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Jane Ann Rogers is 15 years old when she travels from Britain to America with her parents in 1852. They were hoping she would enjoy looking for gold in California so much that she would forget about dreaming how to paint portraits as she was. On their way by wagon, they are trapped in an avalanche and her parents are killed. Jane Ann is kept alive when a white buffalo cow settles across where shes buried. She is saved by a small hunting party of young Sioux Lakota who take her to their Medicine Man (Grandfather) and his daughter (Rena) with whom she lives for over three years while her broken bones are mending. Chief Sitting Bull discovered that she has visions of White Buffalo Woman and he asks her to tell the people what she can about the white man coming to Sioux land. He named her Sioux Blessing Girl but she is afraid the people will not like what she says. She decides to run away and ends up a captive of a band of Crow renegades led by a white Cavalry officer.She is protected by Bear, a cousin of Red Cloud. She is rescued by Red Cloud, but later she must choose between Red Cloud and Bear. Her husband and child are killed after she has been kidnapped and taken to St. Louis. Jane Ann is rescued by an old friend who helps her get passage back to Indian territory. She finds her husband and son have been killed. She tracks their spirits to the sacred Black Hills where White Buffalo Woman helps convince her to release them to Spirit and return home to England.
A New York Times bestseller—over one million copies sold! A National Book Award winner A Boston Globe-Horn Book Award winner Bestselling author Sherman Alexie tells the story of Junior, a budding cartoonist growing up on the Spokane Indian Reservation. Determined to take his future into his own hands, Junior leaves his troubled school on the rez to attend an all-white farm town high school where the only other Indian is the school mascot. Heartbreaking, funny, and beautifully written, The Absolutely True Diary of a Part-Time Indian, which is based on the author's own experiences, coupled with poignant drawings by Ellen Forney that reflect the character's art, chronicles the contemporary adolescence of one Native American boy as he attempts to break away from the life he was destined to live. With a forward by Markus Zusak, interviews with Sherman Alexie and Ellen Forney, and black-and-white interior art throughout, this edition is perfect for fans and collectors alike.
The journals and memoirs of nineteenth-century explorers and travelers in the American West often told of viewing buffalo massed together as far as the eye could see. This book appropriately covers the subject of the buffalo as extensively as that animal covered the plains. Other recent accounts of the buffalo have focused on two or three aspects, emphasizing its natural history, the hunters and the hunted in prehistoric time, the relationship between the buffalo and the American Indian. David Dary's treatment stretches from horizon to horizon. Of course he discusses the origin of the buffalo in North America, its locations and migrations, its habits, its significance and role in both Indian and white cultures, its near demise, its salvation. But more. Dary weaves throughout his fact-filled book fascinating threads of lore and legend of this animal that literally helped mold who and what America is. Further, in addition to detailing the extinction which almost befell this mythic beast and the attempts to give life again to the herds, Dary concentrates significant attention on the buffalo as part of twentieth-century America in terms of captivity, husbandry, and symbol. The Buffalo Book rounds up all the contemporary buffalo. Dary has located just about every single buffalo alive today in the United States. He has visited or corresponded with everyone who raises a private or government herd, small or large. He maps their location, size, purpose, future. There are even some instructions about how to raise buffalo if one is so inclined. For the gourmet, The Buffalo Book provides a number of recipes, such as Sweetgrass Buffalo and Beer Pie or Buffalo Tips à la Bourgogne. From the buffalo nickel to Wyoming's state flag, from the University of Colorado's mascot to Indiana's state seal, we picture and use the buffalo in hundreds of ways; Dary surveys the nineteenth- and twentieth-century symbolic adaptation of the animal.
Our friends and family—even strangers—can be tools to help shape us as we grow… Diary of a Christian Mystic is the result of a promise author Jennifer Lench made to her dying grandmother. Knowing that Jennifer kept much hidden, her grandmother asked her to open up about her oddities. For Jennifer, the poetry flowed easily and was a release; writing stories about her life proved more challenging. But it is in the retelling of these stories—through poetry and essays—that Lench is hoping to inspire others to find love’s presence—a presence that has guided and molded her throughout her life.
This collection of essays represents an attempt to move beyond degradation and exploitation as the defining ecological narratives of the Great Plains by examining the region through the interrelated themes of water, grasses, animals, and energy.
Cornelia Wadsworth Adair’s ancestors had pioneered in western New York, where they opened and developed large, palatial estates; and the life they lived was elegant and aristocratic. Adair too was discreetly cultured; yet she took great personal pleasure in the rough and primitive land of her famed JA Ranch in north Texas. Because of physical discomfort and noisy passengers, she detested traveling by railroad coach; yet she could ride all day on horseback and lie down to sleep on a makeshift cot by a waterhole or on an Indian’s flea-infested buffalo rug. She was a lady of interesting contradictions. This little Diary is her lively account of a two-month trip which she and her husband made into the western part of the United States in 1874. The ostensible purpose of the trip was to hunt buffalo; however, these large beasts actually play a very small part in the journal. Rather, the book is an interesting and often amusing account, by an observant woman, of the long journey from her husband’s estate in Ireland to New York, to Chicago and on into upper Michigan, across Lake Superior to Minnesota, down the Mississippi for several days, out to the buffalo-hunting grounds in Nebraska, then to Denver and the wonders of the Rocky Mountains, and finally back to New York and the Europe-bound ship. Adair writes with an easy fluency; and her eye for picturesque detail, her taste for amusing incongruities, her romanticist’s delight in Nature, and her instinct for a “good tale” combine to make her Diary pleasant and entertaining reading, while her powers of keen observation provide valuable insight into life as it was then in the West. First printed for private circulation in 1918, the original book is now a rare collector’s item of Western Americana. Mrs. Adair said that she was allowing its publication for two reasons. First, she was afraid that her grandchildren and young friends would remember her only as “an old lady who sat in an armchair, and whose stick had to be looked for”; she wanted them to know that she had once been “a very lively person . . . [who] did all sorts of exciting things.” Second, she felt it worthwhile to record her experiences because “the world is changing so quickly, ways of travelling especially so . . . and I think it may be interesting to compare what was done in 1874 with what will be done by the time the children are able to travel. No doubt they will do their journeys by air, and do many, many things that I have not been able to do; but they can never see the prairies of America in their wild uncivilised state, or hunt buffalo over them, nor can they pow-wow with the Red Indians in a camp on the Platte River. So every time has its own special joys, and the great thing is to miss as little as possible, and to share as much.”
The Western introduces the novice to the pleasures and the meanings of the Western film, shares the excitement of the genre with the fan, addresses the suspicions of the cynic and develops the knowledge of the student. The Western is about the changing times of the Western, and about how it has been understood in film criticism. Until the 1980s, more Westerns were made than any other type of film. For fifty of those years, the genre was central to Hollywood's popularity and profitability. The Western explores the reasons for its success and its latter-day decline among film-makers and audiences alike. Part I charts the history of the Western film and its role in film studies. Part II traces the origins of the Western in nineteenth-century America, and in its literary, theatrical and visual imagining. This sets the scene to explore the many evolving forms in successive chapters on early silent Westerns, the series Western, the epic, the romance, the dystopian, the elegiac and, finally, the revisionist Western. The Western concludes with an extensive bibliography, filmography and select further reading. Over 200 Westerns are discussed, among them close accounts of classics such as Duel in the Sun, The Wild Bunch and Unforgiven, formative titles like John Ford's epic The Iron Horse, and early cowboy star William S. Hart's The Silent One together with less familiar titles that deserve wider recognition, including Comanche Station, Pursued and Ulzana's Raid.
Set in Montana the story revolves around a reticent but articulate teenager who spends his fourteenth summer, remanded to the not so gentle care of his profane and outrageous grandfather, Cole, who seems to be waging an unsuccessful one man war against a whole army of fools.