In 1904 a young Danish woman met a Sami wolf hunter on a train in Sweden. This chance encounter transformed the lives of artist Emilie Demant and the hunter, Johan Turi. In 1907 8 Demant went to live with Sami families in their tents and on migrations, later writing a lively account of her experiences. She collaborated with Turi on his book about his people. On her own and later with her husband Gudmund Hatt, she roamed on foot through Sami regions as an ethnographer and folklorist. As an artist, she created many striking paintings with Sami motifs. Her exceptional life and relationships come alive in this first English-language biography. In recounting Demant Hatt's fascinating life, Barbara Sjoholm investigates the boundaries and influences between ethnographers and sources, the nature of authorship and visual representation, and the state of anthropology, racial biology, and politics in Scandinavia during the first half of the twentieth century.

An exploration of the winter wonders and entangled histories of Scandinavia’s northernmost landscapes—now back in print with a new afterword by the author   After many years of travel in the Nordic countries—usually preferring to visit during the warmer months—Barbara Sjoholm found herself drawn to Lapland and Sápmi one winter just as mørketid, the dark time, set in. What ensued was a wide-ranging journey that eventually spanned three winters, captivatingly recounted in The Palace of the Snow Queen.    From observing the annual construction of the Icehotel in Jukkasjärvi, Sweden, to crossing the storied Finnmark Plateau in Norway, to attending a Sámi film festival in Finland, Sjoholm dives deep into the rich traditions and vibrant creative communities of the North. She writes of past travelers to Lapland and contemporary tourists in Sápmi, as well as of her encounters with Indigenous reindeer herders, activists, and change-makers. Her new afterword bears witness to the perseverance of the Sámi in the face of tourism, development, and climate change.     Written with keen insight and humor, The Palace of the Snow Queen is a vivid account of Sjoholm’s adventures and a timely investigation of how ice and snow shape our imaginations and create a vision that continues to draw visitors to the North.

With the Lapps in the High Mountains is an entrancing true account, a classic of travel literature, and a work that deserves wider recognition as an early contribution to ethnographic writing. Published in 1913 and available here in its first English translation, With the Lapps is the narrative of Emilie Demant Hatt's nine-month stay in the tent of a Sami family in northern Sweden in 1907-8 and her participation in a dramatic reindeer migration over snow-packed mountains to Norway with another Sami community in 1908. A single woman in her thirties, Demant Hatt immersed herself in the Sami language and culture. She writes vividly of daily life, women's work, children's play, and the care of reindeer herds in Lapland a century ago. While still an art student in Copenhagen in 1904, Emilie Demant Hatt had taken a vacation trip to northern Sweden, where she chanced to meet Sami wolf hunter Johan Turi. His dream of writing a book about his people sparked her interest in the culture, and she began to study the Sami language at the University of Copenhagen. Though not formally trained as an ethnographer, she had an eye for detail. The journals, photographs, sketches, and paintings she made during her travels with the Sami enriched her eventual book, and in With the Lapps in the High Mountains she memorably portrays people, dogs, reindeer, and the beauty of the landscape above the Arctic Circle. This English-language edition also includes photographs by Demant Hatt, an introduction by translator Barbara Sjoholm, and a foreword by Hugh Beach, author of A Year in Lapland: Guest of the Reindeer Herders. 1913, Danish-language edition, A.B. Nordiska Bokhandeln.

The first English publication of Sami folktales from Scandinavia collected and illustrated in the early twentieth century   Although versions of tales about wizards and magical reindeer from northern Scandinavia are found in European folk and fairytale collections, stories told by the indigenous Nordic Sami themselves are rare in English translation. The stories in By the Fire, collected by the Danish artist and ethnographer Emilie Demant Hatt (1873–1958) during her travels in the early twentieth century among the nomadic Sami in Swedish Sápmi, are the exception—and a matchless pleasure, granting entry to a fascinating world of wonder and peril, of nature imbued with spirits, and strangers to be outwitted with gumption and craft. Between 1907 and 1916 Demant Hatt recorded tales of magic animals, otherworldly girls who marry Sami men, and cannibalistic ogres or Stallos. Many of her storytellers were women, and the memorable tales included in this collection tell of plucky girls and women who outfox their attackers (whether Russian bandits, mysterious Dog-Turks, or Swedish farmers) and save their people. Here as well are tales of ghosts and pestilent spirits, murdered babies who come back to haunt their parents, and legends in which the Sami are both persecuted by their enemies and cleverly resistant. By the Fire, first published in Danish in 1922, features Demant Hatt’s original linoleum prints, incorporating and transforming her visual memories of Sápmi in a style influenced by the northern European Expressionists after World War I. With Demant Hatt’s field notes and commentary and translator Barbara Sjoholm’s Afterword (accompanied by photographs), this first English publication of By the Fire is at once a significant contribution to the canon of world literature, a unique glimpse into Sami culture, and a testament to the enduring art of storytelling.

Haunting and revealing photographs sent home by Norwegian immigrants in America as visual document and collective expression of the emigrant experience Between 1836 and 1915, in what has been called history's largest population migration, more than 750,000 Norwegians emigrated to North America. Writing home, the newcomers sent thousands of pictures-America-photographs, as they are called in Norway. In these photographs, the emigrant experience unfolds as framed by thousands of Norwegian transplants in towns, cities, and rural communities across America. Pictures of Longing brings more than 250 America-photographs into focus as a moving account of Norwegian migration in the nineteenth and early-twentieth centuries, conceived of and crafted by its photographer-authors to shape and reshape their story. To clarify the historic nature and the cultural function of the America-photographs, art historian and photography scholar Sigrid Lien located thousands of the photographs in public and private archives and museums in Norway and the United States. Reading these photographs alongside letters sent home by Norwegian immigrants, Lien provides the first comprehensive account of this collective photographic practice involving "the voice of the many." Pictures of Longing shows, in fascinating detail, how the photographs, like the accompanying letters, contribute to the cultural grassroots expression of Norwegian migration. They steer us toward multiple, fragmented, and dispersed histories and also complement the existing fabric of established historical narratives, demonstrating photography's potential to engage with history.

A cultural history of Sápmi and the Nordic countries as told through objects and artifacts Material objects—things made, used, and treasured—tell the story of a people and place. So it is for the Indigenous Sámi living in Norway, Sweden, Finland, and Russia, whose story unfolds across borders and centuries, in museums and private collections. The objects created by the Sámi for daily and ceremonial use were purchased and taken by Scandinavians and foreign travelers in Lapland from the seventeenth century to the present, and the collections described in From Lapland to Sápmi map a complex history that is gradually shifting to a renaissance of Sámi culture and craft, along with the return of many historical objects to Sápmi, the Sámi homeland. The Sámi objects first collected in Lapland by non-Indigenous people were drums and other sacred artifacts, but later came to include handmade knives, decorated spoons, clothing, and other domestic items owned by Sámi reindeer herders and fishers, as well as artisanal crafts created for sale. Barbara Sjoholm describes how these objects made their way via clergy, merchants, and early scientists into curiosity cabinets and eventually to museums in Copenhagen, Stockholm, Oslo, and abroad. Musicians, writers, and tourists also collected Sámi culture for research and enjoyment. Displays of Sámi material culture in Scandinavia and England, Germany, and other countries in museums, exhibition halls, and even zoos often became part of racist and colonial discourse as examples of primitive culture, and soon figured in the debates of ethnographers and curators over representations of national folk traditions and “exotic� peoples. Sjoholm follows these objects and collections from the Age of Enlightenment through the twentieth century, when artisanship took on new forms in commerce and museology and the Sámi began to organize politically and culturally. Today, several collections of Sámi objects are in the process of repatriation, while a new generation of artists, activists, and artisans finds inspiration in traditional heritage and languages. Deftly written and amply illustrated, with contextual notes on language and Nordic history, From Lapland to Sápmi brings to light the history of collecting, displaying, and returning Sámi material culture, as well as the story of Sámi creativity and individual and collective agency.

Veteran seafarers and anyone who has dreamed of running away to sea in their very own boat or simply savoured the smell of the salty air on the water's edge will be inspired by this well-crafted and varied collection. Steady as She Goes is both a testament to women's enduring relationship with the sea and a gripping and illuminating read.Whether commercial fishing in Alaska's unforgiving waters, racing tall ships off the coast of Australia, kayaking in the enchanting Sea of Cortez, or learning the antiquated mechanics of a New York City fireboat, these women work and play at sea, spinning harrowing adventure yarns and relaying quiet moments of revelation surrounded by the vastness of the ocean. This unique and long-overdue collection shatters once and for all the myth that the sea is solely the domain of men.

"What kind of cancer is it?" was the first question Barbara Brenner asked her doctor after hearing that the lump in her breast was malignant. His answer: "You don't need to know that." Wrong response. Brenner, who was already an activist, made knowing her business and spreading knowledge her mission. The power behind Breast Cancer Action (R) and its transformative Think Before You Pink campaign, Barbara Brenner brought an abundance of wit, courage, and clarity to the cause and forever changed the conversation. What had been construed as an individual crisis could now be seen for what it was: a pressing concern of public health and social justice, with environmental issues at the center of prevention efforts. Collected in So Much to Be Done, and framed by personal accounts of Barbara and her influential work, Brenner's columns and blog posts form a chronicle of breast cancer research and health care activism that is as inspiring as it is informative. As she takes on the corporate forces at work in breast cancer research and treatment and in the "pinkwashing" of fund-raising for the cause, Brenner, a self-described hell-raiser, contends with cancer herself, twice, and her words offer understanding and encouragement to all those whose lives are touched by the disease. When Brenner was diagnosed with ALS in 2011, she broadened her critique of health care while also writing about her own experience. Infused with her characteristic moxie, humor, anger, and compassion, these reflections from her last two years provide an in-depth, precisely observed portrayal of what it is to live with a terminal disease and to die on one's own terms.

Barbara Sjoholm arrived in London in the winter of 1970 at the age of twenty. Like countless young Americans in that tumultuous time, she wanted to leave a country at war and explore Europe; a small inheritance from her grandmother gave her the opportunity. Over the next three years, she lived in Barcelona, hitchhiked around Spain, and studied at the University of Granada. She managed a sourvenir shop in the Norwegian mountains and worked as a dishwasher on the Norwegian Coastal Steamer. Set on becoming a writer, she read everything from Colette to Dickens to Borges, changing her style and her subject every few weeks, and gradually found her voice.
"Incognito Street" is the story of a young woman's search for artistic, political, and sexual identity while digesting the changing world around her. As she sheds the ghosts of her childhood, we come to know her quiet yet adventurous spirit. In moments that are tender, funny, bewildering, and suspenseful, we see an evocative look at Europe through the blossoming writer's maturing eyes.

Winner of the Nadia Christensen Prize for translation from the American-Scandinavian Foundation In a masterful blend of fiction and autobiography, a Norwegian novelist sends her character to the far north to learn what she can about their Sami ancestry Inspired by Helene Uri's own journey into her family's ancestry, Clearing Out, an emotionally resonant novel by one of Norway's most celebrated authors, tells two intertwining stories. A novelist, named Helene, is living in Oslo with her husband and children and contemplating her new protagonist, Ellinor Smidt-a language researcher, divorced and in her late thirties, with a doctorate but no steady job. An unexpected call from a distant relative reveals that Helene's grandfather, Nicolai Nilsen, was the son of a coastal (sjo) Sami fisherman-something no one in her family ever talked about. Uncertain how to weave this new knowledge into who she believes she is, Helene continues to write her novel, in which her heroine Ellinor travels to Finnmark in the far north to study the dying languages of the Sami families there. What Ellinor finds among the Sami people she meets is a culture little known in her own world; she discovers history richer and more alluring than rumor and a connection charged with mystery and promise. Through her persistence in approaching an elderly Sami activist, and her relationship with a local Sami man, Ellinor confronts a rift that has existed between two families for generations. Intricate and beautifully constructed, Clearing Out offers a solemn reflection on how identities, like families, are formed and fractured and recovered as stories are told. In its depiction of the forgotten and the fiercely held memories among the Sea (sjo) Sami of northern Norway, the novel is a powerful statement on what is lost, and what remains in reach, in the character and composition of contemporary life.

The Pirate Queen begins in Ireland with the infamous Grace O'Malley, a ruthless pirate and scourge to the most powerful fleets of sixteenth-century Europe. This Irish clan chieftain, sea captain, and pirate queen was a contemporary of Elizabeth I, a figure whose life is the stuff of myth. Regularly raiding English ships caught off Ireland's west coast, O'Malley was purported to have fought the Spanish armada just hours after giving birth to her son. She had several husbands in her lifetime, and acquired lands and castles that still dot the Irish coastline today.
But Grace O'Malley was not alone. Since ancient times, women have rowed and sailed, commanded and fished, built boats and owned fleets. As pirate, captain's wives, lighthouse keepers and sailors in disguise they've explored coastlines and set off alone across unknown seas. Yet their incredible contributions have been nearly erased from the history books. In The Pirate Queen, Barbara Sjoholm brings some of these extraordinary women back to life, taking the reader on an unforgettable journey from the wild Irish coast to the haunting Scandinavian fjords in this meticulously researched, colorfully written, and truly original work