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164 pages, Hardcover
First published September 1, 1997
I read this book to my six-year-old grandson, and the illustrations by Leo & Diane Dillon amazed us. Pages became a river, and we were caught up in how the surface of each one rippled or splashed in the current of reading. Each story begins with a banner of black & white sketches across the top of the page, dramatizing the salient action of plot; then, in the middle of the story, a full-color painting will burst out on the right-facing page.
The layout compliments Hoard Norman’s retellings. The marvelous introduction establishes the first telling of these tales gathered usually in kitchens, first in Churchill, Manitoba. The storyteller’s frame in the introduction seems established to put the reader—like a grandfather—on notice how far these stories have come from firesides in The Arctic Circle . Besides the initial tales of the Canadian Arctic, there are stories from Greenland, Siberia and Alaska.
The harsh but magic cold fills the distance between people, so if a strange man is rude, walruses will be close by to discipline. A gull might grow weary of her own kind, and put on a human disguise. Never is hunger too far from center of the story, which might be why Norman heard many of these stories “in the kitchen.” In “Noah Hunts a Wooly Mammoth,” for example, the apocryphal tale should caution contemporary culture about how extinction has always been a thing people have been cautioned about.
Some of these stories will remind us of fairytales we’ve already heard, but rarely is there a “head man,” and never is there a princess. As with the title story, a girl is special because of the special thing she does.
We did laugh out loud at many places in these stories, but in the short distances between the laughs, there was tenuous survival, deep drops into longing and mourning. A lot of humanity bundled into these tales.