular tribe and their animals. I highly recommend this book. Now someone needs to do the same thing for the other Native American tribes.

I enjoy the authors convictions in preserving the Blackfoot Indian's knowledge of horsemenship. He provides an excellent review of early pre and post white contact and horse knowledge. Out of all the subjects I have studies within the field of Anthropology and the books I have read from archaeological subjects to cultural material of pre contact and paleoindians of the High Plains Ewer's book is by far the best I have studied. I would give my eye teeth to own a copy!!

As an early ethnographer of Native life on the northern Great Plains Ewer's work is always of interest.
He has been criticised for "inaccuracies" but I contend this is unavoidable in any work of ethnology or history. Change over time, inaccuracies of memory, and inconsistent accounts by different informants (and sometimes the same informant) contribute. Difficulties in language interpretation are unavoidable, even in native speakers. (Anyone who has ever played the game "Telegraph" knows this!)
The role of the horse was so central to Plains culture made it a clear window into Native culture in general. As with religion it was inextricably intertwined with most aspects of aboriginal life. Thus, the book treats not only with the horse but with economy, warfare, crafts, religion, nomadic patterns, ownership practices, hunting, and many other aspects of Blackfoot life.
Highly recommended.
Also see the excellent works of Hugh Dempsey, Beverly Hungry Wolf, Adolph Hungry Wolf, Paul Raczka, and Clark Wissler.

What is tragedy and how does it work? These are questions you will understand better after reading this book. Set sometime in the second half of the 19th century, the story concerns the fortunes of the Gourlay family in the small Scottish town of Barbie. John Gourlay, a big, domineering, but intellectualy challenged man dominates the local economy and has a monopoly of the carrying trade. He is harsh and powerful, of bull-like stature, and famous for his glower. On a brae overlooking Barbie he has built the House wIth the Green Shutters. This house is both the symbol of his dominance and an object of hatred and envy to the townsfolk.

Aristotle defined tragedy as a story depicting the downfall of a great man. At first it is hard to see this stupid, cruel, and grasping merchant as a great man, but The House With the Green Shutters will also improve your notions of what greatness is. John Gourlay is great because there is no fear or compromise in him. Although he may wish to be well thought of by the small-minded, two-faced gossips of the town, he is not prepared to go one inch out of his way for them, scorning even the banal pleasantries of small talk or phatic communication. He wants only their respect not their love, and respect him they do even though they also hate him.

With all true tragedy the tragic element comes directly from the greatness. It is his greatness that destroys John Gourlay. His stubborn pride and unflinching courage are qualities more suited to some heroic age of battles and revolutions. They do not fit into the petty, hypocritical world of 19th century Scotland. In this unheroic world his heroic qualities can only work towards his downfall. The thought constantly in one's mind as you read this novel is, 'If only he were a lesser man . . .' His inability to compromise by lowering himself to the same level as his fellow citizens, works to his disadvantage. Unable to plot, maneuver, and dissemble, his little empire is soon undermined by the arrival in town of Wilson, a glib self-seeking nobody with no real passion, but a much abler businessman in tune with the times. Affable and manipulative, false and corrupt he starts to squeeze Gourlay out of one thing after another. This is ,in effect, the triumph of style over substance that so bedevils our modern age. Although grim, proud and dour, Gourlay is an honest man, inept at chicanery, and unable to bend to suit the occasion.

The House With the Green Shutters is a tragedy in the full classical Greek sense of the word; the preordained fall of a hero who doesn't fit into an unheroic world; a great bull sacrificed to appease the Gods for human hubris. It is even more poignant from the fact that its keynote of tragedy was reflected in the life of its young author who had the misfortune to die only one year after writing such a masterpiece.

What is tragedy and how does it work? These are questions you will understand better after reading this book. Set sometime in the second half of the 19th century, the story concerns the fortunes of the Gourlay family in the small Scottish town of Barbie. John Gourlay, a big, domineering, but intellectualy challenged man dominates the local economy and has a monopoly of the carrying trade. He is harsh and powerful, of bull-like stature, and famous for his glower. On a brae overlooking Barbie he has built the House wIth the Green Shutters. This house is both the symbol of his dominance and an object of hatred and envy to the townsfolk.

Aristotle defined tragedy as a story depicting the downfall of a great man. At first it is hard to see this stupid, cruel, and grasping merchant as a great man, but The House With the Green Shutters will also improve your notions of what greatness is. John Gourlay is great because there is no fear or compromise in him. Although he may wish to be well thought of by the small-minded, two-faced gossips of the town, he is not prepared to go one inch out of his way for them, scorning even the banal pleasantries of small talk or phatic communication. He wants only their respect not their love, and respect him they do even though they also hate him.

With all true tragedy the tragic element comes directly from the greatness. It is his greatness that destroys John Gourlay. His stubborn pride and unflinching courage are qualities more suited to some heroic age of battles and revolutions. They do not fit into the petty, hypocritical world of 19th century Scotland. In this unheroic world his heroic qualities can only work towards his downfall. The thought constantly in one's mind as you read this novel is, 'If only he were a lesser man . . .' His inability to compromise by lowering himself to the same level as his fellow citizens, works to his disadvantage. Unable to plot, maneuver, and dissemble, his little empire is soon undermined by the arrival in town of Wilson, a glib self-seeking nobody with no real passion, but a much abler businessman in tune with the times. Affable and manipulative, false and corrupt he starts to squeeze Gourlay out of one thing after another. This is ,in effect, the triumph of style over substance that so bedevils our modern age. Although grim, proud and dour, Gourlay is an honest man, inept at chicanery, and unable to bend to suit the occasion.

The House With the Green Shutters is a tragedy in the full classical Greek sense of the word; the preordained fall of a hero who doesn't fit into an unheroic world; a great bull sacrificed to appease the Gods for human hubris. It is even more poignant from the fact that its keynote of tragedy was reflected in the life of its young author who had the misfortune to die only one year after writing such a masterpiece.

In his story of the downfall of an arrogant and essentially stupid man, George Douglas Brown is relentlessly unsentimental. His portrait of life in a tiny Scottish town in the late 1800's leaves the reader with no illusions about the narrow-mindedness of the inhabitants. Bleak as their existence is, the novel is not depressing, but fascinating. While many readers will have trouble with the dialect of the speakers (the narration is standard English), the effort required to "translate" is well rewarded.

This collect of Native American poetry is excellent. Joy Harjo relates her experience in a way that is accessable and meaningful. Mrs. Harjo is a poet that needs to be read and read again to explore her depth. We discussed several of her poems in a Great Books book club.

I have followed Harjo's poetry (and recorded music) for many years, ever since I saw her on PBS reading from "She Had Some Horses". This volume contains selections from her available books: "She Had Some Horses", "Secrets from the Center of the World", "In Mad Love and War", "The Woman Who Fell from the Sky" and "A Map to the Next World". As is frequently the case, the selections for this book are not precisely the poems I would have chosen. It does include the most powerful poems, for example "She Had Some Horses" with it's pounding litany rhythms, "Letter from the End of the Twentieth Century" which is the title track of her cd, "The Creation Story" with its exquisite line "I never had the words / to carry a friend from her death / to the stars / correctly." Somewhat to my surprise, the poems from Secrets from the Center of the World which fit the photographs so precisely in their original context, also succeed as poetry only in this volume (although I'd still recommend the original).

New to me in this volume are the poems from her early chapbooks "The Last Song" and "What Moon Drove Me to This?" as well as new poems from 1999-2001. The chapbook poems are interesting as the beginning of Harjo's development as a poet as well as being interesting poems in their own right .."Four Horse Songs" and "I Am a Dangerous Woman" stand out. In the new material, "Morning Prayers" has memorable lines "the nothingness / is vast and stunning, / brims with details ..." as does "Faith" with "I might miss / The feet of god / Disguised as trees."

Harjo's poetry is strongly political - a Native peoples voice angry at the European invaders/immigrants. More importantly, her voice is one seeking a way to live well in contemporary society where living well requires memory of a time we lived with greater respect for our environment, greater responsibility for our network of relatives.

It is profound, inspiring experience to read this collection. These writings are courageous and life-affirming.

Mr. Driebe has done beautiful creative work in his compilation of In Search of the Wild Indian. It is packed full of photographs and has enough history and information to provide the reader with a great understanding of the photographer's life work while instilling the desire to want to learn more about these native peoples. The subjects in the photos are uplifting, haunting and expressive. The energy in this book is amazing. I thank Mr. Driebe for this gift -- it is ageless and will continue to take top billing on my coffee table.

Not often am I willing to spend this amount on a book; this one is worth the price. Excellent pictoral, and the details are just wonderful. Portrays Native Americans as no other work has; in detail and with respect!!

A BEAUTIFUL book and great addition to a home library. This book is about Carl and Grace Moon who had a special connection to the Indians of the southwest, however it is also about the wonderful Native people who inspired them. Many beautiful photos and very in-depth text! These people are still there, I have visited with them often. I hope this book will serve as a wonderful tribute to them.