Mourning and the importance of the capacity to bear some helplessness, while still finding pleasure in life, are central to this tightly organized volume. The multi-faceted processes involved in mourning and adaptation are addressed.

One of the more complex and widespread rituals practiced by Native American groups focused on the calumet, a sacred pipe with a feathered shaft. The Calumet Ceremony was a powerful ritual through which members of another tribe were adopted. It also promoted social unity within tribes and facilitated contact and trade between them. Perhaps the most detailed description of a Calumet Ceremony was recorded near the turn of the century by ethnographer Alice C. Fletcher. Fletcher witnessed the Hako, a version of the Calumet Ceremony practiced by the Chaui clan of the Pawnee. With the invaluable assistance of Tahirussawichi, a Pawnee Ku'rahus or ceremonial leader, and renowned Indian scholar James R. Murie, himself a Pawnee, the author describes in marvelous detail the intricate rhythm and structure of the ceremony. Each song of the Hako is transcribed, translated, interpreted by the Pawnee Ku'rahus, and later analyzed by the author. Fletcher concludes that the Hako promised longevity, fertility, and prosperity to individuals and worked to insure "friendship and peace" between clans and tribes. The Hako, originally published in 1904, is introduced by Helen Myers, an associate professor of music at Trinity College and the ethnomusicology editor of the New Grove Dictionary of Music and Musicians.

"Among the Indians, music envelopes like an atmosphere every religious, tribal, and social ceremony as well as every personal experience. There is not a phase of life that does not find expression in song," wrote Alice C. Fletcher. The famous anthropologist published "A Study of Omaha Indian Music in 1893." With the single exception of an 1882 dissertation, it was the first serious study ever made of American Indian music. And it was the largest collection of non-Occidental music published to date, ninety-two songs, all from a single tribe.

Fletcher and Francis La Flesche, her Omaha coworker and adopted son, divided the songs into three categories: religious ones, to be sung by a certain class either through initiation or inheritance; social ones, involving dances and games, always sung by a group; and ones to be sung singly, including dream songs, love songs, captive songs, prayer songs, death songs, sweat lodge songs, and songs of thanks. John Comfort Fillmore, a professional musician, added a "Report on the Structural Peculiarities of the Music."

Those interested in a vital aspect of Indian culture will want to own this book, which contains the musical scores as well as the native-language words for the songs.

One day Alice C. Fletcher realized that "unlike my Indian friends, I was an alien, a stranger in my native land." But while living with the Indians and pursuing her ethnological studies she felt that "the plants, the trees, the clouds and all things had become vocal with human hopes, fears, and supplications." This famous statement comes directly from the preface of this book and was later etched on her tombstone. "I have arranged these dances and games with native songs in order that our young people may recognize, enjoy and share in the spirit of the olden life upon this continent," she wrote.
"Indian Games and Dances with Native Songs" is a collection that conveys the pleasure and meaning of music and play and rhythmic movement for American Indians. Many of the activities here described are adapted from ceremonials and sports. Included is a "drama in five dances" celebrating the life of corn. "Calling the Flowers" is an appeal to spirits dwelling underground to join the dancers. Still another dramatic dance, with accompanying songs, petitions clouds to leave the sky. The Festival of Joy, an ancient Omaha ceremony, is centered on a sacred tree. In the second part Indian ball games and games of hazard and guessing are set forth, as well as the popular hoop and javelin game. Fletcher closes with a section on Indian names.

Folding a River, a collection of elegies, shows a pleasing range of free-verse forms that develop themes sustained throughout: loss, exile, myth, landscape. Kawita Kandpal's poems are explorations of East-West cultures, taking her into an emo-mythic place not to be found on any map. Kandpal's mood in Folding a River is melancholy, articulated with intelligence and grace, and her phrasing can rise to the level of proverb: "This time next year you will have evolved into an idea." In its personal evocations of geographical and linguistic exile from the subcontinent, centered on a lost father, her work recalls that of Li-Young Lee, yet with a feminine perspective often haunting in its own right: "tenderly / taking back the mistakes of men."

Like many other small towns in Trinidad, Felicity is populated almost entirely by East Indians. In their Caribbean exile, the residents of Felicity have created and recreated the music of their Hindu ancestors. "Music of Hindu Trinidad" is a fascinating account of the history and cultural significance of Hindu music that explores its symbolic, aesthetic, and psychological aspects while asking the larger question of how this music has contributed to the formation of identity in the midst of their great diaspora.
Myers details the musical repertory of Felicity, which is based largely on north Indian genres including the traditional Bhojpuri folk songs and drumming styles brought by the first indentured laborers in 1845. In her engaging exploration of the fate of Indian classical music and new popular styles such as Hindi calypso, soca, and chutney, she even finds herself at the ancestral home of Trinidadian V. S. Naipaul in India. Copiously illustrated and accompanied by a compact disk, "Music of Hindu Trinidad" is a model ethnographic study.