RECOMMENDED: Red River Resistance: A Girl Called Echo, V.2

Red River Resistance: A Girl Called Echo, Volume 2 

Written by Katherena Vermette (Metis)

Illus. by Scott B. Henderson. Colors by Donovan Yaciuk 

Published in 2019

Publisher: Highwater Press

Reviewed by Jean Mendoza 

Status: Recommended

Red River Resistance is the second graphic novel in Katherena Vermette's A Girl Called Echo series. The Metis teen protagonist of Volume 1 (Pemmican Wars) is still quiet, still spends a lot of time with earbuds in, listening to her music, but she's becoming less isolated. She is befriended by a classmate named Micah. She gets involved with the school's Indigenous Student Leadership group, under the guidance of teachers Mr. Bee and Mx Francois. She plays in the snow with her foster family. And she smiles a bit. But powerful dreams and daydreams still take her into the Metis history of what is currently called Canada. This time, her dream episodes are set in 1869-70, when political machinations in Canada focused on pushing Indigenous and Metis people further and further west. Metis leader Louis Riel is a central figure in the dream events Echo experiences. 

The first Echo book established that Echo is in foster care because her mother is in some sort of facility (mental health care? halfway house?). We can guess that historical or intergenerational trauma may be affecting the family. Echo's dreaming translates facts she learns in class into stories of her Metis ancestors. More than once, Echo wakes with tears streaming down her face. She feels the impact of historical events viscerally, (re)living hopeful and joyous moments as well as the pain of betrayal and shattered hopes, displacements, departures, and violence witnessed.  

Though it's not the story's only "message," teachers and others who work with young people need to be mindful that children and their family members may be affected in the present by what happened during earlier stages of settler-colonization. Intergenerational trauma may not be easily recognizable, but it's real. It can be a factor in depression, loneliness, child neglect, and other problems that are generally considered mental health issues, and the effects of those are communicated from generation to generation through actions and beliefs.

The more time I spend with this book, the more I appreciate the author's and the illustrator's & colorist's craft:

• Character development. Echo's teachers, Mr. Bee and Mx Francois, are believable and rounded-out, though Mx Francois (pronouns they, them, their/s) hasn't yet had as much to say as Mr. Bee has. Mr. Bee, for example, stands in front of a classroom of benignly disengaged students and talks about what he loves: history. Notice how he seems to just assume his dozing, note-passing students are getting what they need from the information he's sharing. 
• Detail in the graphics. Take time to read the screen on Echo's mp3 player. Notice the subtly pleased looks on the faces of the two teachers as they watch Echo and the other students talking together after the Indigenous Leadership bake sale. And spend a moment with the panel that shows the exhilaration Echo and her friend feel when they believe, briefly, that Louis Riel's efforts have succeeded -- wow!    
• Things that pique interest: Such as -- Echo's foster mom -- what's her story? She has a houseful, including a child with special physical needs (seen in Pemmican Wars). Yet she treats Echo with great concern and respect, and when Echo seeks her out after a very bad dream, she seems surprised but her from-the-heart response is perfect. 
• The back matter. A detailed Red River Resistance timeline and the Metis List of Rights from 1870 helped me better understand Mr. Bee's lectures and Echo's dreams. Both were essential, in fact.

A particular strength of the Echo books is that so far, Katherena Vermette has not had Echo interact directly with real historical figures in her dreams. Her relationships of the past are with people about her age, who seem to be her guides (Marie in Pemmican Wars, Benjamin in Red River Resistance.) I hope that trend continues. It's much more effective, in my opinion, to have her be primarily an observer, than to imagine fake dialogue between a 21st century middle schooler and someone such as Louis Riel.

Something to watch for: Volume 3 of A Girl Called Echo is due out in February 2020!

Not Recommended: Elisha Cooper's RIVER

River
Written by Elisha Cooper
Published in 2019
Publisher: Scholastic
Reviewer: Debbie Reese
Status: Not Recommended




I'll begin with the book's description, from Scholastic:

A breathtaking adventure as a traveler and her canoe begin their trek down the Hudson River. In a mountain lake, the canoe gently enters the water's edge, paddling toward the river. The nautical journey begins. 

'She is alone, far from home. Three hundred miles stretch in front of her. A faraway destination, a wild plan. And the question: can she do this? 

In Cooper's flowing prose and stunning watercolor scenes, readers can follow a traveler's trek down the Hudson River as she and her canoe explore the wildlife, flora and fauna, and urban landscape at the river's edge. Through perilous weather and river rushes, the canoe and her captain survive and maneuver their way down the river back home. 

River is an outstanding introduction to seeing the world through the eyes of a young explorer and a great picture book for the STEAM curriculum. Maps and information about the Hudson River and famous landmarks are included in the back of the book.

My thoughts on River began as a Twitter thread I did on December 9, 2019 about Elisha Cooper's "A Note on the Hudson River" in the closing pages of River:

Notes can help a teacher, tremendously.

But when the note uses past tense words to talk about Native peoples... that book loses so much potential. And when that author fails to include Native peoples in the pages of the book itself, I am compelled to give it a Not Recommended label.

Stating the obvious: we (Indigenous Peoples) are here, in spite of all that was done to get rid of us. Children's books must not use past tense, exclusively--especially when a book has present day information! Past tense verbs affirm the idea that we no longer exist. They represent a significant flaw in a book that some think is worthy of the Caldecott Medal.

As Cooper's note demonstrates, he knows about several different Native Nations (scroll down to the tweet thread for details). Why couldn't Cooper have included some information about Native peoples in the journey the woman takes in her canoe? Cooper imagines a lot of people the woman interacts with on her canoe trip--but none of them are Native. On the endpapers where Cooper shows us maps of the states that the Hudson River passes through, he could have included "Homelands of the ___" and use his author's note to add that information to the maps. Any author or illustrator makes a lot of decisions as they create a book. Cooper has some knowledge and chose not to include it in the book. Why did he make that decision? Did it not occur to him? Did it not occur to his editors? Or, did they talk about it and decide not to use that information?

There is an expectation in children's literature that you should review the book in front of you, and not what you think the book could have been. Roger Sutton wrote about that recently at his blog (see Reviewing the book thats in front of your face). To use Roger's words, I'm committing a "cardinal sin" for questioning Cooper's omissions. His choice of words to describe that act is worth noting because it is rooted in a religion (Christianity) that was, and is, destructive to other religions and cultures. Regular readers of my work know that I've committed that "sin" a lot when I review books. Not asking questions about what is left out means letting the status quo continue as the status quo.

And of course, I won't stop asking questions!

And I hope you join me in asking them, too. River is published by Scholastic--the publisher who does book fairs in schools. You probably remember buying Scholastic books when you were a kid! They're a powerful company in schools. They shape what kids know. They can do better! #StepUpScholastic is an action to pressure them to do better.

I imagine some people saying, as they read my critique of River, that I should be grateful that Cooper included Native peoples in his note. I am, but, limiting his references to past tense is a selective inclusion that is insufficient when the book is set in the present day.

Before moving on to the Twitter thread (which has been slightly edited), I'll say again: I do not recommend River by Elisha Cooper.

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Hey, Editor (at @Scholastic) of Alisha Cooper's RIVER:

She He used past tense verbs about Native peoples in his book about the Hudson:

It was called Cahohatatea ("The River") by the Iroquois who canoed it...

You do know that the peoples of the Haudenosaunee Nations are still here, right? So... why past tense?

You repeated the past tense error when you wrote parenthetically that

(Mohicans called it Huhheakantuck, or "The River that Flows Both Ways"). 

Did you talk to anybody at the Stockbridge-Munsee Community of Mohican Indians?

Your past tense tells us one of two things.

First, past tense when referring to Native peoples affirms the idea that Native peoples do not exist, today. Of course, that is an error. Second, if we assume that you think readers know that we are still here, then, you're telling readers that these nations no longer use those words.

If they don't, can you offer us evidence that you talked to someone who told you not to use those Native languages? Cooper's THE RIVER is getting lot of praise. You know... white woman going on a canoe trip alone... Whiteness loves that sort of thing. So, I'm not surprised it is getting praised.

BUT, COME ON, @Scholastic! What's with that Author's Note?! 

Note: Cooper’s first name is Elisha, not Alicia. And Cooper is he, not she. My apologies for that error. 

And a note to folks at Kirkus, School Library Journal, Horn Book, and ALA Booklist: if you have an in-house style or review guide, add something about verb tense! You have a lot of power to increase knowledge about this.

Not Recommended: STONE RIVER CROSSING by Tim Tingle

In the Acknowledgements of Stone River Crossing, Tim Tingle thanks me as a friend and colleague "in the drive to educate" and it is with that drive that I offer this critique of his book.

Stone River Crossing
Published in 2019 by Lee and Low
Reviewed by Debbie Reese
Status: Not recommended

****

As I've said before about Tim's books, it is important--crucial, actually--that teachers take note that he emphasizes the sovereign nation status of the people in the stories he creates. He does that with Stone River Crossing, too. The time and location of the story are the first words we see after the title of chapter 1. Those words:

1808, City of Bok Chitto, Choctaw Nation

The story opens with a Choctaw family. A Choctaw girl, specifically, named Martha Tom. There's a wedding planned for that day and her mom sends her out to pick blackberries [Note on Dec 16: I typed "blueberries" in the review and have since corrected that error]. All the blackberries on their side of the river are gone, so, she crosses the river. On the other side is a plantation. There are many berries there, because:

No one ever picks berries on that side of the river. They're too busy picking cotton, and the guards never let the slave workers get close to the river.

She goes on picking and eating berries and gets lost. She remembers her mother's warnings not to play by the river:

The plantation guards will capture you. They will make you a slave, just like the field workers. 

Reading "slave workers" and "field workers" stopped me. Those words reminded me of news articles in 2015 about a McGraw Hill textbook that used the word "workers" as follows:

The Atlantic Slave Trade between the 1500s and 1800s brought millions of workers from Africa to the southern United States to work on agricultural plantations.

An African American parent, Roni Dean-Burren, posted a screenshot of her text exchange with her 9th grade son, over that passage in his textbook. You can see their texts on Instagram. McGraw Hill subsequently issued a statement that said, in part:

"...we conducted a close review of the content and agree that our language in that caption did not adequately convey that Africans were both forced into migration and to labor against their will as slaves."

"Workers" or variations of it appear several times in Stone River Crossing. Some examples:

• The church on the plantation is "the field workers' church"
• "Field workers" toss cotton bolls into their shoulder bags
• "House servants" greet Choctaw visitors
• "Well dressed household workers" tie Choctaw ponies to a railing

And, the Choctaw girl who is enslaved in the home of a plantation owner is referred to as a "household worker" by her father, Hattak Chula.

My question is: why is the word "worker" used so much in this book? Is it an effort not to use "slave"? There's been a lot of writing in recent years about that word. Instead of "slave" people are asked to use "enslaved" person/man/woman/child so that people are not objectified and so that the institution of slavery is seen as something that people did to other people.

To work on this review, I listened to a Teaching Tolerance podcast, Teaching Slavery Through Children's Literature. Dr. Ebony Elizabeth Thomas was the guest. There's a lot of hard thinking going on, about how to--and how not to--include slavery and enslaved peoples in children's books! It is a very complex conversation.

As I think about that conversation and the words used in Stone River Crossing, I wonder if Tingle and his editor were having those hard conversations and chose to use workers to avoid objectifying the Black characters in this story? Of course, intent doesn't matter. And, in fact, the word slave appears 52 times (I have a Kindle copy of the book).

What matters is the impact on the reader, and I think that "worker" is like the problem in the McGraw Hill textbook. Stone River Crossing, then, doesn't work.

I'm still thinking--hard--about this! We are in a moment of that "drive to educate" that Tim said in his acknowledgment. I'll be back if/when I've done more reading and have more to say. And--I'm not sure what I've said makes any sense! That's the complexity of the topic of writing about slavery.

Not Recommended: PARKER LOOKS UP by Parker Curry, Jessica Curry; illustrated by Brittany Jackson

This evening, I did a thread on Twitter about Parker Looks Up. 

Using the Spooler app, I am pasting the thread here.

Parker Looks Up

Published by Aladdin (Simon and Schuster)

Year published: 2019 

Reviewed by Debbie Reese
Status: Not recommended

As you read through the series of tweets, you will see I am critical with a specific page. It is not an insignificant error. Parents and children of the tribal nations in the original illustration will notice that the headdresses are incorrectly depicted. 

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Oh no!!!!

You recall the excitement over this photo of a little girl named Parker, gazing up at the painting of Michelle Obama in the National Portrait Gallery?

People in children's lit know that it was going to be turned into a picture book. Well, it came out on Oct 15, 2019. Today a friend wrote to me about this image in it... and I was taken aback. There's a lot to say...

The illustrator's rendering of that art was familiar to me. I've been to that gallery but I did not recall a wall-sized piece of art that size. 

I did a little bit of research and put together this comparison:

So... the size is way out of whack (I found the dimensions at the National Portrait Gallery's website)...

But so is the rendering!

In the picture book, the emphasis is on feathers. 

"Feathers! Lots and lots of brilliant feathers!" 

This is utterly disappointing to me. 

I have no doubt the authors/illustrator and their editors at Aladdin (Simon and Schuster) wanted to do a good thing and show a range of representation.... but they MIS-represented Native people. 

Feathers. Think about that for a minute. 

Why did that happen? Why did feathers get added to that page?! If you look at the angles of the faces, the noses, etc., you know that the illustrator worked from an image of the actual painting...

So WHY? WHY WHY WHY?! 

It was not necessary to do that!

I would have loved to hand this book to young readers, but now? 

Absolutely not.

That page ruins the book--not just for Native kids--but for non-Native kids, too, who will come away from the book with their stereotypical ideas affirmed. 

The reviews from Kirkus, School Library Journal, and Publisher's Weekly do not note this misrepresentation.

Please don't argue with me that the book lifts African American children. 

There is absolutely no reason to lift one marginalized group and misrepresent another. Parker Looks Up is not recommended because of its stereotypical treatment of Native peoples.

---On Dec 15, I added to the thread I did on the 14th:---

Back this morning with more to say about PARKER LOOKS UP.

"Young Omahaw, War Eagle, Little Missouri, and Pawnees" isn't in the National Portrait Gallery. It is in a different museum (the Smithsonian American Art Museum). Editing this info on Dec 16th: Several people have written to tell me that the Smithsonian American Art Museum and the National Portrait Gallery are in the same building, and therefore, Parker could have seen both, the Young Omahaw painting and the portrait of Michelle Obama during a single visit. I did not know the two museums were in one building and am glad for that information. 

In the back matter, we see a note that the paintings in the picture bk are "reimagined as Parker Curry experienced them during her unforgettable and memorable visit to the National Portrait Gallery and Smithsonian Art Museum."

Parker Curry was two years old when she saw the painting on March 1, 2018 (see NPR story In 'Parker Looks Up," A 2-Year-Old Shares A Moment With Michelle Obama).

To be clear: I adore that moment in Parker Curry's life! It tells us so much about why representations matter!

What I question is the rest of the book... how the story was created and illustrated--by adults. 

Did a two-year old look at the painting of Pawnee men and think "feathers" when there is one feather in the original painting? 

If yes, then the adults in her life have a responsibility to help her understand what stereotypes are, and how they shape the ways we view the world. 

If two-year-old Parker did not think "feathers" when she saw the original painting, and it is her mother and the illustrator who added that to that page because they wanted to make the book inclusive... then somebody should have helped them understand stereotyping. 

That someone could have been their editor at Simon and Schuster.

This year (2019), @simonschuster intervened in what an author/illustrator did with IGLOO FARM. The book was redone, as SNOWY FARM. Their editor asked them to do that (see AICL's blog post, Igloo Farm Becomes Snowy Farm). 

I've read several articles this morning about Parker's experience with the Obama portrait. It seems to me that her mother took her to the Portrait Gallery specifically to see it. 

But in the picture book, that is not the story we're given. 

In the picture book, we're told that the family simply went to the museum, and when it was time to leave, they happened upon the Obama painting and Parker was transfixed.

That invented story takes away from the actual experience, the purpose of that day in their real lives. Who had the idea to make up this story, to get to that moment in Parker's life?

I'll be thinking about that treatment of that day in Parker's life because it matters. It takes away from the political motivation that her mother had, in taking her there in the first place. 

It is parallel to the many mis-representations of Rosa Parks as nothing more than a tired seamstress who made a decision one day (not to give up her seat on the bus) rather than the facts of her life as a political activist.

Recommended: SPOTTED TAIL by David Heska Wanbli Weiden

Nineteenth-century Sicangu Lakota leader Spotted Tail (Sinte Gleska) is the subject of a new biography for middle grades, by David Heska Wanbli Weiden (Spotted Tail, Reycraft Books, 2019). Spotted Tail was highly influential, but is generally less well-known than other Plains leaders of his time such as Crazy Horse and Sitting Bull.

The book's four sections or chapters -- Early Years, Warrior, Family Life, and The Chief -- are followed by two pages that explain some Lakota customs, and 2 pages appropriately titled "A Short History of the Lakota People." (It's very short.)

This story of Spotted Tail's life opens with a description of his participation, as a boy, in a buffalo hunt. It ends with a brief account of his 1881 murder and its eventual repercussions for Indian law, and some paragraphs about his legacy.

In between, what stands out are Spotted Tail's efforts to understand and address the threat posed to his people, and to all Native peoples, by the ever-encroaching settler-colonizers. Weiden, who is Sicangu Lakota*,  shows how his subject's perspective changed with his experiences, from young Lakota fighter to prisoner of the US government to caring father to negotiator for his people. He even briefly sent some of his children to the Carlisle Indian boarding school. (When he discovered during a visit there just how the school was "educating" Native children, he took them home again.)

A real strength of the book is the way Weiden connects certain aspects of Spotted Tail's life with ongoing issues for Native people -- such as the Lakota people's efforts to keep/recover the Black Hills. The long-lasting legal and political implications are simply but clearly explained.

One of the Lakota customs Weiden explains is naming, specifically his Nation's customs around receiving a "spirit name." At first I winced on seeing that; too many non-Native people love the idea of "Indian names" and want to appropriate them! But a careful reading assured me that, unlike some authors who talk about naming practices, Weiden provides context and limits for Lakota naming. In the main text, he explains the circumstances of Spotted Tail's naming. In "Lakota Customs" at the end, he notes that many cultures give children spiritual or religious names, and explains that in Lakota culture, naming is often accompanied by a giveaway. Most importantly, in my opinion, he shows subtly that a Lakota spirit name is not something just anyone can get. That's a healthy perspective on the matter. He invites readers to consider whether they "like the idea of having two names" -- much better than inviting someone to choose their own "Indian spirit name."

The combined efforts of artists Jim Yellowhawk (Itazipco Band, Cheyenne River Sioux) and Pat Kinsella (White) -- especially the many dramatic 2-page spreads -- make Spotted Tail visually striking. Yellowhawk's ledger-style art and Kinsella's bright photos and montages provide imaginative windows on what life might have looked and felt like for Spotted Tail, in his time, while connecting readers to the present-day Lakota Country landscape.

Example of a 2-page mixed-media spread from Spotted Tail 

I'm not in a position to judge whether all Lakota readers will agree with the author's version of events surrounding the Grattan fight, during which Spotted Tail led Lakota fighters against US cavalry, earning honors from his nation and an order for his arrest from the government. Apparently more than one version is retold. Still, the author's account of those events and what happened after are likely to impress readers with Spotted Tail's courage, resourcefulness, and determination.

Discussion/reflection questions for readers are artfully incorporated into the illustrations, and interspersed throughout the book: "Do you think the government should apologize for terrible events that happened long ago?" "How would you feel if the government made you leave your home?" "What do you think it means to be wealthy?" The questions bring "added value" to the text, and adults who share or recommend the book may get good conversations started by asking young people to respond to them.

A few times when I was reading, it felt evident that Weiden is writing for a non-Lakota, non-Native audience -- for instance, he says, "If you are lucky enough to visit the Lakota Nation ..." But at no point did I have the feeling that he is "othering" anyone.

One wish for this and future biographies of historical Indigenous heroes:
Authors, please provide your sources. That allows your readers to follow your research trail, and become researchers themselves. [Edited 12/14/19 to add: Publishers, also take note -- help authors fit those sources into the finished work!]
[*Edited 2/25/2020 in response to a comment from Janessa: I apologize to the author and to readers for somehow omitting the fact that David Heska Wanbli Weiden is Sigangu Lakota. I have added it above. AICL remains committed to being clear about the tribal nation of Native book creators. Thanks for alerting us, Janessa.]

Recommended: BIRDSONG by Julie Flett

Add Julie Flett's Birdsong to your shelves! It is on several Best Books of 2019 lists and it got starred reviews from the major review journals.

Most of the reviews note Flett's artistic style and the seasonal arrangement of the story. Most note the growth of Katherena as she and her mom leave their home in the city, to a new one in the country where they meet an older woman named Agnes. And most reviewers note the Cree words in the book. It is great to see the reviews and the stars and the book being listed on year-end lists.

Now... what do I see, as I read Birdsong?

Well--this page in particular, caught my eye:

There, you see Katherena and her mom, together, beneath warm covers. I absolutely adore that page! When my daughter was little (well, to be honest, this happens even today), there were many times when we'd snuggle under the warm covers and she'd press her cold feet to my warmth, and squeal "icicles!" just before she did it. Such a fond memory, of warmth and of those cold feet, too!

There's another reason that particular illustration appeals to me. Parents and kids sleeping together is a natural thing amongst us at Nambé. So, it resonates with me as a Native mom. But--sleeping together sure as heck is not seen as natural in White society. I recall talking about it when we moved from Nambé to Illinois for graduate school. In my early conversations when we arrived in Illinois, White people expressed shock that our daughter was with us each night. I pretty much just kept that information to myself after that, but later (still in grad school), I learned that a lot of parents and kids sleep together--but nobody talks about it out of fear they'll be accused of spoiling their child. I also learned that parents and kids in many cultures around the world sleep together. During grad school, we lived in family student housing and made good friends with a family next door to us, from India. I'll never forget the many times Vijaya asked me "why?" about some thing that people in the US do, and I'd just shrug. Some things make no sense. In the ways my family live our lives, we are much more like Vijaya and her family than we are like White US families. And as noted earlier--more people in the US do it than admit to doing it, so I think there's gonna be a lot of folks smiling at that page as they read Birdsong. 

Teachers! Head over to the Greystone Books page for Birdsong and download the Teacher's Guide!

Clearly, I adore Julie Flett's Birdsong! Published in 2019 by Greystone Books, I recommend it, dearly.

Recommended: "A Girl's Best Friend" by Cynthia Leitich Smith, in THE HERO NEXT DOOR

Cynthia Leitich Smith's "A Girl's Best Friend" is one of the stories in The Hero Next Door. Published in 2019 by Crown Books for Young Readers, its main character is a 12-year old named Sophie Bigheart who is Muscogee-Osage and a citizen of the Muscogee (Creek) Nation. She lives with her mom in a tiny apartment in Austin.

Sophie spends a lot of her free time looking at dogs on the animal shelter website, wishing she could get one--but that's against Miz Wilson's (their landlady) rules. Through their occasional visits, Sophie had learned that Miz Wilson's husband died the year before, and that they had a dachshund. It is clear that Miz Wilson is lonely.

Sophie's lonely, too, for a dog. Soon, Sophie and her mom are doing volunteer work at the shelter, walking and playing with the dogs. Miz Wilson--thinking they've adopted one--evicts them!

Then, Sophie comes up with a plan. By the end of the story, Miz Wilson has adopted a dog, Sophie's agreed to help take care of it, and Miz Wilson has decided to decrease their rent. It is a good solution for everyone. Set in the present day, with information about the main character's identity as a citizen of a tribal nation--and just the kind of story that resonates with a lot of kids--I'm pleased to recommend the story, and the book, too!

Recommended: MAY WE HAVE ENOUGH TO SHARE by Richard Van Camp; photographs by Indigenous Women

Published in 2019 by Orca Book Publishers, May We Have Enough to Share features photographs taken by Indigenous women who blog at Tea & Bannock. As I page through it, I can't help but smile over the expressions of joy and surprise on the faces of the babies and toddlers!

And I find myself peering closely at the stunning beaded artwork on each page. A note in the front of the book tells us it is by Caroline Blechert (Inuvialuit). It is traditional stitchwork that uses dyed and natural porcupine quills and delica beads. Her beaded artwork is beneath Van Camp's words, in a white circle that is placed inside of what looks to me like birchbark. Coupled with the photos, it makes for layers of image to study.

I don't know what Van Camp's intent was, but I read his words as a reminder to all of us that while world politics are in chaos, there are little ones in our lives who, in fact, count on us for their well being.

"May we" he writes on several pages, "have enough to share." Let's look a bit closer at his words. On the first page, I read

May we have enough to share, to know the sweetness of every day.

He doesn't say enough of what, on that page, or on any of the others. I see some reviews characterizing it as gratitude (probably because the words on the back cover include "gratitude"), but I think that's not quite what he's reaching for. I think he's talking about the human impulse to care and love the new and young lives in our own lives. With so much wrong with politics and the environment, we may lose sight of the need to make sure we're holding young ones close, all the time.

May We Have Enough to Share is just what we need!

Not Recommended: ENCOUNTER by Brittany Luby and Michaela Goade

Several months ago, we received a copy of Brittany Luby and Michaela Goade's Encounter. It came out in October of 2019 from one of the Big Five publishers: Little, Brown Books for Young Readers. Books published by the Big Five receive visibility that books from smaller publishers do not. It is exceedingly difficult for Native writers to get in those Big Five doors. We had long conversations about Encounter because of that, and because the author and illustrator are Native. Regular readers of AICL know that we are strong advocates for #OwnVoices.

In the end, we decided we cannot recommend it.

We hope to share our conversations about Encounter with AICL's readers but for now, we are giving you a short version of our thoughts on the book. The publisher's description of the book is below, followed by our respective thoughts on the book.

A powerful imagining by two Native creators of a first encounter between two very different people that celebrates our ability to acknowledge difference and find common ground.

Based on the real journal kept by French explorer Jacques Cartier in 1534, Encounter imagines a first meeting between a French sailor and a Stadaconan fisher. As they navigate their differences, the wise animals around them note their similarities, illuminating common ground.

This extraordinary imagining by Brittany Luby, Professor of Indigenous History, is paired with stunning art by Michaela Goade, winner of 2018 American Indian Youth Literature Best Picture Book Award. Encounter is a luminous telling from two Indigenous creators that invites readers to reckon with the past, and to welcome, together, a future that is yet unchartered.

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Debbie's thoughts:

When I first learned of the book, my thoughts turned to Thanksgiving picture books that show Pilgrims and Indians (sometimes Wampanoags) meeting each other. In particular, Rockwell's Thanksgiving Day came to mind. In it, the children are doing a reenactment of the Pilgrim's landing. One child playing the part of a Pilgrim is thankful that the Pilgrims were "greeted kindly by the Wampanoag people who shared their land with them." Another child, playing the part of a Wampanoag, is thankful that the Pilgrims are peaceful. Another, playing the part of a Wampanoag leader, talked about how the Wampanoag and Pilgrim people shared a feast that autumn day. It is, in tone, idyllic.

Rockwell's book came out in 1999 but ones like it come out every year. Writers and illustrators, it seems to me, keep trying to tell that same story. Each year there is pushback to that story. On social media, people replied to tweets and posts from teachers who showed their classes of children, reenacting that "first Thanksgiving." It seems people in the US are determined to turn that idyllic story into the truth. And so--when I first saw Encounter--I was afraid that it would be celebrated for its storyline, and because of its author and illustrator. Over time, my fears were realized. It got starred reviews, was featured on NPR, and it is now appearing on Best of 2019 book lists.

It definitely appeals to White readers, but I could not--and cannot--imagine handing the book to a Native child or Native family. I'm glad for the visibility that it brings to both, Luby and Goade, and I hope that it leads to more opportunities with a major publisher. I don't think any library or home needs imagined stories like this one. I think we need ones that are honest tellings of history.

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Jean's thoughts:

The Author's Reflection and the Historical Note in the back of the book help explain what Brittany Luby is going for with Encounter: an intentional contrast with actual events, a thought-provoking  counter-story. So I gave a lot of attention to how it felt to read and re-read the story and the author's comments, in light of all that still sits with me after Debbie and I adapted An Indigenous Peoples' History of the United States for Young People. What would it mean to kids -- Native kids and non-Native -- that this story about an imaginary innocent Native/white friendship is so far from what really happened?

Reading Encounter at this point in life turned out to be work. I'm white; my husband and our kids are Mvskoke Creek. I'm also of a generation that pretty much drowned in "cowboys/cavalry & Indians" imagery, and I had just spent several years immersed in Indigenous history.  I found that I did a lot of mental and emotional processing about Encounter. No need to go into all that, but it made me see that sharing it with kids would be complicated. Before long, we could tell the book was getting popular, and would inevitably be shared with lots of children, probably plucked off bookshelves for friendship-affirming read-alouds.

Debbie mentioned (above) those persistent Thanksgiving myths. "First contacts" between Europeans and Indigenous peoples are also heavily mythologized as part of the grand American narrative. That's what schooling tells us about US history, over decades of our lives, and it's hard to un-do. Some people don't want to undo it. (Many Native families provide the less shiny reality for their children, though.)

So how are professionals and parents (especially non-Natives) supposed to help children engage with a fantasy about "first contact" if they aren't clear on the reality, themselves? You can't expect non-Native children to grasp the import of a story like Encounter before they comprehend the reality. And if you present the fantasy in Encounter to Native children without showing that you know and believe the real history, and without making sure their classmates also get it, they will see the lie. They would feel -- as Debbie said in one of our talks about it -- betrayed.

We know, given the make-up of the school and library professions, it'll be mostly non-Native professionals who read or recommend Encounter to their students or patrons.  So for a while my head was full of caveats. The adults would need to be deeply intentional & thoroughly prepared, and give serious thought to their goals for sharing the book. There were things to be aware of, groundwork to lay, things to do and not do. Calling into question the entire settler-colonizer mindset...  Someone had suggested on Twitter that adults could read the Author Reflection and Historical Note to children first. But it seemed to me that the author's comments alone couldn't fill the gaps in many peoples' (mis)understanding of Indigenous history.

And here's the problem: How many teachers or librarians are able (or willing) to do that much work in order to share a specific picture book? Isn't it more likely to be shared as a sweet story of how people ought to treat each other?

During one conversation, after giving solid attention to my tangled thoughts, Debbie asked, "Would you read it to Jack?" (Jack's my 9-year-old grandson.) My brain started to say, "Mmmaybe, but only if --" But my heart said, "No. No, I wouldn't."

I've applied that question to critiques of many other books -- "What would it feel like to be one or another of my grandkids, reading this?" Why it wasn't with me from the beginning on this one is puzzling.

For non-Native (especially White) adults, there may be some value in personally, privately using counter-narratives like this one, with oneself, to face the chasm between respectful human relationships that sustain life and the real Indigenous history of the continent currently known as North America. But it doesn't feel like a book for children.

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Debbie and Jean's thoughts:

We want to see books by Native writers and illustrators succeed. Our commitment to them, however, is superceded by our commitment to children. We'd like to think that a book like this has an audience, but at this point, we're not sure who that would audience would be.

As noted above, we hope that the book brings visibility to Luby and Goade, and we look forward to seeing more from them in the future.

Recommended: "Chubby City Indian" by Jana Schmieding in THE (OTHER) F WORD: A CELEBRATION OF THE FAT AND FIERCE, edited b Angie Manfredi

Jana Schmeiding is Lakota. She does comedy shows and hosts the Woman of Size podcast. Her essay, "Chubby City Indian" is in Angie Manfredi's The (Other) F Word: A Celebration of the Fat & Fierce. Published in 2019 by Amulet Books, the book includes personal essays, prose, poetry, fashion tips, and art from 30 different people. 

Schmieding's essay is a searing look at her life, beginning with her childhood. She uses a river to capture her life as a Native child in a small town in Oregon in the 1990s, where social and educational experiences were dominated by Whiteness. That was, for her, the White Side of the River. It was hard for me to read what she went through in middle school: the pain of wanting to be accepted, and the pain of doing things for that acceptance.

On the Native Side of the River, however, we see something else entirely. Acceptance. A place of kinship with other Native girls, some who had to dress up as pilgrims for kindergarten pageants. She had a place where she could be with Native family, dancing at powwows.

And on the Native Side of the River, she felt joy--as depicted in Lisa Tegtmeier's illustration of her, dancing. She writes:

My bigness and boldness on the dance floor were a celebration of their courage and endurance in the face of so much historic silencing.

I've read that sentence several times. It is so affirming! It is the Fat and Fierce of the subtitle of Manfredi's book. I think Chubby City Indian is terrific, and that the book is a must-have, for every school and public library because of its many affirmations. In it you'll find David Bowles, Alex Gino, Julie Murphy, Isabel Quintero, Renée Watson, and so many others. This is the sort of book you'll want to have multiple copies of available. Thanks, Angie, for bring it forth!

Recommended! THE RELUCTANT STORYTELLER by Art Coulson; illustrated by Hvresse Christie Blair Tiger

Note from Debbie on Nov 28, 2023: Due to my concerns over Art Coulson's claim of being Cherokee, I am no longer recommending his books.  

There's a specialness to Art Coulson's The Reluctant Storyteller that is moving through my head and heart. You won't find it for sale in the usual places because it is published by Benchmark Education, who publishes "leveled readers" for classroom use. Some people don't like books like this because they don't have the slick production values that you find in books in bookstores.

But!

Don't look away! Benchmark Education offers books that I know--without a doubt--that Native children will be happy to read! One of my favorite books--ever--is Where'd You Get Your Moccasins by Bernelda Wheeler. When I was teaching children's literature way back in grad school in the 1990s, it was on the required list of books I asked pre-service teachers to buy. Some would look at the stapled spine and think less of it without reading the words in the book that made, and makes, my heart soar! They had to learn to set aside elite notions of what a book should be like, and think about the content and what that content could do for readers in their classrooms.

I ask that same thing for The Reluctant Storyteller. The things I look for in a book are all here. It is set in the present day, it is tribally specific, it is written and illustrated by Native people, and it rings true! Coulson knows what he's talking about. The family at the heart of this story is filled with storytellers who adore being out and about, telling Native stories. They're from Oklahoma, but live in the Twin Cities. They do visit, a lot, and a trip is coming up. Chooch, the main character in Coulson's book doesn't want to go. He's rather stay in Minneapolis for the Lacrosse tournament.

Chooch doesn't tell stories and can't imagine himself as a storyteller. His dream? To be a chef. But, nobody knows that he wants to be a chef. He enjoys cooking with his mom and grandma, making up recipes. Things he makes are tasty!

On the way to their Oklahoma, Chooch's uncle tells him a story about a Tsula, a fox who wishes he had a coat of feathers, like Totsuhwa, the redbird that he sees flying about in the trees, so that he could fly, too. One day he runs and runs and runs, so fast, that his feet are off the ground. Day moves into night and, well, he started flying. He's no longer Tsula, the fox. Now, he's Tlameha, the bat. People who read AICL regularly know that I'm careful about traditional stories and how a writer works with them, uses them, bringing them into a book. This story is one that the Cherokee people tell. Coulson is Cherokee. I trust that he's sharing a story that can be shared. And--I love the way he brought it to Chooch.

They get to Oklahoma, and Chooch is drawn to the cooking area of a Native gathering. By the time we get to the final pages of The Reluctant Storyteller, Chooch understands himself in ways he did not before the trip. He's learned that there are many ways to be storytellers.

And, there are many ways to tell stories--to bring stories to children and teens! That's what I mean, up top, where I say there's a specialness to this book. There's layers of truth in it. Layers of Native life, too... 

So, don't turn away from leveled readers. If you open the Benchmark catalog, you'll see other writers there, too. Like Ibi Zoboi! And David Bowles! And Jane Yolen! Jerry Craft, and, Virginia Driving Hawk Sneve! These are names teachers and librarians are familiar with. Look at the catalog! You'll see others, too. 

I like The Reluctant Storyteller very much and recommend that you get it... but I think the books are hard to get. I got my copy from Art Coulson's website.

Recommended! STRANGELANDS written by Magdalene Visaggio and Darcie Little Badger; art by Guillermo Sanna; Cover by Dan Panosian

Native teens! Go to the Humanoids site and get copies of the comic series, Strangelands. They're written by Magdalene Visaggio and Darcie Little Badger. The art is by Guillermo Sanna, and Dan Panosian did the cover.

I've read the first three...

.... and definitely recommend that you add them to your comic and graphic novel collection.

Here's info about the series:

Two strangers find themselves inextricably tied together by inexplicable superpowers. Fighting their connection could mean destroying the world.

Opposites attract? Elakshi and Adam Land aren’t married. In fact, a month ago, they were perfect strangers, dwelling in lands foreign to one another. But now, they’re forced to remain by one another’s side, for their separation could mean the planet’s demise. Their greatest challenge is to stay together — even if they have to tear the world apart to do so.

See that? Elakshi and Adam's last name is Land. A hint, maybe, about who they are and how and why they have the powers they have--and don't want? I'm intrigued!

Right now in the series they're at a lodge in Colorado where they can rid themselves of these powers. Adam doesn't like the decor of the "Wild Saints" lodge. In this passage, he's glaring at a dreamcatcher, and says:

 ... all this Indian kitsch brings back terrible memories of paper teepees and chicken feather headdresses. Trust me. You do not want to be the only Apache kid at summer camp.

From that passage, we know that Adam is Apache. One of the writers, Darcy Little Badger, is Lipan Apache. I think the first writing of hers that I read was in 2016 when I read "Né le," her space travel story in Love Beyond Body, Space and Time. (If you don't have that book, get it!).

And of course, get this new series, Strangelands. 

Highly Recommended: FRY BREAD: A NATIVE AMERICAN FAMILY STORY

Update from Debbie, Oct 26, 2019: Unfortunately, the endpapers include some state recognized groups (I won't call them tribes or nations) whose website information makes me cringe. I hope the team who put the endpapers for Fry Bread together can make edits immediately. I am in the process of looking at them carefully and am considering creating a post that tells you how/why I am saying I would not personally call them tribes or nations. 

All across social media, friends and colleagues are saying "Happy Book Birthday!" to Kevin Maillard and Juana Martinez-Neal. That's because their book, Fry Bread: A Native American Family Story is officially available, today, October 22, 2019.

There's a lot inside the covers of Fry Bread! What you find when you turn the pages is why I highly recommend it.

I wish I had slick video and video-editing skills so I could offer you a short and compelling film about the book. I don't have those skills, so... here's what I have:

Here's a screen capture (from my kindle copy of the book) of the last page I showed you in the video:

See those adults pointing out names of Native Nations? That's so wonderful! Mine--Nambé--is there, too. Here's my finger, pointing to it:

Those of you who follow AICL know that we emphasize the importance of sovereignty... Of knowing that Native Nations pre-date the United States. So many names inside this book! It will be empowering to so many readers!

There's more, though, to say about Fry Bread. 

A few weeks ago, I gave a talk at the Santa Fe Indian Center, in Santa Fe, NM. I talked about the names of nations but I also talked about the range of hair color and skin tone in the book. See?

After the lecture, a family approached me to say how deeply moved they are by seeing a child with lighter skin and hair. Fry Bread pushes back on the expectation that Native people look the same (black hair, dark skin, high cheekbones etc.). That expectation means that adults don't hesitate to tell a Native child like the girl holding the cat that they are "not really an Indian" (or some variant of that phrase). That's such a damaging statement! When you hear an adult say that to anybody--but especially a child--stop them.

The final pages of Fry Bread can help you interrupt that kind of harmful statement. There, Maillard wrote that:

Most people think Native Americans always have brown skin and black hair. But there is an enormous range of hair textures and skin colors. Just like the characters I this book, Native people may have blonde hair or black skin, tight cornrows or a loose braid. This wide variety of faces reflects a history of intermingling between tribes and also with people of European, African, and Asian descent.

It is quite the challenge to impart substantive information in an engaging way, but Maillard and Martinez-Neal have done it, beautifully, in Fry Bread. I highly recommend it! Published by Roaring Book Press (Macmillan) in 2019, I hope you'll order several copies for your bookshelves, and to give to Native families, too.

Update: October 23, 2019
In a comment, I was asked if the book has information about the history of fry bread and its impact on health of Native people. It does--and that is yet another aspect of what makes this book stand out.

One double paged spread shows Native people in shadow. The woman on the cover is telling kids about the long walk. The text is:

Fry bread is history
The long walk, the stolen land
Strangers in our own world
With unknown food
We made new recipes
From what we had

In the Author's Note, Maillard provides teachers and parents and librarians who do not know this history, with information they can use to prepare to use the book with kids. It is an exquisite author's note! It spans eight pages that correspond with the illustrated pages that are the heart of Fry Bread. And--they're footnoted! I don't recall seeing footnotes in an Author's Note before.

Maillard writes that people think the Navajo (Diné) were the first to make fry bread. He talks about how, across the country, Native people and our ways are resilient and here, today, in spite of efforts to weaken and destroy our nations and communities.

He writes that there are some Natives who are pushing back on the making and eating of fry bread. He wrote:

For these critics, fry bread is an easy target for a much larger problem of being forced to deviate from a traditional Indigenous diet.

The larger problem, he writes, is a reality many Native communities face. There are no fresh food markets nearby, fast food is more readily available, and access to health care (like markets) is difficult. We know that fast food is unhealthy when eaten every day. Maillard makes that point about fry bread, too. Eating it everyday will lead to health problems.

As noted above, the Author's Note is exquisite for the depth of information it provides. I quoted that one sentence, but will also note that the sentence has a footnote! It goes to Devon Mihesuah's article, "Indigenous Health Initiatives, Frybread, and the Marketing of Nontraditional 'Traditional' American Indian Foods." In his Author's Note, Maillard provides 15 footnotes! Like I said... exquisite. And--I think--groundbreaking.

Not Recommended: HOW TO CELEBRATE THANKSGIVING! by P. K. Hallinan

Back in August of 2019, Elisa Gall tweeted the cover of How to Celebrate Thanksgiving: Holiday Traditions, Rituals, and Rules in a Delightful Story by P.K. Hallinan. It is due out on November 5 from Sky Pony publishing.

A conversation about the book also took place on Facebook, where someone noted that the book was first published in 1992 as Today Is Thanksgiving. I looked around and sure enough... the covers are the same. New title, but the same illustration:

The 1993 edition is available at the Internet Archive. I'll paste some images below. If you have the 2019 edition, do you see these images inside? The subtitle for the 2019 edition is "Holiday Traditions, Rituals, and Rules" and its "How To Celebrate" suggests it is a how-to book. The description of the new one sounds exactly like what I see in the old edition:

Parents and children alike will delight in this cheery book about Thanksgiving Day. From baking an apple pie to playing football on a crisp autumn morning to gathering around the table with friends and family, this adorable picture book depicts some of America’s most treasured family traditions.

The lively rhyming text and bright illustrations will not only delight and entertain your kids, but will also instruct. Hallinan gently encourages children to help with the preparation of the holiday meal, to spend time with family, and also to be grateful for the many blessings that they have been given.

The story opens on Thanksgiving day with two children thinking about Pilgrims and Indians. Though I am careful to say that Native people can have fair hair and skin, I am pretty sure that these two kids are White.

Downstairs, their parents are cooking. The two children are shown going downstairs "descending on old Plymouth Rock." One has a comb tucked inside a headband. You can see it better when he sits down at the table to help his parents make pie:

Then, they go watch TV. That kid is still wearing the comb:

When the parade is over, the two kids get dressed and go outside to play football with their friends. The comb is gone. But, look closely at the eyes of the child in the red sweater. Dr. Sarah Park Dahlen has done presentations on the way that the eyes of Asian children are drawn in children's books. At her site, she's got the Ten Quick Ways to Analyze Children's Books for Racism and Sexism guide published years ago by the Council on Interracial Books for Children. Item #1 names slant-eyed "Oriental" as a stereotype.

Is that child shown that way in the 2019 edition?

The rest of the book is about the kids playing football and then going back inside to greet cousins. Then, they eat and play games that evening. The final page is reflections on the day.

The questions are for the editor and publisher. If the 2019 edition is identical to the 1993 edition, why is it being republished, as is, without any revisions to its anti-Native and racist Asian illustrations and ideology?

Recommended: INDIAN NO MORE by Charlene Willing McManis with Traci Sorell

Indian No More by Charlene Willing McManis with Traci Sorell, cover art by Marlena Myles, is due out in September of 2019 from Tu Books. Written with middle-grade readers in mind, I highly recommend it for them, but for teens and adults, too.

When I started grad school in the 1990s, I remember reading that children's books can fill the huge gaps in what textbooks offer.

I doubt, for example, that there's a single textbook out there that teaches kids about the termination programs of the 1950s.

Indeed, most non-Native people reading this review of Indian No More probably don't know what the termination program was!

Those who do know what I'm talking about likely didn't learn it in school. They learned about it because their family--like Charlene Willing McManus's--was caught in a government program that determined they were no longer Native.

****

Here's the book description for Indian No More:

Regina Petit's family has always been Umpqua, and living on the Grand Ronde reservation is all ten-year-old Regina has ever known. Her biggest worry is that Sasquatch may actually exist out in the forest. But when the federal government signs a bill into law that says Regina's tribe no longer exists, Regina becomes "Indian no more" overnight--even though she was given a number by the Bureau of Indian Affairs that counted her as Indian, even though she lives with her tribe and practices tribal customs, and even though her ancestors were Indian for countless generations.

With no good jobs available in Oregon, Regina's father signs the family up for the Indian Relocation program and moves them to Los Angeles. Regina finds a whole new world in her neighborhood on 58th Place. She's never met kids of other races, and they've never met a real Indian. For the first time in her life, Regina comes face to face with the viciousness of racism, personally and toward her new friends.

Meanwhile, her father believes that if he works hard, their family will be treated just like white Americans. But it's not that easy. It's 1957 during the Civil Rights Era. The family struggles without their tribal community and land. At least Regina has her grandmother, Chich, and her stories. At least they are all together.

In this moving middle-grade novel drawing upon Umpqua author Charlene Willing McManis's own tribal history, Regina must find out: Who is Regina Petit? Is she Indian? Is she American? And will she and her family ever be okay?

That last paragraph is important. It tells us that the author drew on her own tribal history in writing the story. In the Author's Note, McManis tells us a lot more. She was a baby when the US Congress decided that her tribal nation, the Umpqua, was no longer a Native Nation that would have a government-to-government relationship with the US government. Her family moved to Los Angeles and experienced much of what you read in the story. 

Rather than provide an in-depth review of Indian No More, I'm asking that you go read the review written by Ashleigh, a thirteen-year-old who is part of the @OfGlades teens (on Twitter) that blog at Indigo's Bookshelf. 

Each time they write a review, I tell friends and colleagues to go read what the intended audience thinks about the book. By that, I mean young readers, but it is also vitally important that people know what Native teens think about books written for people their age!

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I read Indian No More in June and started a Twitter thread on it, on June 28. I'm sharing that thread below.

I've never read a book like INDIAN NO MORE. Written by Charlene Willing McManis, the book cover also has "with Traci Sorell" on it:

It stands apart from anything I've read before because it is about the US government's termination of the Grand Ronde Tribe, and others, too. The US government literally decided that members of these tribes were no longer Indians (hence the bk title). 

On the Grand Ronde Tribe's website, there's information about what happened. I always tell teachers that a tribal nations website is a primary source.

There are several tribal nations on the Grand Ronde Reservation. In education, we often talk about "best practice." When talking about Native Nations and people, it is best practice to name the specific one being discussed. With Indian No More, best practice means teachers and librarians should specify the tribal nation the story is about: Umpqua. 

As far as I know, Indian No More is the first book for children that is about the life of a child and her family when their tribe was terminated and then, relocated. 

The story in Indian No More is one reason why it is unique. Another is the team that brought it forth. I'm looking at the back matter. The Author's Note from Charlene appears, first, followed by a Co-Author's Note from Traci that tells us why her name is also on the book. 

Charlene got cancer. She asked Traci to revise and polish what she'd written. In her note, Traci talks about being asked to do that. She says she was honored, which is to be expected but she tells us so much more! 

One of the questions she had was how she--a citizen of the Cherokee Nation--could step in to do a book about an entirely different tribal nation. I've never seen anyone's reflections on doing that, before. 

In Traci's words are a deep respect for Charlene, her story, her nation. This is so important! 

I'm flailing as I try to come up with words that capture why Traci's thoughts are so different from the words of white writers who tell us they're writing a story because Native kids/adults they taught asked them to do it. Their words smack of saviorism. 

The respect I read in Traci's words are also in the next item in the back matter: a note from the editor, Elise McMullen-Ciotti.

I'm a fierce advocate for back matter. The words of these three women, plus the photographs in Charlene's note... like I said, I'm flailing for words. 

My review of INDIAN NO MORE will be up soon at American Indians in Children's Literature. Before I go I have one more thing to say. The cover art is by Marlena Myles. She's Native, too. 

Four Native women worked to bring this book--this exquisite story--to readers. I highly recommend it.