Wednesday, March 20, 2019

Not Recommended: LOVE, PENELOPE by Joanne Rocklin

Editor's Note: Below is a twitter review of Love, Penelope a book I started reading last week. When I came to a passage with Native content, I paused the read, noted the content and in some instances, added a resource. I used "Spooler" to capture my twitter review and have edited them below, for clarity. If something doesn't make sense to you, please let me know through a comment. New information I provide is in brackets. When you see "You" in the tweets, it is because "You" is what Penny uses in her letters to her as-yet unborn baby sister.




A twitter review of a book called LOVE, PENELOPE by Joanne Rocklin. Published in 2018 by Abrams. 

The subtitle is "Letters from a big sister who knows about life." Penelope is excited about this new life growing in her Mama and writes to her in "Dear You" letters. 

In the second letter, Penelope talks about a heritage project she has to do for school, about where her family lived before they went to California (where the book is set). 

Her project gets off to a rough start (she's in 5th grade) because of a lie she told to her teacher. 

In the letter on Nov 29, Penny (Penelope) writes to You, that they have two mamas: Becky, and Sammy. 

Becky was married to a man, William. He died in a motorcycle accident when Penny was little. Then, Becky met Sammy. The three live in Oakland where Sammy has many relatives who have been there forever. 

With that bit of info on Sammy, you can probably guess why I'm reading LOVE, PENELOPE. 


"Many of Sammy's relatives have been here forever. Ohlone forever. OH-LO-NEE. As in native Californian."

That's cool [the thing that I thought is cool is that Rocklin tells readers that the Ohlone have been there forever] but then... 

"Sammy is 50 percent Ohlone."


Is that what a real-life Sammy would say? Generally, a person who is a tribal member or citizen of a specific nation is 100% a citizen of that nation. Most ppl rdg this thread are citizens of the US. If your mother was born in France, that doesn't make you 50% American [and 50% French]. 

People get into messy spaces when they equate citizenship in this or that nation with the racial or ethnic identity of their parents. 

Now, back to my twitter review of LOVE, PENELOPE. 


(Oh, meant to say a bit more about the Ohlones being "real Californians." That's like calling Native peoples "the First Americans." It is an error. Ohlones (and any Native nation) pre-date "the United States" or any of its 50 states.)

In her letter to You on Tuesday, December 2, Penny tells us about that heritage project she has to do for Mr. Chen. 

He [Mr. Chen] says that "The United States has always been a nation of immigrants." 

I hope that Penny challenges him on that...


And... she does! 

As she hears classmates talk about where their family is from, she says "My ancestors were always, always here. They didn't ARRIVE from anywhere. They were already here!" 

Good, Penny! 


Mr. Chen asks for more info. She says:

“I am descended from a native Californian tribe. The Ohlone, to be specific.”

She thinks that is a lie because Sammy isn't her biological parent. [For the most part she uses "fabrication" instead of "lie" to describe what she's done.] 


She goes on: 

"And princesses." Not ones with gold crowns and gowns, but "The brave kind with clothes made of animal skins."

Oh, dang. Did Sammy tell her THAT? Is that going to get corrected somewhere as this story unfolds? 


At the moment, I'm thinking of how an Ohlone child would read/respond to this story. Or any Native child. It seems to me that the author's audience isn't a Native child. 

On Saturday, December 6, Penny's letter to You is about Sammy's brother, Ziggy. He plays a ukelele. Penny, her mom, and Sammy are helping Ziggy update his resume. He's looking for work. 

Sunday, December 28, Penny is visiting Grandma Lorraine and Great Grandma Grace (Sammy's mom and grandmother). Penny plans to get some info "about Ohlone artifacts and rituals and ceremonies" so she can continue with her "fabrication."

Grace is "probably way over eighty" and has wrinkles, but soft skin. And she's got "long black hair, as black as a raven, as black as coal, as black as a deep, dark night." And, she has "pretty designs of dots and lines on her chin in the traditional Ohlone way."

Ok.... time for me to look over resources on the Ohlones. 

Two things to note: there are 109 tribal nations in California that have federal recognition. None of them have Ohlone in their name. 

But, INDIAN COUNTRY TODAY has an article about the Muwekma Ohlone Tribe's effort to get that recognition. Do read it! 


Here's the Muwekma Ohlone's website, with details. 

Before you begin creating Native characters, you gotta do a lot of research. The fruits of your research may not appear on the page, but it will be there, in the quality of the character and Native content. 

I noted the Muwekma Ohlone's page on their history with the fed gov; another resource is Deborah Miranda's BAD INDIANS. 



Dr. Miranda is Ohlone/Costanoan-Esselen. Here's their website: Ohlone/Costanoan-Esselen Nation.

They're at Monterey Bay (not San Francisco, like the Muwekma Ohlone), but I think Dr. Miranda's book would add some depth to an author's knowledge. 


There's lot of articles on the Muwekma Ohlone website.

Back to LOVE, PENELOPE. In the letter to You on Sunday, Dec 28, Penny is visiting Sammy's mother and grandmother. 

"Both of them are 100 percent Ohlone. Sammy is only 50 percent because Grandma Lorraine married the late Mr. Henry Bach, who was German."


Rocklin (the author of Love, Penelope) did this percent thing earlier, too, in the Sept 29th letter. 

Oh... Rocklin responded to my tweets about that. Here's mine and her first tweet-reply:
And here's the second part of her reply:
[Inserting her reply for people who use screen readers. Rocklin wrote: "I agree with the importance of sensitivity to this issue, the conflation of ethnicity, citizenship and place of residence. To be fair, Penny was asked to tell the story of how her family came to live in California, a common assignment in California schools. She realized that her stepmom's Ohlone community had "always" been there, yes, before the US existed, and she had an important story to understand.]

I'm thinking about Rocklin's reply. She understands why it is not ok to conflate ethnicity, citizenship, and place of residence but wants me to be fair because this is Penny's story. Hmm. 

It seems it might be one of those stories where a white character is going to unlearn stereotypical things about a Native people. One goal in this kind of story is for others to unlearn those stereotypes, too. When the author/white character are outsiders to the particular culture that is being stereotyped, the readers (children) of that culture have to... bear with it so that white character/white readers 'gets it.' 

That's a huge ask of a Native child. 


Reasons why "50 percent Ohlone" is a problem are related to monied efforts to undermine Native sovereignty by denying a nation's status and efforts to take Native children from their nations and place them in non-Native foster or adoptive homes. See National Indian Child Welfare Act. 

For non-Native writers, creating Native content and characters--especially in this period of diversity--has allure, but for Native people impacted by that writing, the stakes are very high. These non-Native fictions can work against our well-being. 

So, Penny is visiting Sammy's mother and grandmother to gather info for her heritage project. Her first question is about ceremonies... "...what was your wedding ceremony like?" Clearly, Penny thought there was some Ohlone ceremony for marriage. 

Grandma Lorraine told her that she got married in Vegas by a guy who looked like Elvis. I like what Grandma Lorraine said! Penny's question reminds me of undergrad students I taught who were curious about Native weddings. There's a lot of bogus info online--so be wary of that! 

Course, a Vegas wedding ceremony is of no help to Penny and her heritage project, so she moves on to "precious artifacts of their Ohlone heritage." She knows Grandma Lorraine has an abalone necklace, so she asks her to put it on, take a photo, print it out, and give it to her. Penny asks Great Grandma Grace if she has "an Ohlone artifact that is precious to her." 

Artifact is an interesting word. I don't use it when I'm talking with friends of other Native nations... or Jewish friends, or Catholic friends... Do you? 


Great Grandma Grace says "Well, MY precious artifact is a beautiful round red-and-white basket with green and red feathers and shiny abalone beads." 

Artifact, again. Do you use that word to talk about things specific to your culture or nation? I don't. 


Grace tells Penny about Ohlone baskets. Penny wants a photo of the basket but Grace tells her that it "is a memory of a story about the basket. Memories and stories are just about the most precious things the Ohlone have left. We've lost a lot, Penny."

Grandma Lorraine goes on, telling Penny about a memorial park they go to every year, the day after Thanksgiving. Penny recalls going there once with Sammy. She remembers "chanting and the drumming." Some Native ppl will object to use of "chanting" to describe singing. 

"Chanting" is an outsider word. 

The park is the site of a shell mound that was where Ohlone buried their dead. Americans built an amusement park, and later, a paint factory on it. Grandma Lorraine says they begged developers to leave it but nobody listened to them. 


So, every year, they go to that place and tell others what happened. Penny understands, now, why Grandma Lorraine and Great Grandma Grace won't shop at the mall that is on the site now. 

Penny is now wondering if she should tell Mr. Chen she isn't Ohlone. 


In her letter on Jan 17, 2015, Penny tells You that she was going to tell Mr. Chen that she isn't Ohlone. Before she could, though, she showed him a drawing she had done of the basket that Great Grandma Grace had described. He was, to use Penny's word, BONKERS over it. 

He asks if it is in her family; she says yes; he is surprised because he thought all the baskets had been taken to Russia or Britain. 

Some, no doubt, did go there but why leave out the US museums and private collectors who have them? 


Mr. Chen tells Penny the local museum has a reproduction, but the one her family has should be in that museum. Penny feels pride over his words.

Now--we know there is no real basket--but even if there was a real one, Mr. Chen's idea that it should be in the museum is messed up. 


Penny tells Mr. Chen that the (non-existent) basket is on its way to the museum. That's kind of messed up, too. Why would it be going to that museum rather than, maybe, a museum or office run by the Ohlones? 

Mr. Chen looks at other parts of her drawing, especially the "wren feathers in the Indian chief's headdress; and the real sticks for the teepees." 

What is Penny's source for that? Mr. Chen asks if the dark marks at the top are storm clouds. Penny meant them to be bison and isn't sure "if the Ohlone ever met up with bison" so she says yes, she meant them to be storm clouds. 


Mr. Chen tells her she needs to "rethink that headdress and, also, the tepees." (Noting the two spellings Rocklin used for tipi: teepee and tepee.)

He also thinks she's drawn "too much warfare. All those spears! You may have forgotten some of what you learned about the Ohlone in third grade. And, most important of all, information about your own heritage."

He leaves the classroom and comes back with a handful of books for her to use. She admits she got her info from old movies (note: new movies have those same stereotypes). She says she knows "the teepees aren't right, but it was fun gluing on those twigs."

He asks if her parents saw it, and she said yes (another lie). He tells her to interview the people in her family. 

Fact: teachers/professors do that sort of thing all the time. Handing Native people books to learn abt our culture = not good practice! 


Mr. Chen, reminding Penny of what she learned about Ohlone people in third grade made me cringe. He seems to be saying that whatever she learned was good. For those who don't know, third graders in California do a lot of projects where they visit missions...

... and sometimes make dioramas of Indians being cared for in the missions as if it was a good. In reality, Native ppl were kidnapped, put in chains, enslaved, raped... those missions are far from "good." I know teachers who aren't doing that anymore. Thank goodness. 

Earlier in this thread I referred to Deborah Miranda's book. She also did some writing about those lessons (also done in 4th grade classrooms): Lying to Children about the Missions and the Indians.  

And I know Native parents who don't want their kids doing projects like that. Please--if you're a teacher, don't do them! I wish Mr. Chen had apologized to Penny for that third grade Ohlone unit. 

That night at home, Penny starts reading the books Mr. Chen gave her. She's a huge basketball fan, so when she reads that the Ohlone liked to throw spears through a hoop, she decides it is close enough to basketball to say "THE OHLONE INVENTED BASKETBALL."

That throw-a-spear-through-a-hoop... Some day I might dig into it because it is one of those "Indian" things you see attributed to many tribal nations. It is possible [that many different ones did that activity], but I'd like to know more abt it. In most descriptions, a hoop is rolled on the ground, not hung on a pole. 

It sounds like the book Mr. Chen gave Penny to read is biased. She doesn't know that, though (and I guess he didn't either). She's going to use info from the bk plus info from Grandma Lorraine abt the shellmound for her heritage project. 

I like that Penny wants to provide her classmates with info about the mound. That's recent, and real, and people should learn about it. 

In the letter on Feb 10, 2015, Penny tells You that she had asked Sammy what her Ohlone heritage means to her. Sammy tells her that she has two heritages: German, who had come here 100 years ago, and Ohlone, who have lived here almost forever. 

Penny sees that Sammy is "starry-eyed and proud thinking about her heritage." Sammy tells her that her Ohlone heritage has a bigger part of her heart, that "you cherish something more when it's in danger of being erased."

Given that the two Ohlone tribal nations I've referred to in this thread seem to be the ones that Sammy might belong to, and given that both are working on federal recognition, Sammy's focus on erasure, without mentioning recognition, is a missed opportunity. 

It strikes me as the writing of someone who doesn't know much about sovereignty. Far too many ppl in the US think of Indigenous ppls as cultural groups rather than as sovereign nations. 

With "culture" as the framework, we get material aspects of life--like drumming and baskets--but not sovereignty. Indeed, sovereignty is THE most important attribute. 

In that same Feb 10 letter, Penny tells her mom and Sammy that Grandma Lorraine and Great Grandma Grace had told her about the shell mound. Her mom tells her that her and Sammy had been trying to protect her frm that sad story. 

But... earlier in the book when these grandma's were telling Penny about the mound, Penny told the she remembered going there before with her mom and Sammy and that she remembers "chanting" and drumming. Remember? 

Sammy goes on to tell her "the important thing to remember" is that the "Ohlone didn't disappear." that "A long time ago, people took our land. They made us live in the California missions. They tried to force us to forget our language and our customs and our stories."

This makes me wonder what Sammy told Penny when Penny was in third grade. Did she go to the school to tell Penny's third grade teacher anything? Also, those missions aren't really "California missions." They are Catholic missions in California. 

In Penny's letter on Sunday, March 22, she tells You that she had told Hazel her secret. "...I do not possess any Ohlone DNA, and that I had borrowed Sammy's heritage. Sammy is a relative by adoption and by domestic partnership only." 

Ohlone DNA? What is that? 


How are readers expected to interpret "Ohlone DNA"? Surely Sammy knows there's no such thing? 

A real Sammy would know there's no such thing. Does the author of LOVE, PENELOPE know? Or... has she fallen for the (false) promises of all those DNA testing services? 


A DNA test cannot tell you a specific tribe. For information on that, please read Dr. Kim TallBear's article, There is no DNA test to prove you're Native American and read her book, too [and tell others! The massive ignorance on DNA testing is something you can interrupt if you just take the time to share the information.] 


I'm reading quicker now, not noting as much of the Native content as I have been so far because it is kind of repetitive. 

In the letter on June 8, Penny tells You that she told Mr. Chen that she isn't Ohlone, that Sammy is her mom's domestic partner, and that Sammy adopted her. 


She also tells her mom and Sammy that she had "borrowed" (she uses that term throughout; I find it annoying) Sammy's Ohlone heritage. Sammy tells her to go ahead and talk about it because they are a family. 

Sammy asks Jenny "why do you have to say 'parent by domestic partnership'? Can't you drop a few words and just say 'parent'?" 

I like that correction. I wish Sammy asked Jenny to quit with the "50% Ohlone", too. But I don't think the author understands why that's not ok. 


On June 10, Penny does her presentation. The letter on June 26 is about the Supreme Court decision on same sex marriage, so, Penny's mom and Sammy plan to get married. On July 7, You is born and named Mary Joy, and the story ends. 

In the Acknowledgements, the author thanks Corinna Gould, an activist and educator in Ohlone culture, of the Confederated Villages of Lisjan, but doesn't say what that person helped her with. 

And she thanks Linda Yamane, an Ohlone basket weaver, "for her beautiful basket in the museum." So, it doesn't seem that Yamane had a role in the book's content. In one of the letters Penny wrote, she described Yamane's basket. [It is important that students learn to read Acknowledgements with the same critical eye they read a book. This particular thanks (to Yamane) is odd. It tells us that Rocklin thinks that Yamane's basketry is important, but, ultimately, it means nothing for the quality of the Native content of Love, Penelope.] 

I'll end this twitter review of Joanne Rocklin's LOVE, PENELOPE. If you've read it over the last few days as I read Rocklin's book, you can guess that when this twitter review goes onto my blog, it will have a Not Recommended label. 

I haven't read reviews of it but my guess is that some people are pleased that Jenny has two mom's. That aspect of the story, some will argue, is so important that it matters more than problems with the Native content. Obviously, I disagree. 

Recently, many scholars and critics in children's and young adult literature are noting that an author carries the weight of their book, but there are others who play significant roles in a book getting published. 

In her Acknowledgements, Rocklin tells us her agent is Erin Murphy, and her editors are Susan Van Metre and Maggie Lehrman. From my point of view, their knowledge of Native peoples is lacking and contributed to the failures throughout LOVE, PENELOPE. Some will feel that the content of this thread and naming the agent/editors is "shaming" them publicly and that I should have written to them privately. 

Contacting them privately would help them, but it wouldn't help all the librarians who are selecting and deselecting books in their collections, and it wouldn't help teachers who, if they read this thread, might decide not to use the book. This review is not a "call" for the book to be withdrawn from shelves. It is criticism. It is not censorship. 

Criticism is not censorship. It is something writers study to improve their writing. I hope it proves useful to others.

Friday, March 15, 2019

A First Look at CCBC Data for 2018: Books published in the U.S.

A few days ago, the CCBC released data for the 3,703 books published in 2018 that they received.

I asked for a copy of the list of the books they placed on the Native American log. There are 59 books on it. Their list has some overlap with the books I receive or purchase for review on AICL. I have some books they don't, and vice versa. (Update on Saturday March 16: CCBC provides a chart of books published in the US. There, you see that they counted 25 books by Native writers. My information below is about 16 books. Reasons for the difference are at the bottom of this post.) 

I've spent time looking over their log and sorting the books into categories that help me make some observations.

Today's post is about the books published in the US. I am using the categories that CCBC uses: picture book, fiction, nonfiction.

Books by a Native writer/illustrator of a Native nation in the U.S. (Total = 16)

Picture Books = 3
  • Bowwow Powwow
  • We Are Grateful
  • First Laugh: Welcome Baby!

Fiction = 7
  • Sasquatch and the Muckleshoot
  • Two Roads
  • Give Me Some Truth
  • Apple in the Middle
  • Hearts Unbroken
  • When A Ghost Talks, Listen
  • A Name Earned

Nonfiction (biography and traditional stories) = 6
  • Chester Nez and the Unbreakable Code
  • Unstoppable: How Jim Thorpe and the Carlisle Indian School Football Team Defeated Army
  • How Raven Got His Crooked Nose: An Alaskan Dena'ina Fable
  • Raven and the Tide Lady
  • Raven Makes the Aleutians
  • Raven Loses His Nose


Who published the 16 books?
  • Two are published by a "Big Five" publishing house (Dutton/Penguin Random House, and Dial/Penguin). 
  • Fourteen are from small publishers (Minnesota Historical Society, Charlesbridge, Arthur A. Levine/Scholastic, North Dakota State University Press, Candlewick, RoadRunner, 7th Generation, Albert Whitman, Capstone, Alaska Northwest, and Sealaska Heritage.)


Books by a non-Native writer/illustrator with content about a Native nation in the U.S. (Total = 12)

Picture Books = 1
  • Tomo: Adventures in Counting

Fiction = 7
  • Willa of the Wood
  • Code Word Courage
  • Squirm
  • The Adventures of Tom Sawyer
  • Island War
  • Love, Penelope
  • Outlaws of Time: The Last of the Lost Boys

Nonfiction = 4
  • Jackson Sundown: Native American Bronco Buster
  • Secrets of American History: World War I, Fearless Flyers, Dazzle Painters, and Code Talkers
  • Of Dust and Blood: The Battle at Little Big Horn
  • Stories in the Clouds: Weather Science and Mythology from Around the World


Who published the 12 books?
  • Five are published by a "Big Five" publishing house (Macmillan, Disney/Hyperion, Knopf/Random House, HarperCollins, Simon Spotlight/Simon and Schuster).
  • Six are from small publishers (Scholastic, Manga Classics, Holiday House, Abrams, Pelican, NBM, Whitecap).


Let's compare:
.17% of books by Native writers are published by Big Five publishers
.42% of books by non-Native writers are published by Big Five publishers

Said another way, the Big Five publishers published 7 books with Native content. Two are by a Native writer; the other 5 are not. The reason this is important is that Big Five publishers have more money to promote a book. This may mean that your library is likely to have more books about Native people than books by Native people, even though the CCBC list has more books by Native writers than non-Native writers on their list this year.

Important: 
This post is only about the numbers of books published--not the quality of the books. In past years, books by non-Native writers, published by the Big Five had serious problems of bias or stereotyping. Of the five by non-Native writers published by the Big Five this year, I know for certain that Willa of the Wood and Squirm have serious problems and the Tomo books I've seen from past years also had serious problems. It is likely, then, that 3 of the 5 books from the Big Five are ones that misrepresent readers with respect to Native peoples. 

___________________

*CCBC lists four books by a writer whose name is unfamiliar to me: Jennifer Oxley. CCBC lists Oxley as being white/African American/Cherokee. She is not an enrolled citizen of any of the three federally recognized Cherokee nations. Until I learn a bit more about her, I will not count her books. Oxley is a filmmaker. The four books are spin offs from the Peg + Cat series and the Melia & Joe series on public television.)

Books by Native writers that I did not include in my analysis are:

  • Jamie is Jamie: A Book about Being Yourself and Playing Your Way; author's identity includes a nation that is not in the U.S.
  • A Day With Yayah; it came out in 2017 in Canada.
  • Welcome to Country: A Traditional Aboriginal Ceremony; author and book are Indigenous to Australia
That leaves 2 books. I've written to CCBC to see what the two might be. They might be books published by Orca, which is located in Canada and the US.

Wednesday, March 13, 2019

An early look at the endpapers in FRY BREAD by Kevin Noble Maillard and Juana Martinez-Neal

On Monday (March 11, 2019), I was on Twitter and saw this tweet about Fry Bread, written by Kevin Noble Maillard (he's a member of the Seminole Nation, Mekusukey band) and illustrated by Juana Martinez-Neal:



I knew this book was in the works and that it would be out this year. So, of course, I clicked on the link right away and read the interview! Here's the full cover (from John Schu's blog):



In the first part of the interview, Kevin talked about his joy at seeing the grandma and grandson on the cover. He said that we don't see that kind of cover--that pairing--on children's books, and as I sift through my memory, I think he's right. I cannot recall a cover of a Native grandma and her grandchild! Grandma's in Native families are so important. This is a delightful image!

Next, John Schu had a comment for Juana. As I read his words and Juana's reply, it was clear to me that he has learned a lot over the years since I first came to know him on Twitter. He said:
Juana, I think Fry Bread's endpapers are the most powerful endpapers I've ever seen.
What, you might be wondering, would make him say that? Juana replied:
Oh, this means so much! You have no idea. I normally figure out the endpapers for the book while I'm deep in the middle of sketching the interior spreads. But this book was different. While I was working on ideas and thumbnails for Fry Bread, the idea for what the endpapers should show came to mind. It was a feeling. I could see the children and parents following the names with their fingers looking for the name of their Nation or Tribe.
I was riveted with her words and what those endpapers might look like, so I wrote to Kevin to ask him. He told me how they made hundreds of phone calls to tribal offices to confirm the way they would be listed. I was even more intrigued! "Kevin, please... can I see them?" Soon after, he sent me the endpapers. And I did exactly what Juana said she imagined Native parents doing.... I looked and looked till I found Nambé (update on Friday March 15 at 11:05 AM: when the final copy is published, the letter e in Nambé will have the accent mark):



The endpapers at the front and back of the book are full of names of tribal nations. What you see there is an enlarged screen cap. On the actual page, our tribal name fills a tiny bit of space but in my heart, it is huge. I want that book in my hands right now so I can show it to people. Fry Bread comes out in October of this year.

I cannot wait to give this book to kids at Nambé. As soon as I get a copy of the book, I will be back with a full review.


Saturday, March 09, 2019

Recommended! AJIJAAK/CRANE by Cecilia Rose LaPointe; illustrations by Dolly Peltier; translation by Margaret Noodin

In 2018, Ajijaak/Crane was published by Waub Ajijaak Press, in Manistee, Michigan. Written by Cecilia Rose LaPointe, illustrated by Dolly Peltier, and translated into Anishinaabe by Margaret Noodin, it is one I am pleased to recommend.


The story opens with Crane standing beside a marsh. Crane flies over the land and sees a mole, a red squirrel, a chipmunk, a robin, a crow, a painted turtle, and a dragonfly. They are digging, collecting and harvesting things.

One day, Crane flies to the nearby creek, but there are no salmon in it because a factory polluted the water. All the creatures work together to say Noogishkadaa chi-anokiiwigamig! (Stop the factory!). Soon, the factory closes and the creek begins to heal.

If you do environmental units in your classroom or library Ajijaak is a book you'll want to add to your classroom library! The story, the art, and the language work together--much like the creatures did--to get important messages across about the need for everybody to speak up about pollution and its effect on life.

I especially like that you can listen to the story, in Ojibwe, at Ojibwe.net. Head over and give a listen! And order a copy of the book from the publisher.

Are you planning to do a Land Acknowledgement?

This post on Land Acknowledgements is long over-due. I promised to do it last year, but one thing after another meant I put it off. This morning (Saturday, March 9, 2019) I did a twitter thread about land acknowledgements, and am pasting that thread here. There's more to say, but I hope this is helpful. 




1) More and more I am seeing people in the US talk about doing a Land Acknowledgement at their meeting, conference, or event.

2) If you're wondering what a Land Acknowledgement is, it is opening remarks that say the land that the event is on is (or was) the homeland of a specific Native Nation. It is meant to create awareness.

3) At first glance, cool, right? Progressive-minded, right? They have a lot of appeal, for sure. But... that is where they can go wrong.

4) I've seen scripts that people write that a presenter/speaker can use. The use of it is well-meaning, but we all know about good intentions, right?

5) If you do one because you think you should, but that's as far as you go with it in your own thinking or what you impart to others, you're just doing it as a box-checked sort of thing that is no good.

6) If you're not mindful of what you are doing, then, you are turning a land acknowledgement into a token. It becomes an empty gesture to "honor" Native people. It becomes this century's mascot.

7) Listen to Hayden King's 'I regret it' about his reflections on a land acknowledgement he helped draft at his university. He makes many excellent points. Listen and share it! He's Anishinaabe.

8) If you're going to do one, you gotta do some research! If, for example, you are in Oklahoma, you might want to acknowledge one of the 39 tribal nations there today, but you know (right?) that many of them are there because of the Indian Removal Act.

9) How might you incorporate that history into your acknowledgement?

10) Find out what the nation(s) you are naming in your acknowledgement are doing, today. Tell your audience about it. Tell them how they can support that nation's work. See? That means you have to do some research so your Land Acknowledgement is meaningful.

11) Annoying fact: lot of people think children's literature is not worthy of the same kind of study that English departments give to bks for the adult market. But you know that people want their kids to read! In your Land Acknowledgement, recommend a book by a Native writer!

12) I've got links to lists of books by Native writers, here: Best Books I'd love to see ppl who do Land Acknowledgements in California say "hey everybody, ISLAND OF THE BLUE DOLPHINS is not a good book." Because it isn't.

13) And, I'd love to see people in California who are doing Land Acknowledgements say "hey everybody, let's look critically at the mission projects teachers are doing..." Start by reading Teaching the Truth about California Missions.

14) And, wouldn't it be terrific if Land Acknowledgements in California and Alaska and Georgia included "let's think about the impact the gold rush had on Indigenous people..."

15) In other words: do some work before doing a Land Acknowledgement. Make it meaningful. Give your audience a task.

16) And when you speak those words... don't do it in a somber tone. You're not in church! When you're teaching, you don't speak in a reverent, prayer like way. Don't do it for a Land Acknowledgement, either.

17) By this point in this thread, some of you are wondering what to do. How, you might wonder, can you 'get it right' (or close to right)?

18) Most of you have a lifetime of unlearning to do. Some of you have a family story about a Native ancestor and you think that puts you in a place to say this or that about an issue, but if you don't know more than just "Native ancestor", you're probably relying on stereotypes.

19) Some of you might have taken a DNA test and in your head and heart, think that validates your family story, but it doesn't. To understand why it doesn't, read Kim Tallbear's work. Start with her article, 'There is no DNA test to prove you're Native American' Get her book, too. And follow her on Twitter.

20) Most of the mainstream media does a terrible job reporting on Native issues. They can flail about as they've done for hundreds of years, or they can take a look at the resources developed by the Native American Journalists Association.

21) There are resources available from the American Indian Library Association, too:

22) Do you listen to podcasts as you drive, walk, or exercise? Subscribe to All My Relations: And Media Indigena.

23) And give a listen to Henceforward.

24) One issue you could address in your land acknowledgement is mascots. There are far more than you may know. Zoom in on this interactive map.



25) And if you want to incorporate something about why mascots are unacceptable, start by reading Stephanie Fryberg's research.

26) Get a copy of Daniel Heath Justice's WHY INDIGENOUS LITERATURES MATTER. It doesn't matter what YOU teach... we all read, buy, and share books... Daniel's book will help you a lot.







That's it for now...

---Back to add one more tweet---

28) This is a great resource for doing land acknowledgements. Make sure you read the articles there, and take a look at the teacher's guide, too! Here's the link that will take you right to the map. Read the disclaimer that pops up when you go to the map.