Books with author Grace Moon

This scarce antiquarian book is a facsimile reprint of the original. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.

Grace Purdie Moon (1877-1947) and Carl Moon (1879- 1948) were American authors and illustrators of children's books about Native Americans. Carl Moon spent six years' apprenticing with various photographers in Cincinnati, Ohio, and Wheeling, West Virginia, before opening his own studio in Albuquerque, New Mexico. He met Grace Purdie in 1909, on a trip to the Grand Canyon where he had moved to work for the Fred Harvey Company. After their marriage, they moved to Pasadena, California, to open their own studio. Grace focused on writing. Her works hold a sympathetic and respectful attitude towards her native American heroes. Carl Moon's paintings were used as illustrations for his wife's books. Their works include: Indian Legends in Rhyme (1917), Lost Indian Magic (1918), Wongo and the Wise Old Crow (1923), Chi-Wee: The Adventures of a Little Indian Girl (1925), Nadita (Little Nothing) (1927), The Runaway Papoose (1928), The Missing Katchina (1930), The Book of Nah-Wee (1932), Tita of Mexico (1934), Singing Sands (1936) and Daughter of Thunder (1942).

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

This scarce antiquarian book is a facsimile reprint of the original. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.

“Out in the region of the sage and the pine; in the far reaches of the ever-mysterious desert, the Indian campfires of the long ago heard many a tale well worth the telling. Some there were that have been handed down, through the channel of an unwrit tongue, from age to youth – told, retold, and told again until they come to the hearing of even you and me. Thus the ancient tale of Kay'-yah and the Lost Magic comes to be set down.” The authors, Pasadena, California, 1918. Author Grace Moon was a well known writer of children’s books, with a particular interest in Native American stories. She won a Newbery Honor award for children’s literature in 1929. In “Lost Indian Magic”, she tells the story of a young Native American (Kay’-yah) whose tribe’s magic went missing years earlier and his adventures as he seeks to restore the stolen magic to his people.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

“Out in the region of the sage and the pine; in the far reaches of the ever-mysterious desert, the Indian campfires of the long ago heard many a tale well worth the telling. Some there were that have been handed down, through the channel of an unwrit tongue, from age to youth – told, retold, and told again until they come to the hearing of even you and me. Thus the ancient tale of Kay'-yah and the Lost Magic comes to be set down.” The authors, Pasadena, California, 1918. Author Grace Moon was a well known writer of children’s books, with a particular interest in Native American stories. She won a Newbery Honor award for children’s literature in 1929. In “Lost Indian Magic”, she tells the story of a young Native American (Kay’-yah) whose tribe’s magic went missing years earlier and his adventures as he seeks to restore the stolen magic to his people.

When the husband-and-wife team Grace and Carl Moon first published Wongo and the Wise Old Crow in 1923, America could still remember the times of American natives and life in nature, and here in this wonderful story of a boy, a bear, and a crow, you and your child can take part in these outdoor adventures.Fans of Rudyard Kipling's A Jungle Book and James Fenimore Cooper's Leather Stocking Tales will surely appreciate this volume.Grace Moon (1884–1947) was an American children's author, publishing many works on Native American themes. Her most notable work was Runaway Papoose, which won a Newbery Honor in 1929. She spent several years in Europe and explored Aztec ruins in Mexico with her father. Her "bringing out" party was at the American Legation in Buenos Aires. In 1911 she married Carl Moon, a painter and photographer of the American Indian.[5] Carl worked at El Tovar Studio in the Grand Canyon from 1911 until they moved to Pasadena in 1914. The couple had two children Francis-Maxwell and Mary. They collaborated on 22 children's books on the Pueblos and Navajos with Carl illustrating some of them.

CONTENTS How the Bob-Cat Lost His Tail i The Hunter n The Ride 12 My Burro 13 The Bunny 14 The Sky Tepee 16 The Hare 16 The Star-Babies 17 Hunting Song 17 There Was a Young Brave from the West ... 18 The Coyote 19 When the Sun Goes Down 20 The Dancing Lesson 21 My Pony 22 The Drum 22 Old Brother Fox Goes A-Hunting 26 The Owl 26 Prairie-Dog Town 26 Twilight Thoughts 27 How Brother Coyote Found His Voice 28 The Medicine-Man 38 Camp-Fire Tales 38 Old Brother Fox 39 The Runner 41 The Eagle 42 The Harvest Dance 43 The Flute-Song 45 The Spring 47 Little Snake 49 The Harvest Dance of the Underground .... 50 The Navajo Shepherd-Boy 53

A sudden gust of cold wind swept along the mountain side and rattled the dry leaves and dead branches of some jack-oak bushes that stood at the entrance of a snug little cave. Its sole occupant, awakened by the noise, opened his eyes and looked blinkingly up at the pale dawn-light that shone on the familiar rocks of the roof above him. Once awake, he realized that he was thirsty and hungry, but he hated to get up, it would be so nice to have just a little more sleep.While the cave-dweller was deciding between the call of his stomach and his desire to sleep, a big bluejay, with feathers rumpled by the wind, lit on a rock at the cave entrance and, after peering within, called out:“Sleepy-head! Sleepy-head!” Then, as there was no response from the cave, he called again: “Get up, Wongo. ‘The early bird catches the worm,’ and the early bear may catch the fat sheep.”“That’s all right about the early bird and the worm,” growled the little bear angrily, “but a bird doesn’t know much and it served the silly worm right for getting up too early. He ought to get caught.”Then Wongo got to his feet and, as the noisy bluejay flew away, he crawled sleepily out of the cave and ambled down a secret trail that led to the canyon below.Although the sun was not quite up on this eventful day, a pale dawn-light flooded the mountain side, causing the trees and bushes to look dim and ghostly.Wongo was in an ill temper. Hunger, thirst, and the desire to sleep, to say nothing of the wind that was bent on blowing his fur the wrong way, made him growl under his breath. And now he must go to the little stream that ran through the dark canyon far below and get a drink, and if he met any kind of an animal on the way that was good to eat—well, that animal had better look out for himself!Suddenly he stopped and sniffed the cool breeze that was now sweeping up from the gorge below.“Meat!” he ejaculated. “Fresh meat of the young calf.” Then quickening his pace he soon stood on the rim of the canyon, with his nose in the air, sniffing to the right and to the left. It took but a moment to decide that the good smell came from up the canyon, but up the canyon was forbidden ground. That tantalizing odor meant just one thing, and that was that old Grouch, the meanest and most feared old bear in all Timbertangle, had killed a calf, and had, no doubt, enjoyed a hearty breakfast.