"Do you want to know?" the spirit asked twenty-three-year-old Eleanor Barrón Druckrey in 1967. At the time, the young woman was not quite ready. Ten years later and still stalked by spirits day and night, Barrón Druckrey accepted the invitation to embark on a journey of discovery through her dreams. She began to understand a pattern of brilliance and beauty related to the ancient past when magic, wonder, and awe reigned throughout the native cultures in the Americas. Drawn from more than thirty years of recorded dreams, Corn Woman Sings brings Native American traditions to life. Interwoven with Barrón Druckrey's personal stories and discussions on the legends of the great dreamers, Corn Woman's legacy lays a path of transformation and renewal for the modern-day curandera, medicine woman and mystic, in all walks of life. Corn Woman Sings shows you how to start building a dream map that will lead you to personal transformation. It illustrates the process of opening up to your inner self and starting the process of uniting mind, body, and spirit. Only time will tell what you might witness in your dreams.

A remarkable collaboration between a university music professor and her one-time student, a traditional Navajo who teaches on the reservation.

Using tribal tales from across the country as inspiration, the authors provide practical information about seed preservation, planting and maintaining the garden, reaping and cooking the harvest.

In an authoritative, wise, and wholly original blend of social history, art, science, and anthropology, Fussell tells the story of corn in a narrative that is as uniquely hybrid as her subject. The great epic of this amazing grain makes clear that all the civilizations of the Western hemisphere have been built on corn. 250 photos and line drawings.

What is distinct about the last third of life, about women, that makes psychotherapy different? In this diverse collection, the psychological meanings and challenges of the last third of life are explored, as the capacity of the psyche expands, sense of time changes, and some questions take on new vibrance and urgency. Some chapters shine their light on women therapy clients - on their precarious sociocultural predicament in a sexist/ageist time and place, on intrapsychic changes that follow from changing bodies, relationships, involvements and emergent needs of the self. Other chapters enter the largely unexplored territory of changes in the therapy process itself - where some decide against therapy altogether, while others describe a rich revision of familiar elements of therapy, greater authentic presence, a changed standpoint on the power of the therapeutic relationship. Standing inside the ‘‘last third’’ and looking back on their own lives, several women psychotherapists offer a rare window into their private experience across time and their perspectives on the challenges and the gifts that they, and other women, may realize in the last third of their lives as they consider who they have become, who they are, and who they can be. This book was based on a special issue of Women and Therapy.

In a gathering of griot traditions fusing storytelling, cultural history, and social and literary criticism, Put Your Hands on Your Hips and Act Like a Woman “re-members” and represents how women of the African diaspora have drawn on ancient traditions to record memory, history, and experience in performance. These women’s songs and dances provide us with a wealth of polyphonic text that records their reflections on identity, imagination, and agency, providing a collective performed autobiography that complements the small body of pre-twentieth-century African and African American women’s writing. Gale P. Jackson engages with a range of vibrant traditions to provide windows into multiple discourses as well as “new” and old paradigms for locating the history, philosophy, pedagogy, and theory embedded in a lineage of African diaspora performance and to articulate and address the postcolonial fragmentation of humanist thinking. In lyrically interdisciplinary movement, across herstories, geographies, and genres, cultural continuities, improvisation, and transformative action, Put Your Hands on Your Hips and Act Like a Woman offers a fresh perspective on familiar material and an expansion of our sources, reading, and vision of African diaspora, African American, and American literatures.

This life history of a Navajo leader, recorded in the 1960s and first published in 1977, is a classic work in the study of Navajo history and religious traditions. "A skillful, meticulous, and altogether praiseworthy contribution to Navajo studies. . . . Although the focus of Mitchell's autobiography is upon his role as a Blessingway singer, there is much material here on Navajo history and culture in the late nineteenth and early twentieth centuries. Mitchell attended the government school at Fort Defiance, worked on the railroad in Arizona, served as a handyman and interpreter at several trading posts and the Franciscan missions, and later served as a tribal councilman in the 1930s and as a judge in the 1940s and 1950s. His observations on these experiences are relevant to our understanding of contemporary Navajo life."--Lawrence C. Kelly, Western Historical Quarterly "This book stands easily among the best of the 'native' autobiographies. Narrated by a thoughtful and articulate Navajo leader over a span of eighteen years, this life history is brought into English with none of the selective romanticizing that has spoiled some books. . . . (It is) a superb job of bringing one culture ever closer to another."--Barre Tolken, Western Folklore