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"Not real?" Coyote howled. "A filthy lie." He grabbed a wiener and shoved the end of a willow stick through its middle. The Nowherians were deployed around a rusty wheelbarrow used as a grill for their annual Fourth of July weenie roast. Jackrabbit examined the puffy black wiener on the end of his stick. "You still upset about Frijoles saying that Funnies from Nowhere is fiction?" Coyote jabbed the coals, creating an explosion of sparks and coating his wiener in ash. "You bet I am. If we're not real, then neither is Nowhere, and the cartoon character who was boner-fidee elected President of the United States isn't either." He rapped his stick to knock off the ash, and his wiener fell into the fire. "If your wiener were parallel to the stick instead of perpendicular, that wouldn't happen," offered Pearl. He stared at her until the answer came to him. "Parallel is safer but limits you to one wiener." He seized a handful, mounted a row of six, and suspended the drooping load over the fire. "My only limitations are the length of my stick and the size of the fire."

For most North Americans--Canadians as well as Americans--the term "Western" evokes images of the frontier, brave sheriffs and ruthless outlaws, good cowboys and bad Indians. As Arnold E. Davidson shows in this groundbreaking study, a number of Canada's most interesting and experimental Western writers parody, reverse, or otherwise defuse the paraphernalia of the classic U.S. Western. Lacking both a real and imagined frontier--Canadian settlers rode trains into the new territory, already policed by Mounties--the writers of Canadian Westerns were set a different task from their American counterparts and were subsequently freed to create some of the most complex and engrossing fiction yet produced in Canada. Davidson details the evolution of the U.S. and Canadian Western forms, tracing the divergence between the two as Canadian writers responded to their unique historical circumstances by reinventing the West as well as the Western and establishing a new literary landscape where author and reader could work out new possibilities of being. Surveying a range of texts by Canada's most innovative writers, with special attention to women writers and Native stories of Coyote, he provides close readings of novels by Howard O'Hagan, Sheila Watson, Robert Kroetsch, Aritha van Herk, Anne Cameron, Peter Such, W. O. Mitchell, Beatrice Culleton, and Thomas King. A unique study, Coyote Country offers at one and the same time a theory of Canadian Western fiction, a history of crosscultural paradigms of the West as manifested in novels, and an intensive reading of some of Canada's best literature.

Thanks to faulty judgment and a bit of treacherous help, the creator god Karik has lost the First Ones, the handcrafted forebears of humankind (yep, that's them on the cover). Worse still for Karik, he is deprived of his seductive power over human women, which in times past has made these little ones worth all the trouble. With the First Ones gone missing, Karik finds humanity drifting beyond his range of control. And when the humans misbehave, Karika??s fellow gods show little patience.Enter the Rarechild Mandy and the half-god Puck. If they can locate the father Puck never knew, solve the riddle of Mandy's recurring visions, and hear a summons from across the Pacific, they'll have some slim hope of harmony between the humans and their gods.As for genre, let's call this a humorous alternative fantasy. What? There's not a shelf for that?Read more at the author's web site .

Praise for the previous edition:Booklist/RBB "Twenty Best Bets for Student Researchers"RUSA/ALA "Outstanding Reference Source"" ... useful ... Recommended for public libraries and undergraduates."

Like four of my previous books, these are collected tales of the Spirits. These stories are shared with me by the Spirits to be, in turn, shared with any and all. Other than being short stories, they have no framework, no rack upon which to hang a hat. They are inter-dimensional, timeless, real and unreal. They cross the boundaries of myth, religion, history, and space. Some may seem simplistic, others convoluted; all are recorded as given to me. All are for the readers entertainment. If more is gained and judging by many responses, this is the case then, I feel, that is why they were given to me and why said reader is reading them. I think, and I hope others agree, that they can be very funny. Again, as in the previous volumes, Raven and Coyote, more often than not, take the lead; however, there are some others, herein, lending their voice. In the back of the book, a bakers dozen poems appear. I usually shy from mixing prose and poetry yet I noticed a number of the stores dealt with music and, in any event, I was led to include the poems. As in my previous books, save the first one, I have tried to illustrate the way with, what I think are, pertinent images. The world of these tales is miraculous, mysterious, wonderful, surprising, shocking, and some times confusing. It is a world that I have grown fond of and forget it may seem strange to the new reader. I suggest one just jumps in. All the stores from all the volumes stand on their own. If the reader enjoys this particular book, I recommend the others. Within, there is a story, a word, an image for everyone.

Flotsy is cursed. Dark, violent visions assault her dreams, visions that foresee the future. For a young girl in a small fishing village this is taboo. At seventeen, she boards a bus to somewhere no one knows of her and her curse. The city is at once alarming and exciting, and her visions are quiescent for a time. All too soon, they erupt again, and she is driven from place to place craving that short respite when she first arrives. At last she finds a modicum of peace in the Arizona desert, but her fragile tranquility is shattered by the sudden appearance of Joe, also cursed: he must do whatever the voice in his head demands, and it now demands that he join forces with Flotsy. They must thwart a powerful, psychotic man from stealing the water of a vital aquifer. Abruptly, Flotsy is shattered by a vision. An entity immobilizes her with its intensity and extreme need to make itself understood. Worse, its plea is intertwined with Joe’s absurd demand. Flotsy sees things she can’t control; Joe does things he can’t control. What could they possibly do together?

In her search to find healing and meaning in midlife, Glenda Goodrich undertakes a series of wilderness quests into the backcountry of Oregon, Washington, and California to discover what the natural world has to teach her about life, death, happiness, spirituality, and forgiveness. This book chronicles the sacred ceremonies that connected Goodrich to the land, wove her into nature’s web, and transformed her from a woman who worked to please others into a woman who forged her own path. It is a brilliant collection of adventures—the touch of coyote fur, a snake’s kiss, a ceremonial blood offering—and a profound reflection on the healing and restorative power of nature.

Jack Kerouac’s classic American novel of freedom and the search for originality that defined a generation “An authentic work of art.”—The New York Times Inspired by Jack Kerouac’s adventures with Neal Cassady, On the Road tells the story of two friends whose cross-country road trips are a quest for meaning and true experience. Written with a mixture of sad-eyed naïveté and wild abandon and imbued with Kerouac’s love of America, his compassion for humanity, and his sense of language as jazz, On the Road is the quintessential American vision of freedom and hope—a book that changed American literature and changed anyone who has ever picked it up.

Complete with beautiful black-and-white photographs of the pristine Northwest.