Mabel McKay's life was itself an interwoven work of art. She was a Lolsel Pomo Indian born in northern California, and became the last of the Pomo Dreamers as well as a 'sucking doctor' who used her Dreams, her songs, her exquisite baskets and her talent for seeing and speaking the truth to keep her culture alive and cure her patients of both physical and spiritual ailments. She taught other Pomo as well as anthropologists and college students as much as she could about these things to which she had devoted her time and energy for so many years. Here, too, is depicted her partnership with Essie Parrish, a Kashaya Pomo and another Dreamer. The pair had Dreamed of each other for 20 years before they finally met in a Dancehouse and became fast friends. Greg Sarris, an improbable foster son who did not know that he was himself part Pomo when he first met the two Dreamers, does a first rate job of introducing the reader to the constant contradictions that weave their way through Mabel McKay's accounts of her experiences. She always resisted, he says, telling her story the white people's way, straightforward, from beginning to end. Instead, she insisted on including stray threads and symbols and the spirituality inherent in her work. She might have worked most of her life in a cannery, but the artistry of her baskets is timeless and many are still on exhibit in museums, including the Smithsonian. Recommended for anyone interested in the Dreamers, the Bole Maru, or the spiritual side of basket-weaving among California's First Nations.