Songs And Stories

This unique collection contains 22 stories and songs about the birth

Little Owl must be more careful when he is sleeping - uh-oh! He has fallen from his nest, & with a bump he lands on the ground. Where is his mummy? With the earnest assistance of his new friend Squirrel, Little Owl sets off in search of her, & meets a sequence of other animals.

While well-known songs such as "The Badger Drive" and "Tickle Cove Pond" provide glimpses into the hard labour and rich culture of woods work in early twentieth-century Newfoundland and Labrador, little has been written about the lives of woods workers and the extent of their enduring cultural legacies. Songs, stories, recitations, poems, and instrumental tunes flourished in the woods camps. Many of them were created locally and reflect the people and experiences of woods work. Passed down by oral tradition in bunkhouses and at work sites, in family kitchens and at community concerts, these songs and stories address a gap in our understanding of this occupational culture and its history.This book is the first comprehensive collection of musical compositions, recitations, poems, and narratives written by, for, and about twentieth-century woods workers in Newfoundland and Labrador. It analyzes their significance--as both grassroots social history texts and creative and musical contributions--and creates a portrait of a culture shaped by the harvesting of timber. Inside you will find: a history of lumbering and logging; an exploration of the place of song and story in woods work and culture; musical transcriptions of 76 locally composed songs and tunes, with analysis of this musical tradition; complete song lyrics with contextual discussion; more than 70 archival photos; and a glossary of occupational words.

A collection of songs and stories from the entertainer considered to be the "Charley Russell of Western Music."

Reprint of the original, first published in 1873.

Provides a history of the music and lyrics of a dozen Civil War songs, describing the circumstances under which they were created and performed.

Left dead after our cultures were broken by triumphant enemies, our stories changed to suit others. We now change them again to suit ourselves. Songs and Stories of the Ghouls purports to give power to the dead—voices to the victims of genocide both ancient and contemporary—and presence to women. Medea did not kill her sons; Dido founds a city, over and over again, the city of the present author’s poetry. In these poems the poet asserts that though her art comes from a tradition as broken as Afghanistan’s statuary, there is always a culture to pass on to one’s children, and one is always involved in doing so. We are the ghouls, the drinkers of the blood-sacs, and we insist that we are alive.