But as a young man I was troubled that I could not match the totems to the myths. As I learned later, this is because totem poles memorialize too many things: they record family histories and privileges at the same time as they tell the old myths and legends. And in the telling, they intermingle all of these so completely that only those who are invited to the potlatch ceremonies at which the totem poles are erected are privy to their secret meanings.

It is not that the myths and the graphic forms did not mean much to me as separate entities, I was just disappointed that the one did not more directly illustrate the other. I felt that a new richness and meaning would be given them both if they could be understood together. I decided, therefore, to retire early and devote myself to reconciling myth and image. After much study, I set about carving totem poles that illustrated the legends, leaving out the overly detailed family chronologies that made the old poles difficult to understand. I incorporated tribal history in the design of the totem poles only if they were an essential part of the greater legend.

In undertaking this task, I was also concerned that my art be in the visual tradition of the early Northwest Indian and that it not incorporate Western symbols or ways of representing reality. This meant a lot of travel in the Northwest to familiarize myself first-hand with the original carvings. But that proved a very enjoyable burden.

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The myths and legends of the Northwest Indian speak to many things: they record the history of a tribe and its various clans; they tell how these tribes established themselves in certain areas and came into conflict with other tribes and clans; they explain the origins of the earth, man, and other creatures, and tell how the sun, moon, and the stars came into being; they provide lessons about life and death; and explain how men and women should behave towards each other; and how mankind must learn to respect the creatures with whom it shares the earth.

In the days before the Indians were incorporated into Western culture, these myths and legends were used to educate children. When the myths were carved into totem poles, they became the equivalent of illustrated story books that intrigued the children, helped them to remember the legends, and led them to read them for themselves.

Although my versions of the myths and the visual imagery are carefully based on the stories and art of the Northwest Indian, I have allowed myself some liberties. I have reworked the way these stories are normally told to make them more accessible to contemporaries, and have used them to tell about day-to-day life as well. I have also reworked the graphic designs so that they more clearly tell the myths rather than chronicle family histories. There will be some who will take exception to the liberties I have allowed myself. I apologize to them beforehand, but I felt it was the only way I could bring these two very rich traditions of the Northwest Indian together and reveal them to Western eyes.

To the Northwest Indian raised in the old ways, myth and visual imagery were one. But for those outside these traditions, the two remained separated. It is true that, as Westerners, we have learned to distinguish individual creatures in the art of the Northwest Indian (thunderbird, bear, killer whale, raven, etc.), but beyond that we have progressed little. That is akin to having learned the alphabet without going on to read — and there is a world out there to be read. I hope I have provided an initial guide for further reading.

— Oscar Newman