Given Senier's ethical and multilayered approach, and the provocative concluding reading of Alice Callahan's Wynema in the epilogue, I could not help but wish that she had also explored the work of Mary Jemison (Seneca), an earlier "white" woman who was adopted by and lived virtually her entire life among the Seneca, and Buffalo Bird
Woman, an Hidatsa woman whose fascinating episodic narratives were collected early in the twentieth century by Gilbert Wilson.
These fields varied in size but Buffalo Bird Woman's largest field was 540 feet by 270 feet (3.
Buffalo Bird Woman also tells of the festival held when the green corn was ready to eat.
People can develop an appreciation for these early Aboriginal farming activities by reading accounts such as Wilson's Buffalo Bird Woman's Garden or by visiting the interpretive centre at Lockport.
Like most members of the Hidatsa and related groups, Buffalo Bird Woman, her brother, Wolf Chief, and her son, Edward Goodbird, experienced profound change in the years between 1875 and 1915.
Buffalo Bird Woman was raised in an environment that seemed thoroughly traditional despite the presence of white traders and their goods.
Significant national intervention in the lives of the Hidatsa began in 1851, eighteen years before Buffalo Bird Woman gave birth to Edward Goodbird, her only child.
Buffalo Bird Woman's family was forced to settle farmsteads at a location selected by Wolf Chief from a vision quest, ironically called Independence.
In some spheres, Wilson retained his white attitudes, but in others he was transformed by his association with Buffalo Bird Woman's family.
Buffalo Bird Woman's emotional life was reinvigorated by her great effort with Wilson to pass on knowledge that had come to seem irrelevant.
Even in Buffalo Bird Woman's youth, imported iron hoe blades had largely replaced buffalo scapulas as the tool for cultivating vegetables.