Carla Messinger's WHEN THE SHADBUSH BLOOMS

So many books and stories about American Indian and First Nations peoples confine us to the past. Verbs are in past tense. Stories are set "long ago." Historical fiction abounds. Native characters are flat, stock, stereotypical savages or heroes of days long past.

Given that state of affairs, is is not surprising that children (and adults) don't know that Native people are very much part of the present day, and that we live our lives with many of the same conveniences everyone else has. Computers. Cars. Jeans.

When I work with teachers, I suggest they develop lessons with visuals that show their (non-Native) families and ancestors, coupled with images of Native children and their ancestors. I suggest they talk about "special clothes" that are only used at certain times for specific purposes.

Now, there's a terrific--absolutely terrific--children's book that does precisely that. It is When the Shadbush Blooms. The book is written by Carla Messinger (Turtle Clan Lenape), with Susan Katz, and illustrated by David Kanietakeron Fadden (Wolf Clan Mohawk). Published by Tricycle Press in 2007, the book is about the Lenni Lenape people, past and present.

Turning to the first double-page spread in the book, the text reads:

"My grandparents' grandparents walked beside the same stream where I walk with my brother, and we can see what they saw. Deer leap in the woods. Hawks fly in circles overhead. Frogs splash, and turtles sun themselves."

The stream runs down the center of the two-pages. On its left bank (left side of the page) are the grandparents' grandparents, in clothing they would have worn in their time. On the right bank (right side of the page) are two children, shown wearing clothes kids wear today. T-shirts, cut-offs, and sneakers. One points to the frog. In the sky is a hawk, and behind the grandparents, just at the edge of the trees, is a deer. Encircling them all are shadbush in bloom. On that first double-page spread, the words are "Mechoammowi Gischuch" and "When the Shadfish Return Moon."

That pattern of telling continues throughout the book as one cycle, or moon, and its work and play follows another. These cycles are noted at the top outside edge of each page, in the languages spoken by the narrators, Traditional Sister on the left, and Contemporary Sister on the right.  Here's a page about winter activity (click on the image and a larger image will open):

Beyond the story itself, the book includes information about the Lenni Lenape culture and language. This book is a many-layered treasure.

Such a treasure, in fact, that it is a nominee for the Children's Book Council's "Children's Choice" awards. If you are a teacher or librarian working with kids, go here to vote for it! And, buy it from Oyate.

Tribal Press: Choctaw Nation of Oklahoma

The Choctaw Nation of Oklahoma publishes books about the Choctaw people. Among them are several children's books. If you've read any of them, let me know!

Click here to get to the page of their children's books.

Interview with Joseph Bruchac

Update on Sep 30 2023: I (Debbie Reese) no longer recommend Bruchac's work. For details see Is Joseph Bruchac truly Abenaki?

I received an email from the Learning First Alliance. They recently posted an audio interview with Joseph Bruchac on the Public School Insight blog. I listened to the segment called "The Effect of Persistent Stereotypes of American Indians on Young Children" and recommend you listen to it.
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McDermott made up the "Dance of Life" in ARROW TO THE SUN

Sharing some new (to me) information about McDermott's deeply flawed award-winning book, Arrow to the Sun.

On page 27 of Gerald McDermott and YOU, written by Jon Stott, published in 2004, Stott says:

"Although the Dance of Life depicted on the final page of the story is McDermott's own creation, it is true in spirit to the agrarian culture he depicts in the story."

Stott suggests students in middle/upper elementary grades who are studying the book consider researching traditional Pueblo ceremonies, but, he says (bold text is his):

It is extremely important, however, that students realize that these were and still are sacred ceremonies and that photographing or drawing dancers is permitted only with specific permission from the various Pueblos. Therefore, teachers should not encourage the drawing or photocopying or representations of these sacred ceremonies."

I find Stott's words somewhat hypocritical. How can he praise the book in the first place, knowing McDermott made up that dance, and go on to tell students not to draw, photocopy, or represent sacred ceremonies?

That he provides this caution tells us he knows very well that Pueblo people object to the appropriation and denigration of our stories. It seems to me Stott ought to be using what he knows to critique the book. Instead, he says students can create "written narratives about the Boy's experiences in the kivas..."

You may want to read what I've written about McDermott's presentation of kivas. In short, McDermott portrays them as places of trial. In fact, they are places of learning and gathering.

Given its made-up and erroneous information, this book is best shelved in the fantasy section. It certainly does not belong in the non-fiction section! And it certainly does not merit it's Library of Congress subject line "Pueblo Indians--folklore."

I recommend it be weeded. Can you, will you, weed a Caldecott book?
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