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Sun Dog and his father, Loud Dog find a mare, she gives birth to Patch. Patch fulfills Sun Dog's dream of having a horse. The Spaniards attack their village, which forces the Indians to move to hide. Fear causes them go to the Apache to learn the art of warfare.
An old elk hunter has set up an isolated camp in the Big Horn Mountains of northeastern Wyoming a week ahead of the opening of rifle season for a little quiet time before the rest of his family shows up. Alois, Ace, Gronsky and his dog Dozer are sucked into events that swirl around their idyllic setting, as teams of suspicious strangers set up three camps in separate locations in the vicinity. Not only are the strangers unfriendly, they are downright hostile to anyone snooping around. Little wonder; they plan to shoot down Air Force One on its way back from Jackson Wyoming. Five Jihadists are broken out of the new prison in nearby Wesley Montana and given the equipment they believe will shoot down the presidents plane. The jihadists are purposely set up for failure. Air Force One goes down. The home grown Wyoming Militia, with collusion from corrupt law enforcement, wipe out the Jihadists, and the government manipulated media tells the world that the POTUS (the President of the United States) and his family are dead while those responsible have been destroyed. Ace has rescued his kidnapped Indian friend from the Jihadists and they witness the shoot-down of Air Force One and two escort fighter jets. They also witness the deployment of the presidents escape pod and the pilot ejected from one of the fighters. If things were not bad enough already, Ace, his friend, Billy Black Stone, and fighter pilot Melanie, Yaz, Yasulevicz, must protect the first family from the teams bent on finishing the job, and battle winter conditions in the mountains of northern Wyoming. Despite the snow, things really heat up during the climax of this tale.
“The best book by far on the Pacific War” (The New York Times Book Review), this classic one-volume history of World War II in the Pacific draws on declassified intelligence files; British, American, and Japanese archival material; and military memoirs to provide a stunning and complete history of the conflict. This “superbly readable, insightful, gripping” (Washington Post Book World) contribution to WWII history combines impeccable research with electrifying detail and offers provocative interpretations of this brutal forty-four-month struggle. Author and historian Ronald H. Spector reassesses US and Japanese strategy and shows that the dual advance across the Pacific by MacArthur and Nimitz was more a pragmatic solution to bureaucratic, doctrinal, and public relations problems facing the Army and Navy than a strategic calculation. He also argues that Japan made its fatal error not in the Midway campaign but in abandoning its offensive strategy after that defeat and allowing itself to be drawn into a war of attrition. Spector skillfully takes us from top-secret strategy meetings in Washington, London, and Tokyo to distant beaches and remote Asian jungles with battle-weary GIs. He reveals that the US had secret plans to wage unrestricted submarine warfare against Japan months before Pearl Harbor and shows that MacArthur and his commanders ignored important intercepts of Japanese messages that would have saved thousands of lives in Papua and Leyte. Throughout, Spector contends that American decisions in the Pacific War were shaped more often by the struggles between the British and the Americans, and between the Army and the Navy, than by strategic considerations. Spector vividly recreates the major battles, little-known campaigns, and unfamiliar events leading up to the deadliest air raid ever, adding a new dimension to our understanding of the American war in the Pacific and the people and forces that determined its outcome.
For many years he has also produced detailed paintings that draw on his ethnographic expertise to recreate the settings in which the old Native American art objects were used."--BOOK JACKET.
Stories about modern Indians in Canada. The story, Sundogs, is on the experiences of a young student in a white milieu in Vancouver. She finds herself being Indian among whites and white among Indians.
Arranged in alphabetical order, these 5 volumes encompass the history of the cultural development of America with over 2300 entries.
The 50th anniversary edition of this classic work on the art of Northwest Coast Indians now offers color illustrations for a new generation of readers along with reflections from contemporary Northwest Coast artists about the impact of this book. The masterworks of Northwest Coast Native artists are admired today as among the great achievements of the world’s artists. The painted and carved wooden screens, chests and boxes, rattles, crest hats, and other artworks display the complex and sophisticated northern Northwest Coast style of art that is the visual language used to illustrate inherited crests and tell family stories. In the 1950s Bill Holm, a graduate student of Dr. Erna Gunther, former Director of the Burke Museum, began a systematic study of northern Northwest Coast art. In 1965, after studying hundreds of bentwood boxes and chests, he published Northwest Coast Indian Art: An Analysis of Form. This book is a foundational reference on northern Northwest Coast Native art. Through his careful studies, Bill Holm described this visual language using new terminology that has become part of the established vocabulary that allows us to talk about works like these and understand changes in style both through time and between individual artists’ styles. Holm examines how these pieces, although varied in origin, material, size, and purpose, are related to a surprising degree in the organization and form of their two-dimensional surface decoration. The author presents an incisive analysis of the use of color, line, and texture; the organization of space; and such typical forms as ovoids, eyelids, U forms, and hands and feet. The evidence upon which he bases his conclusions constitutes a repository of valuable information for all succeeding researchers in the field. Replaces ISBN 9780295951027
USA Today bestselling Author: The saga of Falcon MacCallister—wanderer, lawman, heir to a family that raised him on courage, vigilance, and gunsmoke . . . This is no day to die In Sorrento, Texas, there is only one law: the hangman's law. Right now the condemned waits for his last meal in a cramped jail cell. But Falcon MacCallister will not go quietly to the gallows . . . Falcon was called to Sorrento by a crusading newspaper reporter trying to expose a conspiracy of greed and corruption—with innocent men dying at the end of a court-ordered rope. As acting US Marshal, Falcon quickly makes some very dangerous enemies. Then he himself is sentenced to hang. But in twenty-four hours he'll be out of jail, out on the streets, and shooting lead against a small army of gunmen. Because he knows the three men who have taken over Sorrento. And he sentences them to death—the MacCallister brand . . .
Long known as the Cannibal Dance, the Hamat̓sa is among the most important hereditary prerogatives of the Kwakwa̱ka̱ꞌwakw of British Columbia. In the late nineteenth century, as anthropologists arrived to document the practice, colonial agents were pursuing its eradication and Kwakwa̱ka̱ꞌwakw were adapting it to endure. In the process, the dance – with dramatic choreography, magnificent bird masks, and an aura of cannibalism – entered a vast library of ethnographic texts. Writing the Hamat̓sa offers a critical survey of attempts to record, describe, and interpret the dance over four centuries. Going beyond postcolonial critiques of representation that often ignore Indigenous agency in the ethnographic encounter, Writing the Hamat̓sa focuses on forms of textual mediation and Indigenous response that helped transofrm the ceremony from a set of specific performances into a generalized cultural icon. This meticulous work illuminates how Indigenous people contribute to, contest, and repurpose texts in the process of fashioning modern identities under settler colonialism.