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 Charlie Bumpers vs. the Perfect Little Turkey (Charlie
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 vs.
THE
PERFECT LITTLE
TURKEY
 vs.
THE
PERFECT LITTLE
TURKEY

Bill Harley
Illustrated by Adam Gustavson
Published by
PEACHTREE PUBLISHERS
1700 Chattahoochee Avenue
Atlanta, Georgia 30318-2112
[Link]

Text © 2015 by Bill Harley

Illustrations © 2015 by Adam Gustavson

First trade paperback edition published in 2016

All rights reserved. No part of this publication may be reproduced, stored in a retrieval
system, or transmitted in any form or by any means—electronic, mechanical, photocopy,
recording, or any other—except for brief quotations in printed reviews, without the prior
permission of the publisher.

Edited by Vicky Holifield

Design by Nicola Simmonds Carmack
Composition by Melanie McMahon Ives
The illustrations were rendered in India ink and watercolor.

Library of Congress Cataloging-in-Publication Data

Harley, Bill, 1954-
Charlie Bumpers vs. the Perfect Little Turkey / by Bill Harley ; illustrated by Adam Gustavson.
pages cm
978-1-56145-764-9 (ebook)
Summary: “It’s Thanksgiving in the Bumpers household and Charlie has to be the perfect
host to his annoying little cousin, Chip”— Provided by publisher.
[1. Thanksgiving Day—Fiction. 2. Family life—Fiction. 3. Cousins—Fiction. 4. Humorous
stories.] I. Gustavson, Adam, illustrator. II. Title. III. Title: Charlie Bumpers versus the Perfect
Little Turkey.
PZ7.H22655Cf 2015

[Fic]—dc23 2015006621
Explore our comprehensive library of test banks and solution
manuals at [Link] and take advantage of
current promotions.
 This book is dedicated with gratitude to
Roberta and Willard Block
for their support and love over the years.
And for all the Thanksgiving dinners, too.

Special thanks to Jane Murphy and Kassie Randall

for their careful reading; David McConville
for discussions about turkey psychology;
Althea Gunning, Gary Gunning, Richard Gunning,
Vince Fleming, and Dennis Langley
for their input on Jamaican speech; and as always—
to Vicky Holifield for her fine editing
and Debbie Block for everything else.
 Contents
1—Holy Moly! 1
2—Fooled Again 11
3—Sometimes Grown-ups Are Completely 16
Clueless
4—My Dumb Family 24
5—A Special Assignment 32
6—Already Driving Me Bonkers 42
7—The Loudest Whistle in the World 58
8—Rocket Propulsion 66
9—A Long Day 75
10—Extremely Tired of Waiting 83
11—A Rocket? On T’anksgiving? 95
12—Steam Coming Out of Her Ears 105
13—We Are Ever Vigilant 112
14—What on Earth Do You Think You’re 117
Doing?
15—You Mean P-a-i-n 129
16—B-A-R-P-H 141
17—Whoops! 154
 1
Holy Moly

Bumpers passes the ball up the field! The wing passes it

back to Bumpers! He takes the ball on the run and puts it
between the defender’s legs. Unbelievable! The defender loses
his shorts!
Bumpers on the left. He sees an open man! A perfect
looping pass! This kid is only in fourth grade, but no one can
stop him!
It comes back to Bumpers! The goalkeeper comes out!
Bumpers lets go! A huge foot!
BAM!
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FOODS. 219 Corn was ground on the millstone, consisting

of a large, flat stone, upon which the corn was rubbed and ground
by means of a smaller, slightly rounded stone of oblong shape. At
present the millstone is used for grinding corn, and at times also for
coffee, though coffee-mills are purchasnd at a very moderate cost. A
flat stone is still largely used as a griddle for frying cakes and paper
bread, though much bread is also bought, and modern pans, pots
and skillets, too, are quite general. Dishes, in the shape of plates,
knives and forks, are not con sidered indispensible, and the old
custom of eating from a pan or bowl, and using the fingers, is even
at present not objected to. Two or three will also share in a single
cup of coffee when cups are not plentiful. Gourds, earthen cups,
burnt out pine warts, or a worn and hollowed millstone chipped
down to a con venient size, furnished fairly convenient drinking
vessels, all of which have long since been displaced by china and
tinware. khuke' (khunlke'), the fireplace. tse'dashje, the metate,
lower millstone; tse'dashchfni, the upper millstone. &sa', the cooking
pot; ts<3t'es, the stone griddle. hashtl'fsh letsa', earthen bowl.
hashtFlsh ade, an earthen spoon; ade, the gourd dipper; tsin biz£s,
pine wart; beelM, cup made of the worn millstone; be'Idl&ni, a
drinking vessel; beqa'izhahi, a cup. ade'stsln, the stirring sticks.
Stirring Sticks. bes'e'sa', a pot, pail, bucket; besh beibezhe, or bida
hu!6ni, a coffee-pot; bitse hu!6ni, a skillet or griddle; beshblkhu'i, a
stove; letsa', a plate, saucer; besh, a knife; bilatqai, a fork;
be*sh'ide, a sqoon.
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220 AN ETHNOLOGIC DICTIONARY. SAYING G-RACE. Meals

are still served on the floor of the hogan. In the early clays the meal
was preceded by grrace, which was said by the head of the family.
The stirring- sticks were removed and cleaned, and an invocation
made while holding- the sticks upward. This was considered
indispensible at a time when the Navaho relied completely upon the
yield of corn and herbs, whereas at present every one should be in a
position to provide for his own without the assistance of the Unseen.
The custom, however, has not entirely subsided. ade'stsln, the
stirring- sticks; sodiszin (sod&zln, sodideszll), I say grace, pray.
koqye5 shibezh, the coffee is boiled, the meal is ready.
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Arts and Industries. rat •>-"- — -• j»— _nw VMWMIM^

WEAVING. Weaving has been carried to a high degree of perfection
by the Navaho. The art as it exists among them to-day is not an
invention of their own, as nothing similar is found among any other
tribe of the Athapascan stock. It is pretty safe to say that the
Navaho learned the art of weaving from the Pueblos.
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222 AN ETHNOLOGIC DICTIONARY. Their own legends,

however, account for it in their own way. The hanelna^heke hanf ,
or moving- upward chant legend, records that the art of weaving
was taught by the Spider Man and Spider Woman in the following
manner. 4 'The Spider Man drew some cotton ( ndaka') from his side
and instructed the Navaho to make a loom. The cotton-warp was
made of spider-web (nashjei bitl'61). The upper cross-pole was
called yabitl'ol (sky or upper cord), the lower cross-pole nf'bitl'ol
(earth or lower cord). The warp-sticks were made of shabitl'dl (sun
rays), the upper strings, fastening the warp to the pole, of atsfnltlish
(lightning), the lower strings of shabitMjilchl (sun halo), the heald
was a ts&ghadindfni Isenil (rock crystal heald), the cord- heald stick
was made of atsolaghal (sheet light ning), and was secured to the
warp strands by means of nltsatl'ol billdestl'6' (rain ray cords). 'The
batten-stick was also made of shabitl'ajilchl (sun halo), while the
beidzoi (comb) was of yolga! (white shell). Four spindles or distaffs
were added to this, the disks of which were of cannel-coal,
turquoise, abalone and white bead, respectively, and the spindle-
sticks of atsfnltl'ish (zigzag lightning), hajilglsh (flash lightning),
atsolaghal (sheet lightning), and nJtsatl'ol (rain ray), respectively.
'The dark, blue, yellow and white winds quickened the spin dles
(beedlzi) according to their color, and enabled them to travel around
the world." Presumably, this legend accounts for the now vanishing
tra dition that weaving should be done with proper moderation.
Overdone weaving (akeitl'6) is ameliorated by a sacrifice offered to
the spindle (beedlzi). Its prayerstick (biketf&n) consists of yucca,
precious stones, bird and turkey feathers, tassels of grass (tl'o'zOl)
and pollen, and forms part of the blessing rite (hozh6ji). The
hacHeyatqeU, or cHseyatqei (prayer to the gods), is recited with the
sacrifice. The custom withholding maidens from weaving before
marriage, which was formerly observed, is also explained by the fear
of overdoing weaving. Little
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WEAT1XG. 223 or no attention, however, is paid to this

tradition to-day. In 1849 Lieut Jas H Simpson had this to say about
the Navaho blanket: "It seems anomalous to me that a nation living
in such miserably constructed mud lodges should, at the same time,
be capable of making probably the best blanket in the world." He
then quotes the words of Gregg on the same subject: 4 They (the
Navahos^ now also manufacture a singular species of blanket,
known as the Serape Navaho, which is of so close and dense a
texture that it will frequently hold water, almost equal to gum elastic
cloth. It is, therefore, highly prized for protection against the rains.
Some of the finer qualities are often sold among the Mexicans as
high as fifty or sixty dollars each.*" And in the Indian
Commissioner's Report of 1854 we read: 'They (the Navahos) are
the manufacturers of a superb quality of blankets that are
waterproof, as well as of coarser woolens." These quotations show
that more than sixty years ago the Navaho blanket was an object
wrhose quality and artistic execu tion excited the attention and
appealed to the aesthetic tastes of cultured and educated men. Nor
is the modern Navaho blanket behind its predecessors of sixty or
seventy years ago, but has rather improved since then, although its
reputation has suffered a little in late years by coarse, inferior work,
made to sell, and by the introduction of strange, sometimes hideous
colors. However, blankets of that kind are not and never have been
the rule, and wherever traders and buyers refuse them, and insist
upon getting good ones, poor blankets are seldom found. The
Navaho is a trader by nature and instinct, and if he sees that he can
get an equally good price for an inferior and poor article, as he can
for one upon which he has expended much care, time and labor, he
will do just about what his palefaced brother would do. But, despite
all this, the Navaho blanket to-day is the only thing of the kind in the
world. No other people, white, red, black, brown or yellow turn out a
textile fabric that can be placed beside it. It is true, oriental rugs are
woven in much
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WEAVING. -225 and if the blanket is woven in natural

colors it can not be easily sold or disposed of if the wool is still dirty
or greasy. In wash ing wool the saponaceous root of the yucca plant
is preferred to soap, and since there are no greasy or fatty
substances in it, it is said or believed to have a greater cleansing
power. In the last few years the Government has established sheep
dips in various places on the Navaho reservation, which greatly aid
in keeping the sheep clean, as the Indians are compelled to dip their
sheep at certain seasons. agha yisgis (s*gis, desgis), I wash the
wool. agha naneisgis (riasiegis, nadesgis), I wash the wool again.
agha chqln (bichqin) [Link], dirty wool. a
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226 AN ETHNOLOGIC DICTIONARY* taining tine wire teeth.

They look something like a large, square hairbrush, with the handle
attached to the back and stick ing out on the side. agha azls
bi.yishj61 (biyiljol, bideshjol), 1 put wool into the sack; agha azfs
qahasts6d (qahatsod, qahidestsdl), I take wrool out of sack (small
quantity); agha azls qahashj6J (qahaljol, qahideshjol), I take wool
out of sack (large quantity). nadestsl (nadiltsi, nadidestsi), I pull
(pinch) apart. beqanilchadi, wool-card. agha qanishchad (qanllchad,
qadfneshchal), I card (loosen) wool; agha qananishchad
(qananilchad, qanadlneshchal), I card the wool again; agha
qanolchad, carded wool. agha danijol, or danimas, matted wool.
SPINNING. — Now conies the spinning. Spinning in Navaho style is a
long and tedious piece of work. Although the spin ning wheel was
introduced and used at an early date by the Mexicans of the
southwest, and although the Navaho had often seen them use it,
and had plenty of occasion of buying, con structing or of acquiring
spinning wheels, yet their imitative inclination did not assert itself in
this particular point, but they preferred and held on to the tedious,
tiresome distaff of the old Pueblos. This distaff or spindle consists of
a smooth round stick, about two feet in length, pointed at both
ends, and of a whorl, a small, round, flat disk of wood about four or
five inches in diameter, with a small hole in the center. The stick is
passed through this hole and the whorl is securely fastened about
five or six inches from the butt end of the stick. The stick of the
distaff is usually made of a twig of Kinjil'ahi (currant), although any
other stick or twig of hard wood may answer; the whorl is made of
any kind of tsin neheshj! (board or lumber). The woman does her
spinning, as also all her other work which does not necessarily
require a standing position, sitting, or rather squatted Turk fashion
or tailor style, upon the ground.
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WEAVING. 227 In spinning, she takes the distaff in her riyht

hand and a piece of the carded wool in her left. The top end or tip of
the distaff is stuck into the wool, and with a few turns it catches fast
in it. By pulling and working1 the wool with the ringers of the left
hand it is stretched out into a long strand; at the same time the
distaff is twirled with the fingers of the right hand. The distaff rests
during this operation with its butt or lower end upon the ground and
is in a straight line, or nearly so, with the strand of wool. After the
bunch of wool has been lengthened and straight ened out, or the
strand has reached the length of the woman's arm, the distaff is
brought into an acute angle with the strand, and while the woman
keeps on turning it, she winds the strand up and down upon the
stick. This is repeated until the stick becomes quite bulky, when the
wool is unwound from the stick, wrapped into balls, and put aside.
This process is repeated as long as the wool lasts, or until the
woman thinks she has enough. For ordinary blanket purposes the
wool is usually spun three times. After the first spinning a thick,
loose, fluffy strand is obtained. This is not in a shape to be used for
weaving, and is therefor spun a second time, when a pretty loose
but firm strand, about as thick as a little finger is produced; this is
the woof yarn. Another spinning gives a tight, strong, bristly cord
about as thick as ordinary binding twine; this is used for the warp.
Of course the quantity of yarn depends upon the size of the blanket
the woman intends to weave, also upon the firmness and
compactness of the blanket, which may make still another spin ning
necessary. asdfz (as&diz, adesdis), I spin. agha yisdiz (sifediz,
desdis), I spin wool; na'ftsdfz (na'as&diz, na'adesdis), I spin again,
respin; agha nasdiz (nas^diz, nadesdis), I respin wool. beedfzi,
distaff or spindle (with which one twirls or twists). beedfzi bitsln,
handle or stick of the distaff. agha qahasdiz, loosely spun yarn (after
the first spinning).
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228 AN ETHNOLOGIC DICTIONARY. qahasdis (qahadix,

qahidesdls), I twirl or twist out (refers to the first spinning); agha
qa'isdis (qayaMiz, qadiyesdis), I spin or twist out wool (refers to the
first spinning). agha qahastsod, tightly spun yarn (after the second
spinning). qahasts6d (qahaltsod, qahidestsol), or agh& qa'IstsDd
(qayeltsod, qadiyests'61), I stretch the wool out (refers to the
second spinning). agha n&nolzhe, warp yarn (after the third
spinning). agha nlsmas (n&smas, dlnesmas), I wind wool into a ball.
agha nJmas, a ball of wool. nanolzhe yisdiz, I spin the warp.
COLORS AND DYES. — After spinning the wool is either left in its
natural color or dyed any desired color. Sometimes the wool is dyed
before spinning, but, as a rule, it is first spun and then dyed. Undyed
wool is distinguished according to its natural color, into black, white,
gray, etc. Dyes are of two kinds, native and artificial. Owing to the
very elaborate and careful process in preparing some of the Navaho
dyes, American dyes have been introduced, and are at present used
almost exclusively in blankets made for the Ameri can trade, while
for their own use many insist upon blankets woven of native colored
wool. Since many colors of modern invention were unknown to the
Indians, they had no idea of putting them harmoniously together
with their known colors, in consequence of which one sometimes
sees blankets which have been fittingly designated by some writers
as hideous. The following is a list of colored wool and dyes. agha
al'ft at'eli, all kinds of wool. agha Jagai, or aghalgai, white wool;
debe* lagai bagh&, or debeIgai baghl, white sheep's wool;
[Link], black wool: deb£ lizhfni bagha, black sheep's wool;
agha lab&'i, or aghalba'i, gray wool; debe1 Jabd'i bagha, or debelbd'i
bagha, gray sheep's wool. agha tichl, or aghdlchi, red wool, dark
wool with a reddish tinge; debe1 Jich! begha, or deb&lch! bagha,
red sheep's wool.
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WEAVING. 229 dotFfzhi, blue wool, a mixture of black and

white. beilchihi, red dye, with which it is made red. beilts6i, yellow
dye, with which it is made yellow. beiljfhi, black dve, with which it is
made black. beeditl'fzhi, blue dye, with which it is made blue.
dinilchligi, reddish, or red-brown color, also used for brown, and
sometimes even for orange. dinilchl beilchihi, reddish, red-brown
(brown or orange) dye. tqatlid nahallnigi, green color, which
resembles water scum. tqatlid nahalfni beeditl'fzhi, green dye.
tsedide nahallnigi, purple, which resembles a tsedide, or fouro'clock;
tsSdide nahalfni beilchthi, purple dye. tsin beyilchl nahalfnigi, a deep,
dark red color, which resem bles the tsin beyilchl, a plant from which
a deep, rich (ox-blood) red color is obtained; tsin beyilchl beilchfhi,
deep, dark red dye. debe'lchl nahalfnigi, like red-brown sheep.
deb&ba'i nahalfnigi. like gray sheep. tsitFol nahalfnigi, or beSdlltl'lsh,
indigo; beedtltl'fzhi Jizhfnigi, navy blue; deb£ licht nahalfni beilchihi,
reddish-brown dye. There are no special names for the analine or
other artificial dyes, if a distinction is necessary this would be
expressed by prefixing the word belagana, American. DYEING OF
THE WOOL. — For making native dyes the Navaho dyer needs the
vegetable and mineral ingredients required for the specific dyes; a
pot in which to make the decoction of barks, flowers, twigs or roots,
for which their own native pots are pre ferred, probably because the
acid of the mordants will not act chemically upon earthen vessels as
it will upon tin or iron; a skillet, or frying pan, to prepare certain of
the ingredients, and a few thin, slender sticks to immerse the wool
with, or take it out of the dye, and to spread it out to dry. Each dye
consists of at least two ingredients, a coloring mattor and a
mordant, usually some acid substance to fix the color fast.
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230 AN ETHNOLOGIC DICTIONARY. BLACK. — To make this

dye the twigs, with leaves and berries of tsilchin, or ki, are gathered
and crumpled together into small bunches. A pot of water is put over
the tire and as many of the bunches as possible crowded into it. This
is brought to boil and allowed to continue so for from live to six, or
more hours, when a strong decoction is obtained. While the twigs,
leaves and berries are boiling some pinon gum (je) is put into a
skillet and allowed to melt over a slow fire. When melted it is
strained to remove dirt and other impurities, replaced in the skillet,
and brought to a high degree of heat. Then some native ochre
(ts£kh6\ which has been pow dered between two stones, and
roasted to a light brown color, is slowly added to the hot gum. The
pasty mass which results from this mixture must be constantly
stirred since it will be spoiled if allowed to burn. Great care must
also be taken that the mass does not catch tire since the pinon gum
or pitch is inflammable, for that would spoil the whole mass, and the
work would have to be begun anew. While thus seething and being
stirred over the fire the pasty mass gradually yields up its mois ture,
becomes dryer and dryer, until finally a fine black powder remains.
This powder, after cooling off somewhat, is thrown into the
decoction of sumac, with which it readily combines, and forms a rich
blue-black fluid. This continues to boil for about a half-hour when
the wool is immersed in it, allowed to boil a short time, and then
taken out. The color produced by this dye is a jet black, and is still
used for dyeing yarn, buckskin, and women's dresses. It is a very
fast color and never fades. Dr Matthews says of this dye that it is
"essentially an ink, the tannic acid of the sumac combining with the
sesquioxide of iron in the roasted ochre, the whole being enriched
by the carbon of the calcined gum.r YELLOW. — The flowering tops
of klltsoi, golden rod, Bigelovia, of which several species grow in the
Navaho country, are boiled in water for about six hours, until a
decoction of a deep
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WEAVING. 231 yellow is produced. When the dyer thinks

the decoction is strong enough she heats over a fire, in a pan or
earthen vessel, some native almogen called tse doR6zh, saline rock,
a kind of native alum or rock salt, until it is reduced to a somewhat
pasty consistency. This she adds from time to time to the decoction,
and then puts the wool in the dye to boil. Ever and anon she
inspects the wool, until in about one half -hour from the time it was
first immersed, it is seen to have assumed the proper color. The tint
produced is nearly that of lemon color. Another process of making a
yellow is a decoction of the root of a plant called chattni, or jat'lni,
with tse doR6zh, native alum or salt rock, chattni is a plant, or rather
a weed, belonging to the Pogonaceae, or buckwheat family, of the
species Rumex, commonly called dock or sorrel. Dr W Matthews calls
it Rumex hyiiienvstpalum, and Dr Geo H Pepper says it "is commonly
known as canaigre" It has a long, fleshy tap-root, not unlike, a
slender parsnip, throws out a dense bunch of almost lanceolate
leaves, from the midst of which there rises a slender stem, some
times two or three, with a long spike of blossoms and seed. The
plant is a perennial and besides multiplies fast by seed. It is difficult
to eradicate, which can be done only by digging out the root. The
fleshy roots of this plant are gathered, bruised on a metate or
between two stones. While the crushing is going on ts6 dokfizh is
added and ground with the roots into a paste. The cold paste is then
rolled between the hands and rubbed and worked into the wool. If
the wool does not seem to take the color readily a little water is
dashed on the mixture of wool and paste, and the whole is slightly
warmed. The entire process does not occupy over an hour, and the
result is a color much like that known as old gold. This process was
witnessed and described by Dr Matthews. Dr Pepper describes a
third process of making yellow dye, in which the bruised roots of
chat'fni are boiled and ts£ doR6zh
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232 AN ETHNOLOGIC DICTIONARY. added during the

boiling. The wool or yarn to be dyed is boiled in this solution. RED.
— This is a purely vegetable dye, all the ingredients beinsr plants or
parts of plants. To make this dye the woman first burns some twigs
of the juniper tree, Juniperus occidental-its^ called gad. The root of
tseesdazi, Cercocarput purvifoliu^ a kind of mountain mahogany, are
crushed and boiled. To this is added the juniper ashes and the
powdered bark of the black alder, Ah) us incana var. rirescens,
known as kish, together with a plant called nf hadlad, a moss, which
acts as a mordant. After this mixture has boiled until it is thought to
be right it is strained and the wool or yarn is soaked in it over night.
The result is a tine red color. The dull reddish dye is made of the
powdered bark of kish and the root bark of tseesdazi, which makes a
tine tan color on buckskin, but produces a rather pale shade on
wool. The brilliant red which constitutes the ground color of many of
the older Navaho blankets was made entirely of bay eta. Bayeta is a
very bright scarlet cloth, much finer and more bril liant than the
scarlet of the Indians. It was originally brought into the Navaho
country from Mexico by the Spaniards. The Navaho unraveled this
cloth and rewove it into their blankets. In 1881 Dr W Matthews
wrote that "the Navajos were still largely using bayeta, which was
being supplied to the trade from our eastern cities. Since then the
American yarn has become pretty popular with the Navajo weavers,
and many very beautiful blankets are now made wholly or partly of
German town wool.*" Since this was written the bayeta has been
totally replaced by Germantown yarn and analine dyes. In former
years the Navaho had a native blue made of adishtFlsh, a kind of
blue clay which was pulverized and boiled with sumac (ki) leaves to
obtain a mordant. Later this was entirely superseded by indigo
(beediltllsh) obtained from the Mexicans. Urine, preserved in large
Zuni pots, was used as a mordant into which the indigo was poured
and the wool dipped. This was
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WEAVING. 2 3 ;•$ then allowed to stand from five to ten

days after which it was removed from the vessel and after drying
was ready for use. Green was made by mixing the native yellow with
indigo; orange, of the root of the dock or sorrel mentioned above.
The store dyes, or analine dyes, are prepared by dissolving the dye-
stuff thoroughly in a cup of water, which is then poured into a pot of
boiling water. The wool or yarn is moistened before being dipped
into the solution. For dipping and extracting the wool the woman
makes use of two thin, slender sticks. agha daaldfn yisdfzigi, already
spun yarn. chflchin (kl) yishbezh (sh£lbezh, deshblsh), I boil the
sumac. je yist'es (s^lfe\ dest'is), I roast the gum. tse'kho yist'es
(selt'e', dest'is), I roast the ochre. je, gum, pitch; je tqashnil (tqanil,
tqadeshnil), I mix the gum. je tse'kho bil tqashnil, I mix the gum
with the ochre. je diitla, the pitch caught fire, burned. tse'kho,
ochre; tse dok6zh, a kind of native alum or rock salt. chaff ni
(jat'fni), dock or sorrel; tseesdazi, mountain mahogany; tseesdazi
behe'tFol, root of the mountain mahogany; tseesdazi behe'tFol
bakhagi, mountain mahogany root bark; tseesdazi bitqo, mountain
mahogany juice or decoction. gad, juniper; gad didlfd, burnt juniper,
juniper ashes; kish, black alder; kish bakh&gi, alder bark; kflts6i,
golden rod; nfhadlad, moss. bi'ijihi, pot in which black dye is boiled;
bi'ilchlhi, vessel in which red dye is boiled; bi'ilts6i, pot in which
yellow dye is boiled; bi'idltFfzhi, pot in which blue or green dye is
boiled. ishi (ishl, ideshil), I dye black; na'ishi, I dye black again; agha
yishi (yishi, yideshil), I dye wool black; agha naneishi, I dye wool
black again. ishchf (ilchi, ideshchf), I dye red; na'ishchl, I dye red
again; agha yishchl (y ilchi, y ideshchf), I dye wool red; agha
naneishchf, I dye wool red again.
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-234 AN ETHNOLOGIC DICTIONARY. istso (iltsoi, idestso), I

dye yellow; na'ists6, I dye yellow sixain; agha yistso (y iltsoi, y
idestso), I dye wool yellow; agh£ naneists6, I dye wool yellow again.
adishtFfsh (adiltFizh, adideshtHsh), I dye blue; agha dishtRsh, I dye
wool blue; agha nandishtRsh, I dye wool blue again; nadishtlish, I
dye blue again. tqatHd nahalfngo adishtffsh, I dye green; tqatlid
nahalfnigi ashle1, I dye (make) green. debe'lchi nahalfngo yishchl, I
dye the color of red-brown sheep. deb£lchi nahallnigi ashl£, I dye
(make) the color of red-brown sheep. tsedide [Link] yishchl, I
dye purple, color of four-o'clocks. tsedide nahalfnigi ashi£, I dye
(make) purple. tsin biyilchi nahalfngo yishchi, I dye a deep red color,
like tsin biyilchf; tsin biyilchi nahalfnigi ashle1, I dye (make) a deep
red (ox-blood) color. agha yilzhf, wool dyed black; agha yilchi, red
dyed wool: figha yiltstii, yellow dyed wool; agha diltllzh, blue dyed
wool; agha dinilchl, pale red wool; Sgha dinilji, pale black wool; agha
dinilts6i, pale yellow wool; agha diniltl'fzh, pale blue wool. agha
fayisi yichf, wool dyed a bright red, very red; agha t'ayisi yizhf, wool
dyed very black; agha t'ayisi yilts6i, wool dyed a bright yellow; agha
t'ayisi diltllzh, wool dyed a bright blue. neiba4, faded, it got gray
again. neigai, faded, it got white again. beilchf bitl'ajani, sediment of
red dye; beijf bitl'ajani, sediment of black dye; beilts6i bitMjani,
sediment of yellow dye; beiltl'fzhi bitl'ajani, sediment of blue dye.
adestsln, stick for dipping in and taking wool out of dye pot. agha
bibiistse1 (ye'ltse, diyestse), I put (poke) the wool into the dye with
the stick. agM qabiistse1, I take the wool out of the dye with the
stick. agha tsin bakha nibistse1, I spread the wool on a tree with the
stick; agha cliil bakha nibistsg, I spread the wool on a bush with the
stick.
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WEAVING. 235 PUTTING UP THE LOOM. — After dyeing

sufficient yarn comes the important work of putting up the loom. No
special cere monies or rites are connected with the erection of the
loom. Two posts or sapling's (1)*, which may or may not be forked
at the top end, are planted firmly into the ground. No particular kind
of wood is required for them, but any poles or posts of sufficient size
and strength will answer. Sometimes two trees growing sufficiently
near each other are selected for this pur pose, or a tree and a post,
whichever is most convenient. To these two upright posts or trees
are lashed horizontally two crossbeams or braces (2), one above and
the other below. The lower one is either totally or partly imbedded in
the ground, and is sometimes used in place of the weights, of which
later. Next the warp is stretched. This is done separately. Two poles
or saplings or logs (3 and 15), whichever is handiest, are laid parallel
to each other upon the ground. Near the ends of these two logs the
two blanket poles (4 and 5), round, smoothlyshaven sticks, seven or
eight feet long, are tied so that they form an oblong square with the
logs. The warp (12) is then wound up and down, under and over
these two blanket poles, in one continuous strand, in such a way
that the strands form approx imately the shape of a much elongated
figure 8, since they cross each other at the center. Next the end
strands (9 and 11) are put on, one at the upper and one at the
lower end, just next to the blanket pole. These end strands consist
of a strong, tightly woven cord, which is doubled when put on, both
ends being crossed over each other after every warp-strand. The
blanket poles are then pulled out of the warp and again tied to the
two logs an inch or two further away, and another strong cord is
wrapped spirally (7) around the blanket pole and the end strand.
This done at both ends, another beam or pole (3), which might be
called the yard-beam, is attached with ropes to the upper blanket
pole, while the lower one (15) is similarly *The figures in this and
following refer to illustration on page 221.
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236 AN ETHNOLOGIC DICTIONARY. attached to the lower

crossbeam. The just mentioned yard-beam is then connected by
means of a spiral rope (6) with the upper crossbe/un, and the whole
warp frame is raised to a perpendicu lar position between the two
uprights, after having been detached from the two logs lying on the
ground. The warp-strands are made tint and rigid by pulling tight the
spiral rope (6) which connects the upper crossbeam with the yard-
beam. When no lower crossbeam (15) is used, or when it is not used
as described above for holding tight the lower part of the blanket,
either logs, stone s or boxes and bags of sand or stones are
attached to the lower blanket pole (5), and sometimes anchored into
the ground to keep the warp-strands stretched. Now the border
strands (8) are put on, one on either side. These are two heavy,
strong cords which, with the end strands, form the edge of the
blanket. Usually they are made to end in a tassel at the four corners
of the blanket. After this two long, slender sticks (13 and 14). a little
longer than the blanket is broad, and which might be called healds,
are attached to the warp-strands. The upper one (13) lies loosely in
the upper part of the elongated figure 8 of the warp, while the other
(14) is attached to the outside of the warp by means of a looped
string (10), by which the rear warp-strands are fastened to the stick.
By pulling this heald stick, or any portion of it, towards herself, the
woman brings the rear warp-strands forward beyond the front
strands to pass through the yarn. da'istl'6, or yistl'6, loom. «. (tsin)
bada'istW ba'i'ahi, uprights; (tsin) adas^tqa, crossbeam, (tsin) da?
na!6'i, or ada'nalchali, yard-beam, (tsin) bikldesdlzi, or atl'6tsin,
upper and lower loom poles. Itl'oJ) beda'istl'6 (bedahistl'6), spiral
beam rope, (tl'ol) be&qfda'istltt, loom rope, by which upper blanket
pole is tied to yard -beam. abanat'f (banatV), border strands;
beildestlV), end strands, (tl'ol) bedandilts6hi bebiidestfd, looped
string on heald stick.
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WEAVING. 237 (tFol) beekfdesdlzi, spiral end yarns; bijanil,

end tassels. nanolzhe, warp. isinil (fsenil), the two heald sticks. ade'g
ee'tqa, upper heald stick; beda'ndTltsohi, lower heald stick:
beedandildzoi, lower heddle. (tFol) ledastTi, string by \\ hich the
lower let m pole is tied to weights. tsazi ledastTi, same as foregoing
when yucca fibres pre used. tsin akfsetqani, *4 log lying on," used
as weight on lower loom pole; tsin akfsinfli, two logs used as
weights on lower loom pole; tsin akfsiyfni, more than two logs used
as weights on lower loom pole; tse akisetqani (akisinfli, akisiyfni),
stone used as weight; lesh akisetqani (akisinfli, akisiyfni), ground
used as weight. a'setqa, or fsetqdni, lower crossbeam. da'ishtl'6, I
get the loom ready, am putting it up. da'istfd, da'hastl'6, the loom is
ready. naneshshe (na'nishshe, nadfneshsha), I put on the warp.
adests6d (ade'ltsod, adidestsot), I stretch, tighten. nanolzhe
dests6d, I stretch or tighten the warp. beekfdidiz, shuttle, twig
shuttle. WEAVING. — The foundation of the blanket is now laid and
the woman gets ready to build upon it. After spreading a sheep skin
or a saddle-pad in front of the loom, and placing her yarns and
implements within easy reach, she squats down upon the rug, just in
front of the loom, her legs folded under her with soles turned
upward. The warp-strands hang perpendicularly before her, and she
weaves her blanket from below upward. She uses neither drawn, nor
painted, nor stenciled patterns to guide her, but arranges her figures
and designs as she progresses in her work, and works them out with
such colors as she has on hand. Each color has a separate ball or
skein of yarn, so that at times a half-dozen or more yarns are
hanging down before her from the warp, but she never gets them
mixed, nor makes a mistake or a miscalculation as to which one is to
be used next.
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238 AN ETHNOLOGIC DICTIONARY. Now, since she never

changes her position, but retains her squatting position until the
blanket is finished, it is evident that after some time, when the
weaving has progressed to a certain height, further weaving will
become inconvenient, or totally impossible, unless there be some
contrivance attached to the loom by which the work can be kept
within convenient reach. At such stages of the work the spiral rope
(6), by which the yardbeam is held to the upper crossbeam, and
which has been tied u ithin easy reach of the weaver, is untied and
the rope let out. The spiral loops of the rope are thereby naturally
enlarged, which causes the yard-beam, and with it the whole warp,
to lower down. When it has been lowered to the desired level the
rope is firmly retied, a fold is made in the already woven part of the
blanket, which is tightly sewed with a large darning needle or a sack
needle to the lower loom pole with a stout piece of yarn. The
weights at the bottom are readjusted so that the warp-strands are
again taut and rigid, and the weaving is reassumed until another
lowering becomes necessary. The marks of this sewing down can
easily be seen on all new blankets and often, too, on old ones. They
run like a large welt across the \\ hole width of the blanket, and may
be noticeable for years, even until the blanket is worn out. da'ishtl'6
(daiy^tl'o, daYliyeshtl'ol), I put up the loom. daistl'6, the loom is up,
ready. ashtl'6 (as&tl'o, adeshtl'6}), I weave; beeldle! yishtl'6 (s^tl'o,
(leshtl'61), I weave a blanket; beeldle la nanashtr6 (nas&tl'o,
nadeshtF61), I weave another blanket. qaashtl'6 (qasa^tl'6,
qadeshtl'61), I begin to weave, put in first yarn; istl'd bohosh'a
(bohol'in, bohidesh'al), I am learning how to weave; ashtl'6 (yishtl'6)
b8e(qas)sin, I know how to weave. atl'6 bina'nshtqin (bina'n^ltqd,
bina'dlneshtqll), I teach weaving. ashtl'6 binishtqd (binetq&,
bidfneshtqa), I am practicing weaving. cti^eadishtl'6 (ad^tl'o,
adideshtl'ol), I am trying to weave (but do not succeed); the past
tense, cHseade'tro, conveys the mean ing, I am tired of weaving.
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WEAVING. 239 aqoslstld ashtFo h^e, I am quitting to

weave. alaji ashtF6 (yishtl'6), I always weave. daakwi ji ashtF6, I
weave every day. beeldle ninshtl'6 (nritFo, ndeshtFol), I finish the
blanket. ashtFogo (yishtF6go) shilyaat'^', I like to weave. ashtF6go
(yishtF6go) do-shilyash6n-da, I do not like to weav
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240 A N ETHNOLOGIC DICTIONARY. beeldle a la'danishlS, I

fold the blankets. beeldle yisdis (s&diz, desdis), I roll up the blanket.
beeldle dalsdis, I roll up blankets. beeldle noshtqad (naise'ltqa,
na'ideshtqal), 1 unroll the blanket. beeldle ndoshtqad (ndaise'ltqa,
ndaideshtqal), I unroll the blankets. beeldle hanishchad (qanilchad,
qadfneshchai\ I card the blanket. beeldle hadanshchad,
qadane'lchad, qadadfneshchftl), I card the blankets. beeldle yishsho
(.yishsho', deshsh6), I brush the blanket. beeldle yishde (yilde',
deshda), I clean the blanket. beeldle dashde (dalde', dadeshda), I
clean the blankets. beeldle yishqad (yighad, deshqal), I shake the
blanket. beeldle dashqad (dag-had, dadeshqal), I shake the
blankets. beeldle Ihists6s (Ihiltsos, Idestsos), I put the blanket away.
beeldle Ihishnil (Ihinil, Ideshnil), I put the blankets away. beeldle
nahashni (nahalni, nahideshni), I sell (or buy) the blanket; beeldle
shanahazni, the blanket is bought from me. beeldle yishtl'in (s^tFin,
deshtFlnl), I pile up the blankets. beeldle sha'iHs6s (sha'iltsos,
shadoHsos), 1 borrow a blanket, (pi. nil.) beeldle shayihs6s
(shayiHsos, shadottsos), a blanket is given to me. (pi. nil.) beeldle
nansts6s (narfltsos, naVlestsos), I loan you a blanket. IMPLEMENTS
USED IN WEAVING. — The most necessary and important tool or
implement used by the woman in weaving is what might be called
the batten-stick (beniktniltlish, usually pronounced benkinltlish) with
which one rams or falls down on it. This batten-stick (17) consists of
a flat piece of wood, scrub oak or any other hard wood, about three
feet long, three inches wide, and a half -inch or less thick. It is
shaped at both ends like the prow of a boat, and has a thin, blunt
lower edge. With this batten-stick the woman separates the warp-
strands by insert ing it alternately between them. After the batten-
stick is
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WEAVING. 241 inserted into a part of the warp-strands so

that one- half is on either side, in alternate order, she gives it a twist
which turns it Hat-wise. This naturally opens the strands the width of
the batten, or about three inches, which is sufficient to pass through
the .varn. The yarn being thus placed in position, the battenstick is
again turned edge-wise, and with three or four vigorous downward
blows it is driven tight into the bristly warp-strands. Upon the force
and energy with which the batten-stick is used depends, to a great
extent, the hardness, firmness and durability of the blanket.
Frequently the web is rammed down so tight as to make the blanket
waterproof, so that water can be carried in it without any danger of
its leaking or soaking through, or the blanket may be used for a
lifetime as a floor-rug, and in such places where a whole family is
obliged to walk over it several times a day with well-shod feet. As
the batten-stick is only about three feet long it will be easily
understood that the yarn is never passed through the whole width of
the warp at one time, but only through that space which has been
opened with the batten-stick. To facilitate the insertion of the batten-
stick between the warp-strands, or when it is desirable to put in a
longer piece of yarn, the healds, described in a preceding paragraph,
are brought into use. If the yarn is to be run through the warp-
strands for some length it is wrapped around a small, slender,
smooth-shaven stick or twig, which is passed through after the
manner of a shuttle. Besides the large batten -stick the woman
usually has several smaller ones, sometimes as many as five or six.
all of different sizes, which are used as the blanket approaches
completion, when the large stick can not be used to advantage.
When even these small batten-sticks can no longer be used the yarn
is pushed through the warp and pressed tightly in place with very
thin, long, slender sticks, or wooden needles, called be'inaalt'f I'.
Another important implement of the Navaho weaver is what might
be called the batten-comb (beedz6i), which is a combina tion of a
comb and an awl (Iti). It is made of a piece of hard
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2-1 •> AN ETHNOLOGIC DICTIONARY'. wood, about six or

eight inches long, one and one-half inches hroad, and one-fourth of
an inch thick. At one end five or six cuts are made into the wood,
forming six or seven teeth or prongs resembling the teeth of a
comb; the other end is whittled down to a sharp, slender point,
scraped and polished off smoothly, resemblin
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