This wide knowledge allows him to show that, far from being a static prehistoric society quickly torn apart by European contact and the fur trade, almost every facet of Iroquoian culture had undergone significant change in the centuries preceding European contact. He argues convincingly that the European impact upon native cultures cannot be correctly assessed unless the nature and extent of precontact change is understood. His study not only stands Euro-American stereotypes and fictions on their heads, but forcefully and consistently interprets European and Indian actions, thoughts, and motives from the perspective of the Huron culture. The Children of Aataentsic revises widely accepted interpretations of Indian behaviour and challenges cherished myths about the actions of some celebrated Europeans during the "heroic age" of Canadian history. In a new preface, Trigger describes and evaluates contemporary controversies over the ethnohistory of eastern Canada.

    

    Is the earth, which is obviously a fit environment for man and other organic life, a purposefully made creation? Have its climates, its relief, the configuration of its continents influenced the moral and social nature of individuals, and have they had an influence in molding the character and nature of human culture? In his long tenure of the earth, in what manner has man changed it from its hypothetical pristine condition? From the time of the Greeks to our own, answers to these questions have been and are being given so frequently and so continually that we may restate them in the form of general ideas: the idea of a designed earth; the idea of environmental influence; and the idea of man as a geographic agent. These ideas have come from the general thought and experience of men, but the first owes much to mythology, theology, and philosophy; the second, to pharmaceutical lore, medicine, and weather observation; the third, to the plans, activities, and skills of everyday life such as cultivation, carpentry, and weaving. The first two ideas were expressed frequently in antiquity, the third less so, although it was implicit in many discussions which recognized the obvious fact that men through their arts, sciences, and techniques had changed the physical environment about them. This magnum opus of Clarence Glacken explores all of these questions from Ancient Times to the End of the Eighteenth Century.

    But while the look of a mask or figure has an immediate impact the intentions of the maker and the meaning it had in its original context are often obscure. In this book - as in the television films which it is based on - David Attenborough enriches our understanding by describing the making and use of tribal art in some of the few places where traditions are, more or less, intact.There are chapters on the Dogon - master mask makers, smiths and builders, on the tribes of the American North-west, who still carve poles and dance masks, on cult houses in Melanesia, bronze-casting in West Africa, and rug-making among the nomads of Iran. Sometimes the evidence is lost - in South America there are only tiny remnants of the pre-Columbian cultures: the chapter on their gold work must look backward to get some notion of the societies which produced it. The last chapter looks at what happens to tribal art when the culture that supported it breaks down under the pressures of trade, other cultures and colonisation.The illustrations - from the field and of museum objects - work together to make the book a splendid celebration of the richness of tribal culture.

    The book is concerned with how data on population are gathered, classified, and treated to produce tabulations and various summarizing measures that reveal the significant aspects of the composition and dynamics of populations. It sets forth the sources, limitations, underlying definitions, and bases of classification, as well as the techniques and methods that have been developed for summarizing and analyzing the data.

    Van Dyke, an asthmatic forty-two-year-old art historian and critic, rode an Indian pony out of the Hemet Valley, and headed southeast into the Colorado desert. With his dog, his guns, and few supplies, this sickly aesthete wandered, mostly alone, for nearly three years across the deserts of California, Arizona and Mexico. He crossed the Salton Sea Basin, forded the Colorado below Yuma on a raft he built himself, followed the railroad line to Tucson, then turned west again toward Sonora. His exact route is not known; he did not always know where he was himself. He sought both health and beauty in the dry country and wrote that the desert "never had a sacred poet; it has in me only a lover". This extraordinary book, composed "at odd intervals, when I lay against a rock or propped up in the sand", is a masterpiece of personal philosophy, containing precise scientific analyses of diverse phenomena-- from erosion to sky colors-- and prescient ruminations on the nature of civilization. "The desert should never be reclaimed!" Van Dyke wrote, yet he lived long enough to see the reclamation projects in what became the Imperial Valley. He did not witness the virtual destruction of the Colorado Desert still ongoing. As poet Richard Shelton wonders in his introduction, "Where are the herds of antelope Van Dyke spoke of, and the gray wolves and the pure air?" This series celebrates the tradition of literary naturalists-- writers who embrace the natural world as the setting for some of our most euphoric and serious experiences. Their literary terrain maps the intimate connections between the human and the natural world, a subject defined by Mary Austin in 1920 as "a third thing... the sum of what passed between me and the Land." Literary naturalists transcend political boundaries, social concerns and historical milieus; they speak for what Henry Beston called the "other nations" of the planet. Their message acquires more weigh

    This second edition offers a revised and greatly expanded look at this unique community on the Mississippi Delta---a fearsome place, difficult enough for buildiing houses, lunacy for wharves and skyscrapers.-