Through a detailed analysis of their unique occupational culture, Making the Voyageur World reexamines the French Canadian workers who dominated the fur trade industry and became iconic images of North American lore.

A red squirrel stows away on a canoe to fulfill his dream of joining a group of voyageurs--men who paddle canoes filled with goods to a trading post thousands of miles away. A Finalist for the Minnesota Book Award It is 1792 and unbeknownst to a group of voyageurs traveling from Montreal to Grand Portage, an intrepid squirrel, Jean Pierre Petit Le Rouge, sneaks onto their canoe. Le Rouge is soon discovered because he can't contain his excitement--mon dieu he is so enthusiastic. The smells! The vistas! The comradery! The voyageurs are not particularly happy to have him, especially because Le Rouge rides, but he does not paddle. He eats, but he does not cook. He doesn't even carry anything on portages--sometimes it is he who has to be carried. He also has a terrible singing voice. What kind of voyageur is that? When they finally arrive at the trading post Le Rouge is in for a terrible shock--the voyageurs have traveled all those miles to collect beaver pelts. With the help of Monique, a smart and sweet flying squirrel, Le Rouge organizes his fur-bearing friends of the forest to ambush the men and try and convince them to quit being voyageurs. Written by a Newbery honor author, the book has over 20 black-and-white illustrations. A Junior Library Guild Selection

Voyageur is the French word for "traveler," but in the Great Lakes region during the seventeenth century it described those men who made their living trading furs and goods along water routes. Traveling by canoe, these voyageurs helped to establish north woods trading posts and settlements, opening up the West to future exploration. Young Jacques's father is such a voyageur. He works long hours in bitterly cold weather, absent from home for weeks at a time. As he awaits his father's return from a season of trading, Jacques dreams of the day he will hold the canoe paddle and join the ranks of voyageurs.Author Kathy-jo Wargin is known for her many stories celebrating Great Lakes lore and north woods history including the 2001 IRA Children's Choice Award winner, The Legend of the Loon. She lives with her family in Petoskey, Michigan. David Geister's body of work with Sleeping Bear Press continues to grow and includes The Legend of Minnesota, also written by Kathy-jo Wargin. He specializes in historic art and has a background in commercial art. David lives with his family in Minneapolis, Minnesota.

Here is the history of knitting around the globe, examining styles, techniques, and particular styles countries and regions—including England, Ireland, Scotland, Norway, Sweden, Finland, Estonia, Latvia, Iceland, Japan, Australia, Canada, United States, Peru, Bolivia, and more. Highlighted are 20 profiles of historically significant knitters who are using particular techniques today—plus 20 patterns that exemplify knitting traditions from around the world.

British traders and Ojibwe hunters. Cree women and their metis daughters. Explorers and anthropologists and Aboriginal guides and informants. These people, their relationships, and their complex identities and worldviews were not featured in histories of North America until the 1970s, when scholars from multiple disciplines began to bring new perspectives and approaches to bear on the past. Gathering Places presents some of the most innovative and interdisciplinary approaches to metis, fur trade, and First Nations history being practised today. Whether they are discussing dietary practices on the Plateau, trees as cultural and geographical markers in the trade, the meanings of totemic signatures, issues of representation in public history, or the writings of Aboriginal anthropologists and historians, the authors link archival, archaeological, material, oral, and ethnographic evidence to offer novel explorations that extend beyond earlier scholarship centred on the archive. They draw on Aboriginal perspectives, material forms of evidence, and personal approaches to history to illuminate cross-cultural encounters and challenge older approaches to the past. These fascinating essays on aspects of the history of Rupert’s Land mark a significant departure from the old paradigm of history writing and will serve as models for recovering and communicating Aboriginal and cross-cultural experiences and perspectives.

The essays in section 1 consider ethnography's influence on how Europeans represent colonized peoples. Section 2 essays analyze curatorial practices, emphasizing how exhibitions must serve diverse masters rather than solely the curator's own creativity and judgment, a dramatic departure from past museum culture and practice. Section 3 essays consider tribal museums that focus on contesting and critiquing colonial views of American and Canadian history while serving the varied needs of the indigenous communities.

A Quaker’s faith is tested during the War of 1812 in this “stunning work of historical fiction” (Kirkus Reviews, starred review). Mark Greenhow, a naive and peaceful Quaker, lands on the shores of North America on the eve of the War of 1812, thinking only of finding the missing sister, a missionary whose adventurous spirit he has always admired. His pursuit begins by hitching a ride with the voyageurs who have canoed the rivers, transporting the tons of furs that feed the trade that has made the region a battleground of the French and British empires. Though Mark enters this brave new world with his conscience clean and his convictions sound, his encounters with a place and people he never could have imagined test his rigid upbringing. The backwoods of Canada have certainly led his sister astray; she has been excommunicated from the Society of Friends for running off with a non-Quaker. After her child is stillborn she runs again, deep into Indian country. On this increasingly desperate search, Mark finds himself among spies and domestic warriors, displaced natives, infidels, and the pious each engaged in their own battles to maintain their particular way of life. With Elphinstone’s crisp and effortless prose, coupled with her riveting, organic way with description, her fully drawn characters, and the history of the region, she “brings the landscapes and peoples of 1800s Canada back to thrilling life in her pacy, colorful and intelligent epic: the finest trip along these rivers since Brian Moore’s great Black Robe” (The Independent).