Goodbird the Indian: His Story — Background and Themes

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Goodbird, Edward, 1869-, Wilson, Gilbert Livingstone, 1868-1930, Wilson, F. N. (Frederick N.), 1876-1961 [Illustrator] Project Gutenberg 2018 Not confirmed
Indians of North America -- Biography; Goodbird, Edward, 1869-; Hidatsa Indians -- Biography; Hidatsa Indians -- Social life and customs Readers of public-domain and historical texts
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Words 21,726
Reading time 95 min
Text sections 3

This digital edition of Goodbird the Indian: His Story — Background and Themes is described by source-level measurements including 21,726 words, 1 hr 35 min estimated reading time, and 3 detected text sections.

The text analysis averages about 17.8 words per sentence, while the detected sections provide another way to judge how the source is divided.

Project Gutenberg metadata also associates the work with “Indians of North America -- Biography,” connecting these edition facts with the source record’s subject description.

Edward Goodbird's first-person account of Hidatsa life, from childhood games and buffalo hunts to mission school and the tension between tribal beliefs and Christianity, as told to anthropologist Gilbert L. Wilson.
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red the mouth of the Little Missouri, thirty miles from the village. Then a storm arose, and as we rounded a bend, the current carried us into the very teeth of the wind. Our flimsy boats, sea-sawing up and down on the heavy waves, threatened to overturn.

My parents turned hastily to shore and plied their paddles. Suddenly my father leaned over his side of the boat, almost tipping it over and tumbling my mother in upon him; she caught at the edge of the boat to save herself, but had the presence of mind not to drop her paddle. Then she saw what had happened; I had fallen into the water, and my father was drawing me, wet but unhurt, into the boat.

I have said that my uncle, Flies Low, and I rode in the second boat. I had grown restless, and he had loosened my cradle clothes to give me room to move my limbs. When we ran into the storm, our boat rocked so violently that I slipped from his arms, but my loosened clothes made me float.

“I did not mean to drop the baby,” my uncle said afterwards. “I thought the boat had upset and I was frightened.” He was only a lad, and my mother could not blame him.

We reached shore in a terrible storm of snow and wind. The boats were dragged up on the beach; the two tents were hastily pitched to shelter the women and children; and fires were lighted.

My father stopped only long enough to see us safe, and then pushed on through the storm with the horses, which my grandfather had been driving along the shore in sight of the boats. He reached the village safely and drove the horses into the shelter of some woods along the river.

Boys know that in summer, when they go swimming, it is warmer to stay in the water, than upon the bank, in a wind. There was a pond in the woods; and our horses waded into the water to escape the cold wind. When they came out the wind chilled their coats, so that three of them died.

The storm lasted four days. When it was over, my mother and the rest of the party re-embarked in their bull boats and floated safely down to Like-a-fish-hook village.

Of course I remember nothing of these things; but I have told the story as I heard it from the lips of my mother.

[1] General George A. Custer.

Like-a-fish-hook village stood on a bluff overlooking the Missouri, and contained about seventy dwellings. Most of these were earth lodges, but a few were log cabins which traders had taught us to build.

My grandfather’s was a large, well-built earth lodge, with a floor measuring about forty feet across. Small Ankle, his two wives and their younger children; his sons, Bear’s Tail and Wolf Chief, and his daughter, my mother, with their families, dwelt together. It was usual for several families of relatives to dwell together in one lodge.

An earth lodge was built with a good deal of labor. The posts were cut in summer, and let lie in the woods until snow fell; men then dragged them to the village with ropes. Holes were dug the next spring, and the posts raised. Stringers, laid along the tops of the posts, supported rafters; and upon these was laid a matting of willows and dry grass. Over all went a thick layer of sods.

The four great posts that upheld the roof had each a buffalo calf skin or a piece of bright-colored calico bound about it at the height of a man’s head. These were offerings to the house spirit. We Hidatsas believed that an earth lodge was alive, and that the lodge’s spirit, or soul, dwelt in the four posts. Certain medicine women were hired to raise these posts in place when a lodge was built.

Our lodge was picturesque within, especially by the yellow light of the evening fire. In the center of the floor, under the smoke hole, was the fireplace; a screen of puncheons, or split logs, set on end, stood between it and the door. On the right was the corral, where horses were stabled at night. In the back of the lodge were the covered beds of the household, and my grandfather’s medicines, or sacred objects. The most important of these sacred objects were two human skulls of the Big Birds’ ceremony, as it was called. Small Ankle was a medicine man and when our corn fields suffered from drought, he prayed to the skulls for rain.

Goodbird the Indian opens with a direct, unadorned voice: 'I was born in an earth lodge, near Fort Berthold, North Dakota.' The narrative, told by Edward Goodbird to anthropologist Gilbert L. Wilson and rendered into 'common idiom,' retains the cadence of spoken testimony. Wilson’s foreword explains that Goodbird is his adopted brother, and the stories were told in August 1913. The result is a document that moves between personal recollection and ethnographic detail, with shifts in pace that mirror Goodbird’s own transitions—from the seasonal rhythms of Hidatsa games to the abrupt challenges of school learning.

A Voice Between Two Worlds

Goodbird’s narrative voice is remarkably steady, even when describing cultural collision. He reports his childhood belief that hoops thrown into the Missouri became dead buffaloes, then adds, without irony, that the frozen carcasses were 'always fat' and 'sweet and tender.' The same even tone carries his account of learning the earth is round: 'In our earth lodge, that night, I said to my parents, “This earth is round; the sun is a burning ball!”' His cousin Butterfly dismisses this as 'white man’s talk,' but Goodbird refuses to concede. The passage is striking for its lack of drama—Goodbird simply states the disagreement and moves on. This flat, reportorial style recurs throughout, giving the impression of a man who has long since reconciled the two frameworks.

Games as Seasonal Markers

The book’s pacing is governed by the Hidatsa calendar. Goodbird devotes careful attention to games, each tied to a specific time of year: the hoop game in March and early April, u-a-ki-he-ke (throw stick) after the first thunder, and sham battles with clay balls in June. The descriptions are precise—hoops 'covered with a lacing of thongs,' willow rods 'stained red, with ochre, or a bright green, with grass'—and the rules are given in full. These passages slow the narrative to a near-ethnographic crawl, then release into moments of action: 'a storm of mud balls would come whizzing through the air like bullets.' The effect is a rhythm of patient explanation followed by sudden, vivid motion, mirroring the way memory dwells on detail before leaping to incident.

The Weight of a Letter

One of the book’s quietest passages carries the most emotional force. Goodbird describes receiving a letter from a cousin at the Santee Indian school: '“I believe in Jesus’ way,” he wrote. “I believe Jesus is a good Saviour. I have tried His way, and I want you to try to join in and have Him for your Saviour.”' Goodbird says only that 'this letter set me to thinking.' The restraint is characteristic; he does not elaborate on his feelings. But the letter arrives after pages of matter-of-fact description of school life—learning the Ten Commandments, refusing to swear because Mr. Hall said it was wrong—and the juxtaposition gives the cousin’s words a weight the narrative otherwise avoids. It is one of the few moments where the reader senses a private struggle beneath the composed surface.

Goodbird’s story is best read as a layered testimony: part autobiography, part cultural record, part collaboration with an anthropologist who shaped its English. The reader should attend to what is left unsaid—the gaps between the even tone and the events described. The glossary of Indian words at the front signals that the text moves between languages, and the illustrations by Frederick N. Wilson add a visual dimension. Approach the book as a document of a life told in a specific moment, for a specific audience, and the quiet authority of Goodbird’s voice becomes clear.

That rainy afternoon, Goodbird’s quiet account of losing old ways under new faith stayed with me, a particular ache about identity pressed between two worlds. It made me think of another voice, also caught between freedom’s promise and its denial. I pulled up Narrative of William W. Brown, a Fugitive Slave. Second Edition — Background and Themes almost without deciding to, and the rain kept falling.

Luke Clark
1 month ago

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