That page says "Elisi painted a mural." Beneath the word elisi is its pronunciation. There's also a glossary in the back.
Look at the mural. Each page in the book has Cherokee-specific details. Information about them is in the back.
Bo wants to find the perfect container to show off his traditional marbles for the Cherokee National Holiday. It needs to be just the right size: big enough to fit all the marbles, but not too big to fit in his family's booth at the festival. And it needs to look good! With his grandmother's help, Bo tries many containers until he finds just the right one. A playful exploration of volume and capacity featuring Native characters and a glossary of Cherokee words.
...those types of images didn't express what my life was like. My family never ran around in buckskins, and we never lived in tipis. We drove cars, lived in houses, and watched TV like everybody else. And we laughed a lot! If I was going to make art, it would be art that I enjoyed and that expressed my experience as a Cherokee person living in the modern era.I love reading that, and think Native kids who read his essay will rise, too, to resist mainstream expectations of who we are, what we look like, what we should do...
The actual piece is called Simpquoyah, and it is a cartoonized version of Sequoyah based on a popular television illustration style. [...] The caption in the drawing is written in Cherokee and translates as "Do you understand Cherokee?" The background is made up of the Cherokee syllabary as originally designed by Sequoyah himself! In the corner is my signature written in Cherokee. This is one of my favorites pieces because it combines several loves of mine: the Cherokee language, humor, cartoons, and digital illustration.
Rumford, James, Sequoyah: The Cherokee Man Who Gave His People Writing, illustrated by the author and translated by Anna Sixkiller Huckaby (Cherokee). Houghton Mifflin, 2004; unpaginated, color illustrations; grades 1-4.
On a family road trip to
Rumford’s text, reminiscent of traditional storytelling, is concise and evocative. Each paragraph in English is followed by a parallel in Cherokee by Anna Sixkiller Huckaby. The book design, format and illustrations are a thing of beauty and perfectly complement this story within a story. The tall, slim format and mostly dark brown and forest green accents honor both the stately Giant Sequoia trees and the man, Sequoyah, whose name they bear. The bold-lined artwork—done with ink, watercolor, pastel and pencil on drawing paper adhered to a rough piece of wood, then “rubbed” with chalk and colored pencil—remind one of 19th-Century woodblock prints. The Cherokee writing serves both as an example of what Sequoyah accomplished, and as a beautiful design element that completes the wholeness of the book.—Beverly Slapin
[Note: This review may not be published elsewhere without written permission from its author, Beverly Slapin. Copyright 2008 by Beverly Slapin. All rights reserved.]
Duncan, Barbara, The Origin of the Milky Way & Other Living Stories of the Cherokee, illustrated by Shan Goshorn (Eastern Band Cherokee).
Duncan, education director at the Museum of the Cherokee Indian in Cherokee,
Told by Cherokee elders Davy Arch, Robert Bushyhead, Edna Chekelelee, Marie Junaluska, Kathi Littlejohn, and Freeman Owle, these stories are effectively put down in a style known as “ethnopoetics,” which reflects the words and speech pattern of the storyteller by breaking a line when a teller pauses. So, in reading the stories, one can almost “hear” the story being told.
The stories told here teach that everyone has something to contribute (even if you are a rattlesnake, a small clumsy child or a bird with big feet), that bragging and boasting will get you nowhere (except maybe a ratty-looking tail), that generosity can get rewarded in a number of ways (including being taught all the cures of the forest), and that the sight and smell of strawberries can remind us not to fight with those we love. All of the stories—which range from very funny to very sad to very scary—teach connection to land, culture and community.
Shan Goshorn’s luminous cover painting shows an elderly storyteller sitting on a porch, surrounded by Grandmother Spider bringing fire, two Little People, the Corn Woman Spirit, the dog who created the Milky Way, and the wolf whose clan was taught the medicine ways.
—Beverly Slapin