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The girl who married a ghost and other tales from The North American Indian
Four Winds 1979, bright clean copy, with dustjacket, no markings, Professional booksellers since 1981
128 pages, Hardcover
First published March 1, 1978
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41 people want to read
About the author
Edward S. Curtis
214 books38 followersBeginning in 1900 and continuing over the next thirty years, Edward Sheriff Curtis, or the “Shadow Catcher” as he was later called by some of the tribes, took over 40,000 images and recorded rare ethnographic information from over eighty American Indian tribal groups, ranging from the Eskimo or Inuit people of the far north to the Hopi people of the Southwest. He captured the likeness of many important and well-known Indian people of that time, including Geronimo, Chief Joseph, Red Cloud, Medicine Crow and others. This monumental accomplishment is comprised of more than 2,200 sepia toned photogravures bound in twenty volumes of written information and small images and twenty portfolios of larger artistic representations.
Edward S. Curtis was born near Whitewater, Wisconsin in 1868. His father, a Civil War veteran and a Reverend, moved the family to Minnesota, where Edward became interested in photography and soon constructed his own camera and learned how to process the prints. At the age of seventeen he became an apprentice photographer in St. Paul. The family moved near Seattle, Washington, where Edward purchased a second camera and bought a half interest in a photographic studio. He married and the couple had four children.
In 1898 while photographing on Mt. Rainier, Curtis encountered a group of prominent scientists who were lost, among them George Bird Grinnell, a noted Indian expert, who became interested in Curtis’ work and invited him to photograph the Blackfeet Indian people in Montana two years later. It was there that Curtis practiced and developed his photographic skills and project methodology that would guide his lifetime of work among the other Indian tribes.
Such a massive project is almost incomprehensible in this day and age. In addition to the constant struggle for financing, Curtis required the cooperation of the weather, vehicles, mechanical equipment, skilled technicians, scholars and researchers and the Indian tribes as well. He dispatched assistants to make tribal visits months in advance. With the proper arrangements Curtis would travel by horseback or horse drawn wagon over paths or primitive “roads” to visit the tribes in their home territory. Once on site Curtis and his assistants would start work by interviewed the people and then photographing them either outside, in a structure, or inside his studio tent with an adjustable skylight. Employing these and other techniques over his lifetime he captured some of the most beautiful images of the Indian people ever recorded.
One of Curtis’ major goals was to record as much of the people’s way of traditional life as possible. Not content to deal only with the present population, and their arts and industries, he recognized that the present is a result of the past, and the past dimension must be included, as well. Guided by this concept, Curtis made 10,000 wax cylinder recordings of Indian language and music. In addition he took over 40,000 images from over 80 tribes, recorded tribal mythologies and history, and described tribal population, traditional foods, dwellings, clothing, games, ceremonies, burial customs, biographical sketches and other primary source information: all from a living as well as past tradition. Extending the same principle to the photographs, he presented his subjects in a traditional way whenever possible and even supplied a bit of the proper clothing when his subjects had none. Reenactments of battles, moving camp, ceremonies and other past activities were also photographed. These efforts provided extended pleasure to the elders and preserve a rare view of the earlier ways of the people.
With the publication of volume twenty in 1930, the years of struggle finally took their toll with Curtis suffering a physical and nervous break down. The declining interest in the American Indian, the Great depression, and other negative forces slowed, then halted the successful financial completion of the project. Less than 300 sets
Edward S. Curtis was born near Whitewater, Wisconsin in 1868. His father, a Civil War veteran and a Reverend, moved the family to Minnesota, where Edward became interested in photography and soon constructed his own camera and learned how to process the prints. At the age of seventeen he became an apprentice photographer in St. Paul. The family moved near Seattle, Washington, where Edward purchased a second camera and bought a half interest in a photographic studio. He married and the couple had four children.
In 1898 while photographing on Mt. Rainier, Curtis encountered a group of prominent scientists who were lost, among them George Bird Grinnell, a noted Indian expert, who became interested in Curtis’ work and invited him to photograph the Blackfeet Indian people in Montana two years later. It was there that Curtis practiced and developed his photographic skills and project methodology that would guide his lifetime of work among the other Indian tribes.
Such a massive project is almost incomprehensible in this day and age. In addition to the constant struggle for financing, Curtis required the cooperation of the weather, vehicles, mechanical equipment, skilled technicians, scholars and researchers and the Indian tribes as well. He dispatched assistants to make tribal visits months in advance. With the proper arrangements Curtis would travel by horseback or horse drawn wagon over paths or primitive “roads” to visit the tribes in their home territory. Once on site Curtis and his assistants would start work by interviewed the people and then photographing them either outside, in a structure, or inside his studio tent with an adjustable skylight. Employing these and other techniques over his lifetime he captured some of the most beautiful images of the Indian people ever recorded.
One of Curtis’ major goals was to record as much of the people’s way of traditional life as possible. Not content to deal only with the present population, and their arts and industries, he recognized that the present is a result of the past, and the past dimension must be included, as well. Guided by this concept, Curtis made 10,000 wax cylinder recordings of Indian language and music. In addition he took over 40,000 images from over 80 tribes, recorded tribal mythologies and history, and described tribal population, traditional foods, dwellings, clothing, games, ceremonies, burial customs, biographical sketches and other primary source information: all from a living as well as past tradition. Extending the same principle to the photographs, he presented his subjects in a traditional way whenever possible and even supplied a bit of the proper clothing when his subjects had none. Reenactments of battles, moving camp, ceremonies and other past activities were also photographed. These efforts provided extended pleasure to the elders and preserve a rare view of the earlier ways of the people.
With the publication of volume twenty in 1930, the years of struggle finally took their toll with Curtis suffering a physical and nervous break down. The declining interest in the American Indian, the Great depression, and other negative forces slowed, then halted the successful financial completion of the project. Less than 300 sets
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Displaying 1 - 5 of 5 reviews
September 8, 2019
This slim volume was astonishing and heart-breaking. It is a tiny fragment of a project conducted by Edward Curtis in the early 20th century, collecting traditional tales and photographs of Native American peoples that he believed were 'disappearing.' He collected hundreds of tales and thousands of photographs, and published a twenty-volume set of books that correlated images and text.
The books were apparently beautiful, but he only published 500 sets, all of which now reside in the hands of rich private collectors or the rare book collections of museums and libraries. As romantic and flawed as Curtis's project may have been, I still wish his entire collection were available.
The books were apparently beautiful, but he only published 500 sets, all of which now reside in the hands of rich private collectors or the rare book collections of museums and libraries. As romantic and flawed as Curtis's project may have been, I still wish his entire collection were available.
July 26, 2017
A collection of short legends and stories of Native American Indians.
April 26, 2019
quick read with a few great photos. A smattering of American Indian legends/stories... nothing in depth but an interesting and enjoyable book.
February 22, 2017
It was amazing that Edward Curtis had taken these pictures. I hadn't even noticed his name when I picked this up at the library's bookstore for $2. But I've bought his Indian prints on postcards several times, when I went to Cherokee and Chimney Rock so I'm familiar with his work. I actually have a postcard of the picture on the cover. It was amazing to have a book by him.
There was some interesting information in here, nothing too specific though, just kind of broad facts about tribes in an entire region instead of specific to one tribe.
It was very interesting that the tribes along the Pacific shore from Oregon to Alaska had plenty to eat, enough fish and seals to supply a whole years' worth of food in a short amount of time.
Families along the shore had plenty of dried salmon, canoes, blankets, robes, copper ornaments, and caved dishes. In the winter they had leisure time when all the work was done, having ceremonies and they acted as lords over them. Their kids were thought of as princes and princesses.
The wedding party of the ghost bride played games, like gambling with marked bones, wooden discs, shinny, and shooting arrows at a rolling hoop.
California tribes were made of small groups living on rivers and streams, most only having 5 or 6 houses. In the north they were made of wood. They fished, hunted seals and gathered shellfish but rarely went on the ocean because it was a dangerous, mysterious place.
It was cool that the Comanche had the custom that when a relative died they would cut their hair and rub ashes on their bodies.
The story about the sleeping boy and the two girls that loved him had no point. He turned them to stone when he got back to the village, because they had taken him out to sea and left him there.
I'm glad I didn't pay more than $2 for this. I was so disappointed. I know he can't help the myths, they are what they are, but they didn't make the best of stories and I wish better myths had been compiled. There were only 8 stories and I didn't really like any of them, so it was a bit of a waste. More stories should have been included.
There was some interesting information in here, nothing too specific though, just kind of broad facts about tribes in an entire region instead of specific to one tribe.
It was very interesting that the tribes along the Pacific shore from Oregon to Alaska had plenty to eat, enough fish and seals to supply a whole years' worth of food in a short amount of time.
Families along the shore had plenty of dried salmon, canoes, blankets, robes, copper ornaments, and caved dishes. In the winter they had leisure time when all the work was done, having ceremonies and they acted as lords over them. Their kids were thought of as princes and princesses.
The wedding party of the ghost bride played games, like gambling with marked bones, wooden discs, shinny, and shooting arrows at a rolling hoop.
California tribes were made of small groups living on rivers and streams, most only having 5 or 6 houses. In the north they were made of wood. They fished, hunted seals and gathered shellfish but rarely went on the ocean because it was a dangerous, mysterious place.
It was cool that the Comanche had the custom that when a relative died they would cut their hair and rub ashes on their bodies.
The story about the sleeping boy and the two girls that loved him had no point. He turned them to stone when he got back to the village, because they had taken him out to sea and left him there.
I'm glad I didn't pay more than $2 for this. I was so disappointed. I know he can't help the myths, they are what they are, but they didn't make the best of stories and I wish better myths had been compiled. There were only 8 stories and I didn't really like any of them, so it was a bit of a waste. More stories should have been included.
This entire review has been hidden because of spoilers.
December 26, 2015
Fantastic. Edward S. Curtis is considered one of the greatest photo-documentarians of Native American peoples. He compiled a 20 volume work titled "The North American Indian" covering the Native peoples west of the Mississippi River. It included thousands of photographs and hundreds of folk tales he collected during his lifetime. This small sample is only a taste of the rich cultural heritage he documented. It is illustrated with some of his photographs that seem as real today as when he took them. These tales and the accompanying pictures are form Alaska to the American Southwest. They are imaginative and colorful tales of love, creation, infidelity, survival, and faith. They include spiritual beings, mortal humans, and meetings between the two. "The Lost Boys" is a great tale of two brothers who are accidently adrift on the sea off of the coast of Alaska. They eventually run aground on a distant shore and are saved by a medicine woman and finally are taken back to their home. It is a heart-warming story of one brother taking care of his younger and both being saved by a stranger. This book is a great read for young adults and mature adults. Will keep your interest from beginning to end.
Displaying 1 - 5 of 5 reviews