Highly Recommended: THE PENCIL by Susan Avingaq and Maren Vsetula

 The Pencil

Written by Susan Avingaq (Inuk) and Maren Vsetula (not Native)

Illustrated by Charlene Chua (not Native)

Published in 2019

Publisher: Inhabit Media

Reviewer: Jean Mendoza

Review Status: Highly Recommended

After Debbie and I published our list of the best books we read in 2024, I came across a forgotten gem that will have a place on our 2025 list, though it's an older title. The Pencil by Susan Avingaq and Maren Vsetula had been hiding between two larger books on my shelf for a few years. Published in 2019, it's one of those "little" stories that seems simple but offers a lot to think about. 

Here's what the publisher, Inhabit Media in Nunavut (part of what's currently called Canada) says about it:

Susan loves watching her anaana write letters to people in other camps. Anaana has one precious pencil, and she keeps it safe in her box for special things. One afternoon, Anaana leaves the iglu to help a neighbour, and Susan and her siblings are left with their ataata. They play all their regular games but soon run out of things to do -- until Ataata brings out the pencil! As Susan draws and draws, the pencil grows shorter and shorter. What will Anaana think when she comes home?

This is one of AICL's "short and sweet" reviews -- a brief summary and four reasons we recommend the book.

Reason #1 to recommend The Pencil: Family situations children and adults can relate to.

Many a child has run out of things to do while waiting for something to happen. Many an adult has wondered what fun ideas they can offer next. Maybe that's less of a problem in these days of screens and apps, but even those can lose their charms after awhile.

It's too cold to go outdoors, and as the text and illustrations imply, the family does not have a lot of possessions. Susan reveals a truth that many families experience: "It was nice to spend some time with Ataata. Sometimes he even let us do things Anaana didn't let us do..." The illustration shows him telling a scary story. 

To keep his children occupied after they exhaust their repertoire of indoor fun, Ataata has to think outside the box -- or in this case, inside the box of Anaana's special things. He takes out her only pencil and last sheet of paper. 

Those two precious objects open up a world of engagement. Susan, Rebecca, and Peter enchant each other and Ataata with their drawings. I especially like the way the authors express Susan's delight as she begins to draw.  

When Anaana returns, she's dismayed at first to see what happened to her pencil.  (I could recall similar feeling, arriving home and seeing what our crew had been up to.) She reminds the family, "We won't be able to get another until we return to the trading post" -- which obviously is not something they can do every day. But Anaana also sees what a positive experience it was for them. She smiles, praises their drawings, and is glad they had a good time. 

Reason #2: The storytelling -- words and pictures

The Pencil is based on Susan Avingaq's childhood experiences. Contemporary sources I found say that iglus aren't used much as homes any more, but they remain an important part of Inuit cultural history. 

The plot and setting may seem uncomplicated, but the storytelling -- text and illustrations together -- feels masterful. The narrator and the other characters are very likable. Subtle details in the illustrations and text convey important details. An ulu, a specialized knife, is shown. One of their sled dogs who is outside wants Anaana's attention when she leaves the iglu, and when she returns. These are not indoor dogs. The children wear what might seem like a lot of clothing for people who are indoors, and they warm their hands over a small, contained fire, suggesting a cool indoor temperature. 

Few other furnishings are depicted. The pencil commands the reader's attention on the pages where it appears, just as it holds the attention of the characters. The end papers are also part of the story, featuring child-like drawings the three siblings showed their mother. 

The narrator says, "Our iglu was a very cozy place. We didn't have much, so our parents told us to use what we had wisely," but there is no sense that the family is deprived. The illustrations are full of joy, comfort, and affection. And I love the final illustration: a full moon shines down on the small community of iglus, their ice windows glowing in the night.

The story ends with the narrator remarking that "something as small as a pencil" had brought the family joy. She says she would always remember Anaana's reminder to use things wisely and take care of what they did have.

Reason #3: "Food for thought" 

This is a story about a resourceful family. Anaana's absence is an aspect of the community's resourcefulness -- women who know about having babies are a resource for women who are having them. Susan and her siblings use all their play resources (dolls, games) to keep themselves entertained while she's gone, and Ataata resourcefully produces the pencil and paper just in time. 

Teachers or caregivers sharing this story could ask children about times when they have been resourceful.

What might they do for fun if they had to stay indoors and not go anywhere? What if they had no phones or screens? What might they need to do to get along with the people with them?

The narrator makes two key points at the end of the story: that small, simple things can bring much joy, and that it's important to wisely use the things we have. People accustomed to a society of Plenty (perhaps Too Much), may think Susan and her family have "too little." It would be interesting to ask elementary-age kids to talk about small things that have brought them happiness, and about what "enough", "a lot" and "too little/few" mean to them. 

For an expanded perspective on those ideas, Richard Van Camp's wonderful May We Have Enough to Share would be a good companion book. 

Reason #4: The potential for further research and learning

Sharing The Pencil with children outside of an Arctic environment might require laying some groundwork. I have the impression that curricula in Canada include factual information about Inuit culture and history, but many children in the US may not have access to such knowledge. In fact, they may be exposed to stereotypes and misinformation instead. There's a teacher's guide for grades K-3 that looks very helpful.

The glossary at the back defines and gives pronunciations for Inuktitut words used in the story, such as qulliq (oil-burning lamp) and inuksuit (traditional stone marker). You could also introduce some other children's books with reliable information about life in the Arctic, such as How to Build an Iglu and Qamutiik: Inuit Tools and Techniques (by Solomon Awa) or Inuksiutiit: Inuit Tools. Both are published by Inhabit Media, and provide stereotype-free facts about items depicted in The Pencil.  

Related activities could include drawing with pencils, and acting out the story. This is one of those books that makes me wish to be back in the classroom!

     

        

The Pencil was published shortly before the COVID pandemic. I can imagine it brightened the days for children and families homebound during the worst of it, and would be an inspiration now for those stuck indoors because of winter weather. Teachers, librarians, parents -- get this book and the others I mentioned, and enjoy them with the kids!  

Debbie--have you seen THE ROUGH-FACE GIRL?

A reader asked if I have done or know of a critical analysis of The Rough-Face Girl by Rafe Martin. Illustrated by David Shannon, the book came out in 1992. I have not done a critical analysis and wasn't able to find one to share with the reader. This post, then, is the start of my analysis. Here's the book description:

From Algonquin Indian folklore comes a powerful, haunting rendition of Cinderella. 

In a village by the shores of Lake Ontario lived an invisible being. All the young women wanted to marry him because he was rich, powerful, and supposedly very handsome. But to marry the invisible being the women had to prove to his sister that they had seen him. And none had been able to get past the sister's stern, all-knowing gaze.

Then came the Rough-Face girl, scarred from working by the fire. Could she succeed where her beautiful, cruel sisters had failed?

And, here's the author's note:

To see good rewarded and evil punished, or justice, is rare. Stories, however, pass on the realities not of the everyday world but of the human heart. One way in which the universal yearning for justice has been kept alive is by the many tales of Cinderella. Indeed, some 1,500 or so version of the basic Cinderella story-type have been recorded so far. In each, the cruel and thoughtless at last get their just reward, as do those who are kind and good. 

The Rough-Face Girl, an Algonquin Indian Cinderella is, in its original form, actually part of a longer and more complex traditional story. Brief as it is, however, The Rough-Face Girl remains one of the most magical, mysterious, and beautiful of all Cinderellas. Grown on native soil, its mystery is rooted in our own place. I am happy to pass it on to children and parents today.

In my analyses of books labeled as folktales, myths, or legends, one question I ask is about the source for the story being told. So, what is Rafe Martin's source? His note refers to an "original form" of the story, and it also refers to a "longer and more complex traditional story."  He doesn't name his source. 

Back in 1993, Betsy Hearne published an article called "Cite the Source" in School Library Journal. It it is her Source Note Countdown, which she created to help people review or analyze a book like Martin's. (Write to me if you want a copy.) It came out a year after his book did, so perhaps it is unfair to apply her countdown to his book. It could apply, however, to subsequent printings of it. On her countdown, we would say his note is #5, "The nonexistent source note." She wrote:

The worst case is easy to describe. The subtitle or jacket copy of a book makes a vague claim to be a "Korean folktale," for instance-which is faithfully picked up and authoritatively echoed in the Library of Congress Cataloging in Publication (CIP) statement, there to remain forever engrained as fact. The source of this tale is Korea. It's a little abstract, isn't it? But, it's the closest we'll ever get to context, thanks to sloppy thinking on the subject of persons who may have exerted the most meticulous effort on text, art, publication, and distribution."

Poking around online, I may have found the source Martin used. "The Invisible One (Micmac)" is in The Algonquin Legends of New England or Myths and Folk Lore of the Micmac, Passamaquoddy, and Penobscot Tribes by Charles G. Leland, published in 1884 by Houghton, Mifflin and Company. In the preface, Leland writes that Reverend Silas T. Rand, of Hantsport, Nova Scotia, lent him a "collection of eighty-five Micmac tales". I found a copy of Rand's book, titled Legends of the Micmacs published in 1894 by Longmans, Green, and Co. 

I think Rafe Martin primarily used Leland. His version and Leland's end at the same place, but Rand's is much longer. I think Leland chose to ignore the second half of the story Rand gave him because it did not fit with his idea that this is a Cinderella variant. In the Rand version, half the story is similar to the one we see in Rafe Martin's book, but the other half is a different story entirely. It doesn't end with the happily ever after married couple. 

What I share in these next sentences is much-condensed. In Rand's version, the married couple have a son. He's a little boy who has a maul (hammer). When left unattended, he smashes a bunch of things, including a moose leg that is in the wigwam. The husband (invisible one) is out hunting, and when his sister (seems like she lives with them and has told the wife they must take care of the moose leg) sees what the little boy has done, the three (Rough Face girl, invisible one's sister, and the son) set off to find the husband. They find him sitting beside a load of moose meat. His leg is broken. He tells the rough face girl to take their child and go live with her father because he can no longer support her. She leaves. He tells his sister to go get an ax and kill him because he will never be the same again. She does. See how different the complete story is? There's more. You can read it yourself if you wish. My point is that the original story -- from Rand -- is much more than what ends up being given to young readers as a Cinderella story. I think it points to the problems in trying to center European stories and bend stories told by people who are not European into ones that look like, in this case, Cinderella stories. And of course, we can ask questions about Rand's source. At the very end of his, he writes that it was "Related by Susan Barss, and written down from her mouth in Charlottetown, Prince Edward Island, in the winter of 1848, and translated from the original, May, 1869, by S. T. Rand. Who was she?!

Below is a table of notes I am working on, doing my best to compare the three versions. The fourth column is for my comments. At some point I will do more with these notes. For now, I share them with anyone interested in Martin's story and I welcome your comments about the notes below or what I've said above. If something doesn't make sense, let me know! And as always, I appreciate your feedback on typos. 

MARTIN The Rough-Face Girl, published in 1992	LELAND “The Invisible One (Micmac)” in The Algonquin Legends of New England or Myths and Folk Lore of the Micmac, Passamaquody and Penobscot Tribes, published in 1884, available here.	RAND “The Invisible Boy” in Legends of the Micmacs, published in 1894, available here.	Debbie’s notes and comments
Once, long ago, there was a village by the shores of Lake Ontario.	There was once a large Indian village situated on the border of a lake.	Nameskeet’ oodun Kaspemku (a large Indian village, was once situated on the borders of a lake).
Off from the other wigwams of this village stood one great huge wigwam.	At the end of the place was a lodge…	At the extreme end of the village…
Painted on its sides were pictures of the sun, moon, stars, plants, trees, and animals.			The paintings on the wigwam are not in Leland or Rand.
And inside this wigwam there was said to live a very great, rich, powerful, and supposedly handsome Invisible Being.	… in which dwelt a being who was always invisible.	… lived a youth whose teomul was a moose. This youth had the power of assuming the form of a moose, and in addition to this, he could render himself invisible.
However, no one could see him, except his sister, who lived there too.
Many women wanted to marry this Invisible Being, but his sister said, “Only the one who can see him can marry him.”	He had a sister who attended to his wants, and it was known that any girl who could see him might marry him.	He offered to marry the first girl that could see him.
Now, in this village there lived a poor man who had three daughters.	There dwelt in the village an old man, a widower, with three daughters.	Now it happened that in the village there resided an old man, a widower, who had three daughters, the youngest of whom was puny and often sick.
The two older daughters were cruel and hard-hearted, and they made their youngest sister sit by the fire and feed the flames.	The youngest of these was very small, weak, and often ill, which did not prevent her sisters, especially the eldest, treating her with great cruelty. The second daughter was kinder, and sometimes took the part of the poor abused little girl, but the other would burn her hands and face with hot coals;	The others considered her a great source of trouble, and ill-treated her; the oldest girl on whom devolved the charge of the house after her mother’s death, was especially unkind to her. The second daughter was less unfriendly, and sometimes ventured to take the poor little girl’s part; but the oldest kicked and cuffed her about, and often burned her hands and face intentionally.
When the burning branches popped, the sparks fell on her.	Yes, her whole body was scarred with the marks made by torture,
In time, her hands became burnt and scarred.
Her arms too became rough and scarred.
Even her face was marked by the fire, and her beautiful long black hair hung ragged and charred.
And those two older sisters laughed at her saying, “Ha! You’re ugly, you Rough-Face Girl!”	So that people called her Oochige-askw (the rough-faced girl).	The marks, scars, and scabs that covered her gave her the name of Oochigeaskw (the girl that is covered with scabs).	Leland and Rand write that the sisters – especially the older one – mistreated her but they do not mention the sisters  verbally shaming the youngest one. Both Leland and Rand have passages with dialog later on.
And they made her life very lonely and miserable, indeed.
One day these two older sisters went to their father and said, “Father, give us some necklaces. Give us some new buckskin dresses. Give us some pretty beaded moccasins. We’re going to marry the Invisible Being.”	Now it came to pass that it entered the heads of the two elder sisters of this poor girl that they would go and try their fortune at seeing the Invisible One.	One day the older girls arrayed themselves in their finest clothes,
So their father gave them these things.
Dressed in their finest, the two girls marched through the village.	So they clad themselves in their finest and strove to look their fairest…	and went down to
All the people pointed and stared. “Look at those beautiful girls,” they said. “Surely they shall marry the Invisible Being!”			Leland and Rand do not have passages wherein the villagers stare or comment about the sisters appearance, or that ‘surely’ they will marry the Invisible Being.
And if those two girls were proud and hard-hearted before, they were even prouder now.

They walked haughtily through the village.
At last they came to the wigwam of the Invisible Being.	… and finding his sister at home went with her to take the wonted walk down to the water.	…the wigwam of the Invisible Boy, whose name was Team’ (the Moose).
And there was his sister, waiting.
Why have you come?” she asked.		They spent the afternoon with his sister, and at the proper time she invited them to walk with her down to the borders of the lake, and watch for the coming of her brother.
“We want to marry the Invisible Being,” they answered. That’s why we’re here.”			Neither source says the sisters said this directly to the Invisible ones sister.The reason for their visit is implied in the way they write about the invisible man and that women want to marry him.
“If you want to marry my brother,” she replied, “you have to have seen him. Tell me, have you seen the Invisible Being?”	Then when He came, being asked if they saw him, they said, “Certainly,” …	They went; and when she saw him, she put the usual question, “Do you see my brother?”
“Of course we’ve seen him” they insisted. “Can’t you see how pretty we are? Can’t you see the beautiful clothes we wear?		The eldest one said, “I do.” The next one said “I do not.”	Neither source includes content that indicates the sisters assert their prettyness and beautiful clothes as involved in being able to see him.
Oh yes, anyone can tell that we’ve truly seen the Invisible Being.”
“All right,” she said quietly, “if you think you’ve seen him, then tell me, “WHAT’S HIS BOW MADE OF?” And suddenly her voice was swift as lightning and strong as thunder!	… and also replied to the question of the shoulder strap or sled cord,	“Then tell me what his shoulder-strap is made of,” said the sister to the older girl	Martin uses capital letters in his book for the sister’s words throughout this section of his book,, and he says her voice was suddenly swift as lightning and strong as thunder. It is a heightened drama that does not appear in Leland or Rand.
“H-his b-b-bow?” they stammered in surprise. “His, uh, bow? We know! We know!” But turning turning desperately to one another, they whispered, “What shall we say? Let’s say its the oak tree.” So they said, “It’s the great oak tree.”	“A piece of rawhide.”	“Of a strip of raw-hide,” she replied.
“No!” said the sister of the Invisible Being. “NO!” Oh, she saw at once how they lied.	In saying which, they lied, like the rest,...
“Tell me,’ she continued, “if you think you’ve seen my brother the Invisible Being, then WHAT’S THE RUNNER OF HIS SLED MADE OF?”
“Uh, we know, we know!” cried those two sisters. But whispering feverishly again they wondered, “What shall we say? What shall we say? Let’s say it’s the green willow branch.”
“NO!” said the sister when she heard. “NO! You have not seen my brother. Now go home!”	… for they had seen nothing, and got nothing for their pains.	They went home to the wigwam, and the hunter came. They saw the load of moose-meat which he brought, and the clothing of his feet, after it was removed, but him they saw not. They remained all night, and returned the next morning to their father’s house.
“Just test us fairly!” they exclaimed. “We’ve seen him. Just don’t ask us all these silly questions!”			This “test us fairly” and framing the questions as "silly" does not appear in either source.
The next day the Rough-Face Girl went to her father and said, “Father, may I please have some beads? May I please have a new buckskin dress and some pretty moccasins? I am going to marry the Invisible Being, for, wherever I look, I see his face.”	When their father returned home the next evening he brought with him many of the pretty little shells from which weidpeskool (M.), or wampum, was made, and they were soon engaged napawejik (in stringing them).	That evening, when the old man arrived, he brought a quantity of small, beautiful, variegated shells, out of which in former times wampum was manufactured, and for which, in these later times, glass beads are substituted, and called by the name weidpeskool. He gave the to the girls, and the next day they engaged in napawejik (stringing them up).	Neither source says that the Rough Face Girl went to her father to request these items. The items were in their home.
But her father sighed. “Daughter,” he said, “I’m sorry. I have no beads left for you, only some little broken shells. I have no buckskin dress, and as for moccasins, all I have left are my own old, worn, cracked, and stretched-out pair from last year. And they’re much too big.”	That day poor little Oochigeaskw’, the burnt-faced girl, who had always run barefoot, got a pair of her father’s old moccasins,...	That day little Oochigeaskw gets an old pair of her father’s moccasins, soaks them, and asks her sisters to give her some of the pretty shells, a few of each kind. The older sister refuses, and tried to prevent the other from giving her any. She calls her a “lying little pest,” and tells her sister not to mind her. “Oh!” she answers, “the poor little thing! Let us give her some, a few of each kind.” This is done.
But she said, “Whatever you can spare, I can use.”
So he gave her these things.
Then she found dried reeds and, taking the little broken shells, she strung a necklace.

She stripped birch bark from the dead trees and made a cap, a dress, and leggings.	And having no clothes beyond a few paltry rags, the poor creature went forth and got herself from the woods a few sheets of birch bark, of which she made a dress… So she made a petticoat and a loose gown, a cap, legging, and handkerchief, and, having put on her father’s great old moccasins, – which came nearly up to her knees, – she went forth to try her luck. For even this little thing would see the Invisible One in the great wigwam at the end of the village.	Then she goes out and gets some sheets of birch bark, out of which she manages to construct a dress, making some figures on the bark, and fashioning out of it garments similar to those worn in ancient times by the Indian women, but which are now, to the great chagrin of some of the elder ones, rapidly degenerating into the fashion of their pale-faced sisters. She constructs a petticoat and loose gown, a cap, legging, and a handkerchief, and on her tiny feet she puts her father’s huge moccasins, which come up nearly to her knees, and thus arrayed she goes forth to try her luck in the celebrated wigwam at the remote end of the village.
Then with a sharp piece of bone, she carved in the bark pictures of the sun, moon, stars, plants, trees, and animals.	…putting some figures on the bark.
She went down to the lakeshore and soaked the moccasins in the water until they grew soft.	…and put them [moccasins] into water that they might become flexible to wear.	(No mention of doing anything to her father’s moccasins)
Then she molded them to her feet.
But they were still too big and they flap, flap, flapped like ducks’ feet as she walked.
Then all of the people came out of their wigwams. They pointed and stared.	Truly her luck had a most inauspicious beginning, for there was one long storm of…	She has to undergo a continuous storm of…
“Look at that ugly girl!” they laughed. “Look at her strange clothes! Hey! Hey! Hey! Go home you ugly girl! You’ll never marry the Invisible Being.”	… ridicule and hisses, yells and hoots, from her own door to that which she went to seek. Her sisters tried to shame her, and bade her stay at home, but she would not obey; and all the idlers, seeing this strange little creature in her odd array, cried “Shame!”	ridicule throughout the entire journey. Her sisters make sport of her, and order her not to go. They men and boys shout after her as she goes on in her funny dress, and cry, “Shame! Shame”!
But the Rough-Face Girl had faith in herself and she had courage. She didn’t turn back. She just kept walking right through the village.	But she went on, for she was greatly resolved; it may be that some spirit had inspired her.	But she hears them not, nor regards them, but resolutely pushes on. She succeeds in her enterprise of course.
At last she came to the lakeshore just as the sun was sinking behind the hills and the many stars came glittering out like a fiery veil in the darkening sky overhead.	Now this poor small wretch in her mad attire, with her hair singed off and her little face as full of burns and scars as there are holes in a sieve, was, for all this,	The little girl in her harlequin dress, her face covered with sores, and her hair singed off,
And there, standing by the water’s edge, was the sister of the Invisible Being, waiting.	Most kindly received by the sister of the Invisible One; …	is kindly received by the sister of Team’.
Now, the sister of the Invisible Being was a wise woman. When she looked at you she didn’t see just your face or your hair or clothes. No. When she looked at you she would look you right in the eyes and she could see all the way down to your heart. And she could tell if you had a good, kind heart or a cold, hard, and cruel one.	… for this noble girl knew more than the mere outside of things as the world knows them.	Not found in Rand.	Martin takes the few words Leland has about the Invisible ones sister and makes them explicit, presumably for young readers.
And when she looked at the Rough-Face Girl she saw at one that, though her skin was scarred, her hair burnt, her clothes strange, she had a beautiful, kind heart. And so she welcomed her dearly saying, “Ah, my sister, why have you come?”
And the Rough-Face Girl replied, “I have come to marry the Invisible Being.”			Neither source is explicit regarding what the girl said to the sister. All of that is implied.
“Ah,” said the sister very gently now. “If you want to marry him, you have to have seen him. Tell me, have you seen my brother the Invisible Being?”	And as the brown of the evening sky became black, she took her down to the lake. And erelong the girls knew that He had come. Then the sister said, “Do you see him?”	When nightfall comes on, she is invited to take a walk down to the borders of the lake to watch the young man’s return. Presently the sister sees him coming and asks her companion if she can see him.
And the Rough-Face Girl said, “Yes.”	And the other replied with awe, “yes I do, – and He is wonderful.”	She says she can.
“All right then,” said the sister, “if you have seen him, tell me WHAT’S HIS BOW MADE OF?”	“But my sister,” said the other, “what is his bow-string?”	“Tell me, if you see him, what his shoulder-strap is made of.”
And the Rough-Face Girl said “His bow? Why, it is the great curve of the Rainbow.”	“His bow-string is Ketaksoowowcht” (the Spirits’ Road, the Milky Way).	“A rainbow,” she exclaims.
“AHHHH!” exclaimed the sister in excitement. “Tell me, she asked, “if you have seen my brother the Invisible Being - WHAT’S THE RUNNER OF HIS SLED MADE OF?”	“And what is his sled-string?”		Rand only has one question; Leland adds a second one, and Martin follows Leland.
And the Rough-Face Girl, looking up into the night sky, said “The runner of his sled? Why, it is the Spirit Road, the Milky Way of stars that spreads across the sky!”	“It is,” she replied, “the Rainbow.”		Martin changes what Leland said. Leland says “bow string” and it is a rainbow; Martin says “bow” and that it is a rainbow. On second question, Leland says “sled string” and that it is a rainbow; Martin says “runner of his sled” and that it is the “Spirit Road, the Milky Way”
AHHHH” cried the sister in wonder and delight. “You have seen him! Come with me!”	“Thou hast seen him,” said the sister. And taking the girl home,	“Ah! You can see him,” says the girl. “Now let us hasten home, and get ready for him.”

And taking the Rough-Face Girl by the hand, she led her back to the great wigwam and sat her in the seat next to the entrance, the wife’s seat.		So home they hie, and the sister first strips her guest of the uncouth and uncomfortable robes, and administers a thorough ablution. All her scabs and scars come off, and her skin is beautiful and fair. She next opens her box and brings out a wedding garment, in which she directs her to array herself; then she comes her hair, braids it, and ties it up. The poor child things within herself, “I wonder what she is going to comb, for I have no hair on my head.” But under the magic tough of her friend’s hand, beautiful, flowing hair adorns her head. After she is thus prepared and arrayed, she is directed to go and occupy the side of the wigwam where the brother will sit, and to take the wife’s seat, next to the door.
Then they heard footsteps coming along the path, closer and closer. The entrance flap of the wigwam lifted up, and in stepped the Invisible Being.		Immediately after this, the young man arrives,
And when he saw her sitting there he said, “At last we have been found out,” Then, smiling kindly, he added, “And oh, my sister, but she is beautiful.” And his sister said, “Yes.”		comes in laughing, and says Wajoolkoes (“So we are found, are we?)? Alajull aa (“Yes”), she answers.
The sister of the Invisible Being then gave the Rough-Face Girl the finest of buckskin robes and a necklace of perfect shells. “Now bathe in the lake,” she said, “and dress in these.	… she bathed her, and as she washed her…
So the Rough-Face Girl bathed in the waters of the lake.
Suddenly all the scars vanished from her body.	… all the scars disappeared from face and body.
Her skin grew smooth again and her beautiful black hair grew in long and glossy as a raven’s wing.	Her hair grew again; it was very long, and like a blackbird’s wing.  Her eyes were like stars.
Now anyone could see that she was, indeed, beautiful.	In all the world was no such beauty. Then from her treasures she gave her a wedding garment, and adorned her. Under the comb, as she combed her, her hair grew. It was a great marvel to behold.
But the Invisible Being and his sister had seen that from the start.
Then at last the Rough Face Girl and the Invisible Being were married.	Then, having done this, she bade her take the wife’s seat in the wigwam – that by which her brother sat, the seat next the door. And when he entered, terrible and beautiful, he smiled and said “Wajoolkoos!”  “So we are found out!” “Alajulaa.” “Yes,” was her reply. So she became his wife.	So he takes her for his wife.
They lived together in great gladness and were never parted.		Rand’s version continues. In total the story appears on pages 101-109. From page 101 to 104, the story is much like what Leland tells. On subsequent five pages, the story of the couple is happy for a short while but then it takes tragic turns.