The distant howling of a pack of wolves or the hooting of an owl in the river bottom frightened me, and I nestled into my mother’s lap. She added some dry sticks to the open fire, and the bright flames leaped up into the faces of the old folks as they sat around in a great circle.
On such an evening, I remember the glare of the fire shone on a tattooed star upon the brow of the old warrior who was telling a story. I watched him curiously as he made his unconscious gestures. The blue star upon his bronzed forehead was a puzzle to me. Looking about, I saw two parallel lines on the chin of one of the old women. The rest had none. I examined my mother’s face, but found no sign there.
After the warrior’s story was finished, I asked the old woman the meaning of the blue lines on her chin, looking all the while out of the corners of my eyes at the warrior with the star on his forehead. I was a little afraid that he would rebuke me for my boldness.
Here the old woman began: “Why, my grandchild, they are signs—secret signs I dare not tell you. I shall, however, tell you a wonderful story about a woman who had a cross tattooed upon each of her cheeks.”
It was a long story of a woman whose magic power lay hidden behind the marks upon her face. I fell asleep before the story was completed.
Ever after that night I felt suspicious of tattooed people. Wherever I saw one I glanced furtively at the mark and round about it, wondering what terrible magic power was covered there.
It was rarely that such a fearful story as this one was told by the camp fire. Its impression was so acute that the picture still remains vividly clear and pronounced.
III
The Beadwork
Soon after breakfast mother sometimes began her beadwork. On a bright, clear day, she pulled out the wooden pegs that pinned the skirt of our wigwam to the ground, and rolled the canvas part way up on its frame of slender poles. Then the cool morning breezes swept freely through our dwelling, now and then wafting the perfume of sweet grasses from newly burnt prairie.
Untying the long tasseled strings that bound a small brown buckskin bag, my mother spread upon a mat beside her bunches of colored beads, just as an artist arranges the paints upon his palette. On a lapboard she smoothed out a double sheet of soft white buckskin; and drawing from a beaded case that hung on the left of her wide belt a long, narrow blade, she trimmed the buckskin into shape. Often she worked upon small moccasins for her small daughter. Then I became intensely interested in her designing. With a proud, beaming face, I watched her work. In imagination, I saw myself walking in a new pair of snugly fitting moccasins. I felt the envious eyes of my playmates upon the pretty red beads decorating my feet.
Close beside my mother I sat on a rug, with a scrap of buckskin in one hand and an awl in the other. This was the beginning of my practical observation lessons in the art of beadwork. From a skein of finely twisted threads of silvery sinews my mother pulled out a single one. With an awl she pierced the buckskin, and skillfully threaded it with the white sinew. Picking up the tiny beads one by one, she strung them with the point of her thread, always twisting it carefully after every stitch.
It took many trials before I learned how to knot my sinew thread on the point of my finger, as I saw her do. Then the next difficulty was in keeping my thread stiffly twisted, so that I could easily string my beads upon it. My mother required of me original designs for my lessons in beading. At first I frequently ensnared many a sunny hour into working a long design. Soon I learned from self-inflicted punishment to refrain from drawing complex patterns, for I had to finish whatever I began.
After some experience I usually drew easy and simple crosses and squares. These were some of the set forms. My original designs were not always symmetrical nor sufficiently characteristic, two faults with which my mother had little patience. The quietness of her oversight made me feel strongly responsible and dependent upon my own judgment. She treated me as a dignified little individual as long as I was on my good behavior; and how humiliated I was when some boldness of mine drew forth a rebuke from her!
In the choice of colors she left me to my own taste. I was pleased with an outline of yellow upon a background of dark blue, or a combination of red and myrtle-green. There was another of red with a bluish-gray that was more conventionally used. When I became a little familiar with designing and the various pleasing combinations of color, a harder lesson was given me. It was the sewing on, instead of beads, some tinted porcupine quills, moistened and flattened between the nails of the thumb and forefinger. My mother cut off the prickly ends and burned them at once in the centre fire. These sharp points were poisonous, and worked into the flesh wherever they lodged. For this reason, my mother said, I should not do much alone in quills until I was as tall as my cousin Warca-Ziwin.
Always after these confining lessons I was wild with surplus spirits, and found joyous relief in running loose in the open again. Many a summer afternoon a party of four or five of my playmates roamed over the hills with me. We each carried a light sharpened rod about four feet long, with which we
