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This new edition, appearing more than thirty years after the first, contains additional drawings and prints by Pitseolak Ashoona and a new introduction by Eber that provides more information about the artist and the circumstances under which her groundbreaking oral biography came about. Pitseolak Ashoona, who died in 1983, was known for lively prints and drawings showing "the things we did long ago before there were many white men" and for imaginative renderings of spirits and monsters. She began creating prints in the late 1950s after James Houston started printmaking experiments at Cape Dorset, creating several thousand images of traditional Inuit life. Pitseolak Ashoona was elected a member of the Royal Canadian Academy of Arts in 1974 and was also a member of the Order of Canada.

This new edition, appearing more than thirty years after the first, contains additional drawings and prints by Pitseolak Ashoona and a new introduction by Eber that provides more information about the artist and the circumstances under which her groundbreaking oral biography came about. Pitseolak Ashoona, who died in 1983, was known for lively prints and drawings showing "the things we did long ago before there were many white men" and for imaginative renderings of spirits and monsters. She began creating prints in the late 1950s after James Houston started printmaking experiments at Cape Dorset, creating several thousand images of traditional Inuit life. Pitseolak Ashoona was elected a member of the Royal Canadian Academy of Arts in 1974 and was also a member of the Order of Canada.

A true story of survival in the dangerous Arctic waters, by a modern-day Eskimo. The writer goes into the details of hunting for walrus, the customs of modern Eskimos, and the reality of life in Cape Dorset. Written and illustrated by Peter Pitseolak; introduction by Dorothy Eber. Unpaginated [ca. 48 pages]; 21 full-page color plates; 8 x 7 inches.

«An Inuit record of Seekooseelak - the Land of the People of Cape Dorset, Baffin Island. A life story with photographs by Peter Pitseolak 1902-1973.» «Peter Pitseolak, the first native Baffin Island photographer, was born in the eastern Canadian Arctic in 1902. As a child he lived the nomadic camp life his ancestors had known, but during his lifetime missionaries, fur traders, law, government, schools, and alcohol came to Baffin Island. Peter Pitseolak's account of his life in People from Our Side shows how these developments changed the Inuit existence forever.»

The text of People from Our Side consists of Peter Pitseolak's manuscript -- originally written in syllabics -- and a narrative drawn from interviews conducted by Dorothy Eber with the help of young Inuit interpreters. Peter Pitseolak learned the system of reading and writing brought by the missionaries and from an early age formed the habit of keeping a diary. He took his first photograph for a white man who was afraid to approach a polar bear and later, in the early 1940s, acquired his own camera and taught himself, with the help of his wife Aggeok, to develop films in igloo, tent, and hut. His pictures catch, as no white photographer's could, the authentic quality and detail of Eskimo life in the last days of the camp system. Sweeping from nomadic times to the early 1970s, Peter Pitseolak provides a frank and vigorous account of how change came to Baffin Island. A realist who knew he was providing a social history of a vanishing way of life, his story is a farewell to traditional camp life and to Seekooseelak -- where the people of Cape Dorset once had their camps.

The text of People from Our Side consists of Peter Pitseolak's manuscript -- originally written in syllabics -- and a narrative drawn from interviews conducted by Dorothy Eber with the help of young Inuit interpreters. Peter Pitseolak learned the system of reading and writing brought by the missionaries and from an early age formed the habit of keeping a diary. He took his first photograph for a white man who was afraid to approach a polar bear and later, in the early 1940s, acquired his own camera and taught himself, with the help of his wife Aggeok, to develop films in igloo, tent, and hut. His pictures catch, as no white photographer's could, the authentic quality and detail of Eskimo life in the last days of the camp system. Sweeping from nomadic times to the early 1970s, Peter Pitseolak provides a frank and vigorous account of how change came to Baffin Island. A realist who knew he was providing a social history of a vanishing way of life, his story is a farewell to traditional camp life and to Seekooseelak -- where the people of Cape Dorset once had their camps.