This volume presents a fresh look at Alaskan culture by bringing together an assortment of poems, stories, essays, plays, and journal excerpts from the writings of Native Alaskans. The authors deal with the transitions, losses, struggles, and successes of life in a changing homeland. Many of the writers vividly remember the changes, good and bad, that statehood brought. Some of the 23 writers are well-known, while others are celebrating their first publication. Most authors provide short autobiographies presenting their cultural and literary influences as an introduction to their statement. ISBN 0-912678-80-1: $12.95.

Back in stock! When Chris and Toby Greyeyes find a raven in the garage, they try to trap it and hurt it with hockey sticks. To them, ravens are just a nuisance because they spread garbage all over the street. Or so they think--until a mysterious man who smells like pine needles enters their lives and teaches them his story of the raven. In this intriguing book, George Littlechild, internationally acclaimed artist and author of the Jane Addams Awardwinning book This Land Is My Land, returns to collaborate with Richard Van Camp, an exciting voice in Native American literature. Set in the Northwest Territories of Canada, Van Camp's contemporary story draws from the animal legends and folklore told to him by his Dogrib elders. Littlechild's bold use of color and perspective captures the sense of mystery and magic surrounding the strange raven man who teaches the boys the meaning of respect for nature. Blending past with present, the magical with the real, A Man Called Raven is both a tribute to the wisdom of the raven and a positive reminder that we can all learn from nature.

Raven, the trickster, wants to give people the gift of light. But can he find out where Sky Chief keeps it? And if he does, will he be able to escape without being discovered? His dream seems impossible, but if anyone can find a way to bring light to the world, wise and clever Raven can!

Chulyen the trickster raven loses his nose one day, but he vows to get it back. Luckily he has some special powers to help him! How Raven Got His Crooked Nose is a modern retelling of a traditional Native American fable. Part picture book and part graphic novel, this beautifully illustrated story teaches an important lesson to children through Dena'ina mythology and includes a glossary of Dena’ina words to learn.

“The Tlingit and the Haida don't have myths; they are stories about our history” The Raven is as much a paradoxical creature as he is important in the myths of many native cultures. The central character of these stories, the Raven is considered the benevolent creator, filling the world with beauty and harmony, the master mind behind all that is good and looked upon with warm admiration. On the other hand, he is often viewed as a malevolent conniving, scheming trickster with self-gratification as his only goal. Including stories of the Raven eating the unsuspecting victim out of house and home or bidding someone to do his work, he is still the ultimate larger-than-life heroic figure within the myths. Whether it is creating animals or chasing down a woman to marry, one thing for sure, the Raven has left us with a rich and colorful history recorded in the myths and legends of the indigenous people. While the Raven appears throughout the world in mythology, our focus here will be centered on the Tlingit, Tsimshian, Haida, the Yupiit and Inupiat also known as the Eskimo, and the Athapascan Peoples of Alaska. What follows are 30 stories that seem to contradict each other adding to the confusion as to what or who this Raven really is. The cornerstone of this book is the Tlingit Creation Story which shows why the Raven is regarded as a grandfather to the people and is thought of with respect in asking for good health, good hunting, and for good fortune. It was the Raven that created man, the forest and the animals that inhabited them, the rivers and the fish that live in the water. In this context, the Raven is revered. However there are other stories that portray the Raven as a lazy scavenger, living off the hard work of others, or seeking sexual pleasure, the Raven is a shining example of how multi-faceted a myth can be. From being worship to being considered a lazy birdbrained (pardon the pun) imbecile, the Raven has most definitely left us with a fascinating collection of tales.

"Raven and the Box of Daylight is the Tlingit story of Raven and his transformation of the world—bringing light to people via the stars, moon, and sun. This story holds great significance for the Tlingit people. The exhibition features a dynamic combination of artwork, storytelling, and encounter, where the Tlingit story unfolds during the visitor’s experience."--

This beautiful picture book tells the little-known story of Raven Wilkinson, the first African American woman to dance for a major classical ballet company and an inspiration to Misty Copeland. When she was only five years old, her parents took her to see the Ballet Russe de Monte Carlo. Raven perched on her crushed velvet seat, heard the tympani, and cried with delight even before the curtain lifted. From that moment on, her passion for dance only grew stronger. No black ballerina had ever danced with a major touring troupe before. Raven would be the first. Raven Wilkinson was born on February 2, 1935, in New York City. From the time she was a little girl, all she wanted to do was dance. On Raven's ninth birthday, her uncle gifted her with ballet lessons, and she completely fell in love with dance. While she was a student at Columbia University, Raven auditioned for the Ballet Russe de Monte Carlo and was finally accepted on her third try, even after being told she couldn't dance with them because of her skin color. When she started touring with her troupe in the United States in 1955, Raven encountered much racism in the South, but the applause, alongside the opportunity to dance, made all the hardship worth it. Several years later she would dance for royalty with the Dutch National Ballet and regularly performed with the New York City Opera until she was fifty. This beautiful picture book tells the uplifting story of the first African American woman to dance for a major classical ballet company and how she became a huge inspiration for Misty Copeland. Theodore Taylor III's unique, heavy line style of illustration brings a deeper level of fluidity and life to the work, and Misty Copeland's beautifully written foreword will delight ballet and dance fans of all ages.

A long time ago, Raven was pure white, like fresh snow in winter. This was so long ago that the only light came from campfires, because a greedy chief kept the stars, moon, and sun locked up in elaborately carved boxes. Determined to free them, the shape-shifting Raven resourcefully transformed himself into the chief's baby grandson and cleverly tricked him into opening the boxes and releasing the starlight and moonlight. Though tired of being stuck in human form, Raven maintained his disguise until he got the chief to open the box with the sun and flood the world with daylight, at which point he gleefully transformed himself back into a raven. When the furious chief locked him in the house, Raven was forced to escape through the small smokehole at the top — and that's why ravens are now black as smoke instead of white as snow. This engaging Tlingit story is brought to life in painterly illustrations that convey a sense of the traditional life of the Northwest Coast peoples. About the Tales of the People series: Created with the Smithsonian's National Museum of the American Indian (NMAI), Tales of the People is a series of children's books celebrating Native American culture with illustrations and stories by Indian artists and writers. In addition to the tales themselves, each book also offers four pages filled with information and photographs exploring various aspects of Native culture, including a glossary of words in different Indian languages.

Find me Raven is about a young faerie named Raven. She has big plans for her life. After one of her closest friends joins her enemy's side, she is filled with rage , and decides to kill him and her enemy. Before she could do that she has to become the queen of the light folk and thats what she does till someone new enters her life to mess everything up. Faer is he called. Seems friendly and kind, but is he really like he seems or is he just like the others she trusted?

In Raven’s Echo, Tlingit artist and poet Robert Davis Hoffmann calls on readers to nurture material as well as spiritual life, asking beautiful and brutal questions about our individual positions within the universe and within history. The poems in this collection are brimming with an imaginative array of characters, including the playful yet sometimes disturbing trickster Raven, and offer insights into both traditional and contemporary Native life in southeast Alaska. Raven’s Echo is divided into two books, “SoulCatcher” and “Reconstruction.” “SoulCatcher” artfully explores human alienation and spiritual longing through poems that describe the speaker’s enduring struggle to find a place in Tlingit tribal history and contemporary experience. It takes up topics like colonialism, government subordination, painful acculturation, assimilation, and an array of other challenges, while it also addresses human loneliness in a world of spirits who often elude rather than nurture. The poems in “Reconstruction” present ways of integrating traditional Tlingit culture into contemporary life by honoring the significance of the land, subsistence fishing, warrior identity, and the role of elders. The two books are woven together by the constant thread of finding a way to live humanely in a world that is historically fractured yet spiritually inviting. Hoffmann’s poetry is acutely aware of economic, political, and social tensions, while still highlighting the joy of traditions and the beauty of Alaskan nature throughout the collection. The destructiveness of colonialism brings a profound darkness to some of the poems in Raven’s Echo, but the collection also explores the possibility of finding spiritual healing in the face of historical and contemporary traumas. As Hoffman’s poetry grapples with reconstructing a life within Tlingit tradition and history, the speaker urges that the importance of honoring and remembering traditions through art is ever present: “Listen, I’m trying to say something— / always our stories have lived through paintings, / always our stories stayed alive through retelling.” Raven’s Echo may tell stories about living in a world of guns and horsepower, global warming, cops, and drunks—but Raven always lurks in the background.