Throwing-sticks in the National Museum: Third Annual Report of the Bureau of Ethnology to the Secretary of the Smithsonian Institution, 1883-'84, Government Printing Office, Washington, 1890, pages 279-289

In Short

This report serves as a formal classification of the throwing-stick—an essential tool used by Arctic hunters to launch harpoons from small, unstable kayaks. By detailing the specific structural "organs" of the implement, such as finger-pegs, thumb-grooves, and shaft-hooks, the author maps how different Eskimo groups across North America adapted the weapon to their unique conditions. It remains a foundational document for understanding the intersection of material culture, geography, and technological innovation in the Arctic, providing a window into the precision required for survival in harsh, icy environments.

The Story

The narrative of this report follows the journey of the throwing-stick across the "hyperborean" regions of North America, tracing its design from the frozen coasts of Greenland to the southern waters of the Aleutian Islands. The author begins with a foundational premise: the throwing-stick is not merely a weapon, but a vital mechanical substitute for the bow or sling. Because Arctic hunters operate from the "frail, unsteady" platform of a skin kayak, they cannot use the heavy, long-shafted spears favored by the Northwest Indian tribes. Instead, they require a device that extends the reach of the arm, provides a secure grip for cold and greasy hands, and imparts greater velocity to a light harpoon.

The argument unfolds as a geographic survey. Moving from east to west, the author demonstrates that the design of the throwing-stick is never static; it is a "language" written in wood, bone, and ivory that reflects the specific game hunted and the climate of the region. In Greenland, the stick is a flat trapezoid lacking a hook, relying instead on a system of pegs and eyelets to catch the harpoon. As we move toward Ungava and the Cumberland Gulf, the design becomes more elaborate, introducing "fiddle-head" shapes and canine-tooth spurs. Further west, at Point Barrow, the design shifts to a "razor-strop" handle, eventually reaching a peak of complexity in Norton Sound, where multiple finger-pegs and intricate carvings appear.

The narrative reaches a turning point in the southern regions of Nunivak Island and Bristol Bay. Here, the design undergoes a dramatic transformation: the specialized holes for the index finger disappear entirely, replaced by new configurations of pegs and grooves. The author observes that in these southern zones, the presence of white traders and the use of steel tools have begun to influence the traditional manufacture of the sticks. The final stage of this geographic progression finds the design "returning" to more primitive forms in Kadiak and Unalashka. These southern implements mimic earlier northern styles, suggesting that the throwing-stick does not simply evolve in a straight line, but oscillates and adapts as populations migrate or interact. The text concludes by considering the mysterious origins of the tool, acknowledging that while we can identify its structural variations, the original "invention" of the throwing-stick remains lost in the "waste of ignorance" of the past.

How It Unfolds

The mechanics of the hunt The report establishes the necessity of the throwing-stick, explaining how it functions as a lever to provide a firm grip for the hunter in a kayak. It details how the device allows for a "toggle joint" effect, maximizing force even when the hunter’s hands are cold or slick with seal oil.

Defining the tool’s anatomy The author provides a precise taxonomy of eleven structural "marks," including thumb-grooves, index-finger holes, and spear-shaft grooves. This framework allows for a systematic comparison of specimens collected from distant regions, from Baffin Land to the Yukon.

Tracing the regional types The investigation systematically catalogs the variations of the stick, starting with the unique Greenland type and moving across the Arctic. Each section analyzes the specific adaptations of the handle, the spur, and the finger-perforations characteristic of that locality.

The shift in the south As the survey reaches the Aleutian Islands and Bristol Bay, the report notes a distinct change in construction, including the introduction of steel-tool finishing. It concludes by reflecting on whether these southern forms indicate a migration of influence or the independent development of similar solutions to hunting challenges.

The People

Otis T. Mason acts as the principal observer and compiler, synthesizing the findings of various field explorers. He approaches the throwing-stick with the eye of a formalist, seeking to extract scientific data from functional objects. He is careful to acknowledge the work of men like E.W. Nelson, Lucien M. Turner, and John Murdoch, who physically gathered the artifacts. These collectors are the invisible hands behind the study; they are the ones who ventured into remote environments like Nunivak Island or Point Barrow to secure the specimens. Mason treats these collectors as his primary sources of truth, relying on their field notes to explain why one hunter might prefer a two-pegged handle over a single-pegged one.

Then there are the anonymous Eskimo makers themselves. While they remain silent, their presence is felt through the "language" of their craftsmanship. Mason portrays them as innovative engineers who modify their tools based on whether they are hunting seal or bird, or whether they are operating in the central Arctic or the Alaskan peninsula. They are depicted not as primitive creators, but as thoughtful designers responding to the constraints of their environment. By the end, the distinction between the observer and the maker becomes blurred, as Mason even attempts to replicate their techniques by having a stick custom-made to test his own theories on leverage.

In Its Own Voice

"Just as soon as we pass Mount St. Elias going southward, the throwing-stick, plus the spear or dart of the Eskimo and the Aleut, gives place to the harpoon with a long, heavy, cedar shaft, weighing 15 or 20 pounds, whose momentum from both hands of the Indian, without the throw-stick, exceeds that of the Eskimo and Aleut darts and harpoons."

The author contrasts the Eskimo’s reliance on the mechanical advantage of the throwing-stick with the Northwest Indian method of utilizing a heavier spear.

"The Eskimo spend much time in their skin kyaks, from which it would be difficult to launch an arrow from a bow, or a harpoon from the unsteady, cold, and greasy hand."

This observation explains the environmental necessity that drove the innovation of the throwing-stick in the Arctic.

What It's Really About

This book is an argument for the study of "material culture" as a means of mapping human history. It posits that tools are not merely static objects, but dynamic responses to environment and geography. The author explores the question of whether similar inventions arise from common ancestry or from shared necessity in similar habitats. The throwing-stick is treated as a piece of biological evolution in wood; by categorizing its "organs," Mason attempts to treat ethnological artifacts with the same rigor as a naturalist classifying species. It is ultimately about how humanity "writes" its survival strategies onto the physical world, creating a record of technological shifts that can be read by future generations.

Why Read It Today

Readers with an interest in anthropology, history, or the mechanics of traditional tools will find this a fascinating, if dense, read. It offers a rare, granular look at how a single, essential object can vary wildly across thousands of miles. For those who appreciate the quiet, observational style of 19th-century scientific reports, there is a deep satisfaction in Mason’s methodical, almost obsessive attention to detail—he measures the finger-pegs and analyzes the ivory spurs as if they were fine clockwork.

However, modern readers should be prepared for the dry, catalog-like structure of the text. It is not a narrative-driven story, but a dense, technical record. The period vocabulary, specifically the use of terms like "hyperborean" and "savage," reflects the attitudes of the late 19th-century Smithsonian institution. The writing assumes a high degree of patience, as the author frequently references specific plate numbers and catalog entries. If you have the patience to match the text with the provided diagrams, you will find yourself learning to see the world through the eyes of a curator, noticing the difference between a "fiddle-head" ornament and a "razor-strop" handle, and understanding the elegant, life-saving physics hidden in a simple piece of carved wood.