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This scarce antiquarian book is a selection from Kessinger Publishing's Legacy Reprint Series. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment to protecting, preserving, and promoting the world's literature. Kessinger Publishing is the place to find hundreds of thousands of rare and hard-to-find books with something of interest for everyone

This scarce antiquarian book is a selection from Kessinger Publishing's Legacy Reprint Series. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment to protecting, preserving, and promoting the world's literature. Kessinger Publishing is the place to find hundreds of thousands of rare and hard-to-find books with something of interest for everyone!

Old-man then dried the dirt in his hands, rubbing it slowly and singing a queer song. Finally it was dry; then he settled the hand that held the dirt in the water slowly, until the water touched the dirt. The dry dirt began to whirl about and then Old-man blew upon it. Hard he blew and waved his hands, and the dirt began to grow in size right before their eyes. Old-man kept blowing and waving his hands until the dirt became real land, and the trees began to grow. So large it grew that none could see across it. Then he stopped his blowing and sang some more.

The intimate, human memories regarding Charles M. Russell, his genius and eccentricities, which Frank Linderman set down shortly after the death of his good friend, constitute a miscellany of personal insights for which any of Russell's biographers ought to have given his eyeteeth. But in none of the increasingly frequent Russell commentaries, apparently, has use ever been made of these prime source materials.When Russell and Linderman met, it was to be expected a close friendship would result. Their interests, experiences, and natural inclinations were of the same cloth. They loved untrammeled people in virgin country; they had high regard for the old-time Indian and his mores; they held the encroachments upon the old West of civilization's less laudable aspects in mutual disdain; and, finally, Linderman with words and Russell with paint and clay were professional artists concerned in the re-creation of a beloved time fast slipping away. These recollections of their shared campfires, trails, conversations, and fun constitute the finest portrait extant of Charley Russell, the human being, pulsing with personality, quip, and many of his well-known tall tales.

Frank B. Linderman knew the frontier types who appear in these robust stories and sketches. A trapper in Montana during his youth, he stayed on as a publisher, politician, and businessman, beginning to write in middle age. "The Montana Stories of Frank B. Linderman," originally published in 1920, still crackles with the freshness of arctic wind, the pungency of aged whiskey, the impact of a whip. "In the Name of Friendship" sets up a deadly bluff with ironic results. "Was Chet Smalley Honest?" shows a good deed in danger of punishment. "Jake Hoover's Pig" describes a hungry man's sentimental attachment to a fat porker. "Cranks" is a frontier precursor of the Odd Couple. "What Followed a Sermon" testifies to the sobering effect of preaching in a saloon. These and other stories are filled with rustlers and hustlers, Mounties and tenderfeet, Crows and Blackfeet, mountain men, prospectors, bartenders, lawyers, townspeople, and assorted dogs, cats, and horses.

While trapping in Montana during the 1880s, young Frank B. Linderman befriended the Kootenai Indians. At their campfires he heard about Skinkoots the coyote, Co-pee the owl, Frog Chief, and the other animal people. The telling impressed him, and in 1926 he was able, from long familiarity, to translate the tales for "Kootenai Why Stories." Old-Man appears as the flawed undergod known by different names to other tribes, a figure provoking more hilarity than reverence. The frog is another prominent character in this northwestern Indian lore. Also recognizable for their distinctive attributes are the grizzly bear, deer, rabbit, and skunk. Making sense of nature, the stories explain why the coyote has thin legs, why the moose has a moose's nose, why the deer carries a black mark on the underjaw, and how the animals stole the springtime and put an end to winter. Linderman's retelling captures the mystery and spirit of a forested world.

Trickster and transformer, powerful and vulnerable, Coyote is a complex figure in Indian legend. He was often the ultimate example of how not to be: foolish, proud, self-important. The tales in Old Man Coyote were told by the Crow Indians of present-day southeastern Montana. During long winter evenings by the lodge fire, they enjoyed hearing about the only warrior ever to visit the Bird Country, the Little-people who adopted a lost boy, the two-faced tribe that gambled for keeps, the marriage of Worm-face, and the origin of the buffalo. Wandering through these well-spun tales is the irrepressible Old Man Coyote, sometimes scoring a coup, sometimes getting his comeuppance. Ohio-born Frank B. Linderman (1869-1938) spent his adult life in Montana, first as a trapper, then as a publisher, politician, and businessman. Fred W. Voget is an adjunct professor of anthropology at Portland State University and the author of The Shoshoni-Crow Sun Dance.