Joseph Nicolar's "The Life and Traditions of the Red Man" tells the story of his people from the first moments of creation to the earliest arrivals and eventual settlement of Europeans. Self-published by Nicolar, this is one of the few sustained narratives in English composed by a member of an Eastern Algonquian-speaking people during the nineteenth century. At a time when Native Americans' ability to exist as Natives was imperiled, Nicolar wrote his book in an urgent effort to pass on Penobscot cultural heritage to subsequent generations of the tribe and to reclaim Native Americans' right to self-representation. This extraordinary work weaves together stories of Penobscot history, precontact material culture, feats of shamanism, and ancient prophecies about the coming of the white man. An elder of the Penobscot Nation in Maine and the grandson of the Penobscots' most famous shaman-leader, Old John Neptune, Nicolar brought to his task a wealth of traditional knowledge. providing historical context and explaining unfamiliar words and phrases. "The Life and Traditions of the Red Man" is a remarkable narrative of Native American culture, spirituality, and literature

DIVLargely unknown and uncirculated, this is the only 19-century book-length work in English by a member of the eastern, Algonquian speaking people. Published in 1893, Joseph Nicolar, elder and leader of the Penobscot nation, eloquently tells the story of t/div

A comprehensive study of the history and cultural traditions of the North American Indians. from pre-history to the present.

This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1893 edition. Excerpt: ... CHAPTER V. The flab famine--The capture of the white nwau and the white spiritual men driven away. The people in those days were so interested in these poor and unfortunate ones, that men would go and build winter wigwams and move them neur those bogs from which they could secure their daily food. After the food game had been found the people became more contented, and with a composure waited for tbe summer to come. During the snow and ice period no sickness or death was reported and the good health seemed to prevail among all, until the hot weather came, when some were taken with the bad cough, in some cases death was the result, because the medicine could not be properly administered to all. Before the winter came to a close, some of the people, who were less favored with the natural patience got very much discontented notwithstanding the new discovery made, but bad gone around to agitate a spirit among the people for a southern exodus. And by going around among the several tribes or bands got quite a following, and many families did start to seek summer in the south, and although the summer did return in due season, but did not bring back the families that went out to seek it, nor have they returned to this day. Their departure somewhat cast a gloom over the land. None of the old men would go, they warned those that were so ready to go of the danger of their light and inconsiderate disposition and habits, telling them that a time is coming when a man be reckoned according to his mind and habits, and if he be Bo that he is not contented and will not stay where the Great Spirit has placed him, but sets himself adrift, knowing not where he shall land, shall some day wish to stay to a place where he cannot, because having started himself...

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This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

The first biography in over sixty years of a great American artist whose paintings are more famous than the man who made them. George Catlin has been called the “first artist of the West,” as none before him lived among and painted the Native American tribes of the Northern Plains. After a false start as a painter of miniatures, Catlin found his calling: to fix the image of a “vanishing race” before their “extermination”—his word—by a government greedy for their lands. In the first six years of the 1830s, he created over six hundred portraits—unforgettable likenesses of individual chiefs, warriors, braves, squaws, and children belonging to more than thirty tribes living along the upper Missouri River. Political forces thwarted Catlin’s ambition to sell what he called his “Indian Gallery” as a national collection, and in 1840 the artist began three decades of self-imposed exile abroad. For a time, his exhibitions and writings made him the most celebrated American expatriate in London and Paris. He was toasted by Queen Victoria and breakfasted with King Louis-Philippe, who created a special gallery in the Louvre to show his pictures. But when he started to tour “live” troupes of Ojibbewa and Iowa, Catlin and his fortunes declined: He changed from artist to showman, and from advocate to exploiter of his native performers. Tragedy and loss engulfed both. This brilliant and humane portrait brings to life George Catlin and his Indian subjects for our own time. An American original, he still personifies the artist as a figure of controversy, torn by conflicting demands of art and success.

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