Is the yeti just a phantasm of our imagination, or is it a real creature? A survivor from our own savage ancestry? This is the mystery that Bryan Sykes set out to unlock.Three hair samples from the remote Himalayan kingdom of Bhutan are the cause of the investigation. The hair samples were from the miogi, the Bhutanese yeti, that legendary creature of the high snows that has haunted the imagination of travellers for centuries. Professor Sykes was asked to identify the hairs using DNA analysis. The miogi hairs did not surrender their secrets easily, but eventually two were identified as known species of bear. The third remained a mystery. Ten years later two scientific developments caused the migoi to enter Professor Sykes' thoughts again. The first, a purely technical improvement, meant that it was now possible to get a very good DNA signal from a single hair. The second development came from the surprising conclusion of an article published in 2010. This paper contained the details of the DNA sequence from another human species, Homo neanderthalensis, the Neanderthals, widely thought to be extinct. One of the many theories to account for the yeti legend is that there were small groups of Neanderthals that had managed to survive until recent times, or maybe even until the present day. If so, would it be possible to detect recent interbreeding between our own species and Neanderthals in the genomes of indigenous people living in remote regions. Locations where the yeti legends are strongest and the sightings most numerous?Professor Sykes set a goal to locate and analyse as many hair samples as possible, with links the yeti. In doing so Professor Sykes found himself entering a strange world of mystery and sensationalism, fraud and obsession and even the supernatural. Protected by the ruthless vigour of genetic analysis he was able to listen to the stories of the yeti without having to form an opinion. The only opinion that mattered was the DNA.Two years on the project is almost complete, and there have been some surprising and significant discoveries. The yeti remains an enigma. There is something out there. But what?

    Don’t throw up. Don’t…don’t… oh no… god help me! You got yourself into this mess…you can get yourself out. The absolutely crazy thing is… I don’t know if I want to. I can’t remember the last time I have ever felt so alive, inside and out. I am utterly intoxicated by the scent, the touch, the writhing, aching, exhilarating desire I feel when I think about him. My brother’s best friend. Forbidden fruit. Delicious, ripe, oozing with sweet nectar. Yum. Does he feel what I feel? There is something he is keeping from me. He is guarded, keeping something so close to him. Closer than me. His secret life as a bear shifter. A secret passed through generations of his family. And I am keeping something close to me too. My secret. Inside of me. Will this shifter baby bring us closer together or tear us apart?

    The photographs are accompanied by a selection of Curtis's texts.

    A small independent bookstore in Minneapolis is haunted from November 2019 to November 2020 by the store's most annoying customer. Flora dies on All Souls' Day, but she simply won't leave the store. Tookie, who has landed a job selling books after years of incarceration that she survived by reading with murderous attention, must solve the mystery of this haunting while at the same time trying to understand all that occurs in Minneapolis during a year of grief, astonishment, isolation, and furious reckoning.The Sentence begins on All Souls' Day 2019 and ends on All Souls' Day 2020. Its mystery and proliferating ghost stories during this one year propel a narrative as rich, emotional, and profound as anything Louise Erdrich has written.

    Distinguished historian Robert M. Utley has forged a compelling portrait of Sitting Bull, presenting the Lakota perspective for the first time and rendering the most unbiased, historically accurate, and vivid portrait of the man to date.The Sitting Bull who emerges in this fast-paced narrative is a complex, towering figure: a great warrior whose skill and bravery in battle were unparalleled; the spiritual leader of his people; a dignified but ultimately tragically stubborn defender of the traditional ways against the steadfast and unwelcome encroachment of the white man.

    More than a simple anthology, this collection goes deeper, revealing the incendiary intersection of music and activism.

    Why are storytellers so often women, and how does that affect the status of fairy tales? Are they a source of wisdom or a misleading temptation to indulge in romancing?

    That tradition continues vigorously to the present day.The 80 stories published in this volume, many for the first time in English, some for the first time in any language, are gathered from 31 countries, including India, France, England, the U.S., Greece, Sweden, Syria, Argentina, Russia, and Turkey. Here are tales in which young mothers become vampires and wolves become lawyers; where ostracism, poverty, hunger, and death are countered by resourcefulness, hospitality, and magic. Here are tales that offer imaginative explanations of why the Gypsies live all over the world, why they have no church and no alphabet, why they love music; tales that link the Gypsies' past to their recent successful efforts to organize against oppression.As varied as the tales are the tellers - factory workers, musicians, novelists, shopkeepers, dancers, professors, lacemakers, political activists - who are identified in the headnotes to individual stories. In these notes and in their introduction, Diane Tong discusses, among much else, Gypsy values, beliefs, and customs as revealed in the tales. The vivid storytelling and Tong's perceptive annotation combine to show how the Gypsies see themselves and the world.

    Among them is Jacquie Red Feather, newly sober and trying to make it back to the family she left behind. Dene Oxendene, pulling his life together after his uncle's death and working at the powwow to honor his memory. Fourteen-year-old Orvil, coming to perform traditional dance for the very first time. Together, this chorus of voices tells of the plight of the urban Native American--grappling with a complex and painful history, with an inheritance of beauty and spirituality, with communion and sacrifice and heroism. Hailed as an instant classic, There There is at once poignant and unflinching, utterly contemporary and truly unforgettable.

    This powerful empire, built by the Comanche Indians, eclipsed its various European rivals in military prowess, political prestige, economic power, commercial reach, and cultural influence. Yet, until now, the Comanche empire has gone unrecognized in American history.This compelling and original book uncovers the lost story of the Comanches. It is a story that challenges the idea of indigenous peoples as victims of European expansion and offers a new model for the history of colonial expansion, colonial frontiers, and Native-European relations in North America and elsewhere. Pekka Hämäläinen shows in vivid detail how the Comanches built their unique empire and resisted European colonization, and why they fell to defeat in 1875. With extensive knowledge and deep insight, the author brings into clear relief the Comanches’ remarkable impact on the trajectory of history.Published in Association with The William P. Clements Center for Southwest Studies, Southern Methodist University.

    The collection includes seminal authors such as Gerald Vizenor, historically important contributions often categorized as "magical realism" by authors like Leslie Marmon Silko and Sherman Alexie, and authors more recognizable to science fiction fans like William Sanders and Stephen Graham Jones. Dillon's engaging introduction situates the pieces in the larger context of science fiction and its conventions.Organized by sub-genre, the book starts with Native slipstream, stories infused with time travel, alternate realities and alternative history like Vizenor's "Custer on the Slipstream." Next up are stories about contact with other beings featuring, among others, an excerpt from Gerry William's The Black Ship. Dillon includes stories that highlight Indigenous science like a piece from Archie Weller's Land of the Golden Clouds, asserting that one of the roles of Native science fiction is to disentangle that science from notions of "primitive" knowledge and myth. The fourth section calls out stories of apocalypse like William Sanders' "When This World Is All on Fire" and a piece from Zainab Amadahy's The Moons of Palmares. The anthology closes with examples of biskaabiiyang, or "returning to ourselves," bringing together stories like Eden Robinson's "Terminal Avenue" and a piece from Robert Sullivan's Star Waka.An essential book for readers and students of both Native literature and science fiction, Walking the Clouds is an invaluable collection. It brings together not only great examples of Native science fiction from an internationally-known cast of authors, but Dillon's insightful scholarship sheds new light on the traditions of imagining an Indigenous future.

    Black Elk's searing visions of the unity of humanity and Earth, conveyed by John G. Neihardt, have made this book a classic that crosses multiple genres. Whether appreciated as the poignant tale of a Lakota life, as a history of a Native nation, or as an enduring spiritual testament, Black Elk Speaks is unforgettable.Black Elk met the distinguished poet, writer, and critic John G. Neihardt in 1930 on the Pine Ridge Reservation in South Dakota and asked Neihardt to share his story with the world. Neihardt understood and conveyed Black Elk's experiences in this powerful and inspirational message for all humankind.

    Over the next two decades the publication of subsequent editions under the title Norske folkeeventyr made the names Asbjørnsen and Moe synonymous with Norwegian storytelling traditions. Tiina Nunnally’s vivid translation of their monumental collection is the first new English translation in more than 150 years—and the first ever to include all sixty original tales.Magic and myth inhabit these pages in figures both familiar and strange. Giant trolls and talking animals are everywhere. The winds take human form. A one-eyed old woman might seem reminiscent of the Norse god Odin. We meet sly aunts, resourceful princesses, and devious robbers. The clever and fearless boy Ash Lad often takes center stage as he ingeniously breaks spells and defeats enemies to win half the kingdom. These stories, set in Norway’s majestic landscape of towering mountains and dense forests, are filled with humor, mischief, and sometimes surprisingly cruel twists of fate. All are rendered in the deceptively simple narrative style perfected by Asbjørnsen and Moe—now translated into an English that is as finely tuned to the modern ear as it is true to the original Norwegian.Included here—for the very first time in English—are Asbjørnsen and Moe’s Forewords and Introductions to the early Norwegian editions of the tales. Asbjørnsen gives us an intriguing glimpse into the actual collection process and describes how the stories were initially received, both in Norway and abroad. Equally fascinating are Moe’s views on how central characters might be interpreted and his notes on the regions where each story was originally collected. Nunnally’s informative Translator’s Note places the tales in a biographical, historical, and literary context for the twenty-first century.The Norwegian folktales of Asbjørnsen and Moe are timeless stories that will entertain, startle, and enthrall readers of all ages.

    The photos are somewhere between documentary and romanticism. Where he could have taken straight documentary photos of poverty and tattered Western/white clothing, he instead staged warrior meetings on horseback and the like.

    Through interviews with holy women and the families of women healers, Mark St. Pierre and Tilda Long Soldier paint a rich and varied portrait of a society and its traditions. Stereotypical images of the Native American drop away as the voices, dreams, and experiences of these women (both healers and healed) present insight into a culture about which little is known. It is a journey into the past, an exploration of the present, and a view full of hope for the future.