IT'S THANKSGIVING by Jack Prelutsky, illustrated by Marilyn Hafner

Earlier this summer I started doing some research on easy readers to see what sorts of images of Native people I'd find in them. I've written about some in the past (like Danny and the Dinosaur) but haven't done a systematic study.

This morning I put out a call asking librarians for titles in their collections. Michelle replied, sending me scans from Jack Prelutsky's It's Thanksgiving! That book was first published in 1982. Michelle sent me illustrations from the 1982 edition, and, from a newly illustrated edition in 2007. The text did not change. Just the illustrations. (A shout out to Michelle for sending them to me!)

I don't know what prompted the new illustrations, but certainly, it wasn't a concern for accuracy. The Wampanoag's didn't use tipis as shown in the old and new editions:

The one on the left is from 1982; the one on the right is from 2007. The illustrations are from "The First Thanksgiving" chapter of the book. If you're a regular reader of American Indians in Children's Literature, you know I find the telling of that Thanksgiving story deeply problematic.

But let's spend a few minutes with those two illustrations. In the old one, the Pilgrim and the Indian have their hands up. Are they saying "how" to each other? Maybe the publisher and illustrator knew "how" was a problem but were clueless about the tipis and clothing? It also looks like they made the Indian noses less prominent, but just barely. The Pilgrims, though, their noses look a lot better.

If you are weeding books and want to weed this one but aren't sure how to justify it? Accuracy. Check out page 47 of CREW: A Weeding Manual for Modern Libraries published in 2008. Crew has an acronym, MUSTIE, to help with weeding. Here's what the M stands for:

Misleading refers to information that is factually inaccurate due to new discoveries, revisions in thought, or new information that is now accepted by professionals in the field covered by the subject. Even in fields like physics, that were once thought to be pretty settled, changes occur that radically impact the accuracy and validity of information. 

So how 'bout it? Will you weed it? So kids don't keep growing up thinking that All Indians Lived in Tipis? There's a lot more to say about the "First Thanksgiving" story. I've reviewed a lot of books about it, but for now, check out this post. It features the thinking of a 5th grader: Do you mean all those Thanksgiving worksheets we had to color every year with smiling Indians were wrong?

Was Paul Goble adopted into the Yakima and Sioux tribes?

Within the framework of children's books, one thought that comes to mind when I hear the word "adopted" is Paul Goble. Let me preface this post by saying that I find his children's books highly problematic. See Paul Goble's The Girl Who Loved Wild Horses for background.

For years, I've read that he was adopted by Chief Edgar Red Cloud. Here's an example from the World Wisdom website:

Paul Goble was adopted into the Yakima and Sioux tribes (with the name "Wakinyan Chikala," Little Thunder) by Chief Edgar Red Cloud.

I've been skeptical of such statements and have started some research into that statement. I kind of doubt he was adopted into either one. Maybe Chief Edgar Red Cloud adopted him into his own Lakota family, but I doubt it was an adoption into the nation itself, wherein Goble's name was put down on the tribal census. The Oglala Lakota tribal constitution says members are those who are born to a member of the tribe.

The Yakima and Sioux are two distinct nations, by the way, and using both in that sentence tells us that the person who wrote it doesn't understand that they are two different nations.

I did some searching using "Paul Goble" and "Little Thunder" and found this at the website of the Central Rappahannock Regional Library:

His interest in Native Americans was so deep and genuine that he was adopted into the Yakama (Yakima) tribe by Chief Alba Shawaway and into the Sioux tribe by Chief Edgar Red Cloud.

Alba Shawaway was Yakama and maybe he did adopt Goble into his immediate family, but again, I doubt he would have been adopted into the tribe itself. 

Doing some research on Edgar Red Cloud, I came across Phil Jackson's book, Sacred Hoops: Spiritual Lessons of a Hardwood Warrior. Jackson is a big name in the National Basketball Association. Edgar Red Cloud gave him a name, too in 1973: Swift Eagle.  Jackson writes:

Call me Swift Eagle. That's the name Edgar Red Cloud gave me during the 1973 basketball clinic that Bill Bradley and I conducted at the Pine Ridge Reservation in South Dakota. Edgar, the grandson of the famous chief Red Cloud, said I resembled an eagle as I swooped around the court with my arms outstretched, always looking to steal the ball. Swift Eagle. Oknahkoh Wamblee. the name sounded like wings beating the air. 

In the next paragraph, Jackson writes that Edgar Red Cloud gave Bill Bradley a name, too: Tall Elk.

But let's get back to Goble. I haven't found anything he's written himself that says he was adopted. Here's the dedication in his Adopted by the Eagles: 

See that? He says he was given a Lakota name and called son by Chief Edgar Red Cloud, but Goble doesn't say he was adopted. He doesn't say anything about it in an interview at the Wisdom Tales website.* And he doesn't say anything about it in his autobiography, Hau Kola-Hello Friend published by Richard C. Owen Publishers, Inc. in 1994.  

So... what is the source of information that says he was adopted? I'll keep looking. If you find something, do let me know.

Why it matters: Having his work cloaked with an adoption story suggests that he's got an insider perspective. As my post on The Girl Who Loved Wild Horses indicates, I find his work problematic, and so do Doris Seale, a librarian who is Santee, Cree, and Abenaki, and Elizabeth Cook-Lynn, an American Indian Studies professor who is Crow Creek Sioux. At the bottom of that post, you'll see a link to a post where I quote them. That post is About Paul Goble.

DREAMING IN INDIAN: CONTEMPORARY NATIVE AMERICAN VOICES

For some time now, I've been waiting for Dreaming in Indian: Contemporary Native American Voices. Edited by Lisa Charleyboy and Mary Leatherdale, it was getting buzz in Native networks on social media.

Given my commitment to bringing the work of Native writers to the fore--especially those set in the present day--the title alone caught my interest. Seeing names of writers who would have work in Dreaming in Indian intrigued me, too.

I've read it, now, and highly recommend it.

The publisher, Annick Press, tags it as being for young adults. Dreaming in Indian has a vibrancy I've not seen in anything else. A vibrancy that, perhaps, is characteristic of a generation at ease with technology and its tools... Native writers, that is at ease with technology and its use. Here's a set of pages from inside (image from publisher website):

I want to pore over the art, studying it, thinking about it, marveling at it. Isn't it stunning? I can imagine a lot of people dismissing this work because it doesn't conform to their stereotypical ideas of dead or stoic Indians. But I can also imagine a lot of others holding it dear because it reflects who we are...

The Foreword is by Lee Maracle (Salish and Cree Sto:lo Nation). She writes:

All the works in the following pages are part of that amazing struggle to go forward, into modernity, onto the global stage, without leaving our ancient selves behind.

And:

They sing out loud in verses, plain and compelling. They cry freedom in words commanding and unapologetic. They do with with tender insistence, bravery, and beauty.

Within Native literatures, Maracle's name is up there with our most acclaimed writers. As such, her words mean a lot. One of her most compelling books is I Am Woman: A Native Perspective on Sociology and Feminism. 

The first items in Dreaming in Indian are by a younger, equally compelling writer: Nicola Campbell (Interior Salish of Nik7kepmx [Thompson], Nxilx [Okanagan], Metis). I've written about her children's books several times. She has two poems in this book: "I Remember Lullabies" and "I Remember Fried Bologna and Rice." From the red and white checked tablecloth to the smoked hide Auntie works on, Campbell's poems reflect what Maracle noted: modernity and ancient selves that are part of our lives as we go forward.

Campbell's poems are in Part 1: Roots. The theme for Part 2 is Battles; for Part 3 it is Medicine, and Part 4 is titled Dreamcatchers. In each one, you'll find poetry, prose, and all manner of art. For most, you'll also have a solid introduction to the artists and writers, their lives, what drives them... Gritty and real, their live stories are inspiring.

Annick categorizes Dreaming In Indian as nonfiction, but I honestly don't know what to call it. The mix of media, writing, topics... It makes me think of Eliza Dresang and her writing about radical change. There's a lot to ponder in Dreaming In Indian. It'll challenge readers, in good ways, and that is a good thing. Check it out.

Update: Tuesday, September 9, 2:38 PM

I had a query about the image at top of the set of four. It features the work of Louie Gong. He is Nooksack. His contribution to Dreaming In Indian is a panel that has shoes and a phone case on the left:

 And, shoes on the right:

The accompanying page says that Gong wanted a pair of Vans but didn't see any patterned ones that he liked. So, he bought some gray ones, went home, and drew traditional Northwest Salish images on them. His art, his expression, his identity. Pretty cool.

Gary Robinson's SON WHO RETURNS

The cover for Gary Robinson's SON WHO RETURNS is sure to catch the eye of readers interested in stories about Native peoples. Because it is a photograph, one might assume it is a work of non-fiction, but it isn't. Instead, it is the story of Mark Centeno. He is 15 years old. His dad is Mexican and Filipino; his mother (she died of cancer when he was 10) was Chumash and Crow.

Mark is kind of a surfer dude. He loved hanging with his buddies in California, and is unhappy living in Dallas. He convinces his dad to send him back to California for the summer, to live with his mother's Chumash family on their reservation.

Nana (his grandmother) and his aunt meet his plane and he starts to learn a lot about his Chumash heritage. When he was younger, his mom had told him some things, but as the story unfolds, he learns a lot more. As the cover suggests, dancing is part of what Mark is going to learn about. By the end of the story, he's a pretty good Traditional dancer and knows several songs in that category.

Early on, Mark learns that his cousin, Adrian, is actually his half-brother. When Mark first talks with him, Adrian is getting ready for an upcoming pow wow. Mark asks him if a choker is part of his costume. Adrian is incensed that Mark has used the word "costume" rather than regalia. It is moments like that by which Robinson (the author) imparts a lot of solid information to us (the readers)--information that bats down stereotyping and bias that is all-too-rampant in society.

Robinson also introduces readers to some of the identity politics that run through Native communities. Another character in the book is Charley. He's Lakota from Pine Ridge. Mark meets him when he registers to dance for the first time. Charley looks down on Mark, saying (p. 75):

"You know, powwows aren't really meant for California Indians. You're all mostly watered-down mixed breeds. You should leave this stuff to real Indians like me."  

I'm glad to see Robinson take up this fraught topic. I think Native kids (like Mark) who are new to powwow dancing, or who are mixed, will like reading how this identity politics will all get sorted out, and many will love seeing references to Gathering of Nations. Non-Native kids will get a glimpse into the not-monolithic world of Native people.

Son Who Returns was published in 2014 by 7th Generation. It is in their Pathfinder series of books for reluctant teen readers.

Mexicans, lawn jockeys, and an Indian spirit in A.S. King's PLEASE IGNORE VERA DIETZ

Today is one of those lazy Sundays in which I pick up an acclaimed young adult novel to read--not for AICL--but just because it is important that I read books that win major awards.

Please Ignore Vera Dietz, by A. S. King, was named as an Honor Book in YALSA's Michael L. Printz Award for Excellence in Young Adult Fiction in 2011. Published in 2010 by Alfred A. Knopf, I started reading it a couple of hours ago. I paused when I read this (note: I'm reading an e-book and cannot provide page numbers for excerpts):

I drive over the bridge into town. The whitest town on earth--or, more accurately, once the whitest town on Earth until the Mexicans moved in. Once you get through the crowded old suburbs where the large Victorian homes sit on the hill and past the rows of cupola-topped row houses, it's an ugly town--a mishmash of 1940s asphalt shingles, multicolored bricks, and gray concrete. There's too much litter, and too many people look angry. Dad says it wasn't always like this. He says it's not the Mexicans' fault that the city council would rather spend the city's money on new arts initiatives and a big flashy baseball stadium than more police on the streets. So now, while there's wine, cheese, and doubleheaders downtown, poverty has taken over and crime is at an all time high uptown. I lock my doors.

So--Mexicans live in the ugly part of town, but if the city spent more money on police, that part of town wouldn't be dirty, ugly, and filled with people who look angry? Really?! Just how would more police help with that? 

I kept on reading. Vera's home is on Overlook Road, near the top of a hill. So is Charlie's. They're next door neighbors, but their houses are a hundred yards apart, in a wooded area where, I gather, the wealthy people of the city live. Vera's neighbor on the other side is the Ungers. The Ungers have a boat, two Cadillacs, and a lawn with ornaments that includes

lawn jockeys (the black kind), and three cement deer--a doe and two fawns.

The Ungers also have gnomes, which Charlie and Vera move around for kicks. There is no further mention of the lawn jockeys. What are we readers to make of that?! Thinking that I'd come across something that tells me the Ungers are racist, I kept on reading. The chapter titled "History--Age Seven" opens with Charlie telling her about "the spirit of the Great Hunter." Of course, that passage gave me pause. Again. Here's that excerpt:

As far as Charlie was concerned, the Great Hunter was an Indian spirit who lived in our woods. He drank from the lake. He watched the stars from the ridge. He protected hikers and hunters and tree-climbing little urchins like us, and he created the most sacred tree of all, the Master Oak, for us to grow up in.

How nice (not)! An Indian spirit who looks after white kids. 

Not all Mexicans, or all African Americans, or all Native people, will pause at King's references to them/their culture, but I noted all three instances, and frankly, I'm more than a bit annoyed. Each of these three passages yanked me out of the story King is telling. 

I looked through reviews, and not once have I found a review from a reviewer at a journal, or from a blogger, that noted these references. Didn't anyone notice them? Or did they get noticed but were then deemed unimportant? Are such things so much a part of white culture that they are unremarkable?! 

Needless to say, I am setting aside King's Please Ignore Vera Dietz. Did you notice the passages?

Update: 5:03 PM, August 31, 2014

In my post (above), I should have provided a synopsis of what the book is about. Here's what you'll find at Amazon:

Vera’s spent her whole life secretly in love with her best friend, Charlie Kahn. And over the years she’s kept a lot of his secrets. Even after he betrayed her. Even after he ruined everything. So when Charlie dies in dark circumstances, Vera knows a lot more than anyone—the kids at school, his family, even the police. But will she emerge to clear his name? Does she even want to?

Update: 5:44 PM, August 31, 2014

Well, I kept on reading...

I came across a "Nazi skinhead" named Mick who is boyfriend to one of Vera's coworkers (Vera works at a pizza place). One evening, Vera gives Jill a ride home. They've got Sly and the Family Stone cranking. When they get to Jill's apartment, Jill reaches over and turns the volume way down so Mick can't hear it. She turns to Vera and says "What can I do?" With Jill's action and question, we understand that King wants us to know that Mick is racist towards blacks. Why couldn't she give us something like that about the Ungers, too?

Later, Vera is remembering being on the bus when she was in 8th grade. She was listening to Al Green on her headphones. A senior guy sits with her and asks her what she's listening to. His name is Tim Miller. Vera doesn't want to tell him what she's listening to because he uses the n-word and she's sure he won't like the music she listens to. There's also a Confederate flag in his yard. He lives at the bottom of the hill. He tells Vera she's a rich kid. Given the location of his house, his family is low on the SES scale. He's obviously meant to be racist. Again--why don't we have anything to mark the Ungers as racist? Why couldn't Vera have said "the racist black kind" rather than just "the black kind" when she noted them on the Ungers lawn?  

I'm trying to figure out who Vera is...  She is well-off, doesn't like the n-word, and is aware of white supremacist racism towards African Americans. Is that a plus for Vera? For King?

Update: Monday September 1, 7:58 AM

I finished Please Ignore Vera Dietz last night and am following up on my post from yesterday.

After the killing of Michael Brown in Ferguson, police response to protesters, and white response to the entire thing, Vera's observation that more police would make the Mexican neighborhood a better place set me off. It reminded me of a piece I read in the Washington Post. Written by Carol Anderson, a professor in African American Studies, she did an excellent job providing analysis of Ferguson. Anderson's article captures what I think is wrong with King's Please Ignore Vera Dietz, and it being singled out for distinction, and, the lack of critical commentary on its racial dimensions.

Titled Ferguson isn't about black rage against cops. It's white rage against progress, here's an excerpt:  

Protests and looting naturally capture attention. But the real rage smolders in meetings where officials redraw precincts to dilute African American voting strength or seek to slash the government payrolls that have long served as sources of black employment. It goes virtually unnoticed, however, because white rage doesn’t have to take to the streets and face rubber bullets to be heard. Instead, white rage carries an aura of respectability and has access to the courts, police, legislatures and governors, who cast its efforts as noble, though they are actually driven by the most ignoble motivations.

Though Vera drinks and starts dating a man (she's 18; he's 23), we're supposed to like her. She is a progressive thinker. She likes African American music. She is uncomfortable around Mick, the "Nazi skinhead" and Tim, the kid who uses the n-word and has a Confederate flag in his yard.

Vera doesn't like overt racism, and she feels bad for "the black kids who are called nigger at school."

Vera is like a lot of people that object to overt racism, but don't see the institutionalized racism that is created by the aura of respectability that Anderson describes in courts, police departments, legislatures, and governing systems.

I think the aura of respectability is also very much a part of the book world. Please Ignore Vera Dietz is a great example.

Vera thinks that the Mexican part of town would be better if there were more police there. Did King want us to see Vera's thinking as problematic? If she did, I think she'd have woven it into the story, but she didn't. There's nothing about it in the discussion guide she has at her site, either. The lawn jockey is never taken up again, either.

The Great Hunter does reappear. Anticipating his death, Charlie leaves a series of notes for Vera. Finding and reading them after his death, Vera reads one that says "You'll never lose me, Vera. I'm the Great Hunter now." Presumably, people love that idea, but for me, it is just more white-people-playing-Indian according to their ignorant/racist ideas about who we are! They see this play as honorable and positive, and it leads a great many to defend the use of Native imagery for sports mascots. Vera never says "oh that Great Spirit shit is fucked up." She could have, but she doesn't get it. Does A. S. King get it? I don't think so.

Again: None of this noted in reviews. The focus of those reviews is on Vera and Charlie and how they're navigating troubled waters of abandonment and abuse. No doubt, readers/reviewers see that as the most important theme of the book. All that other institutionalized racism stuff? To them, it must either be invisible or just not important.

Obviously, I disagree.

There is a great deal of harm in institutionalized racism and in that aura of respectability. 

Books by Cherokee Mystery Writer, Sara Sue Hoklotubbe

Some months ago I was asked if I could recommend a Native mystery writer. Because my area of expertise is books for children and young adults (and not adult mysteries), I asked colleagues in Native literature for names and learned about Sara Sue Hoklotubbe.

Right away I downloaded an e-copy of Hoklotubbe's American Cafe. Published in 2011 by the University of Arizona Press, I liked it a lot and passed her name along. American Cafe is the second book featuring Sadie Walela, a Cherokee woman trying to find her way in the world.

Hoklotubbe's writing is the real deal. Her Cherokee identity and knowledge are the foundation of her books. As you read, you'll be drawn into Sadie's world. There's no romanticizing, no stereotyping, and no mis-steps either like those you'll find in books by Tony Hillerman or Sandi Ault. Their books make me cringe (and yes, I did read some of them.)

Hoklotubbe will be reading tomorrow in Washington DC at the National Book Festival. For the last few weeks, I've been recovering from a broken ankle. Among the books I've read is the first Sadie Walela book, Deception On All Accounts. I like Sadie and want to read more of her. I'll turn, next, to Sinking Suspicions. 

Though it isn't marketed to young adults, I wouldn't hesitate to recommend Hoklotubbe to older teens (or adults) looking for books--especially mysteries--by Native writers. I encourage you to get her books for your library and take a look at her website, too.  

A killer line in Jaye Robin Brown's NO PLACE TO FALL

Yesterday, Kelly Jensen of Book Riot tweeted that 20 pages into a YA novel, she came across this line: 

[H]e must be part Indian. Red dot, not feather.

I asked for the title, and she pointed me to her review at goodreads, where she said:

You lost me right there, with that line. No need to read more.

I'd have that reaction, too. I've heard the phrase used before. It reduces Indians to red dots, and American Indians to feathers. Pretty gross.   

Finding Bruchac's BUFFALO SONG at Reading is Fundamental's office

Update on Sep 30 2023: I (Debbie Reese) no longer recommend Bruchac's work. For details see Is Joseph Bruchac truly Abenaki?

In July I was in Washington DC to visit my daughter. Among the many things I did while there was visit the Reading is Fundamental office. As I waited in their reception area, I noted the books on their coffee table. Among them was Joseph Bruchac's excellent Buffalo Song:

Seeing it did two things:

First, it isn't often that a great book by a Native author greets me as I sit in a waiting room. My heart soared.

Second, its presence on that table is evidence that the people at Reading is Fundamental are committed to providing recipients of their books with ones that accurately portray Native people. Books that don't stereotype or romanticize who we are, and who we were...  They're important! Not just to Native readers, but non-Native ones, too!

In 2008, I posted Beverly Slapin's review of Buffalo Song.

Bruchac's book is superior to Jean Craighead George's The Buffalo Are Back. My review of her book is here: Jean Craighead George's THE BUFFALO ARE BACK. 

Read Slapin's review of Bruchac's book and get a copy. If you've got one on on your shelf, feature it in a display. For many kids, school is starting. Featuring it now helps get Native culture into the hands of children right away. Don't wait till that month designated for Native Americans (November) to share books by Native peoples.

BEFORE WE WERE FREE, by Julia Alvarez

Among the projects I'm doing this summer is a do-it-yourself paint job of the exterior of our house. On days when it isn't too hot or humid, I enjoy being out there, scraping paint and listening to an audiobook.

Today, I started listening to Julia Alvarez's Before We Were Free. Published in 2002 by Knopf Books for Young Readers, it won the Pura Belpre Award in 2004.

Chapter one opens with this:

"May I have some volunteers?" Mrs. Brown is saying. We are preparing skits for Thanksgiving, two weeks away. Although the Pilgrims never came to the Dominican Republic, we are attending the American school, so we have to celebrate American holidays.

That opening was unexpected. But because I've read one of Alvarez's other books, my ears perked up. Where, I wondered, would this particular scene go in Alvarez's skilled hands! Mrs. Brown picks Anita (the protagonist) and her cousin, Carla, to play the parts of two Indians who will welcome the Pilgrims because,

Mrs. Brown gives the not-so-good parts to those of us in class who are Dominicans.

Mrs. Brown then gives the two girls a headband with a feather sticking up like one rabbit ear. She asks them to greet the Pilgrims, being played by two boys wearing Davy Crockett hats. Anita thinks

Even I know the pioneers come after the Pilgrims.

Mrs. Brown asks Anita/the Indian to welcome the pilgrims "to the United States" but Oscar raises his hand and asks:

"Why the Indians call it the United States when there was no United Estates back then, Mrs. Brown?"

Some kids make fun of him. Anita hates it when the Americans make fun of the way the Dominicans speak English. Mrs. Brown tells him that

"It's called poetic license. Something allowed in a story that isn't so in real life."

Beautifully done, Ms. Alvarez! I'm hooked.

NOT RECOMMENDED: Gary Paulsen's MR. TUCKET

A reader of AICL wrote to ask me about Gary Paulsen's Mr. Tucket. I read a copy of the book via the Internet Archive. Here's my notes, summarized by chapter. Sometimes I put my comments in italics beneath each chapter. This time, you'll find my thoughts on the book in the THOUGHTS at the end of the summary of chapters.

First, though, let's look a bit at Gary Paulsen. He's a prolific author and quite well known for Hatchet and the sequels to it. The Hatchet series is also known as Brian's Saga, because the protagonist is a kid named Brian who survives a plane crash, alone, in the Canadian wilderness. Hatchet was a Newbery Honor Book in 1987.

Published in 1969 by Funk & Wagnalls, I think Mr. Tucket was Paulsen's first book. It, too, is about survival.

CHAPTER SUMMARIES

Protagonist: Francis Alphonse Tucket, age 14
Date: June 13, 1848
Place: Oregon Trail

CHAPTER ONE

Francis's family is part of a wagon train moving from their farm in Missouri. While in Kansas, they'd been worried about Comanche's but all through Kansas, they hadn't seen "a feather--let alone an Indian" (p. 8).

The wagon train is in the foothills of the Rocky Mountains. Francis receives a rifle for his 14th birthday. He's out practicing, behind the wagon train and out of sight of everyone. He is captured by "six Pawnee men and one older warrior" (p. 9) who are not wearing paint, which he thinks means it is a hunting party. He struggles, they knock him out. He wakes up at their camp where "the ugliest old person" (p. 10) he's ever seen looks down on him. The person, who has a wrinkled face and toothless mouth, smiles down on him.

 CHAPTER TWO

The old woman is wife of the old warrior in the hunting party. When Francis wakes, she puts a rope on him and shows him off at each lodge. Boys kick him. He fights the boys, decides it isn't worth it, and smiles at the old woman. She removes the rope. He is attacked by three boys. The fight is stopped by (p. 14):

"a short, wiry Indian with his hair in one braid. At the bottom of the braid there was one feather, hanging straight down. The man wore plain buckskins, unbeaded moccasins, and carried a rifle in his left hand. It was Francis's rifle."

Francis argues with the man. Aiming the rifle between Francis's eyes, the man warns him not to be stupid or insult elders, and walks off.

CHAPTER THREE

Three weeks after being at the camp, Francis learns that "the brave" with his rifle is named Braid and that he is the leader of their war parties. He is not a chief. There are scalps braided across his doorway to his lodge. One morning he led a party of more than 40 warriors out of camp. When they return, Francis sees a blonde scalp and figures the Pawnees had attacked the wagon train with his family. His suspicion is confirmed when Braid throws a china doll at his feet. It is his sister's doll. The council decides to move the village. They travel for ten days to the southern edge of the Black Hills. There, Francis meets a white man who comes to the village: Mr. Jason Grimes.

CHAPTER FOUR

"Squaws" and children crowd around Grimes, who Francis thinks of as a mountain man. He wears fringed buckskin, plain moccasins, and a derby with a long feather sticking straight up from the band. The people in the village prepare a celebration. At night there is a frenzy of dancing. Francis wakes that night with a hand over his mouth. It is Grimes, with a plan for how Francis can get away.

 CHAPTER FIVE

Francis takes off on a mare Grimes swiped for him. He rides the mare, loses it, and keeps walking. At dark, he falls asleep.

CHAPTER SIX

Francis wakes to the smell of coffee. Grimes is there. He tells Francis he followed Braid and five or six others as they tried to find him by following the mare's tracks. Having gone upriver without the mare, Francis--now called Mr. Tucket by Grimes--is safe. He learns that Grimes lost his arm after a fight with Braid.

CHAPTER SEVEN

Grimes teaches Mr. Tucket how to use the rifle and be aware of surroundings.

CHAPTER EIGHT

Francis asks Grimes why he is friendly with Pawnees after having lost his arm due to the fight with Braid. Grimes says Pawnee can't help the way they are, that nobody can. Then he says the Pawnee call themselves "the People" and that they "live with the land" or, (p. 50):

"by nature--the same nature that makes a she-bear gut you if you mess with her cubs. Braid costing me my arm is about the same as a she-bear took it. I couldn't get mat at a bear and I couldn't get mad at Braid, and I couldn't hate the whole Pawnee tribe because of a mistake."

The mistake was that Grimes wasn't successful in preventing Braid from cutting his arm up. Francis asks questions that make Grimes uncomfortable. Why does he trade pelts for gunpowder and lead that the Pawnees then use on white people? Grimes says he is not a war maker. He doesn't want to kill Pawnees or whites. If he does kill Braid it will not be over land. That desire for land is what farmers like Francis's family wants. He asks Grimes to leave him at a settlement. Grimes says the closest one is Standing Bear's Sioux village.

CHAPTER NINE

They ride into the Sioux village where "the children's howling was earshattering" (p. 56). At the center of the village, (p. 56)

"a small channel opened in the crowd to the right and an Indian, who limped, came through. He was short, bowlegged, and stocky, but he moved with a smoothness that make Francis think immediately of a cat. It must be Standing Bear, Francis thought, and he was not smiling."

Grimes speaks in Sioux to Standing Bear, who tells him that Braid asked Standing Bear to keep an eye out for Francis. This strikes Grimes as unusual because the Pawnee and Sioux are enemies, but it turns out the mare Francis escaped on was Braid's personal horse. Because of that, Braid is willing to talk to enemies, with the hope of getting his mare back. Grimes talks with Standing Bear, apparently asking Standing Bear if he can trap beaver on Standing Bear's lands. He gets that permission, and then sets up a wrestling match between Francis and a boy in the village. It starts with Standing Bear "snorting" something in Sioux to both boys. Francis wins the match. His winnings are a horse and outfit.

CHAPTER TEN

Francis tries out the horse. He and Grimes leave the village.

CHAPTER ELEVEN

Francis puts on, and likes, his buckskin outfit. Francis and Grimes set out to hunt antelope using an old Indian trick in which Francis will wave a white rag, which makes the antelope curious. They want to see what it is. When they do, Francis is to shoot a young antelope. They get one and eat twelve pounds by dark.

CHAPTER TWELVE

They visit Spot Johnny. He has an Indian wife named Bird Dance and two boys: Jared, John and Clarence. Bird Dance speaks perfect English. Spot tells Grimes that Braid is thinking of taking over the Pawnee nation, and gathering items like powder for the tribe.  Braid has also been raiding wagon trains. Spot says Braid is stupid, wanting to make "a clean sweep" and "driving all whites from Pawnee territory" (p. 91).

Grimes then asks Spot about the Crows, saying (p. 92):

I spent a week coming across their stomping grounds and didn't see a one. Usually I get shot at at least once."

Spot says they're hunting and that he's also heard they've broken into small bands. "Too many war chiefs" (p. 92) and are raiding and taking what they can.

CHAPTER THIRTEEN

Francis and Grimes leave Spot Johnny's place. They see a wagon train, but Francis chooses to stay with Grimes.

CHAPTER FOURTEEN

They enter an area where Grimes is careful to cover their tracks so that "the best Kiowa tracker in the world" won't be able to find them. They're near the edge of the Crow territory. They settle near beaver ponds.

CHAPTER FIFTEEN

Jim Bridger comes for a visit and tells Francis and Grimes about a Crow family nearby.

CHAPTER SIXTEEN

Francis and Grimes trap two hundred beaver, skin and stretch their pelts.

CHAPTER SEVENTEEN

Two miles from camp, five Crows "painted for war" (p. 129) fire arrows at Francis. He races back to camp, with them chasing and firing arrows. Grimes shoots two, and one is thrown from his horse and injured.  Grimes and Francis plan to get the others.

CHAPTER EIGHTEEN

Grimes and Francis come upon two of the Indians (p. 136):

"In front of them, not ten feet away, two painted faces and bronze chests rose. Two arrows were pulled back on taut strings. Two Indian throats let out a roaring sound."  

Francis wounds one; Grimes kills him. The other "brave" got away. Grimes and Francis start tying beaver pelts to horses, and then leave. Back at their camp, ten Crow "braves." The leader says they will start out to find Grimes and Francis at daybreak, and help Laughing Pony (the one who was thrown from his horse).

CHAPTER NINETEEN

Grimes and Francis run into a heavy snowstorm but keep running the horses until Francis's mare stumbles. They stop for the night.

CHAPTER TWENTY

The next morning they set out again, rest again, and then when they get started they see smoke. Grimes thinks it is from Spot Johnny's camp but that there is too much smoke.

CHAPTER TWENTY-ONE

When they arrive at Spot Johnny's camp, everything is on fire and there are many bodies. Grimes says it was "Braid and his boys" (p. 154). Two miles away, Spot Johnny's trading post and wagons from a wagon train are also on fire. There are twenty-three dead Pawnees, too. Grimes and Francis don't find Spot or his family outside, and Grimes is sure they were in the burned trading post. There are farmers at the wagons. Grimes asks them when they were attacked and says it is time for him to "do something about Braid" (p. 156). He asks the farmers to keep Francis as he rides off and if he doesn't return, that Francis gets his ponies and pelts, and that the farmers should take Francis with them.

CHAPTER TWENTY-TWO

Francis gets away from the farmers. He rides hard to catch up to Grimes. He sees Grimes and Braid in a meadow, on horses, racing towards each other, both "stripped to the waist and carrying rifles" (p. 163). They shoot at each other, and "the one-armed and one-braided men" fall near each other. Braid is dead. Francis is shocked that Grimes goes to scalp Braid. He realizes Grimes is like the Indians, and "in a way, a kind of animal" (p. 165) and that he (Francis) is not. He gets on his horse and sets out for Oregon.

MY THOUGHTS

Though I am glad to see that Paulsen used specific tribes (examples: Pawnee and Kiowa) in Mr. Tucket, it is disappointing that the Native characters are, nonetheless, portrayed as animal-like rather than as human beings. The Pawnee children howl, for example, in chapter two. In chapter eight, Grimes frames the Pawnees as being like bears. In chapter nine, Standing Bear (a Sioux) moves like a cat. None of this characterization is used for the white characters.

Paulsen's Standing Bear is Sioux. There was a man named Luther Standing Bear/Ota Kte (Ota Kte is his Lakota name), born in the 1860s, who wrote several books, including My People the Sioux. There was a Ponca leader named Standing Bear. He was born in 1829 and died in 1908. He is known for leaving his reservation, without permission, to take his son's remains to their homelands to bury them there. Virginia Driving Hawk Sneve's book about him is on my list of children's books to review. I wonder if either of them was the inspiration for Paulsen's use of that name for that character? Both are men of significance, and I was annoyed to see that name for this character.

I'm also curious about the name of the Pawnee man: "Braid." He wears a braid, and my guess is, that braid is why he's called Braid. To me, it sounds silly. I searched for images/photos/illustrations of Pawnee men to see how they wear feathers. Paulsen's Braid wears a feather at the end of his braid, pointing down. That seems silly, too, and I didn't find any examples of a feather being worn that way. I'm not saying it isn't possible--anything IS possible--but when we have an outsider (Paulsen) creating characters from a nation (Pawnee) and a time period over 100 years ago, I think Paulsen is on a slippery slope.

The wrestling. I can't find any support for wrestling, in any tribe, that looks like what Paulsen describes. I do find it, however, in boy scout manuals! There is a lot in those scouting guides that gets labeled "Indian" that isn't part of Native traditions anywhere. I would love to find some kind of evidence of it, though, so if YOU find it, do write and let me know where it is! This wrestling reminds me of the "Indian burn" that is part of kid lore in the U.S.

Scalping. Braid does it. A lot. It is a brutal, savage act. Overall, Paulsen characterizes the Native people as more like animals. The scalping that Braid does fits in a savage framework, with Pawnees portrayed as less-than-human. At the end of the story, Francis chooses to abandon his friendship with Grimes when Grimes behaves like a Pawnee and scalps Braid. We are supposed to think that Francis has higher morals, that he's choosing not to be animal-like. BUT. What we--as readers--ought to reject is Paulsen's characterizations of Native people. He gives us is a narrow depiction that serves a narrative that encourages readers to think Native people were less-than White people, and therefore, it was ok to take Native land. And, it obscures a lot of the violence directed at Native people, too. There were bounties on Native men AND Native women and children, too. Bounty hunters would collect their money by showing the scalps of Native men, women, and children. Paulsen gives us one White person who scalps, but in Paulsen's story, he is the exception. He's shown to be outside-the-norm, but the fact is, Whites scalping Native people happened a lot. Here's an excerpt of a proclamation from 1755 that specifies how much a person would receive when he would "produce the scalp":

For every Male Penobscot Indian above the Age of twelve years that shall be taken within the Time aforesaid and brought to Boston Fifty Pounds.

For every Female Penobscot Indian taken and brought in as aforesaid and for Every Male Indian Prisoner under the age of twelve Years taken and brought in as aforesaid Twenty five Pounds.

For every Scalp of such Female Indian or Male Indian under the Age of twelve years that Shall be killed and brought in as Evidence of their being killed as aforesaid, Twenty pounds.

Paulsen's point of view is Francis's--a 14 year old white boy--but, as the reviewer of his third book (Tucket's Ride) said, Paulsen doesn't develop characters. He uses stereotypes. When we, as a society, know so little about Native peoples--past and present--such stereotyping is a serious issue. The reviewer points to that issue, saying:

"Classroom use for social studies, however, would require careful and critical analysis by teachers and students."  

I spent an hour or so looking over videos students/teachers have made about Mr. Tucket. I see no evidence of careful or critical analysis. Though Paulsen sometimes had his white characters use 'man' or 'men' to refer to the Pawnee men, he mostly used "brave" or "warrior" for men and "squaw" for women. In careful or critical analysis, I'd like to see teachers looking at words like that, because they create a distance, or a barrier, in thinking about Native men and women as people, just like any other people.

Mr. Tucket is definitely a very popular book, as evident in its reprintings. Here's some of the covers I've found. First is one that looks like it could be the original cover, from 1969:

Here's one I found a lot. Looking at a preview online, I saw a copy from 1995, that, with this cover, was in its 25th printing.

And here's what I think is the most recent cover:

In an interview, Paulsen says he learned a lot from reading a particular series. What are kids who read his Mr. Tucket series "learning" about Native people? Regular readers of AICL know that I'm critical of authors who use "Indian" rather than a specific tribe, but when an author uses a specific tribe and gives us stereotypes anyway, that is equally problematic. I cannot recommend Mr. Tucket. 

FOLLOW THE DREAM: THE STORY OF CHRISTOPHER COLUMBUS, by Peter Sis

In the last few days, I've been looking at picture books about Christopher Columbus. Peter Sis did one, titled Follow the Dream: The Story of Christopher Columbus. 

Sis has won a lot of major awards for his work in children's literature, but none (that I know of) for his biography of Columbus.

Published in 1991 (likely timed to coincide with the 500 year 'anniversary' of Columbus landing in the New World) by Alfred A. Knopf, the reviewer at Publisher's Weekly called it flat, while the one at Kirkus called it uncontroversial, and the reviewer at School Library Journal said to "make room on your crowded Columbus shelf" for this one.

Sis grew up in Czechoslovakia. In a 2009 article in Bookbird, Sis wrote (p. 45):

I grew up with the myth of Columbus's voyage and his discovery of the "new world." I thought I had found a perfect explorer in him. Someone who was determined to find the way, just like me. I remember how surprised I was by the voices raised against Columbus and against the consequences of his "conquest." It sounded especially strong on the 500th anniversary of his voyage and it scared me. I was not used to this "free" discussion and I still have to remind myself that everyone has a point of view, even today. 

His use of quotes around the word 'conquest' suggests he doesn't agree with the people who raise voices against Columbus. He probably wouldn't like what I have to say about this illustration (I took this photo with my phone today while at the library reading books about Columbus):

The page on the left shows Columbus when he "landed on a beach of white coral, claimed the land for the King and Queen of Spain, knelt and gave thanks to God, and expected to see the treasures of the Orient..." While the people he's looking at are standing (rather than crouched, hiding behind bushes as is typically shown), the way the illustration is done makes it look like they're idolizing him.

He juxtaposes that illustration with the one on the right. It is a statue of Columbus (I think it is the one in Barcelona). Looking closely, I think the figures gathered 'round the statue are schoolchildren.

The juxtaposition bothers me. On the left are Native people. On the right are children. Is Sis equating Native people with children? That is, unfortunately, all too common in children's literature and society, too. Surely you're familiar with the phrase "wild Indian" as used to describe children who are out of control.

Peter Sis equates Native people with children.

Bad move, Mr. Sis!

Needless to say, I don't recommend Sis's book about Columbus. If you want to read the article in Bookbird, its title is "My Life With Censorship" and it is in volume 47, issue #3, in 2009. And take a look at Desai's article on books about Columbus.

Picture Books about Christopher Columbus

Earlier this week, a colleague wrote to me about a new picture book about Christopher Columbus. This morning, I was e-talking with Annette Wanamaker, editor of Children's Literature in Education, about an article in CLE about Columbus! I read it right away.

In "The Columbus Myth: Power and Ideology in Picturebooks About Christopher Columbus," Christina M. Desai shares results of her analysis of depictions of Columbus in picturebooks published since 1992. She looked at a representative sample of over 30 books and found that little has changed. Native peoples are still being misrepresented and stereotyped.

She also points to something very troubling:

In her defense of humanities education, Not for Profit: Why Democracy Needs the Humanities, Nussbaum (2010) warns that, as emphasis on the humanities declines in the U.S., curricula are increasingly designed to advance economic growth. She posits that such curricula will "present national ambition, especially ambition for wealth, as a great good, and will downplay issues of poverty and global accountability" (p. 21). The books examined here certainly exemplify such a curriculum and promote its agenda, by glorifying conquest and profit at the expense of ideals such as human rights and self determination.

That paragraph reminded me of Floca's Locomotive. Though his picture book is about early trains in the US, it is also about conquest and profit at the expense of Native peoples. Locomotive won the Caldecott Medal this year. I found it lacking. Floca responded to my critique.

I think Floca's win and Desai's article tell us how little we've come in terms of a humane society. If you don't have access to Children's Literature in Education, ask your librarian to get a copy of Desai's article. It has a lot to mull over for those of us who read, review, and recommend children's books.

Here's the citation:
Desai, Christina M. (2014). "The Columbus Myth: Power and Ideology in Picturebooks About Christopher Columbus," Children's Literature in Education. DOI: 10.1007/s10583-014-9216-0.

E.B. White "Did you ever see an Indian..."

A few days ago (June 11) was E.B. White's birthday. Most people know--and love--Charlotte's Web and Stuart Little. 

Do you remember his reference to Indians in Stuart Little, published in 1973 by Harper Row?

It is that part where he's fixed up a birchbark canoe and plans to take Harriet out for a ride in it. There's a string tied to it, though, that he can't untie. He's really annoyed. Harriet says they could go anyway and let the string drag behind them. Stuart is not keen on that at all. On page 122, he says:

"Did you ever see an Indian paddling along some quiet unspoiled river with a great big piece of rope dragging astern?"

Harriet says that they could pretend they are fishing, but Stuart says

"I don't want to pretend I'm fishing."

What does he want to pretend? Does his "Indian paddling along some quiet unspoiled river" tell us he was imagining them as Indians?

Curious if he'd written anything else about Native peoples, I started digging a bit and found a poem called "An Indian Burial Mound" published in 1922 in Art and Archeology. It is as follows:

The sculpted buttes cut cameo-wise
Against the bold blue skies,
Above the grave.
No catafalque, no lordly marble tomb;
But,--in his native hill side carved,-a room
His bones to save.
The tomb profaned, simple would show his needs;
A shard or two, a strand of turquoise beads
The spirit crave.
Here ruled his tribe before we bade them go.
Here buffalo and deer paid tribute to his bow.
Here lies a brave!

Time for some analysis! That'll come. Later. Gotta run for now!

_____

Back (on Monday, July 14th)!

Some things White says in the poem suggest he's thinking of the southwest ("sculpted buttes"), and the room carved in a hill suggest Bandelier National Monument near Los Alamos, New Mexico. Here's a photo of those bold blue skies and what could be the buttes:

Source: http://www.rv-trips.com/wp-content/uploads/2011/06/
Bandelier-National-Monument-3.jpg

And here's a photo that shows the caves:

Source: http://wikitravel.org/upload/shared//thumb/2/28/
Bandelier_cliffdwellings.jpg/300px-Bandelier_cliffdwellings.jpg 

Bandelier, Mesa Verde, and similar sites are ancestral sites of Pueblo peoples. My village, Nambe, is about 30 miles from Bandelier. At one time, the information provided at the park said that the people who lived there disappeared, but now, the information states that Pueblo peoples lived in those sites and moved elsewhere (like Nambe).

If E.B. White visited Bandelier and didn't know the descendants of the people that lived there now live elsewhere, the lamentable tone of his poem makes sense. We could also say that his use of "Indian" rather than a specific tribal nation reflects a lack of knowledge, too.

His poem reflects romantic stereotypes but it also has the vanished Indian theme. In the conversation on Facebook, I noted that it reminds me of the "End of the Trail" statue at the Cowboy Hall of Fame. It depicts a tragic Indian.

Curious (again), I wondered if Trumpet of the Swan (another of his books for children) had any Native content... and it does! In it, Sam (the main character) has "black hair and dark eyes like an Indian" (p. 1). When he leaves the spot from which he watched the swans, he "walked slowly and quietly away, putting one foot in front of the other, Indian-fashion, hardly making a sound" (p. 22).

White did not denigrate Native peoples by using derogatory images, but romantic images are just as bad in terms of providing children with knowledge of who Native peoples were, and who we are, too.

And while most of us love White's writings for children, we ought not shy away from pointing out these stereotypes when we use the books with children. Letting them stand, unchallenged, is not educationally sound.

Tim Tingle's keynote at 2014 American Indian Youth Literature Awards

On Sunday, the American Indian Library Association (AILA) presented its 2014 Youth Literature Awards in Las Vegas, Nevada at the annual meeting of the American Library Association. Choctaw author Tim Tingle was the keynote speaker at the event.

Tingle's How I Became A Ghost won the middle school award. I could not be in Las Vegas but have been following happenings there via social media. On Monday,  American Libraries Magazine posted an article about the AILA event. In it, Michele LeSure included an overview of Tingle's remarks:

Tingle spoke about the trials his family endured being discriminated against for being Choctaw tribal members, and the importance of documenting these types of stories. He said the recent decision to revoke trademark rights to the Washington Redskins team name and logo gives Native Americans a big opportunity to raise these types of issues in public discourse, so “we will never be ghosts.”

Tingle's Saltypie recounts some of that discrimination his family experienced. His note to teachers in that book is exceptional. In his books, Tingle brings forth difficult moments in history in which Native peoples were discriminated against. How I Became a Ghost is about the Trail of Tears, and House of Purple Cedar opens with the burning of a Native boarding school in which Choctaw girls were burned to death. Though we would correctly assume that the characters in his stories would be bitter, they aren't. They recognize the humanity in all people, including those who hurt them. Tingle is a master at giving us history in a way that lets us examine brutality and compassion.

Tingle's keynote remarks indicate his courage in taking up current examples of that discrimination. Specifically, he addressed the Washington football team's racist name. He is absolutely right in saying that the public discourse on mascots creates an opportunity for us to examine all misrepresentations of Native people. One of those misrepresentations is the thought that we no longer exist. Here's a couple of tweets that captured more of Tingle's remarks:

Get his books for your classroom, school, or home library. And get them from small bookstores, too! When you booktalk or introduce them, you can say "Tim Tingle is Choctaw." That two letter word (is) will go a long long way at helping your students and patrons correct the misinformation they may carry about us as being extinct.

Aaron Carapella's Map: NATIVE AMERICAN NATIONS - OUR OWN NAMES & LOCATIONS

Eds. note, Oct 11, 2016: See updated review: A Second Look at Aaron Carapella's Maps.

Some months ago, I began to see information about Aaron Carapella's map, "Native American Nations - Our Own Names & Locations." It is an admirable and ambitious project, and it held a great deal of promise... But.

The ways in which Carapella writes about the project is a bit off-putting. For example, he writes that "We also honor the Indigenous Nations of this land by giving them ownership of their own names for themselves." I don't know who "we" is (Carapella and his team?) but how do they have the power to give any nation ownership of its own name? Doesn't that sound a bit silly? It is not a small point. The whole point of the map, as I understand it, is to make it clear that Native Nations had concepts of nationhood prior to European contact. That included the names they used--and use--for themselves. Saying that he gives them ownership of their own names does the same thing outsiders did.

The map itself, he tells us, has the "original names" that a nation used (Numuunu instead of Comanche), but that sometimes, the name on Carapella's map is a "given name" because the original one is not known. As far as I can tell, the map itself does not tell us which ones are original and which ones are given.

Because of the massive amount of inaccurate information about American Indians that circulates in a wide range of media, it is especially important that a map such as Carapella's be accurate. I took a look at the part of the map that has Pueblo Indians on it. Carapella shows the current pueblos (some of them are not in what I deem "accurate" locations), but he's also got one on there (Piro) that he would probably put in his "numberless" category -- which I take to be no longer in existence. I think that Piro ought to be in a different font so that we know it is "numberless."

I cross checked the spellings he used for the pueblos and found several errors. That's too bad. That information is easy to get from the Indian Pueblo Cultural Center. In my cross-check, it looks like it may have been Carapella's source, but I could be wrong. Still, those spelling errors make me wonder about the spelling of other Indian nations on the map. From a colleague, I learned that Carapella made similar errors with tribes in California.

If you bought a map already and want to make corrections to the errors for the Pueblo Nations, you can do this as a learning activity with students. First, get out Carapella's map. Second, look at the spreadsheet below (downloadable from Carapella's site). The right column is what Carapella calls "given" names. Third, find that given name on the website for the Indian Pueblo Cultural Center and see what is listed there as the "traditional" name for that tribe. Fourth, see if it matches what Carapella has on his map. If not, make a correction.

You could also look at the tribal seal. For example, on the page for Nambe, the traditional name is listed as "Nambe" but our complete name is on the tribal seal:   "Nambé O-Ween-Gé."

As noted above, Carapella's project is ambitious and has a great deal of potential but I think it needs some visual way of conveying important information ("given" versus "original" names; existing versus "numberless" tribes) and I also think it needs to be sourced.

Update, July 28, 2014:

In addition to comments below, please see the discussion on the Native American and American Indian Issues page on Facebook. Carapella posted a link to the NPR piece on that page yesterday (July 26th). The first response to his post is from Joe Horse Capture, a curator at the National Museum of the American Indian, who said that the map is inaccurate, spreads misinformation, and that he hasn't met any curators or academics who find the map accurate. In his comment, Chad Obiwanishinaabe Uran, a visiting lecturer in American Indian Studies at the University of Washington, pointed to AICL and to a post at Tumblr that lists several concerns with the map. (Update, July 19, 2016: Carapella deleted the post at the Native American and American Indian Issues page, presumably because he did not like the questions he was receiving about the map).

"Native American Zodiac"

Twice within the last few weeks, people have written to ask me about the "Native American Zodiac" that is popping up on social media. Here's the graphic that is circulating:

Obviously, I've drawn a red X over the graphic to provide a visual comment on the "Native American Zodiac." If you're a regular reader of American Indians in Children's Literature, you know that there is no such thing as a "Native American" tribe.

"Native American" and "American Indian" are broad terms for the Indigenous peoples of the United States. Within those terms are hundreds of different Native nations. We are all over the country, from north to south and east to west. We are not monolithic in the ways we speak, dress, govern, or, in the stories we tell. Things like a "Native American Zodiac" obscure and collapse who we are, and they encourage ignorance!

As I look at the 

"Native American Zodiac" 

I wonder who made it?! 

To someone unfamiliar with Native peoples and our nations, histories, and cultures, it might seem cool, but to those who know, it is bogus.

I view it as akin to New Age appropriation and misrepresentation of Native ways of being and urge you to reject it, AND, if it pops up on your social media, let your friends, family, and colleagues who are sharing it know that it is bogus.

Donald F. Montileaux's TASUNKA: A LAKOTA HORSE LEGEND

One of the things I look for when reading a traditional story rooted in a Native Nation is an attribution of where the story was heard, and from whom. In Tasunka: A Lakota Horse Legend, Montileaux gives us that information right away in a two-page introduction.

Montileaux heard this story from Alex White Plume, a Lakota elder and storyteller. In a radio interview, Montileaux says more about the story, assuring readers that he is retelling the story as it is told. Initially, White Plume was reluctant to have a traditional story put into print. When he saw what Montileaux had done, he gave him his blessing. In the radio interview, Montileaux also says that Agnes Gay, the woman who did the Lakota translation, works as an archivist at the Oglala Lakota College. She, too, verified the integrity of Montileaux's telling of that story.

Photo credit: Joel Ebert, Capital Journal, South Dakota

The care Montileaux took with the story marks the story itself as distinctive. His art adds a beautiful dimension to the words on the page.

Montileaux's style reflects the ledger art of the 1800s, developed by Plains Indians who drew on ledger pages using pencil, ink, and watercolor. The photo shown here is of Montileaux working in his studio (link to story: A Lakota Legend, Flying Off the Pages).



A third quality of the book that marks it as distinctive is that it is a bilingual text. Above, I noted that Agnes Gay did the translation. Throughout the book, readers can see/read the story in Lakota. Here's a scan of one of my favorite pages:

At that point in the story, the young man on the horse is riding into camp after having spent many months away, looking for and training horses. The horses were new to the people and regarded as a gift from their creator. With them, the people were able to do more than they could before. But, they abused that gift, using it to dominate other peoples on the Plains. The gift was taken away from them. Hundreds of years later, horses return with the conquistadors.

Tasunka: A Lakota Horse Legend is a fascinating story that pays tribute to the stories Native peoples have told for hundreds of years.

I highly recommend 

Tasunka: A Lakota Horse Legend.

Montileaux is an enrolled member of the Oglala Lakota Nation. Tasunka: A Lakota Horse Legend was published by the South Dakota State Historical Society in 2014. Support small bookstores by getting a copy from Birchbark Books.

NOT RECOMMENDED: Paul Goble's THE GIRL WHO LOVED WILD HORSES (updated re Goble's identity)

Is Paul Goble's The Girl Who Loved Wild Horses one of your favorite books? Published in 1978 by Bradbury Press, it won the Caldecott Medal thirty-five years ago. Let's take a look at it. 

Here's the first paragraph in the story:

The people were always moving from place to place following the herds of buffalo. They had many horses to carry the tipis and all their belongings. They trained their fastest horses to hunt the buffalo.

With the word 'tipis' in that paragraph Goble suggests that these are Plains people. The buffalo are another clue that suggests the story is one belonging to the Plains tribes.

As the story begins, we learn of "a girl" (we are never given her name) who loved horses. People in the village see that she has a way with them. One day when she is out with the herd of horses, a huge storm erupts. She leaps onto one as the herd races in fear. When the horses stop that night, the girl looks around and realizes that they are lost. The next morning she wakes to the neighing of a handsome stallion who tells her he is the leader of the wild horses that roam the hills. He welcomes her to live with them. She and her herd are happy.

Meanwhile, her people spend the next year looking for her. One day, two hunters see the stallion and the girl, too. She's on a horse, leading a colt. They call and wave at her. She waved back, but the stallion drove her and the herd away from the hunters. Other men join them in an attempt to reach the girl, but the stallion keeps them away from the girl and the colt. But, the girl's horse stumbles, and she falls. The hunters take her back to the village. She was happy to see her parents but she is sad. She misses the colt and the wild horses. At night, the stallion calls to her. The girl is lonely and gets sick. Doctors ask what would make her happy again, and she says she wants to return to the wild horses.

The stallion and wild horses come to the village. The people give the horses blankets and saddles and they give the girl a beautiful dress and the best horse in the village. The girl gives her parents a colt, and she rides away, beside the stallion, reunited with the herd. Each year, she brings her parents another colt. But one year, she doesn't return at all.

Then, the hunters see the stallion again. Beside him is "a beautiful mare with a mane and tail floating with wispy clouds about her." They believe the girl is that mare, that she has become a wild horse, too. The story ends with:

Today we are still glad to remember that we have relatives among the Horse People. And it gives us joy to see the wild horses running free. Our thoughts fly with them.

Nowhere in The Girl Who Loved Wild Horses do we have any sources for that story. As noted earlier, Goble's use of 'tipis' suggests a Plains tribe. What we know as the Great Plains is a vast area. Here's a map from the Smithsonian:

See how that area stretches from the north to south, spanning at least 1500 miles? See the 20 or so tribes listed in that area? There's a lot more than just those 20. They don't speak the same language and they don't tell the same stories.

The question is, who does this story about a girl who became a wild horse belong to? It'd be good to know. If it is a story Goble came up with, then it isn't a Native story, is it?

Though it won the Caldecott, and though a lot of people love Goble's art, I think it is (past) time to set aside The Girl Who Loved Wild Horses. What do you think?


Update, 6:00 AM, June 11, 2014

(1) Elsewhere people are noting how much like they like his art. It is a style most people would recognize as "Goble" but let's pause again. I haven't done a close study of it, but does it suffer from the same ambiguity we see in The Girl Who Loved Wild Horses?

(2) Someone noted that Goble was adopted by a tribe.  His Adopted by the Eagles (Macmillian, 1994) includes this:

Does being given a name and being called "Son" mean he was adopted? Was he adopted by Edgar Red Cloud? Or was it by a tribe, as was done with President Obama? I've ordered Goble's autobiography and will revisit this post when it arrives. It may provide details about how he met Edgar Red Cloud.

(3) The Author's Note for Adopted by the Eagles says:

"I would like to think that Edgar somehow sensed, right from the start (1959), that I would one day make books of some of the stories he told me."

Many authors say something similar to that... about how Native people they know/live amongst asked them to write a story about them. As readers of AICL now, I frown on that phrase.

(4) Goble's note ends with this curious paragraph:

Finally, it needs to be stated that the traditional kola friendship of the two Lakota men, as described in this story, was never a homosexual relationship. Kolas sought to guard each other from all errors; to share their strengths while walking life's Good Red Road together.

I wonder why Goble felt compelled to include that paragraph? Adopted by the Eagles was published in 1994. Perhaps it was prompted by a fear that people wouldn't buy a book about friendship between two men, but, do other books published then have a similar disclaimer?

(5) The last item on the page with the Author's Note is a very important note for teachers. Here it is, in its entirety:

When a book like this has been read in the classroom, students are sometimes asked to write their own "Indian" stories. It is not asked with bad intentions, but it belittles these traditional stories, suggesting that any child can invent them. When studying the Greek myths, or the legends of King Arthur, or Bible stories, students would never be asked to invent stories in the manner of... Instead, children should be encouraged to write down the stories in their own words to help remember them. Over the years they will come to think about the inner meanings which all these stories hold.

I say that, too. I'm glad to see it in Goble's book. But he's invented stories! Is it ok, since he is not a child? I don't think so!

See my previous posts about Goble. I'll have more to say when I get Goble's biography.
July 22, 2009: About Paul Goble and his books...
April 3, 2011: Dear Mr. Goble: