The LITTLE
INDIAN WEAVER

BY
MADELINE BRANDEIS
Producer of the Motion Pictures
"The Little Indian Weaver"
"The Wee Scotch Piper"
"The Little Dutch Tulip Girl"
"The Little Swiss Wood-Carver"
Distributed by Pathè Exchange, Inc., New York City

Photographic Illustrations by the Author

GROSSET & DUNLAP
PUBLISHERS     NEW YORK
by arrangement with the A. Flanagan Company

COPYRIGHT, 1928, BY A. FLANAGAN COMPANY

PRINTED IN THE UNITED STATES OF AMERICA

CONTENTS

BAH AND CORNELIA

The Little Indian Weaver

CHAPTER I

THE CORN EAR DOLL

How would you like to have a doll made from a corn ear? That is the only kind of doll that Bah ever thought of having. Bah was only five years old and she had never been away from her home, so of course she couldn't know very much.

But she knew a bit about weaving blankets, and she was learning more each day from her mother, who made beautiful ones and sold them.

You see, Bah and her mother were American Indians, and they belonged to the Navajo tribe. Their home was on the Navajo Reservation in Arizona, and they called it an Indian village. But if you went there you would not think it very much of a village in comparison to the villages you know.

As a matter of fact, all you could see was a row of funny little round houses, looking very much like large beehives, put together with mud and sticks and called hogans. A street of hogans in each of which lived a whole family of Indians, a few goats and sheep, a stray dog or two, an Indian woman sitting outside her hogan weaving a blanket, perhaps a child running with a dog—this, then, was a Navajo village.

THE LITTLE INDIAN WEAVER

How different from your villages with their smooth stone buildings, their stores and gasoline stations, and pretty shrub-covered bungalows!

Most Indian women have many babies, and the whole family lives together in one room which is the living room, bedroom, kitchen and dining room all rolled into one. In the top of the hogan is a hole, so that the smoke from the cooking fire in the middle of the room can go out.

Bah did not spend much time in her hogan. No sooner was she up in the morning than she was outside gathering sticks for the breakfast fire. From the time she put her little brown face outside the hogan door, bright and early in the morning, until nightfall when she cuddled down in her warm Navajo blanket, she was out in the air—and the air is so fresh out there in the desert; so much fresher than it is in the big smoky cities.

Bah was a bright-eyed, healthy little girl, and the way she dressed will sound queer to you, for her clothes were made just like her mother's. On rainy days you have no doubt "dressed up" in mother's clothes and thought it quite a lark. But when the game was over, how glad you were to come back to your own little dresses and short socks.

But Bah had always dressed in the same way—and that is, in a long full cotton skirt, a calico waist with long sleeves, and many strings of bright beads about her neck. Her hair was long, black and shiny, and her mother tied it up in a knot at the back of her neck with a white cloth.

Every morning Bah had a lesson in weaving, just as you have a drawing lesson or a sewing lesson. Her father had made her a tiny loom which stood outside the hogan door next to her mother's big loom.

The morning when Bah planned the corn ear doll she was in the midst of her weaving lesson. Mother's fingers were flying in and out, and Bah's fingers were slow—oh, so slow, but her mind was not. Her mind was at work on a doll. She had once seen the picture of a doll, a real one. It was such a lovely doll! She wanted to cuddle it. How she would love to hug a doll close to her and rock it to sleep!

The corn was ripe in the field which was not far away. After the lesson she would pick an ear of corn, dry it