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The best-known work by the eccentric anthropologist Jaime de Angulo, Indians in Overalls is a fascinating account of his first linguistic field trip—in 1921—to the Achumawi tribe of northeastern California. The Pit River tribe had lived in the barren high country for thousands of years and, despite the harsh climate and difficult living conditions, they had developed an extraordinary complex language and a rich mythology. As he traveled with the tribe and learned the spoken language, he observed gambling games and shamanistic practices, and he collected some of the marvelous stories told around the fire in the winter lodges. Of all the people he worked with, he felt closest to the Achumawi, among whom he discovered “the spirit of wonder, the recognition of life as power. . .” "One of the most outstanding writers I have ever encountered." — William Carlos Williams Jaime de Angulo (1887-1950) was a Paris-born Spanish novelist and linguist. His other works include Coyote Man and Old Doctor Loon, Coyote's Bones, and The Lariat: and Other Writings.
The Lariat tells the story of Fray Luis, a Franciscan monk, who comes to Northern California to convert the Native Americans to Christianity. This text includes other stories as well.
During World War II, unprecedented employment avenues opened up for women and minorities in U.S. defense industries at the same time that massive population shifts and the war challenged Americans to rethink notions of race. At this extraordinary historical moment, Mexican American women found new means to exercise control over their lives in the home, workplace, and nation. In From Coveralls to Zoot Suits, Elizabeth R. Escobedo explores how, as war workers and volunteers, dance hostesses and zoot suiters, respectable young ladies and rebellious daughters, these young women used wartime conditions to serve the United States in its time of need and to pursue their own desires. But even after the war, as Escobedo shows, Mexican American women had to continue challenging workplace inequities and confronting family and communal resistance to their broadening public presence. Highlighting seldom heard voices of the "Greatest Generation," Escobedo examines these contradictions within Mexican families and their communities, exploring the impact of youth culture, outside employment, and family relations on the lives of women whose home-front experiences and everyday life choices would fundamentally alter the history of a generation.
Rolling in Ditches with Shamans charts American anthropology in the 1920s through the life and work of one of the amateur scholars of the time, Jaime de Angulo (1887?1950). Although he earned a medical degree, de Angulo chose to live on an isolated ranch in Big Sur, California, where he participated fully in the lives of the people who were his ethnographic informants. The period of his most extensive research coincides almost perfectly with the professionalization of anthropology, and de Angulo provides a link between those who are generally recognized as the most important figures of the day: Franz Boas, Alfred Kroeber, and Edward Sapir. ø The fields of salvage ethnography and linguistics, which Boas emphasized, were aimed at recording the culture, language, and myths of the Native groups before they became completely acculturated. In keeping with these dictates, de Angulo recorded data from thirty groups, mostly in California, which otherwise might have been lost. In an unusual move for that time, he also wrote fiction and poetry describing the modern lives of the people he studied, something of little interest to Boas but of great interest today. His most enduring work is Indian Tales, a fictional synthesis of myths learned from various California Indians. De Angulo?s range of interests, originality, and expertise exemplified the curiosity and brilliance of those who pioneered American anthropology at this time.
From New York Times bestselling author Sherman Alexie and Caldecott Honor winning Yuyi Morales comes a striking and beautifully illustrated picture book celebrating the special relationship between father and son. Thunder Boy Jr. wants a normal name...one that's all his own. Dad is known as big Thunder, but little thunder doesn't want to share a name. He wants a name that celebrates something cool he's done like Touch the Clouds, Not Afraid of Ten Thousand Teeth, or Full of Wonder. But just when Little Thunder thinks all hope is lost, dad picks the best name...Lightning! Their love will be loud and bright, and together they will light up the sky.
Hailed by Ezra Pound as the "American Ovid" and renowned as a linguist and a self-described "amateur anthropologist," Jaime de Angulo drew on his forty years among the Pit River tribe of California to create the amalgam of fiction, folklore, tall tales, jokes, ceremonial ritual, and adventure that is Indian Tales. He first wrote these stories to entertain his children, borrowing freely from the worlds of the Pit, and also of the Miwok, Pomo, and Karok. Here are the adventures of Father Bear, Mother Antelope, the little boy Fox, and, of course, Old Man Coyote in a time when people and animals weren't so very far apart. The author's intent was not so much to rer anthropologically faithful translations-though they are here-as to create a magical world fueled by the power of storytelling while avoiding the dangers for the romantic and picturesque. True to the playful and imaginative spirit he portrays, de Angulo mischievously recommends to readers: "When you find yourself searching for some mechanical explanation, if you don't know the answer, invent one. When you pick out some inconsistency or marvelous improbability, satisfy your curiosity like the old Indian folk: 'Well, that's the way they tell that story. I didn't make it up!'"
Across North America, hundreds of reconstructed Oliving historyO sites, which traditionally presented history from a primarily European perspective, have hired Native staff in an attempt to communicate a broader view of the past. Playing Ourselves explores this major shift in representation, using detailed observations of five historic sites in the U.S. and Canada to both discuss the theoretical aspects of Native cultural performance and advise interpreters and their managers on how to more effectively present an inclusive history. Drawing on anthropology, history, cultural performance, cross-cultural encounters, material culture theory, and public history, author Laura Peers examines Oliving historyO sites as locations of cultural performance where core beliefs about society, cross-cultural relationships, and history are performed. In the process, she emphasizes how choices made in the communication of history can both challenge these core beliefs about the past and improve cross-cultural relations in the present.
Winner of the Bram Stoker Award for Best Novel In her quickly gentrifying rural lake town Jade sees recent events only her encyclopedic knowledge of horror films could have prepared her for in this latest chilling novel that “will give you nightmares. The good kind, of course” (BuzzFeed) from the Jordan Peele of horror literature, Stephen Graham Jones. “Some girls just don’t know how to die…” Shirley Jackson meets Friday the 13th in My Heart Is a Chainsaw, written by the New York Times bestselling author of The Only Good Indians Stephen Graham Jones, called “a literary master” by National Book Award winner Tananarive Due and “one of our most talented living writers” by Tommy Orange. Alma Katsu calls My Heart Is a Chainsaw “a homage to slasher films that also manages to defy and transcend genre.” On the surface is a story of murder in small-town America. But beneath is its beating heart: a biting critique of American colonialism, Indigenous displacement, and gentrification, and a heartbreaking portrait of a broken young girl who uses horror movies to cope with the horror of her own life. Jade Daniels is an angry, half-Indian outcast with an abusive father, an absent mother, and an entire town that wants nothing to do with her. She lives in her own world, a world in which protection comes from an unusual source: horror movies…especially the ones where a masked killer seeks revenge on a world that wronged them. And Jade narrates the quirky history of Proofrock as if it is one of those movies. But when blood actually starts to spill into the waters of Indian Lake, she pulls us into her dizzying, encyclopedic mind of blood and masked murderers, and predicts exactly how the plot will unfold. Yet, even as Jade drags us into her dark fever dream, a surprising and intimate portrait emerges…a portrait of the scared and traumatized little girl beneath the Jason Voorhees mask: angry, yes, but also a girl who easily cries, fiercely loves, and desperately wants a home. A girl whose feelings are too big for her body. My Heart Is a Chainsaw is her story, her homage to horror and revenge and triumph.
One of the most colorful and captivating writers of the 20th century, Jaime de Angulo came to America to become a cowboy, not an author. And he did become a cowboy—and a doctor, and a psychologist, and a highly regarded anthropologist. However, it was as a writer that he ultimately found his true calling. His stories uniquely represented the bohemian sensibility of the time, and he was known for infusing intellectualism into his coyote tales and shamanic mysticism. So vivid were his tales that Ezra Pound called him "the American Ovid," and William Carlos Williams claimed that de Angulo was "one of the most outstanding writers that I have ever encountered." The Lariat, which may well be his most important piece of fiction, is highlighted in this prize collection, along with other writings that have long been unavailable.