ANPAO by Jamake Highwater

Friday (April 8, 2016), I used Skype to give a long-distance talk for the Spotlight on Books conference in Minnesota. In the Q&A, I was asked about Jamake Highwater's Anpao. I've mentioned that book in many talks but have not yet done a stand-alone post here. Yesterday's question prompts me to finally do it.

Anpao came out in 1977. It won a Newbery Honor in 1978. The book was published in one of the many eras in which US society realizes its body of literature is too white. Update on May 31, 2019: Here are the book covers. As far as I've been able to determine, the one on the left is the original, with cover and interior art by Fritz Scholder. In the center is the cover from Scholastic's 1991 printing; on the right is the Harper Trophy cover in 1992.

Anpao was put forth as the work of a Native man, but "Jamake Highwater" was a pen name for a man named Jack Marks. He was not Native but for many years, he was receiving large grants intended for projects developed by Native people, including some by the Corporation for Public Broadcasting

In 1983 Akwesasne Notes published an article by Highwater, in which he talked about being treated as a "second class Indian" because he had mixed heritage. Seeing that article, Hank Adams began meticulous research on him. Adams, Vine Deloria Jr., and Suzan Harjo worked together to get an expose published the following year, in Akwesasne Notes. 

Does it matter that Highwater was not Native (he is deceased)? I think it does. In school, teachers often assign Author Studies--in which students are asked to read other items the author has done, study the works individually and as a whole, and see what sort of observations they may make in changes in an author's work over time. In most of the items I see about "Jamake Highwater," I don't see anything (in materials for children/teens) that includes the fact that he was not Native. They take his writing, then, as the writing of a Native person.

That leads me to Anpao as a work of literature. Can it be used to teach children or young adults about Native people?

My answer: no.

In the author's note, Marks/Highwater tells us that the character, Anpao, is a "central Indian hero" created by him from stories from Plains and Southwest peoples. I'm from one of those nations of the southwest. In one way after another, we're different from the Plains peoples. Just what did Marks/Highwater do to create this character? What did he take from the Plains, versus the Southwest peoples to make this "central Indian hero"?

As he travels, Anpao tells stories. But as he tells them, they are presented as if they belong to Anpao, this "central Indian hero." Everything, if we go along with the story, belongs to, and/or comes from, Anpao, the "central Indian hero." That, ironically, is precisely what the author did in creating this "Jamake Highwater" identity. He took from others, and called what he took, his own. That appropriation is a pattern in his work.

In Native American Representations, First Encounters, Distorted Images, and Literary Appropriations (Bataille, 2001), Kathryn Shanley (a professor in Native American Studies at the University of Montana) analyzed one of his other books (The Primal Mind), and writes that Highwater (p. 38):

"felt he could take license with archived materials and claim the experiences contained in them as if they originate from his own personal knowledge and insight."

Shanley goes on to discuss that so many were duped by Highwater because he spoke in ways that met their expectations of what and how a Native person would be. In that expectation--driven by stereotypical and romantic ideas of who we are--Native people who do not speak in that way are seen as "not Indian." Anpao was published in 1977, but now--39 years later--Native writers are still faced with that sort of rejection of their work.

That is the status quo! Books with mystical Indians--like the grandmother in Emily Henry's The Love That Split the World--are scooped up by major publishers.

That has to change. Everyone in children's literature has a responsibility to work towards that change. In the Summer 2015 issue of Children and Librarians, Kathleen T. Horning included Highwater's fraud in her article, "Milestones for Diversity in Literature and Library Services." I hope you do your part.


For further reading:
Fool's Gold: The Story of Jamake Highwater, the Fake Indian Who Won't Die by Alex Jacobs, in Indian Country Today Media Network
Around the Campfire: Fake Indians by Dean Chavers, in Native Times. 
An Open Letter to the Los Angeles Times and the Washington Post by Hank Adams

Librarians launch blog: READING WHILE WHITE

Yesterday (September 15, 2015), a new blog was launched. Titled Reading While White, its contributors are--as the blog title indicates--white. The contributors are librarians who I know personally and professionally.

The most recent issue of Children and Libraries (Summer 2015), has articles by two of the contributors. Kathleen T. Horning's "Milestones for Diversity in Literature and Library Services" is a timeline of significant events in children's literature but it is loaded with information. She noted, for example, that in 1984, Jamake Highwater was exposed as a fraud. She referenced Akwesasne Notes, a source that most people in children's literature weren't reading at the time. It points to the depth of her commitment to diversity. She's at the Cooperative Children's Book Center at the University of Wisconsin, Madison.

Allie Jane Bruce's article is "On Being White: A Raw, Honest Conversation." In it, she shares a personal story about how, over time, she became fully aware of her identity and a societal reluctance to talk about whiteness. Avoiding that discussion, she writes, lets racism be "other people's problem." She wrote Why a White Blog?, which is the first post at Reading While White. It is provocative and engaging, too. Yesterday as I read through Twitter, I saw that many people excerpted parts of her post as they shared news about the blog. She's at Bank Street College in New York City where she's done some outstanding work with children, teaching them to read critically. See her recent post, Rewriting History: American Indians, Europeans, and an Oak Tree.

Something both women and I share is a commitment to children. My article in the summer issue of Children and Libraries is the Last Word column. I wrote about my niece's baby, her names (one is her Tewa name, the language we speak at Nambe), and children's books I want her to have.

I look forward to reading Reading While White. Because it is written by librarians, I think librarians will be especially interested in what is shared there.