An American Bestiary


Book Description

This large format (8.5x11 inch, landscape), heavily illustrated work (107 drawings by Christopher Millis)is a humorous exploration of the use (and mis-use) of metaphore in the language of American politics and society at large.




An American Bestiary


Book Description

"Notes of an amateur naturalist"--Jacket subtitle.




An American Bestiary


Book Description




American Bestiary


Book Description

Urban myths and legends from all over America are condensed in this collection. Through its pages various spectra pass, as the Chupacabra invokes and enumerates in one of the poems: “Creatures of the night and the sun. Covered Lady, Muqui, Yasy Yeteré, Alligator Man, Kharisiri, Whistler, Widow, Telesita, Curupira, Tata Elf, Cadejo, Just Judge of the Night, Witch Monkey, Holy Death, Demon of Dover, Wendigo, Girl with a scarf, The Crying Girl. Creatures of the underworld, let us unite in this new era in which humanity has degenerated and is the scum of the universe”.




North American Monsters


Book Description

Mining a mountain of folklore publications, North American Monsters unearths decades of notable monster research. Nineteen folkloristic case studies from the last half-century examine legendary monsters in their native habitats, focusing on ostensibly living creatures bound to specific geographic locales. A diverse cast of scholars contemplate these alluring creatures, feared and beloved by the communities that host them—the Jersey Devil gliding over the Pine Barrens, Lieby wriggling through Lake Lieberman, Char-Man stalking the Ojai Valley, and many, many more. Embracing local stories, beliefs, and traditions while neither promoting nor debunking, North American Monsters aspires to revive scholarly interest in local legendary monsters and creatures and to encourage folkloristic monster legend sleuthing.




An American Bestiary


Book Description




War and Peace with the Beasts


Book Description

“The animals that one culture likes are often hated in the next, and it seems that the animals themselves know it well. Basically, one culture’s animal partner is often another culture’s nightmare from hell. “Naturally, I wonder how relations between people and animals got to be so different around the world. How did it happen that some cultures treat bats, snakes, wolves, or ravens as embodiments of evil, while other people treat the same animals with affection or even reverence?” Our wars with the animals go way back. Beyond the light cast by our prehistoric campfires, the eyes glowing in the night seemed to represent a great hostile force. As we began to cultivate crops and husband a few favoured animals, we generally regarded other creatures as threats to our chosen few. Using the logic of war, we sought to maximize the populations of certain creatures, and the destruction of others. In the past, that war effort was our great crusade for the advancement of civilization as we knew it. The war had a frontier, a front line, and an ongoing battle on the home front. Expanding outward from our various cradles of civilization, we progressively “tamed” the forests and grasslands, converting them to monocrop plantations or pastures. Then we had to defend our monocrops from encroaching weeds, insects, and wild animals. In this immediately engaging, story- and fact-filled page-turner of a book, Brian Griffith looks at the range of ways we relate to animals and the stories we tell about them. He asks how we choose whether buddyhood, fearful respect, businesslike predation, or genocidal war is the most appropriate response to each species we meet. He watches how our treatment of “inferior beings” affects our treatment of “inferior people,” and traces some of the chain reactions we unleash when we try to weed out species we don’t like. “Without much hope of making animals fit my personal preferences,” he writes, “I wonder how good our relations can get.”




Indi'n Humor


Book Description

Drawing on history, psychology, folklore, linguistics, anthropology, and the arts, this book challenges "wooden Indian" stereotypes to redefine negative attitudes and humorless approaches to Native American peoples. Moving from tribal culture to interethnic literature, Lincoln explores such topics as the traditional Trickster of origin myths, historical ironies, Euroamericans "playing Indian", feminist Indian humor at home, contemporary painters and playwrights reinventing Coyote, popular mixed-blood music, and Red English. Lincoln turns to the texts of Native American authors including Louise Erdrich, James Welch, and N. Scott Momaday, to illustrate the rich tradition of Native American humor: a tradition that evolved as the result of and has survived in spite of a history of unconscionable suffering and sadness during the course of which ninety-seven percent of the native populations were destroyed. A study of the literary humor of poets like Paula Gunn Allen, Diane Burns, and Linda Hogan provides further evidence of the importance of the role of humor in Native American culture. Indi'n Humor documents and interprets the contexts of laughter among Native Americans, as they see and are seen by the rest of the world. The study comes to focus comically on the poets, visual artists, playwrights, and novelists who make up the cultural renaissance of the past twenty years. Focusing on ethnic humor, from jokes in bars and powwows, to intercultural politics, to literature, Indi'n Humor will enlighten and entertain readers interested in Native American culture, as well as scholars of Amen can and Ethnic Studies, and humor theorists.




Where the Wild Books Are


Book Description

As interest in environmental issues grows, many writers of fiction have embraced themes that explore the connections between humans and the natural world. Ecologically themed fiction ranges from profound philosophical meditations to action-packed entertainments. Where the Wild Books Are offers an overview of nearly 2,000 works of nature-oriented fiction. The author includes a discussion of the precursors and history of the genre, and of its expansion since the 1970s. He also considers its forms and themes, as well as the subgenres into which it has evolved, such as speculative fiction, ecodefense, animal stories, mysteries, ecofeminist novels, cautionary tales, and others. A brief summary and critical commentary of each title is included. Dwyer’s scope is broad and covers fiction by Native American writers as well as ecofiction from writers around the world. Far more than a mere listing of books, Where the Wild Books Are is a lively introduction to a vast universe of engaging, provocative writing. It can be used to develop book collections or curricula. It also serves as an introduction to one of the most fertile areas of contemporary fiction, presenting books that will offer enjoyable reading and new insights into the vexing environmental questions of our time.




American Wildlife in Symbol and Story


Book Description