Two Old Women

Based on an Athabascan Indian legend passed along for many generations from mothers to daughters of the upper Yukon River Valley in Alaska, this is the suspenseful, shocking, ultimately inspirational tale of two old women abandoned by their tribe during a brutal winter famine. Though these women have been known to complain more than contribute, they now must either survive on their own or die trying. In simple but vivid detail, Velma Wallis depicts a landscape and way of life that are at once merciless and starkly beautiful. In her old women, she has created two heroines of steely determination whose story of betrayal, friendship, community and forgiveness "speaks straight to the heart with clarity, sweetness and wisdom" (Ursula K. Le Guin).

With the publication of Two Old Women, Velma Wallis firmly established herself as one of the most important voices in Native American writing. A national bestseller, her empowering fable won the Western State Book Award in 1993 and the Pacific Northwest Booksellers Association Book Award in 1994. Translated into 16 languages, it went on to international success, quickly reaching bestseller status in Germany. To date, more than 350,000 copies have been sold worldwide. Bird Girl and the Man Who Followed the Sun follows in this bestselling tradition. Rooted in the ancient legends of Alaska's Athabaskan Indians, it tells the stories of two adventurers who decide to leave the safety of their respective tribes. Bird Girl is a headstrong young woman who learned early on the skills of a hunter. When told that she must end her forays and take up the traditional role of wife and mother, she defies her family's expectations and confidently takes off to brave life on her own. Daagoo is a dreamer, curious about the world beyond. Longing to know what happens to the sun in winter, he sets out on a quest to find the legendary "Land of the Sun." Their stories interweave and intersect as they each face the many dangers and challenges of life alone in the wilderness. In the end, both learn that the search for individualism often comes at a high price, but that it is a price well worth paying, for through this quest comes the beginning of true wisdom.

RAISING OURSELVES is a gritty, sobering, yet irresistible memoir filled with laughter even as generations of Gwich'in grief seeps from past to present. But hope pushes back hopelessness, and a new strength and wisdom emerge from the lives of the native people of the Yukon River in Alaska.

The beloved New York Times columnist "inspires women to embrace aging and look at it with a new sense of hope" in this lively, fascinating, eye-opening look at women and aging in America (Parade Magazine). "You're not getting older, you're getting better," or so promised the famous 1970's ad -- for women's hair dye. Americans have always had a complicated relationship with aging: embrace it, deny it, defer it -- and women have been on the front lines of the battle, willingly or not. In her lively social history of American women and aging, acclaimed New York Times columnist Gail Collins illustrates the ways in which age is an arbitrary concept that has swung back and forth over the centuries. From Plymouth Rock (when a woman was considered marriageable if "civil and under fifty years of age"), to a few generations later, when they were quietly retired to elderdom once they had passed the optimum age for reproduction, to recent decades when freedom from striving in the workplace and caretaking at home is often celebrated, to the first female nominee for president, American attitudes towards age have been a moving target. Gail Collins gives women reason to expect the best of their golden years.

The intertwined story of a cougar and a man that portrays the strength, vulnerability, and consciousness of two top predators. Not since Life of Pi have we encountered such transcendence or walked so fully in the footsteps of a big cat. The “Old Woman” lives in the wild, searching for food, raising her cubs, and avoiding the two-legged creatures who come into her territory. But she is more than an animal — she is a mythic creature who haunts the lives and the dreams of men. Joseph Brandt has been captivated by the mountain lion’s legend since childhood, and one day he steps into the forest to seek her out. A classic in the making, The Hunter and the Old Woman is a mesmerizing portrait of two animals united by a shared destiny.

Drawing on the perspective of aging bodies in order to approach the study of contemporary Canadian women's fiction, the author seeks to understand body criticism in general because elderly physical experiences lay bare crucial assumptions of thinking through the body. It also investigates the mechanisms and effects of constructions of aging in order to combat the automatically negative reactions most readers have to the topic of old age.

The rare book dealers who delighted readers with the history of their bookselling days in "Old Books, Rare Friends" offer an intimate look at the joys of a friendship that has lasted more than half a century. of photos.

This classic book deals with ageism, feminism, lesbian relationships and how society treats them. It combines personal experience of ageing with groundbreaking feminist theory. This new, expanded edition includes a tribute to Barbara Macdonald by Lise Weil. Barbara died at the age of 86 in June, 2000, and LOOK ME IN THE EYE shows the impact her work has had on understanding women and ageing.

An old woman demonstrates the value of her age when she solves a warlord's three riddles and saves her village from destruction.

Through a single descendant’s voice that speaks to the Sámi diaspora, this collection of poems is a journey through colonialism, transgenerational trauma, and identity. Many have heard of the Sámi reindeer herders brought to Alaska by Sheldon Jackson in the 1800s, but not much is known about the Sámi diaspora experiences in the state and beyond. The poems in Old Woman with Berries in Her Lap use the North Sámi language as well as graphics and various types of poetry to tell these stories of migration and diaspora. Vivian Faith Prescott’s use of language is both a celebration of the richness of the Sámi languages and a mourning of the loss of language that occurs when a population is displaced and forced to exist in a totally foreign language space. According to Sámilinguist, professor, and politician Ole Henrik Magga, the Sámi languages have “very easily . . . one thousand lexemes with connections to snow, ice, freezing, and melting.” These lexemes frame many of Prescott’s poems, introducing ideas and feelings around the loss of language and culture. A compelling insight into the Sámi culture from a contemporary poet’s eye, Old Woman with Berries in Her Lap juxtaposes past and present in an act of reclamation.