North America Books
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Fascinating historical fiction that is every early settler's storyReview Date: 2008-02-15
Its fantastic!Review Date: 2004-03-01
Hawk's Valley: A Good Place to DieReview Date: 2003-03-22

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IT MAKES YOU THINKReview Date: 2003-11-04
VALUABLE LESSONS FOR BOTH THE PATIENT & LOVED ONESReview Date: 2001-09-06
Very Informative and Easy to ReadReview Date: 2000-06-15
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Makes it easy to get started and is also a great reference!Review Date: 2002-01-03
Great introduction and reference guideReview Date: 2002-01-03
Whether you know a little or a lot...Review Date: 2000-04-14

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"We are the people."Review Date: 2005-03-06
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).
Le culture completement lieReview Date: 2004-01-15
It Runs in the CulturesReview Date: 2003-03-24
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.

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Excellent layout and variety of content.Review Date: 1998-09-01
Hidden MontanaReview Date: 2007-08-01
Covers inns, tours, drives, and outdoors explorationsReview Date: 2001-09-12

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Not So HiddenReview Date: 2007-06-13
A giftReview Date: 2007-03-21
Excellent ResourceReview Date: 1999-09-27

His Girl FridayReview Date: 2005-01-27
"Once my mouth covers yours, there's no going back."
Even as his lips dragged roughly across hers, Danetta Marist knew her boss meant what he said. He was always arrogant and demanding, and this kiss was no exception. She could barely breathe for the intense heat that sizzled between them. But she believed in marriage, and Cabe Ritter was a terrible womanizer...
In fact, Cabe used his 'ladies' man' image; it kept him safe from women-like his pretty secretary-who wanted a commitment. But Danetta's innocence went to his head and, once he'd held her in his arms, he wanted to keep her there-forever!
His Girl Friday by Diana Palmer (Silhouette Desire Large Print)Review Date: 2006-10-18
Description from the book back cover:
On-the-job training ... Danetta Marist didn't know what to do about her gruff, handsome boss. He gave her looks that made her spine tingle. And then there was that sweet, heart-stopping kiss in his office. But Danetta believed in marriage, and everyone knew rugged Cabe Ritter was a terrible womanizer ... In his heart, Cabe was no playboy. His "ladies' man" image had kept him safe from women - like his pretty secretary - who wanted a commitment. Cabe realized that young, fresh and deliciously tempting Danetta had a lot to learn about love. But now that he'd held her in his arms he decided that he had to be the man to teach her ... for the rest of their lives.
trippin june 2001Review Date: 2001-06-18


A missing part of American HistoryReview Date: 2002-10-15
Filling the gapsReview Date: 2004-09-10
A work that is neededReview Date: 1998-09-19

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An extensive discussion of widespread philosophical beliefsReview Date: 2004-03-04
Superb reference book!Review Date: 2001-01-16
a masters student at Iowa State UniversityReview Date: 1999-11-28

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Important bookReview Date: 2008-07-03
marvelous work of scholarshipReview Date: 2008-03-18
Review of Homeland MythologyReview Date: 2008-02-20
Christopher Collins' Homeland Mythology: Biblical Narratives in American Culture exposes layers of sediment that have occluded our view of what is American. To all those who love to quote one side of a coin, "In God We Trust," never turning it over to read "In Diversity United," this is essential reading. All cultures survive and perish on their stories, but the unexamined story, as Collins demonstrates, is a perverse lie, a tool for propagandists and tyrants. It is one thing to suspend disbelief when listening to a work of fiction, but if we carry our fairy tales into adulthood, then we risk delusional behavior on a collective level. Worse, we act on beliefs we believe are already ordained by God, with drastic consequences: imperialistic expansion, racism, disregard for human rights, disregard for the environment, war.
Collins traces a direct line from the Christian interpretations of Biblical stories from the beginning of European history and Anglo history in the New World right to the current White House and to a vast array of rhetorical givens in the media and collective consciousness. He shows that not all narratives assume the same idea of time or history. The Hebrew Bible looks to the past, embracing ancient traditions: Isaac "follows" Abraham. The Christian appropriation of The Hebrew Bible, much like the Islamic, imposes a tortured interpretation, declaring the Hebrew Bible to be a foreshadowing of the coming (and coming again) of Jesus Christ, a forward narrative movement.
Pointing out how politicians have scoured the Bible for fear-mongering language is pretty easy, but exposing how they have used Bible stories, already embedded in a collective psyche, to justify horrific acts requires insight and careful documentation, which Collins has achieved. Collins' work is to the study of the Judeo-Christian traditions what Bernard Lewis' works have been to our understanding of Islam. And Like Lewis, Collins is scholarly without ever being pedantic. Bringing together literary analysis, rhetorical theory, and cultural anthropology, Collins adeptly presents us with a book that is both profound and reader friendly.
Marlon L Fick
Related Subjects: Canada United States Mexico
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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.