Northern Haida Master Carvers won the Washington State Book Award in 2002. It traces the making of the monumental poles from the days of first white contact to the present, illuminating the variations in style that resulted from historical, cultural, and individual circumstances. Wright examines the work of the earliest named Haida pole carver, Sqiltcange, and separates the carving that can be attributed to the legendry Albert Edward Edenshaw from the large body of work produced by his nephew, Charles Edenshaw. She identifies the work of the little-known artist, Duncan ginaawaan, Albert Edward Edenshw's brother-in-law andginaawaan's clan relative, Dwight Wallace, both from Klinkwan, Alaska. She discusses the legacy of the nineteenth century artists carried on through the work of their twentieth and twenty-first century descendants and artistic heirs: Jim Hart, current holder of the name 7idansuu; Robert Davidson, Charles Edenshaw's great-grandson; Freda Diesing and Donald Yeomans, descendants of Simeon sdiihldaa, and John and Lee Wallace, descendants of Dwight Wallace.