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most practical purposes, that stood between the Kogs and Sardaks, and the Earth and Gor.
    "This is," said Kog, to Samos, "a story skin."
    "I understand," said Samos.
    "It is an artifact of the red savages," said Kog, "from one of the tribes in the Barrens."
    "Yes," said Samos.
    The Red Savages, as they are commonly called on Gor, are racially and culturally distinct from the Red Hunters of the north. They tend to be a more slender, longer-limbed people; their daughters menstruate earlier; and their babies are not born with a blue spot at the base of the spine, as in the case with most of the red hunters. Their culture tends to be nomadic, and is based on the herbivorous, lofty kaiila, substantially the same animal as is found in the Tahari, save for the wider footpads of the Tahari beast, suitable for negotiating deep sand, and the lumbering, gregarious, short-tempered, trident-homed kailiauk. To be sure, some tribes do not have the kaiila, never having mastered it, and certain tribes have mastered the tam, which tribes are the most dangerous of all.
    Although there are numerous physical and cultural differences among these people they are usually collectively referred to as the red savages. This is presumably a function of so little being known about them, as a whole, and the cunning, ruthlessness and ferocity of so many of the tribes. They seem to live for hunting and internecine warfare, which seems to serve almost as a sport and a religion for them. Interestingly enough most of these tribes seem to be united only by a hatred of whites, which hatred, invariably, in a time of emergency or crisis, takes precedence over all customary con- and rivalries. To attack whites, intruding into their lands, once the war lance has been lifted, even long-term blood enemies will ride side by side. The gathering of tribes, friends and foes alike, for such a battle is said to be a splendid sight. These things are in virtue of what, among these peoples, is called the Memory.
    "The story begins here," said Kog, indicating the center of the skin. From this point there was initiated, in a slow spiral, to be followed by turning the skin, a series of drawings and pictographs. As the skin is turned each marking on it is at the center of attention, first, of course, of the artist, and, later, he follows the trail, of the viewer. The story, then, unanticipated, each event as real as any other, unfolds as it was lived.
    "In many respects," said Kog, "this story is not untypical. These signs indicate a tribal camp. Because of the small number of lodges, this is a winter camp. We can also tell this from these dots, which represent snow."
    I looked at the drawings. They were exactly, and colorfully done. They were, on the whole, small, and precise and delicate, like miniatures. The man who had applied the pigment to that hide canvas had been both patient and skillful. Too, he had been very careful. This care is often a feature of such works. To speak the truth is very important to the red savages.
    "This jagged line," said Kog, "indicates that there is hung in the camp, the sawing feeling in the stomach. This man, whom we take to be the artist, and whom we shall call Two Feathers, because of the two feathers drawn near him, puts on snowshoes and leaves the camp. He takes with him a bow and arrows."
    I watched Kog slowly turn the skin. The drawings are first traced on the skin with a sharp stick. Many of them are then outlined in black. The interior areas, thusly blocked out, may then be colored in. The primary pigments used were yellows, reds, browns and blacks. These are primarily obtained from powdered earths, clays and boiled roots. Blues can be obtained from blue mud, gant droppings and boiled rotten wood. Greens can be obtained from a variety of sources, in- earths, boiled rotten wood, copper ores and pond algae. The pigments, commonly mixed with hot water or glue, are usually applied by a chewed stick or a small brush, or pen, of porous bone,