'This book represents a major effort to bring Amerindian poetry to the reader in such a way that the total poetry, the dance, the vowel changes, the pauses, the movement, the interaction between speaker and audience is made evident...' -John Demos, Library Journal

‘A clever reworking of a classic story. The little old lady’s fearless attitude and her clever solution as to what to do with the lively shoes, pants, shirt and pumpkin head that are chasing her will enchant young audiences. With brilliantly colored, detailed folk art illustrations. A great purchase.’ —SLJ. Children's Choices for 1987 (IRA/CBC) Notable 1986 Children's Trade Books in Social Studies (NCSS/CBC) Children's Books of 1986 (Library of Congress) 1988 Keystone to Reading Book Award (Pennsylvania Reading Association)

For more than four centuries, Europeans and Euroamericans have been making written records of the spoken words of American Indians. While some commentators have assumed that these records provide absolutely reliable information about the nature of Native American oral expression, even its esthetic qualities, others have dismissed them as inherently unreliable. In Native American Verbal Art: Texts and Contexts, William Clements offers a comprehensive treatment of the intellectual and cultural constructs that have colored the textualization of Native American verbal art. Clements presents six case studies of important moments, individuals, and movements in this history. He recounts the work of the Jesuits who missionized in New France during the seventeenth and eighteenth centuries and textualized and theorized about the verbal expressions of the Iroquoians and Algonquians to whom they were spreading Christianity. He examines in depth Henry TimberlakeÕs 1765 translation of a Cherokee war song that was probably the first printed English rendering of a Native American "poem." He discusses early-nineteenth-century textualizers and translators who saw in Native American verbal art a literature manquŽ that they could transform into a fully realized literature, with particular attention to the work of Henry Rowe Schoolcraft, an Indian agent and pioneer field collector who developed this approach to its fullest. He discusses the "scientific" textualizers of the late nineteenth century who viewed Native American discourse as a data source for historical, ethnographic, and linguistic information, and he examines the work of Natalie Curtis, whose field research among the Hopis helped to launch a wave of interest in Native Americans and their verbal art that continues to the present. In addition, Clements addresses theoretical issues in the textualization, translation, and anthologizing of American Indian oral expression. In many cases the past records of Native American expression represent all we have left of an entire verbal heritage; in most cases they are all that we have of a particular heritage at a particular point in history. Covering a broad range of materials and their historical contexts, Native American Verbal Art identifies the agendas that have informed these records and helps the reader to determine what remains useful in them. It will be a welcome addition to the fields of Native American studies and folklore.

It's Halloween night. The city is quiet. The city is still. But as the lights go down, the music comes up - and the guests start to arrive at the hip-hop Halloween ball! And oh, what a party it is. Told in hip-hop rhyming text, L'il Red Riding Hood, Goldilocks, Tom Thumb, and all of their fairy-tale friends come together for a rapping, stomping, shaking Halloween romp. Scoo-bee-doo-bee-doo-wah. Yeah!

Return to the beloved world of Julie Murphy’s #1 New York Times bestselling Dumplin’—now a popular Netflix feature film starring Jennifer Aniston—in this fabulously joyful, final companion novel about drag, prom, and embracing your inner Queen. Waylon Russell Brewer is a fat, openly gay boy stuck in the small West Texas town of Clover City. His plan is to bide his time until he can graduate, move to Austin with his twin sister, Clementine, and finally go Full Waylon so that he can live his Julie-the-hills-are-alive-with-the-sound-of-music-Andrews truth. So when Clementine deviates from their master plan right after Waylon gets dumped, he throws caution to the wind and creates an audition tape for his favorite TV drag show, Fiercest of Them All. What he doesn’t count on is the tape getting accidentally shared with the entire school. . . . As a result, Waylon is nominated for prom queen as a joke. Clem’s girlfriend, Hannah Perez, also receives a joke nomination for prom king. Waylon and Hannah decide there’s only one thing to do: run—and leave high school with a bang. A very glittery bang. Along the way, Waylon discovers that there is a lot more to running for prom court than campaign posters and plastic crowns, especially when he has to spend so much time with the very cute and infuriating prom king nominee Tucker Watson. Waylon will need to learn that the best plan for tomorrow is living for today . . . especially with the help of some fellow queens. . . .