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Born in 1833, Peter Erasmus was a colourful and important character in the events that marked western Canada's transformation from the open buffalo plains of Rupert's Land into townsites and farmsteads. He was a remarkable and highly educated man, fluent in six Native languages as well as English, Latin and Greek, and respected by Native peoples, white settlers and explorers. Trained by the church for missionary work, Erasmus instead became one of the "mixed-blood" guides and interpreters who helped shape the Canadian west. His long career as a celebrated buffalo hunter, mission worker, teacher, trader and interpreter made him a legend in his own time. His involvement in such events as the Palliser expedition, the smallpox epidemic of the 1870's, the signing of Treaty No. Six, and the last big buffalo hunt has ensured his place in history long after his death at the age of ninety-seven. Buffalo Days and Nights is a lively and fascinating account of his experiences, first assembled with the help of Henry Thompson, an Edmonton reporter, in the 1920's. It is a classic in western Canadian history that offers an insider's view into the events that surrounded the start of a new era.
Mooar describes how buffalo hunting became a huge business that thrived for less than a decade in the 1870's and makes the case that the buffalo hunter, more than anyone else, opened the way for white settlement by eradicating the Indians' source of food.
What does it mean to be Metis? How do the Metis understand their world, and how do family, community, and location shape their consciousness? Such questions inform this collection of essays on the northwestern North American people of mixed European and Native ancestry who emerged in the seventeenth century as a distinct culture. Volume editors Nicole St-Onge, Carolyn Podruchny, and Brenda Macdougall go beyond the concern with race and ethnicity that takes center stage in most discussions of Metis culture to offer new ways of thinking about Metis identity. Geography, mobility, and family have always defined Metis culture and society. The Metis world spanned the better part of a continent, and a major theme of Contours of a People is the Metis conception of geography—not only how Metis people used their environments but how they gave meaning to place and developed connections to multiple landscapes. Their geographic familiarity, physical and social mobility, and maintenance of family ties across time and space appear to have evolved in connection with the fur trade and other commercial endeavors. These efforts, and the cultural practices that emerged from them, have contributed to a sense of community and the nationalist sentiment felt by many Metis today. Writing about a wide geographic area, the contributors consider issues ranging from Metis rights under Canadian law and how the Library of Congress categorizes Metis scholarship to the role of women in maintaining economic and social networks. The authors’ emphasis on geography and its power in shaping identity will influence and enlighten Canadian and American scholars across a variety of disciplines.
Writing about the economic collapse and social unrest of her 1970s childhood in Buffalo, New York, Laura Pedersen was struck by how things were finally improving in her beloved hometown. As 2008 began, Buffalo was poised to become the thriving metropolis it had been a hundred years earlier—only instead of grain and steel, the booming industries now included healthcare and banking, education and technology. Folks who'd moved away due to lack of opportunity in the 1980s talked excitedly about returning home. They mised the small-town friendliness and it wasn't nostalgia for a past that no longer existed—Buffalo has long held the well-deserved nickname the City of Good Neighbors. The diaspora has ended. Preservationists are winning out over demolition crews. The lights are back on in a city that's usually associated with blizzards and blight rather than its treasure trove of art, architecture, and culture.
The Book of Ten Nights and a Night offers both a keen introduction to the genius of John Barth and a deeply human argument for the enduring value of literature. Gathering stories written throughout this postmodern master's long career, the collection spans his entire range of styles, from straightforward narrative to experimental metafiction. In the time immediately following September 11, 2001, the veteran writer Graybard spends eleven nights with a nubile muse named WYSIWYG (What You See Is What You Get). The two lovers debate the meaning and relevance of writing and storytelling in the wake of disaster, telling a new tale each night in the tradition of Scheherazade. The Book of Ten Nights and a Night exhibits the thrilling blend of playfulness and illuminating insight that have marked Barth as one of America's most distinguished writers.
Titles include "I look pretty," "Fun," "Riding on the train," "Harriet Tubman," and "By myself."
Imagine that Alice had walked into a bar instead of falling down the rabbit hole. In the tradition of J. R. Moehringer’s The Tender Bar and the classic reportage of Joseph Mitchell, here is an indelible portrait of what is quite possibly the greatest bar in the world—and the mercurial, magnificent man behind it. The first time he saw Sunny’s Bar, in 1995, Tim Sultan was lost, thirsty for a drink, and intrigued by the single bar sign among the forlorn warehouses lining the Brooklyn waterfront. Inside, he found a dimly lit room crammed with maritime artifacts, a dozen well-seasoned drinkers, and, strangely, a projector playing a classic Martha Graham dance performance. Sultan knew he had stumbled upon someplace special. What he didn’t know was that he had just found his new home. Soon enough, Sultan has quit his office job to bartend full-time for Sunny Balzano, the bar’s owner. A wild-haired Tony Bennett lookalike with a fondness for quoting Shakespeare and Samuel Beckett, Sunny is truly one of a kind. Born next to the saloon that has been in his family for one hundred years, Sunny has over the years partied with Andy Warhol, spent time in India at the feet of a guru, and painted abstract expressionist originals. But his masterpiece is the bar itself, a place where a sublime mix of artists, mobsters, honky-tonk musicians, neighborhood drunks, nuns, longshoremen, and assorted eccentrics rub elbows. Set against the backdrop of a rapidly transforming city, Sunny’s Nights is a loving and singular portrait of the dream experience we’re all searching for every time we walk into a bar, and an enchanting memoir of an unlikely and abiding friendship. Praise for Sunny’s Nights “Fantastic . . . [Sultan takes] material that might seem familiar and [mixes] a perfect, insightful cocktail: full-bodied, multitextured and delicious. . . . Simply beautiful.”—The New York Times Book Review “Sultan’s love of Red Hook shines through, and it’s hard not to be swept along on the ebb and flow of his emotions. . . . Sultan’s book is, among other things, a meditation on the fragility of the moment and the passage of time. . . . Wistful, funny and biting, Sunny’s Nights rewards you with its evocation of a certain place in time and, as Sultan calls him, ‘the most original man I have ever met.’”—Newsday “An affectionate portrait of the idiosyncratic Sunny’s Bar.”—USA Today “Sultan finds Sunny . . . a real character, a poet, a cinephile, a philosopher, bluegrass maestro and (Rheingold) beer server.”—New York Post (“Required Reading”) “Captivating . . . a classic story about a local bar.”—The Buffalo News “An enchanting memoir, a profound meditation on place and a beautiful story of an unlikely and abiding friendship.”—Brooklyn Daily Eagle “[A] polished, affecting look at remarkable barkeep Sunny Balzano . . . In elegant prose, Sultan deploys laconic humor, an instinct for telling details, a taste for eccentricity, and above all, clear-eyed compassion for our all-too-human failings.”—Publishers Weekly (starred review) “Beautifully wrought . . . an indelible portrait of an unusual man and a nearly forgotten part of NYC.”—Booklist “More than an elegy for a bar and a neighborhood—it’s also a vivid and loving portrait of the larger-than-life eccentric who gave the bar its name and its spirit.”—Tom Perrotta, author of The Leftovers
In this fascinating account of scientific study among forbidding wilderness, a husband-and-wife team describe their trek to the Kalahari to study the little-known brown hyena. The details of the scientific inquiry are provided while the daily challenges of living with children 420 kilometers from the nearest town are described. Despite the hardships, the couple becomes so enchanted by these intelligent animals that they stay for 12 years, documenting many hyena clans and observing behavior only a handful of people have ever seen.
Clipping hoodies changed Sura's life. He's shipped off to Hamstock, a juvenile detention center that's worse than most. At the Stock they don't. try to keep juvies till they reform. They just keep guys till they feel like letting them go. Sura and his patchmate, a kid named Coly Jo, look out for each other and try to evade the Stock's sadistic games. But things turn bad fast for Coly Jo, and Sura helplessly watches his friend's descent into hell, determined to escape with his own body and spirit intact -- if he can. Thirteen-year old Sura--intelligent, reckless, sensitive, and adrift--is serving a six-month sentence at Hamstock Juvenille Detention Center. Coping wiht the brutal pressures of life inside "the Stock," Sura helplessly watches his doomed bunkmate, Coly Jo, fall prey to the worst excesses of the prison system, and determines to escape with his own body and spirit intac -- if he can.
Children of the Day opens on a June morning in 1953, when Sara Vandal, convinced that her husband has been having a decades-long affair, decides that she is too sick to get out of bed. With ten children in the house (and a possible eleventh on the way), this decision sets off a day of chaos, reflection and near disaster for the Vandal family. Sara’s husband, Oliver, heads to the town hotel and bar in Union Plains, Manitoba, where he has been the manager for the past twenty years—a position he suspects he’ll no longer have by the end of the day. In an attempt to avoid the unavoidable, Oliver decides instead to pay a visit to Alice Bouchard, his childhood sweetheart across the river. Throughout the day, both Oliver and Sara reflect on how their lives collided—a car accident that brought them together and tore them from the futures their families expected of them. Sara (from Sandra Birdsell’s previous novel, The Russländer) recalls her life in the big city of Winnipeg in the 1930s—a young Russian Mennonite woman lucky enough to escape the shackles of her overbearing culture. Oliver remembers his wedding day photograph—his the only Métis face in a crowd of Mennonites—and the precise moment when he suddenly grasped the enormity of his decision to “do the right thing.” The Vandal children, too, must deal with this unusual disruption of their daily routine. Alvina, the oldest, secretly handles the stress of her family, her plan to escape them all, and her discovery of the world’s evil in the only way she knows how. Emilie worries about losing her happy-go-lucky father while facing the town’s heretofore hidden racism head-on. The boys live up to their family name by recklessly taking chances and literally playing with fire. And since her mother won’t come out of her bedroom, Ruby, just a little girl herself, must take charge of the babies with danger lurking in every corner. By nightfall the extended Vandal family will be thrown together to work out the problems of the past and exorcise the ghosts that haunt them, which have all, in their own way, set this June day’s events in motion.