Showing posts sorted by relevance for query Peter Pan. Sort by date Show all posts
Showing posts sorted by relevance for query Peter Pan. Sort by date Show all posts

Wednesday, November 26, 2014

How 'bout we all pan NBC's PETER PAN and Warner Bros PAN, too.

Over the weekend, Heather (a reader of AICL) wrote to ask if I'd seen a Salon article about changes made to music and lyrics in the version of Peter Pan that NBC is going to air in December. Though I knew about the production, I didn't know about these changes. Thanks, Heather, for letting me know.

In a nutshell, NBC hired Jerod Tate, artistic director of the Chickasaw Chamber Music Festival. He's Chickasaw but I don't know anything else about him other than what his bio (linked with his name) says.

With his assistance, the song "Ugg-a-Wugg" was changed.

Ugg-a-Wugg is a duet sung by Peter Pan and Tiger Lily. If either one is in trouble, they'll call on the other for help. The code word they'll use as a signal is ugg-a-wugg. If Tiger Lily needs help, she'll use that code word and Peter will come to save "the brave noble redskin." And if Peter Pan needs help, Tiger Lily will help him. They will be "blood brothers to the end." I think it was/is ludicrous but people love it. Do you remember it? Here. Take a look:
 (Update, Dec 6, 2014: The video was taken down. You may find other videos of the song online, but my guess is that they'll be taken down, too. Perhaps your library has a video you can borrow if you want to see how that song was performed.)




Enter Jerod Tate. Here's what he said, in the Salon article, about that song: 
And then the really big thing that we worked on was the replacement of [the lyrics] “ugg-a-wugg.” Just a little background: In general, what we all know is that the Indian tribe that’s represented in Peter Pan was influenced by knowledge of Northeast Indians of the United States. So we’re talking Iroquois, Huron, Wyandotte, Algonquin, these kinds of cultural regions. So what I did was I set out to find a replacement word for “ugg-a-wugg” that was literally a Wyandotte word.
Tate won't say what the word is, but he does say it means "come here." The interviewer asked him if he also worked on the costumes, but he said he only worked on the music and lyrics for the songs. He thinks the change is great, because the phrase is accurate. I disagree. The show and story will always be one in which the point of view is of Indians as exotic and detribalized. In chapter ten of Barrie's book, the Indians prostrate themselves in front of Peter Pan, calling him "the Great White Father." That point of view is the foundation for Barrie's story.

Now let's look at the new film from Warner Brothers.

The trailer for the new movie due out next year has a scene where Pan is on the floor, spears aimed at him. It looks like he's about to be killed, but an older man (which I imagine the script says is an elder or maybe Tiger Lily's dad) stops them. In his hand is a necklace of some sort that Peter was wearing. The man says:
"The little one. He wears the pan."
Here's a screen capture of that scene in the trailer:




The trailer cuts to Tiger Lily, played by Rooney Mara, who says:
"The Pan is our tribe's bravest warrior." 
Here she is in that moment: 



Her line (Pan is our tribe's greatest warrior) points right at the foundation for Barrie's film. Indians who worship whites. That's not ok. It was't ok then, and it isn't ok to give that racist garbage to kids today. Right?

Some of you know that there was a lot of discussion when Rooney was selected as the actress for the part. Many people said that a Native actress ought to be cast instead of Rooney. I disagree with that idea, too. 

Fixing the words in the song, and/or casting a Native person in that role does not change the point of view(s) on which the story rests. These are, through and through, "the white man's Indian." There is no fixing this story or any production of it so that the Native content is authentic. 

Attempts to do so remind me of the many schools that sought/seek to make their Indian mascots more "authentic" so that they could keep objectifying Native people, using their ideas of who Native people are for their own purposes. 

Can we just let that stuff go? 

Wouldn't we all be better off with a major studio production of a story written by a Native person? One that shows us as-we-are (or were if it is in the past), as human beings who do not say things about how we worship a "great white father" or a white guy who is our "greatest warrior"?  

By remaking this story, and/or by staging it in schools and theaters, we're just recycling problematic, stereotypic, racist images. Why do it?! 

Here's an irony. NBC released a promo featuring Allison Williams talking about the production. There's a part near the end where Williams is singing "it never never ends" as Tiger Lily drops to the stage:  




I want it to end. Don't you?

Sunday, April 25, 2010

PETER PAN in Canada: Two steps forward, and then two steps back again

Friday, April 23rd, The Globe and Mail published an article in the Arts section. Written by J. Kelly Nestruck, the article is titled "Sensitivity Training in Neverland.

It opens with Nestruck posing this question: "Are the Neverland Indians of Peter Pan going the way of the Beothuk in Canada?"

Given that the article is about getting rid of stereotypical images of Indians in Peter Pan, I imagine that Nestruck thought he was being clever by comparing the fictional Indians in Peter Pan with the Beothuk. The Beothuk, according to a quick look-see of research, are a tribe that no longer exists. However! I'm not inclined to believe that they vanished. I've heard that "vanished" story before. I'll check into it, by talking to First Nations people. (If you're First Nations and have info that can help me with this research, let me know.)  Some may think Nestruck's playful opening is clever. I don't think it is clever at all. Regular readers of American Indians in Children's Literature know that I think it is important to examine where people situate American Indians. We're often in the same sentence as wild animals, and in the case of "Sensitivity Training in Neverland" fictional stereotypical Indians.

The first full paragraph says that the Peter Pan that will be on stage next week in Halifax and Stratford, will not have any references to "Indians" or "redskins" in the script. Next, Nestruck tells us, that Tiger Lily's tribe is in both productions, but, that "its members no longer bear any resemblance to North America's aboriginal peoples."

Obviously, someone (Nestruck? Producers? Playwrights?) think the Indians in J. M. Barrie's play did, in fact, bear resemblance to North America's aboriginal peoples. Which ones?! We do not (and did not) all look alike....

Fourth paragraph, Nestruck says the "beloved" story has been "causing controversy of late." Of late? Maybe it is news to Nestruck that we (indigenous people) don't like the way we've been portrayed for a long time. Take, as one example, what William Apes, a Pequot man, said in 1829 in A Son of the Forest:
[T]he great fear I entertained of my brethren was occasioned by the many stories I had heard of their cruelty toward the whites—how they were in the habit of killing and scalping men, women, and children. But the whites did not tell me that they were in a great majority of instances the aggressors—that they had imbrued their hands in the lifeblood of my brethren, driven them from their once peaceful and happy homes—that they introduced among them the fatal and exterminating diseases of civilized life. 
Fifth paragraph, Nestruck reports that George Pothitos and the theatre in Halifax "found itself in hot water" when it sent out a casting call for "Pirates/Indians." The artistic director was contacted by "angry artists" and apologized for the oversight, "not realizing how offensive that might be to some first-nations people."  So then Nestruck goes into the Land of Offense. (My term, not his.)


He says that "if" Indian is now considered derogatory "in some circles" now, the word "piccaninnies" is "much more problematic." Here's paragraph eight:
In Peter and Wendy, Barrie's 1911 novelization of his earlier play, the Scottish author describes these “redskins” on the warpath with their tomahawks not as an imaginary people, but as just another group of North American Indians. “Strung around them are scalps, of boys as well as of pirates, for these are the Piccaninny tribe, and not to be confused with the softer-hearted Delawares or the Hurons,” he wrote.
There's a lot wrong---and confusing---in that paragraph. Where is my copy of Peter and Wendy...


Moving on to the tenth and eleventh paragraphs, wherein Tim Carroll, the British director for the production being staged in Stratford, says:
“Coming here, it was obvious to me that we had to be more sensitive to the feelings of people who would be watching a debased version of their forefathers put onstage,” he says.
So, I guess, it is ok to be racist if there's nobody looking? Carroll decided to recast Tiger Lily's tribe as Amazons, thereby paying off thematically because now, he is "adding a mysterious female hinterland to the very male world of Neverland's Lost Boys and pirates." He doesn't mean the indigenous peoples of the Amazon. He means "the women warriors of Greek mythology."

Meanwhile, back in Halifax, Pothitos said "I decided we'd produce our own Neverland, with a tribe not based on any one ethnicity." In his production, Tiger Lily's tribe is inspired by "primitivist Henri Rousseau as well as bits and pieces of Mayan, Egyptian, and East Indian culture." Rather than just mess with North American Indian stereotypical imagery, they've decided to add in a few other cultures...  That's no better than the mish-mash we already have to deal with....   Indians in headdresses, standing beside totem poles outside tipis...

Finally, in the last four paragraphs, Nestruck turns to the words of Tara Beagan, a playwright who is Ntlakapamux and Irish-Canadian. She is among those "angry artists" who contacted the Neptune about the casting notice. Nestruck wrote:
To Beagan, Peter Pan's casual equation of “Indians” with imaginary Neverland creatures such as mermaids was part of a larger racist British mindset that didn't see native North Americans as a real people who existed in the present.
I'm not sure where he got "racist British mindset" from. She didn't say that. He followed that with a quote from Beagan:
“The early 20th-century English theatre-going public literally thought of native North Americans as a vanishing race: This is what their rulers intended,” she writes. “England has made several very creative attempts at eradicating Canada’s first peoples – the mythologization of first-nations peoples was a false ‘swan song’ type of trend that has, sadly, lasted until 2010.”
And he ends the article with this paragraph:
In a recent article she penned for the Praxis Theatre blog, Beagan imagined her mother on a field trip from the Kamloops Indian Residential School in 1953 watching Disney's cartoon version of Peter Pan with its stereotypical Indians saying “Ugh” at a local theatre that only allowed native people to sit in the balcony. (Beagan's mother doesn't remember the specific films she saw on these trips, but the timing fits.) “My mom’s grandchildren – my niece and nephew – sit in any section they want, in any theatre they want,” Beagan wrote. “If things continue to look up the way they have been, they won’t ever sit through a production of something that will teach them that their people say 'ugh.’” In productions of Peter Pan at Stratford and Neptune, at least, that will be the case.
I searched the Praxis Theatre pages and found the blog post Nestruck quoted from. He left out her final sentence, which is:
Hell, it might be to watch something that one of them has written.
The article itself and the casting, revisions, and Barrie's story itself are all worth studying. I'm glad the article is available. It tells us there's some awareness (two steps forward), but, not understanding, or if there IS understanding, an inability to apply that understanding (two steps backward).

I think the theater people are trying, but, they're not slowing down enough to really think this stuff through. From Nova Scotia news is a favorable review that includes this:
Choreographer Jim White, who cooks up a lot of variety, has created an Indonesian-style dance for Tiger Lily and the tribesmen, in their grass skirts and bright blue and orange head dresses. Heidi Ford is a wonderfully lithe and expressive Tiger Lily.
There's a promo for the Neptune Theatre presentation at youtube. Tiger Lilly and her tribemen come onstage at 0:44 for a few seconds.  I'm not sure this is an improvement over the sequel to Peter Pan, titled Peter Pan in Scarlet... 






Friday, January 22, 2016

Debbie--have you read... NEVER NEVER by Brianna R. Shrum

Over on Twitter, a colleague asked if I'd read Never Never by Brianna R. Shrum. I haven't, so here it is in the "Debbie--have you read..." series.

Never Never came out last year (2015) from Spencer Hill Press, which is an independent publishing house specializing in science fiction, fantasy, and paranormal romance for young adult readers. That description (from their website) makes me think I ought to go through their catalog. Based on my experience of reading children's books, including science fiction and fantasy, I know that a lot of writers create characters that have Native ancestry and because of this genre (SciFi/Fantasy), the characters have powers of some kind.

Here's the synopsis for Never Never:
James Hook is a child who only wants to grow up. When he meets Peter Pan, a boy who loves to pretend and is intent on never becoming a man, James decides he could try being a child - at least briefly. James joins Peter Pan on a holiday to Neverland, a place of adventure created by children's dreams, but Neverland is not for the faint of heart. Soon James finds himself longing for home, determined that he is destined to be a man. But Peter refuses to take him back, leaving James trapped in a world just beyond the one he loves. A world where children are to never grow up. But grow up he does. And thus begins the epic adventure of a Lost Boy and a Pirate. This story isn't about Peter Pan; it's about the boy whose life he stole. It's about a man in a world that hates men. It's about the feared Captain James Hook and his passionate quest to kill the Pan, an impossible feat in a magical land where everyone loves Peter Pan. Except one.

Here's the last line from the School Library Journal:


Filled with familiar characters such as the Lost Boys, the Darling children, and a bewitching and sensual Tiger Lily, Shrum's retelling is a deeply satisfying dark fantasy that just might change readers' perception of Peter Pan and Neverland itself. 

See that? A "bewitching and sensual Tiger Lily." If I get the book and read it, I'll be back.

Tuesday, November 03, 2009

Analysis: PETER PAN IN SCARLET

After spending the last 24 hours re-reading and making notes on Geraldine McCaughrean's Peter Pan in Scarlet, I feel a bit like the character, Mr. John.  The book opens with him saying "I'm not going to bed." (p. 2) He doesn't want to go to bed, because he'll have another dream. These dreams are unsettling to him. The worst night are when John dreams of Captain Hook.

Riffing off Mr. John's feelings...

As I read Peter Pan in Scarlet, I'd take time out for meals, teaching, talking with students, and the like. It was a relief to set the book aside to do those things! Tasks finished, then, I was a lot like Mr. John (avoiding something unpleasant). I didn't say "I'm not going to bed." I was thinking "I'm not going to pick that book up again." (But I did.)  Mr. John's worst nights are when he dreams of Captain Hook. The worst parts for me, as I read this book, are McCaughrean's references to Indians:

  • Head-dress
  • Warpaint
  • Redskins
  • Tepee
  • Warpath
  • Totem Poles
  • Hidden warpaths
  • Cannibals
  • Chief
  • Signal fires
  • Tribes

And then.... the Indians themselves.

  • Waist high
  • Wearing full warpaint
  • Armed with hatchets, bows and arrows, bowie knives
  • Child warriors
  • Long silken hair
  • Buckskin tunics
  • Scalping
  • Papooses
  • Squaws
  • Braves
  • Throat slitters
  • Warpainted pirates
  • Warriors
  • (Puppy eaters)
  • Throat-slitters ready to shoot arrows

In all of what I've listed above, McCaughrean, (apparently in the same style as Barrie), provides readers with a specific viewpoint or portrayal of Indians.  Like countless writers, she provides her readers with a stereotypical Indian... a mish-mash of tribes...

Tipis (she spells it tepees) and totem poles do not originate with the same tribe!

Her Indians are warriors and squaws in warpaint, carrying bows and arrows and knives. They know about scalping. And her Indians are also throat slitters. Throat slitters??? That's a new one for me. I've never seen it before (that I can remember) in any children's or young adult book. Just now, I've done a search on "throat slitters" and the hits are all related to terrorists.  Do any of you know of a book that says Indians were throat slitters? If you do, please comment below or write to me (dreese dot nambe at gmail dot com).

Not only does McCaughrean use just about every stereotypical image of Indians and just about every word to describe them, she adds a new one... One that is brutal, violent, and graphic. Where did McCaughrean get throat slitters? And why did she add it? I don't think it was in Peter Pan.

Moving forward in the book now, to chapter 24, "Back Together." There, we learn of the "Tribes of the Eight Nations." What is that? I can't pin it down to anything I know of, but, McCaughrean tells us what it is made up of:

Bison
Appaloosas
Travois
Squaws
Dogs
Braves
Thunderbirds
Drums
Papooses
War Bonnets
Peace Pipes
Braids
Coup Sticks
Moccasins
Bows and Arrows

Some list, eh?! This "Tribes of the Eight Nations" came in response to the "smoke signals" (p. 280) that Peter sent from the top of Neverpeak.  These tribes are from the north, south, east, west, and "the other place" (p. 280). What is that other place?!

When these tribes see Peter and the Explorers, they "bang on their shields and drums and papooses..." (p. 280). Their papooses?! Doesn't McCaughrean know what papooses are?! My question shouldn't be read to mean that I think that's an ok word.... I've written elsewhere that it IS a word for baby, but it is not EVERY tribal nations word for baby. Unfortunately, it has come to be seen as the universal Indian word for baby. It isn't.

They have a potlatch, during which a Princess smears their faces with warpaint and tells them they are now honorary members of the Eight Nations. Oh dear. I don't know what to say to that... 

And just as suddenly as they appeared, the Indians go away, moving off in eight different directions, to:

Tepees
Hogans
Kivas or Longhouses
Roundhouses
Bivouacs
Stockades
Under the stars

Why does McCaughrean say kivas or longhouses? Does she think they're the same thing? (They aren't.) Bivouc and stockade?! I associate those with the army. And, under the stars? Did she add that to reach her tidy number of eight? Eight tribes, eight directions, eight kinds of houses...  And what is it with eight??? Is that from Barrie? Or is that all McCaughrean?!

Peter Pan in Scarlet got great reviews. Only one reviewer (to my knowledge) mentioned the stereotypical Indian content. Over on  Amazon, there are 45 customer reviews (I'm looking at the page on November 3, 2009). 30 readers give it four or five stars.  None of the reviews, good or bad, mention the Indian content.

Of course, I object to all of it. It's all stereotypical, and the addition of throat slitters really bothers me. All of that aside, the story is dark. Bleak. Scary. A lot of the imagery is nightmarish. Let's hope it doesn't trouble my sleep tonight. I have more questions than answers or analysis... 

To see my extensive notes, read Notes and Summary:  Peter Pan in Scarlet.

Notes and Summary: PETER PAN IN SCARLET

Back when Geraldine McCaughrean's Peter Pan in Scarlet (nearly everytime I type the words "Peter Pan" I have to fix a typo.... instead of Pan it comes out as Pain) was published, I posted some initial notes. I finished the book, but, events at that time were such that a follow-up post was lost. A colleague wrote to me asking if I'd done anymore work on the book. His query prompted me to dig out the book and my notes (thanks, PN!).

I begin, anew. Below are notes and pretty thin chapter by chapter summaries.

Chapter 1 -  The Old Boys

Atop John's wardrobe are things from Neverland. Among the things is "an Indian head-dress" (p. 3). At night, John has bad dreams about Neverland. In the mornings, things from Neverland are in the bed. Mrs. John puts them on the wardrobe.

The Old Boys (Mr. John, Judge Tootles, Dr. Curly, Honourable Slightly, Mr. Nibs, and, the Twins) meet to talk about their dreams. The Twins say they tried to avoid the dreams by staying awake all night for a week. They finally fell asleep on the London omnibus and when they woke up, they were "both wearing warpaint" (p. 5). 


At the end of chapter one, Wendy says something is wrong in Neverland, and that they must go back.

Chapter 2 - First Find Your Baby

In response to Wendy's suggestion, the Old Boys reply (on page 10):

"Go back!? Go back to Neverland? Go back to the mysterious island, with its mermaids, pirates, and redskins?"
They are incredulous at the idea of going back. Wendy ignores their protests, and by the end of the chapter, they have found a baby, made it laugh its first laugh (which hatches a fairy), and collected fairy dust from that fairy.The fairy's name is Fireflyer.


Chapter 3 - A Change of Clothes



Fireflyer is living in "a kind of tepee" (p. 22) that Wendy made out of a lampshade. He has red hair, tells "extraordinarily big lies" (p. 23) and is always hungry.


Each of the Old Boys must have clothes of a child in order to go back to Neverland. Most have children of their own, and take clothes from them. But Honourable Slightly does not have children, and the other Old Boys have apparently forgotten that he has no child from whom to take clothes. Throughout all the planning, he remains quiet. McCaughrean says that he had no children, "no one whose clothes he could borrow, no one to make him young again." (p. 26)


She goes on to say,

"Because, of course, that's how it is done. Everyone knows that when you put on dressing-up clothes, you become someone else."(p. 26)


The Old Boys put on their children's clothing, which magically fits them, and off they go, to Neverland. As they fly there, they remember their days there and call out to each other. One of them says

"If the redskins are on the warpath, I'm going too!" (p. 30)


They arrive over the island, look down, and see that it is completely changed.

Chapter 4 - The One and Only Child

As they fly over the island, they see that all is not well.

"The redskin totem poles leaned at crazy angles, felled by wind or war, and roped in creepers and ivy." (p. 36)

Clearings where they'd had fires and meetings are gone. It is autumn (hence "Scarlet" in the title).

"If there were redskins on the warpath, their warpaths were hidden from sight." (p. 36)

They eventually find Peter Pan. When Wendy asks if he's in trouble, he replies, baffled:
"How 'in trouble'? In a cooking pot with cannibals waiting to eat me, you mean?" (p. 39)

He describes a few other trouble-scenarios, none of which he's experienced. Tootles asks
"Are you quite well, Chief?" (p. 41)
and takes Peter's pulse and temperature. Peter says he is dying, of boredom, and now that they are back in Neverland, they can have adventures.


Chapter 5 - Tootles's Quest

The chapter is about fighting dragons. The Twins find a Forest Dragon and kill it with fire. Wendy finds a circus and meets Ravello, the ring master. At the end of the chapter, the adventures over, Peter wants to play War, but the Old Boys don't want to. They're remembering "the Big War" during which Michael Darling was "Lost" (p. 63). Peter doesn't understand what "lost" means, and, the text reads,
"No one tried to explain. They knew that Peter Pan (and foolish young fairies like Fireflyer) were much better off not knowing about the War. (p. 63)
Chapter 6 - A Ravelling Man

After rejecting Ravello's offer of a place to sleep, Wendy asks Peter if he smells smoke. He replies
"Signal fires," he said. "Or bonfires...Maybe the Tribes are feasting." (p. 71)
They hear a great crackling sound and the cries of frightened and agitated animals. Peter remembers the Twins saying they had killed a Forest Dragon. He asks them how, they say "with fire" and they realize they've set the forest on fire. They're trapped on the beach, face the lagoon, and see a boat.


Chapter 7 - A Certain Coat

The boat is the Jolly Roger. Somewhat fearful, they go on board. Finding Captain Hook's chest, Peter pulls out a red coat. In a pocket he finds a treasure map. They head off to find the treasure.

Chapter 8 - All At Sea

Out at sea, they come upon another boat, a steel steam-cutter called the SS Shark. On board are pirates (p. 88):
They made an unnerving sight, because these pirates, though no more than waist high, were wearing full warpaint and were armed with hatchets, bows and arrows, and bowie knives.


"Starkey's redskins!" said Peter under his breath.

The Shark rams the Jolly Peter (he changed its name from Roger to Peter), pushing the Jolly Peter ahead of it. The Jolly Peter is helpless.

The captain of the steam-cutter was carried for'ard from the bridge, borne aloft on a swiveling leather captain's chair carried by four child warriors. (p. 89)
Of Starkey's crew, McCaughrean writes:
Half were girls, with long silken hair and cleaner buckskin tunics. But they were all armed. Drawing back their bowstrings to full stretch, they bowed (or curtsied), blinked their large dark eyes at the crew of the Jolly Peter, and shouted, "Hello. Thank you very much. How do you do. Delighted I'm sure. Kindly shed your loot in our direction, then lie face down on the deck or, sadly, we will have to slit your gizzards and feed you to the fishes. Deep regrets. Please do not ask for mercy, as refusal can give offense. Thank you very much. Nice weather we are having."  (p. 89)

Captain Starkey approves of what they said, and then says
"Very good, buckos, but you forgot about the scalping. You must always mention the scalping." (p. 89)

At this point, Starkey recognizes the coat Peter is wearing. Peter, humiliated to have the Jolly Peter being pushed about by the SS Starkey (they realize it was not called Shark) yells out to Starkey, trying to humiliate him. Peter says:
"I heard you were captured by the redskins, Starkey! After we routed you in the Great Battle? I heard you were put to looking after their papooses! Terrible fate for a man who calls himself a pirate!" Peter loaded the words with contempt, as he would have loaded a musket. (p. 90)
Starkey agrees that it was beneath him, calling it a fate worse than death, but, Starkey says, he made the best of it:
See what a job I done on 'em, my little squaws an' braves? You won't find better manners in the King of England's parlous. An' I trained them up in a trade, too, which is more'n you can say for most schoolmasters. Learned 'em everything I knowed. Turned 'em into pirates, every Jack-and-Jill of 'em. Got some real talent in there, I can tell you! Pride of me heart, these little throat slitters are! Pride of me heart." (p. 91)

He orders "his little throat-slitters" (p. 91)  to board the Jolly Peter and look for loot. The "warpainted pirates" (p. 91) jump onto the Jolly Peter. Finding nothing, they put the Darlings into their pirate bags. Starkey says he "I can get me a good price for slaves!" (p. 91). His "warriors" (p. 91) were very polite and their hands were "soft and well washed." They talk to each other, discussing "whether Puppy was best cooked with giner, squid, or piri-piri sauce." (p. 92) [Note: Puppy is a real puppy brought to Neverland with the Old Boys.]

Starkey orders Peter to empty his pockets.  Peter replies "Never!" (p. 92), and Starkey says
Turn out your pockets, cock-a-doodle, or I'll have my throat-slitters shoot you full of arrows, and take a look myself, after." (p. 92)

Wendy sees that Peter plans to jump ship instead and calls out to him.

Starkey laid a fatherly hand on the shoulder of one young squaw, whose bowstring was pulled taut. "On my word, bucko... shoot him in the thigh," he said, and the squaw took careful aim. "Let's see what an arrow can do to puncture his pride!" (p. 93)

Out in the sea, five small islands are approaching the two ships. On the islands were inhabitants:

Grappling irons came over the ship's rail like gigantic claws. After that came... well, gigantic claws. The redskins saw the tigers first. (p. 94)

In addition to the tigers, there were panthers, bears, baboons, and palmerions. [Note: What IS a palmerion?!]

No doubt Starkey's sprogs were, in the normal course of things, wonderful at archery and throat slitting. (p. 94)

But, they were afraid and went down a hatch, below decks. From one of the islands came Ravello.



Chapter 9 - Fair Shares


The animals are all under the command of Ravello. All except the bears go back to their islands. The bears dip their paws into the hatch.

The little redskins inside could be heard screaming and whimpering and calling for their mothers. (p. 98)

Ravello wants to work for Peter Pan. They learn that Starkey's cargo is "Silverskins." Nobody but Ravello knows what that actually is. Ravello asserts that Peter should keep half and divide the rest among his crew. That starts the "Silverskin War" (p. 101) as they argue about who should get what. Amidst all the arguing, Starkey tries to get away. Peter grabs him and shouts at him (to turn over the booty):

After years spent teaching manners to redskin sprogs [babies], Starkey said it without thinking: "Now now, son. What's the little word that gets things done?" (p. 104)


The cargo is opened, and out pops Fireflyer who had eaten all the booty. Silverskins are onions.


Chapter 10 - Lodestone Rock

On board the ship, Ravello is very helpful. Among the many things he does is to make "the redskins sew their blankets ito warm coats for the League" (p. 108)

As they sail, they tow Starkey and his crew. They are guarded by bears from one of the floating islands. Wendy asks Peter what he plans to do with them:

"We'll sell them for slaves or spit-roast them for supper!" (p. 109)

The text says he doesn't mean it, but that in saying those words, he sounds decisive. They're looking for the treasure, studying the map. On that map is a "vast blank" labeled "Unknown Territory" (p. 110). Here's what they say:

"We shall map it as we go!" said Peter.

"And find the source of the Nevva River!"

"Discover new animals!"

"Take rock samples!"

"You might also care to name mountains and lakes, sir," suggested Ravello, setting down the afternoon tea.

Then Ravello says, that since Captain Hook had put the treasure there, the territory should be named Hook's Territory. Peter cries out that the territory is his, not Hooks, and that the treasure is also his. Wendy says that she thinks Peter meant 'ours.'  Peter is flushed and says:

"Pour me a tot of Indian courage," he commanded. "The smoke from Starkey's filthy pirate barge has turned my stomach." (p. 111)

Suddenly the Starkey began dragging the Jolly Roger. Nobody can see smoke coming from the Starkey's smokestacks. They fear what may be causing it to move through the water with such force. Ravello looks at the maps and sees Lodestone Rock, which is magnetic. It is drawing the Starkey to it [the Starkey is made of steel]. The bears abandon the Starkey, and:

"the redskins swarmed on deck, weeping and shrieking and struggling into cork life-jackets." (p. 112)

The Starkey hits Lodestone Rock, and the chain between the Starkey and the Jolly Roger breaks. Peter thinks they're safe, since their ship is made of wood, but all the nails are pulled out of the Jolly Roger and it falls apart. The Old Boys use fairy dust,and  muster enough good thoughts (when Peter reminds them of the treasure) to fly up. Wendy sobs, remembering that Fireflyer was locked up in the ship that just went down. Ravello is in the water, holding on to Hook's chest.


Chapter 11 - Grief Reef and the Maze of Witches

Fireflyer is ok and joins the "Company of Explorers" as they fly, looking for land. They sight land and head for it. There, they find Ravello, and, the five islands, too. On the shore are hundreds of prams and baby carriages. Ravello explains these are prams of babies left unattended. Babies who became Lost Boys. The prams got to this shore, called Grief Reef, by the nursemaids who, fired by angry parents, set out to search for the lost babies, not to find them, but to seek revenge. The thought frightens the Lost Boys. Peter reminds everyone that grown-ups can't get into Neverland, and

"everybody felt so much better that they decided to overlook all the grown-up pirates, redskins, and circus masters known to inhabit Neverland." (p. 121)

The Company of Explorer's head inland and come upon a Maze. In it are the nursemaids. This place, Ravello tells them, is the Maze of Witches. Their failure and temper turned them into witches. As witches, then, they could enter Neverland. Eventually, the Company makes its way out of the Maze.

Chapter 12 - Fare Shares

Slightly plays his clarinet. Fireflyer likes the music. The higher the note Slightly plays, the higher Fireflyer goes. Slightly asks what he sees as he flies higher. Then Slightly puts the clarinet aside and whistles, which sends Fireflyer even higher. Slightly asks what he can see:

"Oooo. Right into the past! I see the Aztecs and the Vikings!" (p. 136)

Peter doesn't like the whistling and tells Slightly to stop. Gradually throughout the latter few chapters, Peter's appearance and behavior are changing. Peter shoves Slightly. This scares the others. Wendy says she hardly recognizes him. He is also no longer able to imagine food for them to eat. They remember biscuits in Hook's chest, but find out Fireflyer has eaten them. Peter banishes Fireflyer. They're all increasingly hungry and go to bed. To their surprise, they wake and find Peter has berries for them. They eat and head off into a forest where Peter says he got the berries. All except Slightly are too short to reach any. Thinking he can get back into Peter's good graces by picking some, he pulls down three bunches. Peter is outraged, calling him a traitor. Turns out, Slightly is growing up, which makes him a traitor. Peter imprisons him, and they leave him behind.

Chapter 13 - Taking Sides

Though they've left him behind, they still hear Slightly playing his clarinet. Ravello says that the Roarers may get him. They, Ravello explains, are boys who've grown up. Banished by Peter, they roam around, living as bandits. The Company enters and leaves a desert, finds a waterfall, and are suddenly in a blizzard that turns out to be fairies, thousands of them, that bury them. These fairies are having a war: the Reds fight the Blues. The fairies ask the Company to take sides. Peter goes into the waterfall and holds up a rainbow. This confuses the fairies. They leave, and the Company presses on to Neverpeak Mountain to find the treasure.

Chapter 14 - No Fun Anymore

They can't find food, so eat the last of the berries Peter had given them earlier. They finally get to Neverpeak, which is shaped like a cupcake with steep granite walls. The Company asks Peter to go up there alone. He chides them and sets out alone. Ravello tells them Roarers are all around, which prompts them all to start climbing trees to scale Neverpeak. They struggle through mosquitos and hail as they go. Ravello cuts away the shadows of all but Peter and puts them into the chest.

Chapter 15 - Nowhereland

The story shifts in this chapter, from Peter to Nowhereland, where Slightly and Fireflyer are now. Fireflyer wants a story, so Slightly tells him about their first visit to Neverland. He describes Hook, and realizes that Peter has become just like Hook. Slightly and Fireflyer turn in for the night but are surrounded by Roarers. They tell Slightly that they think Peter used poison to turn them into grownups. He also put poison in the Lagoon, which caused many changes in Neverland, including the fairies war. Slightly asks who told them all that, and figures out it is Ravello, and that Ravello is a danger.

Chapter 16 - Shadow Boxing

Back to Peter and the quest for the treasure. The Boys, without their shadows, climb easily. Peter struggles, and so, Ravello cuts it off, too, and begins to croon and then roar about how awful mothers are. Ravello sees all the Explorers staring at him:

"What language is he talking?" asked John. "Is it Esquimeau?" (p. 187)

Wendy asks Ravello if he's a Lost Boy, which he vehemently denies.  Puppy is missing. Next morning, they set off again, calling out for Puppy as they go. Its very cold and icy. Crossing an ice bridge, Peter looks down, sees something, slips, and falls. He clings to an icicle. He tells them he saw his reflection in the ice and that it was Hook. Hook. Ravello tells him it is only a bad memory and reaches to help Peter. Peter realizes he should be able to fly, and asks Ravello why he can't fly. Ravello ignores the question, and helps everyone across the bridge. Ravello and the sea chest nearly fall into the ravine. Ravello chuckles in an ominous way.


Chapter 17 - Not Himself

They get to the top of Neverpeak and look across the territory, noting places they had been. Snow is very deep. Peter starts to dig, cued by Ravello. He finds the chest. They open the lid and find things in there that they'd wished for. Twigs to make a fire, fairy dust to fly home with, food, and, Tinker Bell. There is also a trophy. Peter, gazing at it, sees his reflection again. He tells Wendy he is not himself. Ravello appears and tells Peter that he has become Captain Hook. And, he tells Peter, that he has groomed him well, that it all started when he convinced Peter to put on his second-best jacket.

Chapter 18 - Taking Deadness

Ravello says that, putting on clothes makes the wearer into that person. Peter has become Hook. Ravello once was Hook, but now, Peter is Hook. Peter takes off the coat, but Ravello tells him that shedding the coat does not change who he has become. The Boys are afraid and want to go home. Wendy gives them dust, readying them to leave, but Ravello reminds them that he has their shadows and can no longer fly. He tells them his life story, including what Peter did to him and how it came to pass that Peter became Hook. Ravello asks Peter what he wants to be now, and then, Slightly appears and tells Peter not to answer the question. Slightly tells everyone how he was tricked by Ravello, and thereby started to turn into a grownup. He tells them that he's figured out Ravello.

Chapter 19 - Burned

The boys start a fire to keep warm. They cook the food that was in the chest and

"sent smoke signals summoning help (though the blizzard did its best to smudge them out)." (p. 229)

Chapter 20 - Ill Luck

The Company decides to leave the mountain. They're exhausted. Peter starts coughing and then suddenly disappears over a ledge. He lands on Hook (Ravello is now Hook again). The boys tumble down, too. Peter lies there, still, and they think he has died.


Chapter 21 - Coming of Age

Peter needs a doctor. Curly had grown up to be a doctor. To save Peter, he asks Hook to ask him the question (what do you want to be when you grow up) which will trigger his growing up and ability to help Peter. Slightly reminds him that he'll grow up and be a Roarer, never able to go home. Curly goes ahead, and then saves Peter, removing a strand of London fog from Peter. Peter is restored to health and vigor. The renew their descent from Neverpeak, and find themselves surrounded by Roarers.

Chapter 22 - Consequences

The Roarers bind their prisoners to trees and discuss what to do with Peter. Ravello is in the trees overhead, watching Peter as he starts to sink in quicksand. The Roarer's blame Peter for their growing up and subsequent banishment by him, but Wendy tells them Ravello is the one who poisoned them. They recognize and remember him, and move towards him. He summons his circus animals. The Roarer's scatter, and John and the Twins rescue Peter. The Company lay on the ground, together, recovering, when they realize that Ravello's beasts are closing in on them.

Chapter 23 - The Red Coat

First Twin has the red coat tied around his waist. He throws it up into the air. The animals paw at it, and Peter cries out "Red! Do you See? Red!" (p. 267) which summons the blue fairies. This distracts the animals and the Company sneaks away. Ravello pleads for the animals lives, Wendy remembers the rainbow, and the fairies let up. The animals recover. Peter and Hook prepare to fight each other. Just before Hook kills Peter, Puppy returns, but is now fullgrown. Puppy attacks Hook, saving Peter. Wendy kisses Hook on the cheek and leaves him there to sleep, drifting to death. Peter is furious with her and tries, unsuccessfully, to banish her.

Chapter 24 - Back Together

The Company sets out again, walking across the island, to get to Neverwood. The going is tough. As they go (extended excerpt, spanning p. 280 to 282),

...the sky ahead turned ochre yellow with flying dust. Sandstorm, they thought. Then they topped the rise, and a sight met their eyes that none would ever forget. There, streaming towards them across the flat skilet of the sear desert sands, came all the bison and appaloosas and travois and squaws and dogs and braves and thunderbirds and drums and papooses and war bonnets and peace-pipes and braids and coup sticks and moccasins and bows and arrows that went to make up the Tribes of the Eight Nations.

The smoke signals Peter had sent from the top of Neverpeak had never been smudged out completely. Now Tribes from north, south, east, west, and the ohter place came thundering over the Thirsty Desert as fast as their appaloosas and bisons would carry them. At the sight of Peter and his fellow Explorers, the Tribes began to bang on their shields and drums and papooses and so forth in a triumphant chorus of greeting.

The Tribes threw a potlatch for the League: A party that consisted of eating and drinking and giving away most of their belongings. They gave a lot of these to Peter and Wendy and Tootles and the Twins and John (who was thrilled to the core). Bud sadly, because they had nothing of their own to give, the children had to give away the gifts they had just been given.

At the feast that followed, a lovely Princess came and smeared their faces with warpaint and told them that now they were honorary members of the Eight Nations.

"Hello, Tiger Lilly," said Peter. But the Princess looked at him strangely and said she was Princess Agapanthus, actually. "Ah. I could never remember names," Peter said. "Or faces."

"Twins? Whatever is the matter?" asked Tootles. "Just because you had to give away those bowie knives..."

But the Twins were not crying because of the bowie knives. They had just remembered riding on an omnibus to Putney and falling asleep and waking to find themselves wearing warpaint. "Will we ever see Putney again, Wendy?" they asked.

Wendy put on her most businessslike face. "We shall just have to wait for the fairies to stop quarrelling and for our shadows to grow back. Look: yours are starting to come already." The Twins brightened--then, of course, their shadows stopped growing again, which rather defeated Wendy's efforts.

They travelled on in a cloud of dust, with an escort of Eight Nations (not to mention the bison)--through the Elephant's Graveyard, over Parcel Pass and the primaeval ruins of Never City and the Groves of Academe. If there were Roarers or lions lying in ambush, the bison and travoises flattened them, because suddenly the horizon was plush with the trees of Neverwood, and the Tribes were saying good-bye and moving off in eight different directions--to tepees, hogans, kivas or longhouses, roundhouses, bivouacs or stockades; some to sleep under the stars. (p. 282)
The Company of Explorers curl up to sleep, too. Puppy is with them, but, suddenly he runs off, starts to dig, and next thing he's dug a hole into the den where Peter and the Lost Boys lived. What follows are reunions and lots of storytelling.

Chapter 25 - The Heartbroken

In this chapter, Lost Boys find their parents, the Darlings get back home, Peter heads back to Neverwood. Ravello wakes up, no longer Ravello but Hook, once again, waiting to tangle with Peter Pan.

------


That's it. Now to think about it...

Friday, December 05, 2014

"True Blood Brothers" in NBC's production of Peter Pan

In an earlier post, I wrote about how NBC had hired a Chickasaw man to rework the "Ugg-A-Wugg" song, replacing that phrase with a word used by the Wyandott people. Other musical changes were made, too, he said. That song was replaced with a new one, called True Blood Brothers. NBC's live production of Peter Pan aired last night (December 4, 2014).

So how did it turn out?

As Tiger Lily stands before Peter Pan for this song, she says something like "O a hay" instead of Ugg a wugg. The music that plays during this song? Classic Hollywood fakery. Below are some screen captures from the video available on YouTube. At the very bottom is the video itself.

Tiger Lily steps back from Peter and crosses her arms in front of her:



Tiger Lily and her tribe begin to dance. Note their attire:



Here, they sing "Beat on a drum!" And I will come and save our brave noble warrior." With their hands, Tiger Lily and Peter Pan 'play' the drum (the backs of the men on whom they stand). Because they're both singing, I guess Tiger Lily is saying Peter is a brave noble warrior, and he is saying it of her, too:



Everyone dances to that Hollywood Indian music, and then John and Michael start singing "Hickory Dickory Dock" (rather than O-a-hay o-a-hay o-a-hay). They're pretending to be Indians at that point. See that blue feather? And that loin-cloth-thingy?



More Hollywood Indian music, more dancing, a dummy meant to be Captain Hook, and the number ends with Tiger Lily and Peter Pan singing they'll be blood brothers to the end.

As I watched the clip, I didn't see any Indian women. Just Tiger Lily. All the rest of her "tribe" are men.

The take away? Lot of stereotyping:

Indians with crossed arms: check
Scantily clad Indians: check
Playing drum with hands: check
Kids playing Indian: check
Hollywood Indian music: check
Overrepresentation of men: check

So--a question.

"O-a-hey" is supposed to be a Wyandotte word. Does that make this all better? No. Not at all.

I wonder how many kids are at school today singing "o-a-hey o-a-hey o-a-hey" as they prance about with their arms crossed? I wonder about the Native kids at school today. Are they looking at their peers doing this silly song and dance?

Here's the video:




Did you tune in? It is getting slammed by reviewers this morning. What do you think about it?

Update, 4:00 PM
As requested by Rebecca (in comment section to this post), I'll add critiques of the Native content.

#NotYourTigerLily: Nine Months Later and they Still Don't Get the Point by Johnnie Jae at Native Max Magazine

Why Fix Tiger Lily? Why Can't We Just Let Her Go? by Adrienne Keene at Indian Country Today

Thursday, January 04, 2007

Geraldine McCaughrean's PETER PAN IN SCARLET


A couple of weeks ago, a reader of this blog wrote to me to ask if I’d read Geraldine McCaughrean’s book, Peter Pan in Scarlet, released on October 5 of 2006. It is the much celebrated sequel to J. M. Barrie’s Peter Pan which started out in the early 1900s as a short story and then a play.

The original had stereotypical portrayals of American Indians. The Disney film brought those images to the big screen, and that same stereotypical Native imagery is present in the Julie Andrews film, too.

It is surprising (and not) to learn that Native stereotypes are in McCaughrean’s sequel. I got the book, and below are excerpts from the first ten pages. When I finish the book, I’ll follow up. In the meantime, have any of you read the entire book yet? Any comments?
-------------------------------------
Reese notes on Peter Pan in Scarlet:

1) In the opening pages we learn that John is a grown up and that he’s been dreaming about Neverland. Each morning when he wakes, there is something from Neverland in his bed:

“…an alarm clock, a pirate’s tricorn hat, an Indian head-dress” (page 3).

Reese: "An Indian head-dress" -- of course, the single artifact that stands in to signal Indian.


2) All across London, other “Old Boys” are having the same dreams. Wendy, also now grown, decides they must go back to Neverland to find out why dreams are leaking out of Neverland into the “Here and Now.” The Old Boys say:

“Go back to Neverland? Go back to the mysterious island, with its mermaids, pirates, and redskins?” (page 10).

Reese: The word "redskins." In a children's book, in 2006. Defined in most major dictionaries as offensive, yet here it is.

Tuesday, December 09, 2014

Oliver Herford's THE PETER PAN ALPHABET

A colleague in children's literature, Perry Nodelman, has been sharing his collection of images of Indians in Peter Pan books illustrated by various authors over the last 100 years. If you want to see them, search twitter using #EthnographicInaccuracy.

Among them is Oliver Herford's The Peter Pan Alphabet, published in 1907. Here's the cover:



Here's the title page:



You can read the whole thing if you want to: The Peter Pan Alphabet.  I'm interested in two pages. Here's the page for the letter I:



And here's the page for the letter R:



Some of you might be sighing with relief, thinking that the 1907 publication year of this book means that such things are of-the-past. They aren't.

In the ever-popular Caddie Woodlawn a "scalp belt" figures prominently. The townspeople fear being scalped. And I trust readers of AICL are well aware of a professional football team in Washington DC that is named "Redskins." Setting aside that word, note Herbert's "What a Treat to see "Injuns" sit up and Behave!" Why did he put Injuns in quotation marks? The "sit up and behave" indicates he thought that Native people were... Lazy? Wild? Out of control? Naughty?!

Interestingly, that "wild Indian" appears in Caddie Woodlawn! Caddie is a tomboy. People ask her mom when she's going to make a "young lady" out of this "wild Indian."

My point in sharing these two pages from Herford's 1907 book? To note that those sentiments are still very much a part of today's society. 

Monday, October 25, 2021

Highly Recommended: SISTERS OF THE NEVERSEA by Cynthia Leitich Smith; cover art by Floyd Cooper

HIGHLY RECOMMENDED! 

Sisters of the Neversea
Written by Cynthia Leitich Smith (Muscogee Nation)
Cover art by Floyd Cooper (Muscogee Creek Nation)
Published in 2021
Publisher: Heartdrum (HarperCollins)
Reviewer: Debbie Reese
Review Status: Highly Recommended

****

Today AICL is pleased to give a Short and Sweet Rec* to Cynthia Leitich Smith’s Sisters of the Neversea. We recommend you get it for your children, your classroom, or your library. Here’s the description:


Lily and Wendy have been best friends since they became stepsisters. But with their feuding parents planning to spend the summer apart, what will become of their family—and their friendship?


Little do they know that a mysterious boy has been watching them from the oak tree outside their window. A boy who intends to take them away from home for good, to an island of wild animals, Merfolk, Fairies, and kidnapped children, to a sea of merfolk, pirates, and a giant crocodile.

 

A boy who calls himself Peter Pan.


And here is our Short and Sweet Rec! 

Four reasons why AICL recommends Sisters of the Neversea 


First, the author is Native. Cynthia Leitich Smith is a citizen of the Muscogee Nation, telling us a story where the primary character is Muscogee Creek.


Second, Sisters of the Neversea shows readers who Native people are, for real. J.M. Barrie’s stories about Peter Pan have mis-informed generations of readers. His stories encourage others to play Indian in stereotypical ways, and the characters in his story that are meant to be Native (Tiger Lily) are straight-up stereotypes. We are nothing like the “Indians” in his stories. Smith’s take on Peter Pan pushes back on those stereotypes.


Third, Sisters of the Neversea includes Black Indians. Upon seeing Floyd Cooper's cover art, Smith writes that she thought "There you are!" With his art, she saw Lily as Black Muscogee. Later in the book, we meet Strings, a Black Seneca Indian from the Bronx. 


Fourth, Smith's author’s note includes several questions that she poses about the Native people in Barrie’s stories. “How did they get there?” she asks, and “Why were they described in hurtful language?” are two of them. Teachers who use the book in the classroom can draw attention to those questions and encourage students to ask similar questions about Native characters in other books they read.  


We hope you’ll get a copy ASAP, read it, and tell others to read it, too. When you’re at your local library, ask for it! If they don’t have it yet, ask them to order it. 


-----

*A Short and Sweet Rec is not an in-depth analysis. It is our strategy to tell you that we recommend a book we have read. We will definitely refer to it in book chapters and articles we write, and in presentations we do. Our Short and Sweet Recs include four reasons why we recommend the book.  



Monday, April 26, 2010

Why This Blog Matters, and, My Visit to Penn State...



I left State College on Saturday afternoon with a warm glow. Sounds cheesy, I know, but that's the right way to characterize it...

I was there to give a talk in a lecture series to celebrate the 40th anniversary of the American Indian Leadership Program in Penn State's College of Education. I spent most of my time with students and faculty in the program, and thank them here (publicly) for that warm glow: Heather, Peter, Connie, Arlene, Rose Mary, Kari, and Jane; and, professors John Tippeconnic and Susan Faircloth.


I also spent some time with a handful of professors in the College of Education: Gail Boldt, Dan Hade, Lisa Hopkins and Jacqueline Reid-Walsh. Dan's work on the commodification of children's literature is excellent, and I encourage people to look for it. You can listen to him via a podcast here. The podcast link is on the left side of the page under MULTIMEDIA.

Tippeconnic and Faircloth recently released findings from their study of graduation rates of American Indians. Titled The Dropout/Graduation Rate Crisis Among American Indian and Alaska Native Students: Failure to Respond Places the Future of Native Peoples at Risk, their findings are grim. Quite often, statistics about American Indians are not part of large studies of drop out rates. The reason for that is, we are deemed "statistically insignificant" and therefore, ignored. 

That "statistically insignificant" attribute is ironic, given that images of American Indians are everywhere. Because they are, we don't actually see them until someone points them out. They may be innocuous, or, they may be highly derogatory. The findings of my content analysis of SLJ's Top 100 Novels is a good example of how unexpectedly pervasive this imagery is. Another example is the reviews of Peter Pan in Scarlet (the sequel to Peter Pan), only one of which noted the negative stereotyping I found in it.

On page 7 of the report, Tippeconnic and Faircloth note that being left out because we're statistically insignificant is an example of:
"...structural and institutional racism, placing [Native] students... at a further disadvantage in opportunities and outcomes" (Toney, 2007, p.8).
And, they point to studies (see p. 27) that dropping out is the result of a cumulative process of academic and personal difficulties by which students detach from school. They go on to note that "school-level factors associated with dropping out include "a perceived lack of empathy among teachers" and "irrelevant curriculum." 

"A perceived lack of empathy among teachers" reminds me of the hundreds of times someone has written to me, dismissing my critiques because the book I'm critiquing is "FICTION" (they often use caps or boldface to emphasize the word 'fiction') and therefore, everyone should know that the author is making things up (and as such we shouldn't believe what we read as truth, and, I am stupid for asking fiction to accurately depict American Indians). It also reminds me of the time that my daughter tried to tell a teacher that Brother Eagle Sister Sky is stereotypical, and the teacher told her "but its not about your [Pueblo] people." Lack of empathy. Definitely a problem. 

That teacher was right about only one thing. Brother Eagle Sister Sky is not about Pueblo Indians. In fact, it isn't about any Indian people at all! There was good intent on the part of Susan Jeffers, but she only created a mass of stereotyped and extinct Indians. As such, it doesn't do anyone any good. As a book used in the curriculum of many schools, it is irrelevant to everyone! But, its defenders say, its got a good message about taking care of the earth, and that message outweighs the problems with its depiction of American Indians. With that rationale, aren't we telling Native kids that they're just not that important? If so, then, it is no wonder they detach from school.

Drawing from other research studies, Tippeconnic and Faircloth include twelve strategies to decrease dropout rates. Among them are:
  • Review and revise school policies and avoid implementation of policies that exclude, repress, demean, embarrass, harass or alienate Native students.
  • Make schools physically, mentally and emotionally safe by working to end racism, sexual harassment and other forms of physical and emotional assault.
  • Avoid use of negative stereotypes.
Reading Tippeconnic and Faircloth's report reminds me of the findings from Stephanie Fryberg's research on the effects of stereotypical images on the self-esteem and self-efficacy of Native youth. As was the case when I first read and wrote about her study, I'm glad to send it to you. Just send me an email to debreese at illinois dot edu.

I want you to read Fryberg's article, and, Tippeconnic and Faircloth's report. And then I want you to consider what you have in your library or on your classroom shelves. I know you can't take things off the shelves lest you be labeled a censor, but, you can definitely ADD things to your shelves that are, in fact, relevant. Add, for example, fiction that is relevant! Fiction that accurately reflects the lives of Native people in the present and past. 

Imagine what effect that would have on Native students in your schools. Might they become more engaged?

Thursday, October 01, 2015

Big News about Hoffman's AMAZING GRACE

Eds. note (10/2/2015): See update at bottom. It appears the change is only to the U.S. edition. 

In a comment to his post about weeding books, Roger Sutton said that Horn Book just received the 25th anniversary edition of Amazing Grace and that the page on which Grace is shown playing Indian is gone (she's pretending to be Longfellow's Hiawatha). Here's his comment:


This is the illustration he's talking about. It was in the original version of the book, published by Dial in 1991. The author is Mary Hoffman; the illustrator is Caroline Binch:



For those who don't know the book, the main character is a girl named Grace who wants to be Peter Pan in the play her class is going to do. Other kids tell her she can't be Peter because she's a girl and he's a boy, and, that she's Black and he's White. Stung--as any kid would be--she imagines herself in all kinds of roles, including Hiawatha. That she's "by the shining Big-Sea-Water" tells us she is imagining herself as the Hiawatha of Longfellow's imagination (there was, in fact, a real person named Hiawatha).

But see how Grace "plays" Hiawatha? In a stereotypical way. She sits cross legged, torso bare, arms crossed and raised up (I don't know why so many statues show Indians with arms crossed and lifted off the chest that way), barefoot, with a painted face and stoic look.

Amazing Grace came out in 1991. In 1992, a person from whom I've learned a great deal, wrote about it. That person: Ginny Moore Kruse. In her article "No Single Season: Multicultural Literature for All Children, published in Wilson Library Bulletin 66 30-3, she wrote:
Are the book's multiple themes so welcome that the act of "playing Indian" escaped comment by most U.S. reviewers...that critics relaxed their standards for evaluation? No, such images recur so frequently that when they do, nobody notices. Well, almost nobody but the children who in real life are Indian. 
Claiming that only American Indian children are apt to notice "playing Indian," "sitting Indian style," or picture book animals "dressed up" like American Indians does not excuse the basic mistake. Self-esteem is decreased for the affected peoples, an accurate portrayals are skewed for everyone else.

This change is big news in children's literature. I'm grateful to Roger for sharing it. But let's return to his words. Roger suggested that the absence of Grace/Hiawatha in the new edition is the result of "public shaming."

Its absence can be seen as the result of public shaming---but it also be seen as a a step forward in what we give to children.

Might we say it is gone because its author, illustrator, and publisher decided that the self-esteem of Native children matters? And, maybe, they decided that having it in there was a disservice to non-Native readers, too, skewing what they know about Native peoples? Maybe they just decided it was dated, and in an effort to market the book to today's readers, that page would hurt sales.

Today, I wish I was near Ginny's hometown. I'd call her and see if she wanted to join me for a cup of tea. I'm sure it'd be a delightful conversation.


Updated on October 2, 2015 at 9:23 AM

Librarian Allie Jane Bruce wrote to tell me about a review of Amazing Grace at the UK website, Mirrors, Windows, and Doors. Based on what I read in the review, there are two versions of the 25th anniversary edition of Amazing Grace. The one Roger Sutton has is the US edition. The one in the UK remains unchanged. Here's an excerpt of the UK review:
The double-page that shows Grace as Hiawatha and then as ‘Mowgli in the back garden jungle’ does, however, need to be held up as a reminder that breadth of experience through reading is important for young children: whilst Grace’s story highlights a can-do attitude and the notion that you can be whatever you want to be because of what you do not what you are, the stereotypes that have been passed down through some of these classic stories can only be broken by ensuring that children read contemporary stories set within the cultures they represent.  There is still too much of a dislocation in the UK between dressing up in a feathered headdress with a painted face and awareness of how that sits within contemporary Native American culture.

I guess that the people involved in the 25th anniversary edition think it is ok to let kids in the UK have that page. Obviously, I disagree.

This, however, is familiar. In 2010, a British production of Peter Pan was slated for Canada. Changes were made to it in an effort to be sensitive to First Nations people. Given the debased depictions of Native peoples in kids books imported from the UK to the US, I think it is wrong to leave that page in Amazing Grace. Worse than wrong, actually. It is a disservice to the children whose stereotypical ideas of Native people are affirmed by that page, and a disservice to those who learn that image for the first time, when they read Amazing Grace. 

Monday, May 02, 2016

Goodreads "Top 100 Children's Books"

On April 27, 2016, Jessica Donaghy posted The Top 100 Children's Books on Goodreads. To determine which chapter and middle grade books should be "on every kid's shelves" they "looked for the best reviewed books, all with average ratings above a 4.0 (a high bar that cuts out giants like Ramona and Huck Finn)." 

Stereotypical representations: thumbs down
Of course, such lists get circulated on social media.

The Children's Book Council tweeted it, and then John Schu tweeted it, which is how I saw it.

Looking it over, I gotta give it a thumbs down for the Native representations on it. Come on, people! How about, when you look at these kinds of lists, you ask yourself about Native representations on it. We all have to speak up for change to happen!

I'm thrilled to see several authors of color on the list. I see Jackie Woodson's Brown Girl Dreaming. And Kwame Alexander's Crossover, too. And Pam Munoz Ryan's Echo. And several titles by Sharon Draper. And Grace Lin's Where the Mountain Meets the Moon. 

But what about Native writers? None. Louise Erdrich's Birchbark House ought to be on here, don't you think? Nothing on it by the most prolific Native writer either! I mean Joseph Bruchac.

What about Native characters or stories that aren't stereotypical? Again, none. Here's the list of titles. The ones in bold are ones that have stereotypical Native characters. Those two? The grunting and animal-like Indians in Little House on the Prairie and the stereotypical Tiger Lily and playing-Indians of Peter Pan

What did and did not got onto this list reflects two things: a visibility problem, and, a refusal to let go of books with stereotypical content. What will you do about that? Who else is missing, I wonder?

Aesop's Fables
Alice's Adventures in Wonderland, by Lewis Carroll
Amulet, by Kazu Kibuishi
Anne of Green Gables, by L.M. Montgomery
The Arabian Nights
Avatar: The Last Airbender, by Gene Luen Yang
Awkward, by Svetlana Chmakova
A Bear Called Paddington, by Michael Bond
The Black Stallion, by Walter Farley
Bone, by Jeff Smith
Book of Three, by Lloyd Alexander
The Borrowers, by Mary Norton
The Boxcar Children (#1), by Gertrude Chandler Warren
Brown Girl Dreaming, by Jacqueline Woodson
Calvin and Hobbes, by Bill Watterson
Chains, by Laurie Halse Anderson
Charlie and the Chocolate Factory, by Road Dahl
Charlotte's Web, by E.B. White
Coraline, by Neil Gaiman
Crossover, by Kwame Alexander
Dealing with Dragons, by Patricia C. Wrede
The Devil's Arithmetic, by Jane Yolen
The Diary of a Young Girl, by Anne Frank
Drama, by Raina Telgemeier
Echo, by Pam Munoz Ryan
El Deafo, by Cece Bell
Fablehaven, by Brandon Mull
The False Prince, by Jennifer A. Nielsen
From the Mixed Up Files of Mrs. Basil E. Frankweiler, by E. L. Konigsburg
The Giver, by Lois Lowry
Gracefully Grayson, by Ami Polonsky
The Graveyard Book, by Neil Gaiman
Grimm's Fairy Tales
A Handful of Stars, by Cynthia Lord
Hans Christian Andersen Fairy Tales
Haroun and the Sea of Stories, by Salman Rushdie
Harry Potter and the Sorcerer's Stone, by J.K. Rowling
The Hobbit, by J. R. Tolkien
Howl's Moving Castle, by Diana Wynne Jones
The Incredible Journey, by Sheila Burnford
Inside Out and Back Again, by Thanhha Lai
Into the Wild (Warriors), by Erin Hunter
The Invention of Hugo Cabret, by Brian Selznick
Just So Stories, by Rudyard Kipling
The Lightning Thief, by Rick Riordan
The Lion, the Witch, and the Wardrobe, by C. S. Lewis
The Lions of Little Rock, by Kristin Levine
Little House on the Prairie, by Laura Ingalls Wilder
The Little Prince, by Antoine de Saint-Exupery
A Little Princess, by Frances Hodgson Burnett
Little Women, by Louisa May Alcott
A Long Walk to Water, by Linda Sue Park
Mary Poppins, by P. L. Travers
Matilda, by Roald Dahl
The Mighty Miss Malone, by Christopher Paul Curtis
The Miraculous Journey of Edward Tulane, by Kate DiCamillo
Mockingbird, by Kathryn Erskine
Mrs. Frisby and the Rats of NIMH, by Robert C. O'Brien
Mrs. Piggle Wiggle, by Betty MacDonald
My Side of the Mountain, by Jean Craighead George
My Sweet Orange Tree, by Jose Mauro de Vasconcelos
The Mysterious Benedict Society, by Trenton Lee Stewart
The Name of this Book is Secret, by Pseudonymous Bosch
The Neverending Story, by Michael Ende
Number the Stars, by Lois Lowry
Old Yeller, by Fred Gipson
The One and Only Ivan, by Katherine Applegate
Out of My Mind, by Sharon M. Draper
Peter and the Starcatchers, by Dave Barry
Peter Pan, by J. M. Barre
The Phantom Tollbooth, by Norton Juster
Pippi Longstocking, by Astrid Lindgren
Princess Academy, by Shannon Hale
The Red Pyramid, by Rick Riordan
The Red Umbrella, by Christina Diaz Gonzales
Redwall, by Brian Jacques
Ranger's Apprentice, by John Flanagan
Sadako and the Thousand Paper Cranes, by Eleanor Coerr
Scary Stories to Tell in the Dark, by Alvin Schwartz
The Secret Garden, by Frances Hodgson Burnett
See You at Harry's, by Jo Knowles
Sideways Stories from Wayside School, by Louis Sachar
The Skin I'm In, by Sharon G. Flake
Smile, by Raina Telgemeier
So Be It, by Sarah Weeks
Stella by Starlight, by Sharon M. Draper
The Story of a Seagull and the Cat Who Taught Her to Fly, by Luis Sepulveda
Tales of a Fourth Grade Nothing, by Judy Blume
The Two Princesses of Bamarre, by Gail Carson Levine
Watership Down, by Richard Adams
The Westing Game, by Ellen Raskin
When You Reach Me, by Rebecca Stead
Where the Mountain Meets the Moon, by Grace Lin
Where the Red Fern Grows, by Wilson Rawls
Where the Sidewalk Ends, by Shel Silverstein
Winnie the Pooh, by A. A. Milne
The Land of Stories and the Wishing Spell, by Chris Colfer
Wolf Brother, by Michelle Paver
Wonder, by R. J. Palacio
A Wrinkle in Time, by Madeleine L'Engle