Highly Recommended: I'M FINDING MY TALK, by Rebecca Thomas, illustrated by Pauline Young

HIGHLY RECOMMENDED

I'm Finding My Talk

by Rebecca Thomas (Mi'kmaw)

Illustrations by Pauline Young

Published in 2019

Publisher: Nimbus Publishing

Reviewer: Debbie Reese

Review Status: Highly Recommended

****

A reader wrote to ask me about I'm Finding My Talk. I did not know about the book prior to being asked about it. I was able to get a copy and deeply touched by it. The author's father was in a residential school in Canada. Because of his experience at the school, he was not able to teach Thomas about their language or culture. In the US those schools -- designed to 'kill the Indian and save the man' -- are called boarding schools. 

When I started reading it, I saw that Nimbus (the publisher) dedicated it to Gregory Younging. He was a leading figure in publishing of Native people in Canada. He was Cree. I saw that Thomas dedicated it to her father. So did Young. Her "I will do my best, Dad" embody so much of the emotion and tenacity Native people in the US and Canada carry as we move forward on our homelands. We work to preserve what we have and we work to recover what was taken from us.

Here's the words Thomas gives us on the first page: 

I'm finding my talk.

The one I never had.

The one that the schools

Took away from my dad.

Young's illustration shows us Thomas's father, eyes closed and head down as he stands in front of the residential school he was at when his talk was taken from him. Together, Thomas's words and Young's illustrations give us facts. 

I deeply appreciate the page because these facts are often rendered in overly dramatic ways that take the dignity from the persons being depicted. That dignified presentation continues throughout the book. We see Thomas learning words and getting to know people in her family and community, and their cultural ways. 

This picture book is outstanding. It leaves room for readers to see, and to come to understandings of what those schools did to Native people. Because it is a picture book, some may think it belongs in an elementary school classroom, but I encourage you to read and talk about it in classrooms at every grade level. It touches me, personally. Our cultural ways were always part of me but language? Not so much. My parents were at boarding school. So--Thomas is speaking to any Native people who are learning their language, and she's speaking to non-Native people who don't know about residential or boarding schools. 

In interviews, Thomas tells us that she read Rita Joe's poem (also a book illustrated by Young), I Lost My Talk and was inspired to write I'm Finding My Talk. I'll look for Rita Joe's book and review it here. In the meantime I'll be thinking about this book as I go through my day. 

Recommended! Wilgyigyet: Learn the Colors in Sm'algyax

Wilgyigyet: Learn the Colors in Sm'algyax

Compiled by the Haayk Foundation

Illustrated by Huk Yuunsk (David Lang)

Publisher: Sealaska Heritage

Published in 2019

Reviewer: Debbie Reese

Review Status: Recommended

Wilgyigyet: Learn the Colors in Sm'algyax is a board book which suggests it is meant for toddlers, but because it teaches color words in Sm'algyax (the Tsimshian language) anybody can use it! Course, you want to hear the words spoken, too, and you can do that with this video:

This gorgeous board book is part of the Baby Raven Reads, a culturally responsive kindergarten readiness program. The tribally specific art is stunning, and I can imagine Native peoples across the continent creating similar books.

Sealaska's website has great materials. Take a look, for example, at Practicing Our Values, which is a blog post about what we can do, now that Coronavirus is impacting our lives.  Get some of the books at the site, or... some of the clothing items! The scarves are especially spectacular.

Highly Recommended: The Forever Sky by Thomas Peacock

The Forever Sky

Written by Thomas Peacock
Illustrated by Annette S. Lee
Publisher: Minnesota Historical Society Press
Published in 2019
Reviewer: Jean Mendoza
Review Status: Highly Recommended

My husband Durango is an artist and writer, and I value his reactions to the children's books Debbie and I study. He isn't always drawn to what's in my Books to Review pile. But when The Forever Sky was delivered during our first day of "shelter in place", I invited him to look it over.  When he finished, he asked, "What age is this for?" I said, "I think it could be for older kids, but they're saying ages 3-7." "How about 74?" he asked. (He's 74).

That sounds right to me. The central idea of The Forever Sky has emotional impact across generations, though the vocabulary and plot are not complex. The book touches on familial love, loss and healing, imagination, and how humans tell stories that make sense of the world, all in the context of Indigenous (Ojibwe) knowledge and perspective.

The text by Thomas Peacock (Fond du Lac Band of Lake Superior Anishinaabe Ojibwe) would stand on its own, but the paintings by Annette S. Lee (Lakota-Sioux) add considerable depth and nuance. Example: The end papers (front and back) consist of a two-page spread showing two small, shadowy figures seated on a blue-gray rectangle at bottom, slightly off-center. They are surrounded by swirls of deep night-time blues and greens that are freckled with white dots that might be stars or fireflies, or some of each. The same painting is the basis for the title page, and it appears again at the end of the book, as background for the brief glossary.

Two figures wearing shorts and tee shirts appear on the pages of dedications and publishing information. The first page of the story shows the same figures lying on a blanket, pointing at the sky. They are young Ojibwe brothers, Niigaanii and Bineshiinh. They miss Nooko, their grandmother, who died recently. Throughout the book, the boys return to the meadow to watch the ever-changing night sky. Niigaanii, the older boy, tells his little brother Ojibwe stories their uncle has shared with him about the sky and the stars. Their uncle has said that Nooko's spirit is in the stars. So are all those who have passed on. In the northern lights, they are dancing together. Finally, one night, something happens that helps ease some of the boys' grief. This is a story of serious matters, yet it conveys hope and healing.

Not many artists are astrophysicists in the rest of their lives. What Annette Lee knows about the sky is evident in The Forever Sky, as well as in her web gallery. She also collaborated on some tribally-specific resources including the Ojibwe Sky Star Map - Constellation Guide (2014) and D(L)akota Sky Star Map - Constellation Guide (2014). Some of those constellations appear in The Forever Sky. Clearly, "Western" science is only one lens on what's overhead.

"The sky is so big it goes on forever," Niigaanii says. "That is why we call it Gaagige Giizhig, the Forever Sky."

I'd love to share this book with kids, and hear their ideas about what's going on in each of the pictures. Are the brothers present in every illustration? Do any of the constellations show up more than once? What does the artist do to depict Niigaanii, Bineshiinh, and their parents and uncle, at the end of the story?  Every page holds mystery, like the night sky, in keeping with the gravity of Peacock's subject matter.

Especially important, I think, is how the author anchors the boys' experience in the cycles that are part of Ojibwe life. Niigaanii tells Bineshiinh that they need to know the stories their uncle tells, "So when we are uncles we can teach our nieces and nephews." "So they will teach their nieces and nephews," his brother adds. And so "the stories will go on forever," Niigaani says.

Readers may notice that some illustrations depict the boys in shorts and tee shirts, but in others they seem to be dressed as if for a ceremony. Perhaps this shows that time is passing -- not just astronomical time but the calendar of an Ojibwe community's traditional events. Or perhaps some of those figures are not the boys and their uncle at all, but past and future relatives, telling and hearing the stories across generations.

The night sky has always given humanity a focus for its most challenging questions. The Forever Sky foregrounds some of those, from an Ojibwe perspective. What is the meaning of all that darkness, those many lights that brighten it? What happens when a person dies? Given that individual life on earth is finite, what role does a person, a child for example, have in the continuity of their community's ideas about the world? Peacock has addressed Ojibwe attitudes about disabilities in at least two of his other books, and he presents another facet of those in The Forever Sky.

As I wrapped up this review, I started reading the Ojibwe Sky Star Map Constellation Guide, mentioned earlier, which Annette S. Lee was involved with as first author (image below right).

This passage from its first page echoed what she and Thomas Peacock have created in The Forever Sky:

....Native star knowledge is disappearing as elders pass. One Ojibwe elder spoke of his vision of "the star medicine returning through the native youth." He specifically called them "star readers."

It struck me that Niigaanii and the uncle are some of those "star readers." Though I was already appreciative of what Peacock and Lee have done, my understanding of it has been deepened by the star map/constellation guide.

If you're among the many who can't leave home now because of COVID-19, this may be a good time to get more familiar with the night sky, and to do so with the children in your life, if you can.  Reading The Forever Sky together may be a way to start. And a book like the Ojibwe Sky Star Map Constellation Guide can add even greater depth to your night-sky experience.

Hear an archived interview with Thomas Peacock on Native America Calling. It's really good. Kirkus gave The Forever Sky a starred review, and Debbie and I include it on AICL's Best Books of 2019. Thomas Peacock also wrote The Dancer, which is also on our Best Books of 2019 list, and which Debbie mentions in her post about social distance powwow books.

Edited on 4/11 to add: On Monday, April 20, 3:00 pm, the Minnesota Historical Society Press will post a video of Thomas Peacock reading The Forever Sky aloud here. And see MHSP's The Forever Sky web page to link to coloring pages based on Annette Lee's illustrations.

Not Recommended: JUST LUCKY by Melanie Florence

Note from Debbie: there is sexual abuse and self-harm in the book and in my review that you may have difficulty reading.  

Just Lucky

Written by Melanie Florence

Published in 2019

Publisher: Second Story Press

Reviewer: Debbie Reese

Review Status: Not Recommended

****

Just Lucky by Melanie Florence came out in 2019 from Second Story Press. I read the book a few days ago, tweeting thoughts/summary as I read it (scroll down; I pasted the entire thread, for your reference).

I do not recommend Just Lucky. I find it deeply troubling and wonder why Second Story accepted and published it. The entire story feels shallow as it skitters from one horrific episode to the next before an all-too-quick happy ending, and one harmful depiction after another.

There is absolutely nothing in the book to help readers understand anti-Native attitudes that pervade Canadian and American society. Instead, we are invited to gasp at and condemn, for example, Lucky's mother who is an addict.

Today (Friday, March 6) I read The Guardian article on Oprah Winfrey's response to writers who objected to her decision to feature American Dirt in her book club. The article includes a powerful passage from a letter to Winfrey, written by 142 writers, that applies to Just Lucky. The writers said that the novel's treatment of migration, and Mexican life and culture, is

...exploitative, oversimplified, and ill-informed, too often erring on the side of trauma fetishisation and sensationalism...

That is precisely what Just Lucky does. It is exploitative and oversimplified. And in some places, it is literally sadistic. I'm thinking in particular of the scene where a foster father climbs into bed with 15-year-old Lucky and when she jumps out of the bed, follows her, rubbing himself as he approaches her.

Given the realities of Native children in foster care, Just Lucky strikes me as cruel. Who did Florence imagine as her audience for this book?

Just Lucky is laced with stereotypes that affirm and ensure the further mistreatment of Native children, families, communities, and nations. Many Native children who read this book will feel assaulted over and over by the story Florence created. Again: who is this book for? And what will it do to shape how people think about Native children?

At the top of this review, you see a red X on the book cover. I use those for books that I find especially horrific. To read more on that red X, see The Red X on Book Covers.

Saying again, I do not recommend 

Melanie Florence's Just Lucky. 

I invite you to share your thoughts (you can write to me directly or submit a comment).

****

Twitter thread I created as I read Just Lucky the week of March 2, 2020.

Melanie Florence's JUST LUCKY. Florence's JUST LUCKY is from Second Story Press, and came out in 2019. Florence has many books out. I've read a few of them and found them terribly lacking. Details here: (…ansinchildrensliterature.blogspot.com/search?q=melan…)

But, her books keep getting published. Why? I think it is because they appeal to a white expectation of who Native people are. Many of those expectations are shaped by derogatory stereotypes. Florence seems to trade on that, which is very harmful. 

DANG.

That derogatory depiction is in the second paragraph of the first page of JUST LUCKY.

Lucky is the name of the main character. She lives with her grandparents because her mom left her (as a baby) in the casino by a slot machine when she went outside to smoke crack. 

When the story opens, Lucky has been living with her grandparents for 15 years. She tells us her grandparents were "long done with their own parenting" and didn't give a second thought to "care and feeding of another kid."

To me that sounds like a White voice. 

Lucky has only seen her mother a couple of times in those 15 years. Certainly, a girl would have strong emotions about all of this but "I'm not even sure I could pick her out of a police lineup at this point" and thinking she WILL do that someday... it feels off, too. 

It is extreme... It is .... melodramatic. Yeah! That's it. In tone, this first chapter echoes what I saw in Florence's other books. 

Florence's writings about Native people are not without consequence. Rather than push back on derogatory images, she's feeding them. If you're reading tweets or news articles about #wetsuwetan, you know Canadians are using derogatory language about Native peoples. 

Still in chapter one, Lucky is trying to write an essay that is supposed to be autobiographical. She thinks about how her family isn't "normal."

Where does Lucky's family live? As I read on, will I learn that they're part of a Native community? Right now it seems, not. Now in chapter 3. Lucky's grandfather brought some books home for her from a used bookstore. One of them is GONE WITH THE WIND.

Anytime I see someone referencing GONE WITH THE WIND in a kid or YA book, I wait to see if they push back on its racism. Will Florence do that? 

Why drop that title into a story, as if it is just fine? FFS. Imagine a Black child reading this book. What does that child do when they come to this page and see this loving grandfather giving his granddaughter GONE WITH THE WIND?! 

WHY is that title in there? What purpose does it serve? Was/is Florence oblivious to its harm? And her editors at @_secondstory, too? Did they not notice that? 

Now in chapter 20 (chapters are very short). In previous chapters, we learn that her best friend Ryan was punched in the face by his father when he came out, that her grandmother's forgetfulness is serious, then, her grandfather dies.

When her grandmother forgets she's put something on the stove, there's a fire. She's ok but children's services gets involved and asks Lucky to call her mother because Lucky can't make decisions (she's a minor) about her grandmother's needs. 

Lucky calls her mom, Christina. 15 years have passed. I am wondering about the back story for Christina and her parents. What did they do? Kick her out of their lives? No mention of her parents (Lucky's grandparents) wondering how she is...

When Christina arrives at the hospital, Lucky notices her physical appearance (stiletto heels; short skirt; bleached hair; lots of make-up; ragged fingernails). She wants money to take care of her mom and daughter. Children's Aid person and doc are shocked at her ask. 

This scene... again, full of melodrama. 

Lucky gets placed in a foster home with a white Christian family that homeschools their son (he's an only child). The father leers at Lucky's breasts. Lucky and the son (Bobby) share an interest in comic bks. The mother warns Lucky not to lead Bobby into sin. 

Ch 28 is titled "An Unwelcome Visitor." Lucky is dreaming and thinks a spider is in her hair but it is Robert (the father) with his fingers entwined in her hair. She moves away from him; he gets into bed with her.

That scene feels gratuitous. Lucky leaps out of the bed; Robert follows her, "rubbing himself through the thin material."

Of course, things like that happen but for a Native person who has gone thru or knows someone who has gone through something like this, it seems callous. After he leaves she can't sleep. She goes to the bathroom and using scissors, cuts her hair off. Then she goes to the kitchen and gets a sharp knife to keep under her pillow. Then she falls asleep. 

Next day, she shaves her head with an electric razor she borrows from Bobby.

Remember: Bobby is 15, too. Why does he have an electric razor?

That night, Robert is back in Lucky's room, drunk. She raises the knife under her pillow, to his Adam's apple. 

She tells Robert that her grandfather taught her how to use a knife and that she can gut a trout in 60 seconds, and "I doubt you'd take much longer." He leaves.

I don't know what to make of that scene. This feels, over and over, like an outline. No depth. Just high points. 

The next morning, the mother confronts Lucky, telling her that Robert told her that Lucky had threatened him with a knife and demanded money, that she's "evil" and that she "won't have evil in my house." Lucky replies that evil was in the house before she arrived. 

I am realizing at this point that in addition to the gratuitous melodramatic scenes all thru the bk, the way that Lucky speaks doesn't ring true. She sounds tough/hard but her 15 yrs w/ her grandparents weren't harsh ones. So, her words don't fit w/ the loving grandparents. 

Another realization is that I'm nearly halfway thru the book, and it doesn't FEEL like a Native character. Any markers or values that would be from a Native home/community... they're not evident in character/story development, words, action, etc. 

As such, it feels like a lot of books by Native writers who tack on a Native identity for a character but leave it at that. 

Lucky has to leave that foster home (the Wilson's). Bobby tells her he knows his mother is covering for his father but he can't speak up because nobody will believe him.

Cynthia (social worker) goes to get Lucky, rips into her, insisting that the Wilson's are a good family. Error in tweet 27!

I meant to say that non-Native writers tack on the name of a tribal nation for a characters identity, but then never do anything else with it. That's decoration, superficial, wrong. 

As the social worker drives, she starts to listen to Lucky and says she'll investigate, and that Lucky's grandmother is now in a facility for people with dementia and Alzheimer's. 

Lucky is furious that she wasn't told about the move. Social worker hands her a paper w/ name of the facility: "Sunset Seniors." Lucky replies w/ some snarky jokes about the name of the facility. 

That snark (again) is jarring and is another instance in which the ways that Lucky speaks doesn't fit with that happy go lucky, warm childhood she's had with her grandparents up till now. 

Lucky is placed in a new foster home; husband/wife are nice and have 2 boys near Lucky's age that they are also fostering. Interactions much warmer than the first home Lucky was in (fundamentalist Christian/pedophile). At her new school, she meets a bunch of kids at lunch. 

The two foster boys, Charlie & Jake, show her around. Kids are friendly but most girls, including a redhead named Elyse, are not. Elyse seems jealous that Jake sat with Lucky instead of her. When Jake and Lucky get up for next class, Lucky is sure Elyse calls her a whore. 

She thinks about responding but remembers her grandfather saying "Don't ever let anyone tell you you're not enough, Lucky. You come from a long line of strong Indigenous people. Do them proud."

That seems an odd thought for her to have, then. 

Even if Elyse said "Indian whore" it wouldn't make sense, because Lucky's thought is abt not being "enough." It would only make sense if Elyse had said "half-breed whore."

What I am getting at is that I don't know enough about Lucky to understand why she would feel "not enough." The author (Florence) hasn't given us enough for Lucky's thought/her grandfather's words, to make sense at this particular moment in the story. 

The theater dept is doing a play. Jake plans to try out; so does Elyse; Jake wants Lucky to try out, too. She doesn't want to but he pressures her into reading with him when he tries out. Everybody--except Elyse and her friends--are impressed by her reading. 

When she's at her locker, she's surrounded by Elyse & her group. Elyse tells Lucky to leave Jake alone and not to walk around in her underwear (she knows Lucky lives in the same foster home as Jake). Lucky tries to leave but Elyse stops her, calling her a "nasty little slut."

In reply to Lucky's 'what did you say' Elyse says "Are you going to go all 'war party' on us?" and starts to whoop and dance around Lucky. Elyse's friends do it, too.

Lucky punches Elyse in the face and then stomach, knocking her down. Lucky is the one in trouble. 

As Lucky is led away by a teacher, Elyse says "What do you expect from someone like her? She's trash." One of the others says "Indian trash."

Several times up to this pt, Lucky has characterized these girls as hostile. As noted in an earlier tweet in this thread, it doesn't feel like there's enough story IN the story so far for this "hostile" characterization or this stereotypical anti-Native scene to make sense. 

Sarah (the new foster mom) is called to school because the initial plan is to expel Lucky, but Sarah listens to Lucky's account, believes her, and persuades principal to give her another chance. 

In ch 43 Lucky talks abt how her grandparents would be ashamed that she got into this fight, but, that she "never had much patience for racist pieces of garbage like Elyse."

As noted before, I'm having a hard time reconciling the things Lucky says/does with the happy home she had with her grandparents for 15 yrs. Overnight (literally), she's got an intense attitude and ready to fight in an instant, several times. 

Jake is in the play; Charlie and Lucky make sets for it. One day as Charlie and Lucky are ready to leave, Elyse appears and implies they are involved. Her tone reminds Lucky of the Wicked Witch; Lucky thinks of her as the witch and her friends as flying monkeys. 

That reference--to the Wizard of Oz--strikes me as odd.

Maybe Florence (the author) is not aware that L. Frank Baum wrote editorials calling for the extermination of Native people. It reminds me of that earlier chapter when Lucky's grandfather gives her GONE WITH THE WIND. 

In neither instance do we see Florence pushing back on either writer or book. Does she not realize that they are problematic? Who was her editor? Did that person not know? Or ... did they discuss these? Will this get resolved in later chapters? 

Elyse starts in on Charlie's identity, telling Lucky "You got yourself a little Mexican boy to play with."

Charlie yells "I'm Dominican!"

Elyse replies "Dominican, Mexican. Who cares? They're both brown. Why don't you just go back to wherever it is that you came from?"

That scene is more of the melodrama I noted in earlier scenes. These scenes are needlessly full of hurtful content.

Things like that get said, today, in the US and Canada, but as written, they seem to revel in the hurt. There's little regard for readers. 

Charlie starts yelling at Elyse, in Spanish. Elyse tells him he can do better than an Indian whore, spits at Lucky and tells her nobody wants her "worthless ass" and that's why she's in foster care. And, she says...

"You're nothing. An Indian whore who has nothing to offer except what's between your legs."

Come on, @_secondstory... part of what you try to do is provide books for Native readers. This book assaults Native readers! 

We (readers) are supposed to know that Elyse is mean, racist, etc. but it is a failure of the writer to inflict hurt in the ways that Florence does. It does not feel to me like she cares about a Native reader. 

Furious, Lucky throws a punch at Elyse but just at the last second Charlie steps between the two girls. The punch knocks him to the pavement where he hits his head, hard. Elyse and friends saunter away, ambulance is called, Charlie has a concussion. 

Lucky imagines that she's killed him, that he'll have brain damage.

Doctors say he'll be ok.

School is expelling Lucky again, so she has to go to another foster home. 

That third foster home is good but the father is being transferred to another location, so, Lucky has to go to another home. This one has several girls near her age in it; Lucky is burned out from trying to make things work at the other foster homes. 

In the morning she puts on one of the sweaters her grandmother had knitted for her. When she initially packed clothes she packed the sweaters, even though they were small. This one is tight. Mia (one of the other girls) says it is a "slutty sweater."

The mom (Janine) works at the school. By the time they get to school and are by the school office, Lucky shoves Mia and gets ready to hit her but Janine stops her and then tells Lucky info from her file that is, to Lucky's surprise, accurate. 

All through her stays in these foster homes, Lucky has visited her grandmother in the senior facility she's in for Alzheimers. Sometimes she recognizes Lucky; sometimes not. To visit her this time, Lucky took $5 from Janine's purse, thinking she'll pay her back later. 

When Lucky gets back that night, Janine is waiting and Lucky expects her to accuse Lucky of stealing and that the social worker is coming to get her but instead, Janine hugs her, saying she was worried about her. Lucky tells her about taking the money. 

But Janine tells her she'll drive her next time. When she goes to her room she sees that Janine left a book for her on the nightstand. The book is Stephen King's THE SHINING.

Again... odd choice, given the Indians in it...

At breakfast next day Janine makes pancakes. The syrup reminds Lucky of maple butter, so she tells them about putting maple butter on bannock. Mia asks what bannock is and--finally! We read a specific tribal name! I'm rdg a Kindle copy and am at Location 2175 of 2367. 

Lucky tells them "It's a kind of bread... we're Cree. My grandparents and I."

Janine suggests Lucky teach them; Mia says she doesn't like Indian food. Lucky thinks Mia is racist. 

As days pass, Janine continues to make Lucky feel welcome. Lucky holds on to hope that her grandmother will get better and that they'll return to their home, but on one visit, her grandmother tells her that isn't going to happen and that she's put their house on the market. 

She gonna put the money from the sale into an account for Lucky to go to college and is updating her will so that Lucky's mother can't get at any of it. In the car, Lucky cries and Janine comforts her.

At Janine's, Mia continues to harass Lucky. 

One day Mia asks Lucky if she likes "showing off your tits" and Lucky ignores her. Mia asks "Are all Indians deaf or just you? Or maybe you're stupid? Is that it?" Lucky clenches her fists. Mia says "Give it your best shot. I've fought girls more savage than you, Pocahontas."

As I noted earlier in the thread, these conflict scenes feel gratuitous and Florence (the author) seems oblivious to how they might impact a Native reader. 

There's warmth in ch 66 when Janine brings Lucky's grandmother, Jake & Charlie and Lucy (from previous foster homes) over for Lucky's birthday. Mia had watched Lucky make bannock and has made some for the party. 

Ryan is there, too (Lucky has stayed in touch with him throughout the book). There are thoughtful gifts; Lucky feels that this is finally like home. The story ends with her blowing out the birthday cake candles.

Recommended: "Grace" and "Homecoming" by Darcie Little Badger in TAKE THE MIC

"Grace" and "Homecoming" 

Written by Dr. Darcie Little Badger

Published in 2019 in Take the Mic

Publisher: Arthur A. Levine Books (Scholastic)

Reviewed by Debbie Reese

Status: Recommended

****

Dr. Darcie Little Badger has two stories in Take the Mic: Fictional Stories of Everyday Resistance. In the final pages of the book you can read a little about her. I follow her on Twitter (@ShiningComic) and it has been terrific reading her tweets as she's made her way to that PhD in Oceanography from Texas A&M. 

Edited by Bethany Morrow, Take the Mic: Fictional Stories of Everyday Resistance came out in 2019 from Scholastic. Here's the description:

You might be the kind of person who stands up to online trolls.Or who marches to protest injustice. 

Perhaps you are #DisabledAndCute and dancing around your living room, alive and proud. 

Or perhaps you are the trans mentor that you wish you had when you were younger. 

Maybe you call out false allies, or stand up to loved ones. 

Maybe you speak your truth and drop the mic, or maybe you take it with you when you leave. 

This anthology features fictional stories--in poems, prose, and art--that reflect a slice of the varied and limitless ways that readers like you resist every day. Take the Mic's powerful collection of stories features work by literary luminaries and emerging talent alike, including Newbery-winner Jason Reynolds, New York Times bestseller Samira Ahmed, anthologist and contributor Bethany C. Morrow, Darcie Little Badger, Keah Brown, Laura Silverman, L.D. Lewis, Sofia Quintero, Ray Stoeve, Yamile Mendez, and Connie Sun, with cover and interior art by Richie Pope.

The first and last story in the book are Darcie's. The first one is "Grace" and the last is "Homecoming." In her introduction, Bethany wrote that the resistance in "Grace" is an Indigenous girl who doesn't stand for unwanted physical advances. That does happen in the story and I love how it is done. As an Indigenous person, I see several other acts of resistance in Darcie's stories.

"I'm Lipan Apache" is one. With those three words in the story, Grace is pushing back on the notion that Native peoples are monolithic. Another misguided notion is that Native peoples live on reservations. In fact, some of us do and some of us don't. Some are on our reservations sometime, but not all the time. And some of our nations don't have reservations. Some of us have ancestral land that isn't reservation land, that we return to periodically. That theme in "Grace" is embodied by her account of where she's lived, where she's living when the story takes place, and where she's going to live.

Turning now to "Homecoming," Grace, her mom, and her mama are home, on the ancestral lands of the Lipan Apache people. Summer is over; it is the first day of school. Grace is doing that thing that many teens do: going through her closet trying to decide what to wear. She settles on a T-shirt with Silver Synapse on it. He's an Apache superhero. Grace got the shirt at Indigenous Comic Con. At school, she's one of the few Native students.

Her mom is driving her to school. When they get there, they see that a protest is taking place in front of the high school. People are carrying signs. On one, Grace sees that it says "BRING BACK OUR BRAVE." Painted on it is a cartoonish and stereotypical image.

Inside the school, Grace heads to her first class and meets a girl named Naomi who, noticing Grace's shirt, thinks Grace is part of the protest. When Grace tells her who Silver Synapse is, Naomi asks if Grace is Native--and then--"how much are you?"

Grace's reply to Naomi is another act of resistance:

"Blood quantum isn't our thing," I said. "My mother is Lipan and I am too." 

Naomi is satisfied with that and doesn't probe further. The two go on to talk about the protesters who want the mascot reinstated. People who don't read Native news, or news stories about mascots, may not know that schools do the right thing and get rid of mascots, but then alums object and mascots get reinstated.

The Jan 11, 2020 issue of The New York Times ran a story about this: Officials Called 'Redmen' a Racist Mascot. Then Voters Weighed In; and see the Timeline in "American Indian Mascots" by Paulette Fairbanks Molin in American Indian Stereotypes in the World of Children edited by Arlene Hirschfelder, Paulette F. Molin, Yvonne Wakim, and Michael A. Dorris.

As "Homecoming" draws to a close, Grace is at a protest. She's scheduled to speak but learns that the event is set up to give "both sides" equal time to respond to an issue. Grace is indignant at that idea--as anybody should be, about issues of social justice. She takes the mic and says:

“Hóóyíí, Shizhách’i’íí ashíí Shitsiłki’ii!” I boomed. “My name is Grace. Like my mama, grandmothers, great-grandmothers, and great-great-grandmothers, I am Lipan Apache. To my Native siblings, mínì’ níáá dààgó̱ó̱t́í!”  

I paused to look every Bring-Back-the-Braves protester in the eye.  

“My humanity,” I continued, “is not up for debate. Xásteyo.”

Those last words are so powerful (Xásteyo means thank you)!

I've read several of Darcie Little Badger's stories and each time, I'm deeply moved by what she writes. I highly recommend "Grace" and "Homecoming."

Not Recommended: National Geographic's ENCYCLOPEDIA OF AMERICAN INDIAN HISTORY AND CULTURE: STORIES, TIME LINES, MAPS, AND MORE

Encyclopedia of American Indian History & Culture: Stories, Time Lines, Maps, and More
Written by Cynthia O'Brien
Published in 2019
Publisher: National Geographic
Reviewed by Debbie Reese
Status: Not Recommended

In late December, I did a series of tweets as I read through National Geographic's Encyclopedia of American Indian History & Culture: Stories, Time Lines, Maps, and More. Those tweets (with minor edits for clarity) are pasted below. I can't use italics on Twitter, so, I use upper case letters for book titles. Generally speaking, caps are used to denote shouting. I've passed the book on to Jean Mendoza. She'll be doing a follow up post. When it is ready I'll come back here and add a link to it. Here's her review: National Geographic's Encyclopedia of American Indian History and Culture, Not Recommended, Part 2

****

Questions about National Geographic's ENCYCLOPEDIA OF AMERICAN INDIAN HISTORY AND CULTURE: STORIES, TIME LINES, MAPS, AND MORE are picking up. This is a thread for notes as I look through it.

A couple of days ago, friend and colleague @readitrealgood tweeted about the use of "history of settlement" in the publisher's note. She thinks--and I agree--that "history of colonization" would be more accurate and honest:

Alia Jones@readitrealgood

 · Dec 17, 2019

Alia Jones@readitrealgood

From the publisher’s note: “We also hope it (the encyclopedia) helps readers to realize the impact that the history of settlement still has on Native peoples today.” I think “history of colonization” is more accurate & honest

44

5:00 PM - Dec 17, 2019

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She noted a problem in captions that do not name the Indigenous person in the photograph:

Alia Jones@readitrealgood

Oh NO!

My initial impression is that things feel surface level. For example some of the photos credit people & others don’t. Like this photo shows the most famous traditional lacrosse stick maker Alfred Jacques but it just says “Onondaga tribal member” in the caption

20

7:14 PM - Dec 17, 2019

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When I got the review copy some weeks ago, I noted a deeply problematic glossary definition of boarding school as "a private school where students live." That isn't an inaccurate definition but it completely inappropriate to have it in a book about Native peoples!

I have concerns about the photos and art used throughout. Here's some artwork that appears on the timeline about the southwest. See the boxes with specific years? None of them tell us what that art is supposed to represent: 

I'm still mulling over what sort of analysis I will do on this book.

What do we expect from an encyclopedia? Some of us know that National Geographic has a problematic history of misrepresentations, biased information, exotic treatments of people... They knew they had problems, and asked a historian to do an analysis of their covers. (nationalgeographic.com/magazine/2018/…)

The book I'm discussing in this thread is an encyclopedia. It 304 pages long. It is meant for kids between 8-12 years old, or 2nd-7th grade. That's a huge span in reading ability. I'm critical of rigid adherence to who can read what, when, etc. but this bk is a bit of a stretch. 

One thing I've talk abt w/ colleagues in publishing/review circles is the use of sepia-toned photos, esp. those by Edward S. Curtis. 

I am pretty sure you've seen his work. It gets used, uncritically, a lot. Ppl assume photos from that period are authentic, but, they aren't. 

Here's an excerpt from a good article about Curtis's body of work: (artsy.net/article/artsy-…)

The Publisher's Note for this encyclopedia takes abt 1/3rd of this page:

As I share photos I take as I look through the bk, I'm sure you'll notice things I did not see. I welcome replies or retweets with comments. Here's a closer look at the Publisher's Note. I put a pencil there for scale so you can see the print size on that page.

That note [bottom of first column] says that "The following terms and notes help provide critical context for readers of this encyclopedia." One of those notes [third column] is about Curtis photos. In essence it is a caution abt the controversial nature of his work.

But, the caution itself is useless because as you page through the book, which of the photos are by Curtis? We have NO WAY TO KNOW. Captions don't tell us. See? This photo is on page 20 on the Ahtna page:

A teacher or librarian wanting to know if it is a controversial photo would look it up in the Photo Credit pages, but... no mention of the photographer there, either. Look in the ARCTIC section to find info on page 20.

Earlier I asked ppl to share their observations of photos I'm pasting in this thread. Here's one from @desmondcwong, about the Publisher's Note on the Métis:

Desmond@desmondcwong

The description of the Métis as people with both Indigenous and European ancestry instead of a distinct sovereign Nation and polity is already inaccurate and harmful. https://twitter.com/debreese/status/1208041890857308160 …

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Circling back to the "Two Ahtna girls" photo, I found it online, here:

In the original photo, you can see the name "Miles Brothers" on the lower left but that info was cropped out of the photo in the encyclopedia. (en.m.wikipedia.org/wiki/File:Two-…)

Do readers assume that all the photos in this book are by Curtis? They aren't, as my search for "Two Ahtna girls" shows. I know that Curtis is not the only photographer who staged photos. Did Miles Brothers do that, too? That last is a question for myself, really, for further research on my own.

The larger point is about how an encyclopedia presents information about photographs, and who took them. Ok... shall I page through and see if I can find a Curtis photo? (Nods to self.)

Finally found a Curtis photo, on page 125. Caption says "Lone Wolf, also known as Guipago, was chief of the Kiowa tribe in the 1860s and 1870s. He led the tribe's warriors in raids against other tribes. He is pictured seated with his wife, Etla."

Here's info about it being a Curtis photo from the Getty file: but the Library of Congress doesn't name the photographer: (I'll keep looking...) (gettyimages.com/detail/news-ph…) (loc.gov/item/201789671…)

In the meantime, I'm paging on thru the book. I've found several black and white or sepia-toned portraits or photos and looked them up. So far, none of them are by Curtis. 

Ok, here's a photo on page 187. The caption (as is the case throughout the book) does not tell us who the photographer is. I found the photo at the Library of Congress. There, it says Curtis is the photographer. (loc.gov/item/97505232/)

To remind you why I'm doing this close look at the photos in this National Geographic encyclopedia: it has a note up front that is a caution about Curtis photos. But none of the photos throughout the 300+ pages are captioned with photographers names. 

As we look at that "Cayuse woman" photo, did Curtis do something to romanticize the woman and her baby? We don't know--and that's a problem for an encyclopedia -- especially one that tells readers to be careful of photos! 

So far in this thread I've focused on photographs because this encyclopedia is full of images. Some are paintings, some are photographs of artifacts, and some are black/white or sepia, or full color photos of Native ppl. 

Kids will hone in on the images on these pages. Those images will carry a lot of weight! This is an encyclopedia. The information provided in captions must be accurate! 

Especially because we all know that most kids who pick it up will already have a lot of biased info about Native peoples, that they were "taught" by someone. 

On page 193 of the encyclopedia is a photo w/caption "Klamath people built round, pole-framed houses in summer, and covered them with mats (pictured). Winter homes were built partly underground." LOC says it is a Curtis photo.

Feedback I've gotten in the thread that I want to add to the thread itself so others can see include:

Randell Baze, a Native librarian (see his Twitter profile @RandellBaze) noted the frequent use of Fancy Dancers on book covers:

Dr. Debbie Reese (tribally enrolled, Nambé Pueblo)

 · Dec 20, 2019

Questions about National Geographic's ENCYCLOPEDIA OF AMERICAN INDIAN HISTORY AND CULTURE: STORIES, TIME LINES, MAPS, AND MORE are picking up. This is a thread for notes as I look through it.

Randell Baze@RandellBaze

Why is there always a Fancy Dancer on books like these?
We don't all dance powwow.

11

11:03 AM - Dec 20, 2019

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Well, that's about all I want to do right now on old photographs. Maybe I'll take a look at images per page, do some counts and see how that looks. I will say this: the book is heavy. My wrists get tired holding it up.

Elsewhere I noted that the white font on yellow background is a design flaw. It is hard to read and I think it would fail a contrast test. 

In my quick count of images in the first section, Arctic and Subarctic, most of the images are photos of an article of clothing. There's 8 photos of items. Next highest count is 7 of what I called unnamed person. They're things like:

"Alutiq girl" in a traditional headdress
A woman w a handdrum; caption says "An Idle No More protest in Toronto..."
"A Gwich'in man" in a wolf mask at Denver March Powwow.
"Yup'ik elder with her grandchildren..."
"An Inuvialuit girl wears a modern-day parka..."
"An elderly James Bay Cree woman prepares a fire..."

In the back, the book includes a list of 10 consultants. I recognize a couple. They do terrific work. I doubt that they saw the glossary definition for boarding school. And I doubt any of those consultants would have said ok to "Spirit Dolls."

The author [of this encyclopedia] is Cynthia O'Brien. 

When I look up her name in WorldCat, I see she's listed as author on Scholastic's BOOK OF WORLD RECORDS, and BEST & BUZZWORTHY 2017, and bks in Crabtree's "Travel with the great explorer's" series. So... no subject experience of her own. 

My guess is that National Geographic wanted to do this book, and so, they hired her to do it.

She isn't Native. Given her lack of subject knowledge, it is no surprise that we get a book that reflects common errors in thought about who we are. Those common errors?

That we are people of the past (so, "history" is in the title).

And, the predominant use of "culture" and "tribe" and little to no use of "nation" or "sovereign nation" to describe us (so, "culture" is in the title). And, that we dance.

The large photo on the cover? A person, dancing.

The double-paged spread for the title page? A person, dancing:

Page 8, with the Publisher's Note? A person, dancing. I shared that page before (to talk about the Curtis photos) but am sharing it again, to look at the "Tribal Sovereignty" information provided.

Sovereignty is at the core of who we are... but that information is sorely lacking in this book. Here, I'm zooming in on the first two columns in that publisher's note:

There's 304 pages in this book. Sovereignty has less than 300 words, and those words are in tiny print in a publisher's note. That's so wrong, @natgeo!

Teachers and librarians who get this book: the emphasis on visual elements of Native existence is a huge problem. 

Who is in charge of the books division at National Geographic? Did they not read the critical analysis of covers of the magazine?! (nationalgeographic.com/magazine/2018/…) 

National Geographic's encyclopedia doesn't use the word "savage" but many images in the book go that route. Consider these two photos of Manuelito, a leader of the Diné (Navajo) ppl. On the left is the one in the book, on the right is the one used by Diné scholar, Dr. Jennifer Denetdale.

The "information" (quotation marks denote my sarcasm) in the encyclopedia about the Navajo Nation doesn't use the word nation, at all. 

It uses tribe and another phrase that gets used to describe Native peoples: "nomadic." 

In her bk, Denetdale pushes back on use of that word. I've spent most of this day reading and studying this book's text and images. I've seen enough to determine that it will get a Not Recommended label from me.

Children deserve far better than this, National Geographic! If you have already bought a copy, see if the store will give you a refund. This truly is a waste of money.