of objects in nature, while others are more realistically carved. Pole carvings may include animals, fish, plants, insects, and humans, or they may represent supernatural beings such as the Thunderbird. Some symbolize beings that can transform themselves into another form, appearing as combinations of animals or part-animal/part-human forms. Consistent use of a specific character over time, with some slight variations in carving style, helped develop similarities among these shared symbols that allowed people to recognize one from another. For example, the raven is symbolized by a long, straight beak, while the eagle's beak is curved, and a beaver is depicted with two large front teeth, a piece of wood held in his front paws, and a paddle-shaped tail. The meanings of the designs on totem poles are as varied as the cultures that make them. Some poles celebrate cultural beliefs that may recount familiar legends, clan lineages, or notable events, while others are mostly artistic. Animals and other characters carved on the pole are typically used as symbols to represent characters or events in a story; however, some may reference the moiety of the pole's owner, or simply fill up empty space on the pole. The carved figures interlock one above the other to create the overall design, which may rise to a height of or more. Smaller carvings may be positioned in vacant spaces, or they may be tucked inside the ears or hang out of the mouths of the pole's larger figures. Some of the figures on the poles constitute symbolic reminders of quarrels, murders, debts, and other unpleasant occurrences about which the Native Americans prefer to remain silent... The most widely known tales, like those of the exploits of Raven and of Kats who married the bear woman, are familiar to almost every native of the area. Carvings which symbolize these tales are sufficiently conventionalized to be readily recognizable even by persons whose lineage did not recount them as their own legendary history. Those from cultures that do not carve totem poles often assume that the linear representation of the figures places the most importance on the highest figure, an idea that became pervasive in the dominant culture after it entered into mainstream parlance by the 1930s with the phrase "low man on the totem pole" (and as the title of a bestselling 1941 humor book by H. Allen Smith). However, Native sources either reject the linear