Tuesday, April 9, 2019

INTERVIEW: A Jamaican in WW II's Royal Air Force (RAF)

George S. Campbell, Royal Air Force (RAF)

©2019 by Michael Auld

He drove bombs to be loaded on B-2 bombers during WW II, Germany was bombing England, and I called him Uncle George. Growing up, he was my favorite uncle, especially since he told us kids war stories. Considered a rebel in his family, as teenagers my two brothers and I loved to visit him on one of the American owned United Fruit Company's sugarcane and banana plantations, where he was an overseer. One of five surviving children (a sixth had died in infancy), he was my mother's younger brother. His older brother, Harold, also volunteered for the RAF. This is his story:

The George Campbell Family

Above: The Campbell family. (L-R top row) Walter (Wally) Samuel Campbell (Father. A dispenser/Pharmacist for the Spanishtown Hospital); Phylis Mae (My mom) # 4; George Samuel #5.
(L-R Bottom row) Verena Campbell nee Squire (Mother); Vida Maud (Vie) # 3; Clifford #1;  Harold #2. WW II RAF Volunteer.

Friday, April 5, 2019


There were Founding Fore-fathers and Fore-mothers of America.

© 2019 Michael Auld

The United States of America would not have come into being without Wahunsenacawh.
Above: The artist’s sculptural interpretation of Werowance (Leader) or Emperor Wahunsenacawh or Powhatan II, ruler of Attan Akamik or “Our Fertile Country”.                                
Attan Akamik was the land that became the Virginia Territory, which included Washington, D.C., the Capital of the United States of America. (See the map at: http://www.powhatanmuseum.com/Powhatan_Map html


Why is there only one gender and ethnic group on Mount Rushmore when the United States of America was not just created out of the ether? Only Europeans and their male descends were eligible for this honor. Being here first, some Native Americans also seem bothered by this notion so the Mount Rushmore replacement design below made the following visual statement.

AboveWestern Native American dream of the real Four Founding Fathers.
Although I admire this sentiment, in addition to Powhatan II, the other real missing founding candidates are: Pocahontas(Pamunkey), Cockacoeske the Queen of Pamunkey. And  the other Algonquian, Massasoitchief of the Pokanoket of Massachusetts who allowed the Pilgrims to later set up camp and survive in a foreign land where they also met the Algonquian, Squanto who, among other things, helped the Pilgrims to survive in America by teaching them to plant corn. 

[“Corn” is the Old English word for wheat, the English staff of life, as maize or “Indian” Corn was to the American Indian.]

The Case for the Enigmatic Pocahontas 

Above: Caption under the etching by Simon van de Passe (English), is titled  Matoaks alias Rebecka daughter of the mighty Prince Powhatan Emperor of Attancug Akomouck [Attan Akamik] Alias Virginia converted and baptized in the Christian faith, and wife to the widower Mr. John Rolff.”
It is interesting to note that the Queen had publicly frowned upon the marriage of a commoner, Mr. Rolff, to royalty, Princess Pocahontas.

Although thought of as a “traitor to her people” by some, the controversial minor daughter of Powhatan II who is loved by many non-Natives, looms as a heroine among many non-Indians. So much so, that a large painting of her holds a hallowed place in the Rotunda of the Capitol building. 
Above: Giant 12’x 18’ painting by John Gadsby Chapman in 1839 hangs in the Capitol Rotunda and is titled, “The Baptism of Pocahontas.” The Rotunda is called “The Heart of America.”
Above: Detail of an idealized and very Eurocentric interpretation of Pocahontas' baptism. Notice the "Savages" sitting on the ground, etc. 

The first example of the Stockholm Syndrome is revealed in the Chapman painting (where the kidnapped victim begins to identify with the captors), Pocahontas nevertheless paved the way for the flooding of the Colony with fortune-hunting Englishmen and their progeny who became the foundation for the creation of the United States of America.

The Case for Cockacoeske

Above: A likeness by the author of Cockacoeske the Queen of Pamunkey. She was the main signatory to the 1677 Treaty of Middle Plantacion that brought an end to the Powhatan wars of expulsion. The model for this computer graphic was the late Pamunkey artist, Georgia Mills Jessup, a Cockacoeske family member and a descendant of Opichancanoe, Pocahontas’ uncle. -(See: https://en.m.wikipedia.org/wiki/Cockacoeske).


Without the Treaty of Middle Plantation the English could have been exterminated or driven into the Chesapeake Bay. The European colonization of America would have been slowed or stopped in its tracks. 

Her ancestor, Opichancanough, brother and successor to Powhatan II, tried three times to eradicate the English, even up to his death in his 90s when he was captured and shot in the back while in custody by a grieving Englishman who had lost relatives during one of the attempted expulsions.

The Middle Plantation Treaty of 1677 
70 years after The English arrival and 55 years after Opicancanoe’s last war]

The Treaty was between Virginia's Indian Head Chiefs [Kings, Princes and a queen] and Charles II (The King of Great BritainFrance and Ireland)

With the several Indian Kings and Queens and Assignors and Subscribers hereunto made and Concluded at the Camp of Middle plantation, the 29th day May, 1677; being the day of the most happy birth and Restoration of our said Sovereign Lord, and  in the  XXIX year of his said Majesties Reign.” - http://www.powhatanmuseum.com/Historic_Documents.html


Etching of the Crowning of Powhatan. Notice the expressions. Misrepresented here is 
that Powhatan II was over six-feet tall whiled the average Englishman at that time was closer to five feet tall. Powhatan reportedly didn't want to lower himself to the political 
level of the English and he resisted the Englishmen's attempt to crown him.
The Royal personages Pocahontas and the descriptions of Cockacoeske in the Treaty of 1677, plus the caption by  van de Passe, described the current English impression of the political reality of Powhatan II and his family’s position as Royal persons. His power was that of an emperor over nations that had varying positions of autonomy, an interpretation not shared by the current official US point of view and baffled the English. At the time English royalty had absolute power over their subjects. Ironically, this divergence of views between the English who were present in 1607 and the Americans who were not, begs the question, why was Powhatan II demoted by the American Revolutionaries? Who are we to believe? Those who lived in a world of empires and royalty, or those whose stated revolutionary aim was to destroy, abandon and replace those political notions of kingship? The prevailing Revolutionary actions were to also extend their ideas of Royal extermination to the indigenous Amerindian forms of government. Did Powhatan II’s government in North America compare to those in Spanish America whose interpretation of empires is still in place in the history of Mesoamerica
The English would have said “Yes”. Especially since the Powhatan Empire consisted of 34 kingdoms.


Today, writers label Powhatan II’s form of government as a diminutive “Confederacy” or "Chiefdom" since it was not a European entity. A kingdom is ruled by a queen or king whose vassals are lords or ladies. While an Empire is ruled by an emperor over kingdoms.


Powhatan II’s domain was estimated to be 19,250 square miles. While the largest Amerindian empire, the Triple Aztec Alliance was 80,000 square miles. North America’s empire consisted of 32-34 kingdoms, while the Aztec Empire in the Americas was made up of three city states.

According to the 17th century English, Powhatan’s domain was ruled by kings who lived in a “king’s house” with many villages whose inhabitants identified themselves under a common self-identifying name, some with identity tattoos and associated national pride. In early Virginia, each kingdom remained so. The concept of “tribal” identity is common among today’s Native Americans. For example, some Virginia Pamunkey crossed the Potomac River (they called Cohonkarutan or the River of the Cohonks, i.e. Canadian geese, the source of the noise associated words, honk, honky-tonk and honky). These Pamunkey retained their identity when some relocated to the Maryland side of the river.

Although the US Government insists on using “tribe” for those entities, by English legal edict, they were originally conceived as “nations”. Some insistent Native Americans also use the latter term to refer to their political group as nations.

If historians were capable of writing the truth, these Royal personages would have been the true Founders of AmericaHowever, the promoted Founding Fathers decreed that the US would not be a kingdom and in doing so, they dismissed the British colonial masters’ established Powhatan Kingdom as a "Confederacy". 

Tuesday, March 19, 2019


Spring and Winter Equinox at Chitzen Itza

Sol*stice n.  & Latin sol sun + sistere to halt.--Webster's New World Dictionary
Above: El Castillo” at Chitzen Itza in Mexico’s Yucatan, showing the serpent Quetzalcóatl, Mayan name 
Kukulcán, as the sunlight coming down from the sky to the earth for a few minutes twice each year. A place that most who are interested in the history of the Americas should visit
. The carved stone head sits at the base of the pyramid while the sunlight lights up and slowly cascades down, revealing the body of the snake. One of the uses of this event is associated with the planting of crops.

March 20th marks
 the Spring Solstice. Of all the major observed days of the year, to the Ancient Maya, both the Spring and Winter Equinoxes were the most important. The pyramid of Chitzen Itza, called “El Castillo” is the possibly most scientifically and mathematically precise structure.

The Annual Maya Festival of the Equinox 
 In the world of the ancient Maya there were many sacred days, most often associated with celestial events. But none perhaps more widely celebrated than the Spring and Fall Equinox at the ancient site of Chichén Itza in central Yucatan.
“Each year thousands of pilgrims and curiosity seekers flock to the nearly six square miles of national park ruins to watch a phenomena that was carefully mapped by ancient architects and astronomers. On the day of both the vernal equinox and the autumnal equinox (and several days leading up to and after the events), afternoon sunlight bathes the western balustrade of the El Castillo pyramid's main stairway causing seven isosceles triangles to form and create a shadow that imitates the body of a 120 foot long rattlesnake [the Feathered Serpent] that creeps downwards until it joins a huge serpent's head at the bottom of the stairway.”— http://mexicolesstraveled.com/phone/itzacosmology.html

For a discriptive video go to: https://youtu.be/q0kOyGZxKh4

Monday, March 11, 2019


Understanding the theory behind a work of art!

© 2019 Michael Auld
Above: Wall sculpture, is titled "Busta Deconstructed".

Q: What do you think is the meaning behind the above wall sculpture?


The above question is intended to have the reader play the role of an art critic. Can a critic truly evaluate and honestly critique artwork without the artist’s input? Omitting the artist's explanation is done every day. But can the criticism be accurate?

A: I belong to the group of fine artists whose works are intended to make specific statements. When I am in the role of a graphic designer the objective is as different as the role played by a decorative designer. Decorative design does not necessarily need to convey a philosophical message. Visual communication, practiced by a graphic designer or illustrator share the need for the clarity of communicating a message. However, images applied in my fine arts projects, need explanation. The above sculpture, titled "Busta Deconstructed" and the enlarged segments below, mean the following:

Above: Jamaica's National Bird, whose colors are in the flag and was the model for my above sculpture.
Above: Close-up #1. Trying to keep a Taíno geometric artistic aesthetic, I used the front fork of a small bicycle. Quarter circle of a bicycle rim formed the outstretched wings of a hummingbird. Segments of cut, etched Plexiglas with acrylic paint rubbed into the etched lines were inlaid into the metal framework of the bird. Split and braised (brass weld) halves of a split rim replicated the particular scissors-tail hummer, only found in Jamaica.

Above: Close-up #2. An enlargement of etched and colored Plexiglas overlay of the torso of the bird.

Above: Close-up #3. The head of the bird consisting of a metal bicycle sprocket inlaid with a Jamaican dollar bill sandwiched between two inlaid Plexiglass circles. The actual Jamaican $1 bill has a printed etching of the Hon. Sir Alexander Bustamante, Jamaica’s first Priminister at the island’s 1962 Independence from Britain.


The late Professor of Sculpture, Ed Love, a friend, teacher and co-worker said while he was organizing an art exhibition for Howard University’s Department of Art, College of Fine Arts.

“Never depend on a critic to define your work...The artist must be the one to describe the meaning of the piece.”
He had come to pick up one of my sculptures for an exhibition that he had titled, “Objects of Power”.


An Artist’s Rationale

Although small, this sculpture is complex. It honors Sir Alexander Bustamante who was affectionately called “Busta”. He was a Jamaican man of the people who also had indigenous Taíno ancestry (A colorful man, his actual family name was Clark. Busta’s family reportedly had Yamaye Taíno ancestry.) Founder of the island’s first trade union and the Jamaica Labour Party, he was a charismatic character who often spoke in the Island’s patois.

How does a sculptor turn this history into a sculpture?

As a man of the people, the metal framework was made from a Jamaican “common man’s” mode of transportation, the bicycle, in the form of Jamaica’s national bird, the Swallowtail Hummingbird. The hummingbird, although small (like Jamaica) is a territorial fighter. Called colibri by the Taíno and associated with gold. In both the island and Central American empires the hummingbird is considered a brave fighter that even challenges larger predatory birds. It is similar to Busta’s struggles against the British Empire. Mexica (Aztec) warriors, on whose graves hummingbirds were placed, revered the fiesty bird.


While creating any artwork, the viewer is often kept in mind. Especially since I was schooled in advertising design, my aim has been to clearly communicate the message(s) within the piece.


Few people of the Americas are taught about Amerindian history and its impact on our current lives. So, after researching Taíno (the people who met Columbus in the Caribbean) mythology, I chose to recreate the Epic of Guahayona. Gua-ha-yo-nah, the First Shaman, whose name meant “Our Pride”. The epic was a cautionary tale.

He said to the (Taíno) women, “Leave your children and husbands and come away with me. And I will give you much gueyo.”
Gueyo was a green chewing tobacco, mixed with the salty ashes of an algae. Chewing it gives one a buzz.

Guahayona took the women away to the island of Matinino (meaning “No Fathers”) and stranded them there. Guahayona then went on to Guanin, the Island of Gold. He then continued on to other adventures. [This epic influenced the naming of California by Cortez after the conquest of the Mexica (Aztec) Tripple Alliance, who had read Garci de Montalvo's popular 16th century novel "Las segras de Esplandian". The novel was about "black" Queen Califia from the Island of La California and her female island of Amazons. While in Baja California, Cortez had seen the Californiana Mountains in thje distance. He had thought that the mountains were the tip of Montalvo's island of "La California". The Guahayona Epic had been transcribed by Fr. Ramón Pané in Hispaniola (Ayti Bohio or Kiskeya), on the orders of Columbus, and soon ended up in Spain. The Taíno had begun to rebel against Spanish oppression and Columbus wanted to know more about them.]. 

Sculptural Interpretation of a Myth

Using natural materials, I designed and built three sculptures as an installation for the epic of Guahayona's Travels in his life-sized canoe to Matinino (The Island of Women) and to Guanin (The Island of Gold)
Above: Guanin, The Island of Gold, cherry wood with inlaid mother of pearl, gold leaf and a carved stone Bird-Man cemi within the sculpture's base.

Above: Enlargement with shell eyes, inlayed mother-of-pearl and gold leaf wing feathers.

On this page (below) are enlargements of "Matinino" with details of elements associated with womanhood and childbirth. The artist used images incorporated in the sculpture to emphasize the island "standing alone" concept and its association with femininity. 


The Island of Women (Enlargements)

Above: Enlargement of upper portion of Matinino, "The Island of Women". Since the theme is based on a Taíno cautionary tale, I used natural materials that included aged wood for the torso and body, red sandstone for the head and calabash/higuera tree gourd styled womb and Mound of Venus genitalia. (To the Taíno a higuera gourd with its white internal membrane surrounding black seeds represented a fertilized womb). The sculpture's breasts, are images of a frog and turtle, that are both associated with motherhood (the Taíno's Turtle Mother) and childbirth (the frog's lifesycle). Like humans, as tadpoles, frogs begin life by breathing water, then become air-breathers. Babies begin life in amniotic fluid in the womb, then breath air upon birth. 
These breast-cemis were made from gray sandstone. 

Above: Taíno tri-pointed stone cemi of Yucahu the "God of the Sea, made in a shape reminiscent of the tuber, the yuca/cassava, born of the virgin mother, Attabey and Without Grandfathers."-- Dominican Republic.
Above: Enlargement of sculpture's head. Carved from red sandstone, it is in the form of a tri-pointed cemi that is sometimes tied to a tree,

Some Viewer’s Interpretation

NOTE: Audiences bring their own ideology and idiosyncrasies to the interpretation of works of art. Contrary to the artist’s intent, curiously, a few female viewers interpreted the sculpture as a symbol of bondage. Although... the Island of Women story from Guahayona's Epic, depicted here, is a cautionary tale. Guahayona means "Our Pride" and the tale cautions      the Taíno women women not to be seduced by pride, [especially not through gold jewelry --My belief]. 

Oh well, the viewer's opinions are primary!

Sunday, February 10, 2019


© 2019 by Michael Auld

In African American History Month
Above: Kweku Anansi the Spider-man — by the author. Asanti, Jamaican and Caribbean folk hero who appeared among South Carolina’s Sea Islands in Aunt Nancy Stories. 

“When we read the history of people of African descent in the Americas who came from their old homes on the continent, the story of their journey often begins with slavery or ends with despair.
Sometimes we learn about the rich heritage of African music. Or emotional outlets provided through gospel music, the blues, jazz, rock & roll, salsa, calypso, reggae, rap, and more.“ 

However, the art of storytelling is often overlooked.
Above: Storyboard panel of an African storyteller from an idea from "How Anansi Came to the Americas from Africa" -- by the author
Yet, African storytelling survives in many parts of the world today. Some stories remain exactly as they were told many centuries ago. The purpose remains the same. They are morality stories that teach people how to live amicably in this world.

In Ghana’s Akan language, Twi, “Anansi” means “spider”. “Kweku” is similar to “Wednesday’s Child”. Kweku Anansi’s stories are called...
Ananse-sem” means that ALL stories belong to Anansi. His stories are not necessarily age specific. However, some stories can be risque, but their morals belong to everyone. These morals come in the form of a proverb.

“It is the willing horse that they saddle the most”. -- A cautionary Jamaican self-explanatory proverb that would appear in an AnansiStory.

In one of his sagas, Anansi had won the title of “Keeper of All Stories” from his father, N’yame the Great Sky god. His mother, Asase Ya, was the Great Earth Mother. Their son, Anansi, the offspring of a sky god and the earth mother goddess, was turned into a spider-man because of his disobedience towards his father. The lesson here was that Anansi, as a spider who dwelled in a web is a go-between air and ground god, free to move around on a suspended web whose filaments were connected to the animate and inanimate. 

In the realm of spider mythology, “Among the Hopi of Arizona, USA, Spider Woman's web connects all things in the Universe.”— http://anansistories.com/Three_Spiders.html

Called the Web of Life, spiders’ filaments in both hemispheres, has had both spiritual and philosophical connotations. With these characteristics associated with Anansi, how does a writer create contemporary plots around this ancient folkloric figure?


Æsop was an enslaved Ethiopian owned by a Greek. He and his African stories are legendary since they helped to be an integral part of the European morality. "Their ethical dimension was reinforced in the adult world through depiction in sculpture, painting and other illustrative means, as well as adaptation to drama and song. In addition, there have been reinterpretations of the meaning of fables and changes in emphasis over time". [Wikipedia].To see more of his stories go to--http://www.read.gov/aesop/001.html 


My first attempt at writing for Anansi was in 1968 when my Anansesem comic strip was envisioned and published. The Jamaican newspaper, The Gleaner Company, took a chance on me. 
I had prepared a flyer on my Anansesem comic strip idea and got an appointment with a New York syndicate. At the meeting with the representative, he said,

“I love your idea. My kids would also love it. But, most of our newspapers are in the Midwest ad they would not like anything African.”

So, I did what was recommended when one is turned down. I turned to my hometown. In the 1970s, Africa was becoming in vogue in the Diaspora.

In an attempt to Africanize the comic strip, I had begun to research Anansi’s history and the West African visual aesthetics that lend itself more closely to a cartoon figurative style and proportions. So, although Anansi was Asanti, I chose Yoruba figures from the Benin bronze plaque tradition. Anansi’s face and the other characters in the strip were fashioned after these Benin bronzes.

Above: A traditional bronze plaque from Benin, Nigeria.

The aim was to return a more authentic African voice and traditions to a spider-man separated from the continent for 400 years.
For example, Jamaica’s Bra Tiger was returned to the traditional Osebo the Leopard.
One of Anansi’s sons that came with him to Jamaican folklore was his youngest, Intukuma, whom Jamaicans called Takooma.

All of the Anansi comic strip stories published by the island’s newspaper’s Gleaner Company were in an original continuous story format. They were weekly three-panel excerpts for the evening tabloid, The Star.

Above: B and W weekly Anansesem newspaper panel from the story "How Anansi Came To The Americas From Africa".

Above: A historic Anansesem comic strip panel of the published story, Anansi’s Golden Stool of Asanti.” This was based on the historical story of how Osei Tutu became Asantehene or king and formed the formidable Asanti Confederacy. Here it illustrates how the Golden Stool descended from Heaven and perched on Osei Tutu’s knees at a gathering in Kumasi on a Friday.-- http://anansistories.com/Anansesem.html

Above: Cover of the first Anansi book, published in 1899 by Pamela Colman Smith, whose father was an American while her mother was Jamaican.

Above: Pamela Colman Smith with some of her Tarot Cards. She was one of the first women to enter Prat Institute in New York City.

Anansi books are not only just a collection of traditional tales, but continue to his youngest son, Intikuma “Ticky-Ticky” Anansi. Part one of this trilogy is about a young quarter-spider boy’s search for his wayward father, Anansi.

Above: Book cover design of Anansi’s son’s search for him. The cover includes Taino mythological entities such as; a spinning  Hurakan; skull-like Coaybay, Island of the Dead and its sister Island of the Setting Sun; the Island of Women; and the Island of Gold.

Ticky-Ticky is a twelve-year-old with a secret: He is the youngest son of the infamous trickster Anansi the Spider-man. Hiding in the human world, Ticky-Ticky fears his father’s enemies will recognize and punish him for being the butt of Anansi’s embarrassing pranks. 
Now, the joke’s on Ticky-Ticky. A school incident forces him to follow his missing father’s footsteps on a dangerous quest across time and reality. Riding a magical ghost-bat canoe with a dog of the dead as his guide, Ticky-Ticky encounters Anansi’s folkloric foes out for revenge. After a lifetime of avoiding his father’s legacy, can Ticky-Ticky find his father before he loses his life or even worse: becomes just like him?-- The back cover with an introduction to“Ticky-Ticky’s QUEST”.--https://www.amazon.com/Ticky-Tickys-Quest-Search-Anansi-Spider-Man-ebook/dp/B01MRT1UKW/ref=sr_1_fkmrnull_1?keywords=Michael+Auld%27s+Ticky-Ticky&qid=1549841950&s=gateway&sr=8-1-fkmrnull 

Anansi and his Jamaican family live in an island whose indigenous population called themselves “Yamaye”, the source of the name Jamaica. Part one of this trilogy begins in Jamaica while Part II (currently in production) is where African and indigenous Taíno mythologies converge.

Above: Ticky-Ticky (L) next to his friend, Iggy Iguana, discussing a school related problem. Iggy is an indigenous shape-shifting Taíno iguana, while Ticky-Ticky is Anansi’s quarter-spider son.

Above: Makaetauri Guayaba, the Caribbean’s God of the Afterlife and the large image of a guava behind him, a fruit that represented the “Sweetness of Life”.

Above: An illustration of Guabancex, Angry Goddess of the Hurakan, Rider of the Winds, with her twin accomplices, Guatua-BA the Herald (the thunder and lightning) who announces her pending arrival. Along with Coatrisque the Deluge, or the Surge....Just  before snatching Ticky-Ticky out of the airborne bat-canoe. Then she deposited him on Matinino, the Island of Women. — http://anansistories.com/Ticky_Ticky.html

Many Jamaican AnansiStories include Taíno cultural retentions. Whenever, corn, sweet potatoes, geneps, pumpkins, peppers, etc. are mentioned, Taíno foods are introduced, making the story a truly indigenous Jamaican (Yamaye) AnansiStory.
Above: Illustration of a traditional story, titled “Anansi and the Yam Hills.” Mrs. Guinea-fowl stands on an Taíno styled dirt mound from the Taíno "conuco(garden). The "hill" is planted with African yams.

Ticky-Ticky’s QUEST: 
Travel to Turtle Island”

Above: Currently in production, Part II of the search for Anansi. Ticky-Ticky is surrounded by ancient North American spider gorget images that were found on carved quahog clam shells.

TICKY-TICKY’S QUEST (Part II): Back and Front covers with an image of "Turtle Island", the Native American name for their continent. They believed that, from the air, the continent was shaped like a giant turtle.

All because of an infraction in his high school, TICKY-TICKY’S QUEST (Part II), “Travel to Turtle Island” is a continuation of a young Spider-boy’s relentless search to find his notorious wayward father, Kweku Anansi the Spider-man.

"Falling into the hands of a voodoo man, he was forced to enter the ancient Caribbean’s spirit world. With the loan of the Lord of the Dead’s bat-canoe and his dog, Opiel, Ticky-Ticky is allowed to traverse time, space and different realities.
Having traveled through the Caribbean’s Spirit World with Opiel, the Hunting Dog of the Dead, without a scratch, but with clues of his father’s cold trail, Ticky-Ticky is taken to Turtle Island. On Turtle Island, the ancient Native American name for North America, there are many spider families. There he hopes to find Anansi who himself has gone there on some cockamamie search for rich American spider relatives.
Will he survive the trials and tribulations such as the man-eating Algonquian shape-shifting monster, the Windigo?"-- TICKY-TICKY’S QUEST: Travel to Turtle Island

Look out for the publication date.