Selective Omissions, or, What Laura Ingalls Wilder left out of LITTLE HOUSE

In 2001, I began some in-depth research on Laura Ingalls Wilder and Little House on the Prairie. I came across an article about a speech she gave on October 16, 1937, at a book fair in a Detroit department store. Her speech was published forty years later (September, 1978) in the Saturday Evening Post. I read the speech and was astonished at what she said. Moreover, I was astonished that none of the material I'd read to that point (and since) has commented on that speech... She said:

Every story in this novel, all the circumstances, each incident are true. All I have told is true, but it is not the whole truth. There were some stories I wanted to tell but would not be responsible for putting in a book for children, even though I knew them as a child.

And here is an extended excerpt. I'm adding bold text to set off the portions of the speech I want you to pay particular attention to:

There was the story of the Bender family that belonged in the third volume, Little House on the Prairie. The Benders lived halfway between it and Independence, Kansas. We stopped there, on our way in to the Little House, while Pa watered the horses and brought us all a drink from the well near the door of the house. I saw Kate Bender standing in the doorway. We did not go in because we could not afford to stop at a tavern.

On his trip to Independence to sell his furs, Pa stopped again for water, but did not go in for the same reason as before.

There were Kate Bender and two men, her brothers, in the family and their tavern was the only place for travelers to stop on the road south from Independence. People disappeared on that road. Leaving Independence and going south they were never heard of again. It was thought they were killed by Indians but no bodies were ever found.

Then it was noticed that the Benders’ garden was always freshly plowed but never planted. People wondered. And then a man came from the east looking for his brother, who was missing.

He made up a party in Independence and they followed the road south, but when they came to the Bender place there was no one there. There were signs of hurried departure and they searched the place.

The front room was divided by a calico curtain against which the dining table stood. On the curtain back of the table were stains about as high as the head of a man when seated. Behind the curtain was a trap door in the floor and beside it lay a heavy hammer.

In the cellar underneath was the body of a man whose head had been crushed by the hammer. It appeared that he had been seated at the table back to the curtain and had been struck from behind it. A grave was partly dug in the garden with a shovel close by. The posse searched the garden and dug up human bones and bodies. One body was that of a little girl who had been buried alive with her murdered parents. The garden was truly a grave-yard kept plowed so it would show no signs. The night of the day the bodies were found a neighbor rode up to our house and talked earnestly with Pa. Pa took his rifle down from its place over the door and said to Ma, “The vigilantes are called out.” Then he saddled a horse and rode away with the neighbor. It was late the next day when he came back and he never told us where he had been. For several years there was more or less a hunt for the Benders and reports that they had been seen here or there. At such times Pa always said in a strange tone of finality, “They will never be found.” They were never found and later I formed my own conclusions why.

You will agree it is not a fit story for a children’s book. But it shows there were other dangers on the frontier besides wild Indians.

Some context for why that speech is--to me--astonishing. In Little House on the Prairie, Wilder presents Indians as frightening and menacing. Through Mrs. Scott, she tells us about an Indian massacre. Three times, Wilder's characters say "the only good Indian is a dead Indian." And what about the terrifying tone at the end of Little House on the Prairie, when Pa stays up all night and the entire family listens to Indians "howling" for several nights in a row?

According to Wilder, it is "fit" for children to read about "wild Indians" but it is not "fit" for them to read about serial killers who are white, nor is it "fit" for children to read that Pa killed someone in order to protect his family from harm.

Wilder's speech was reprinted in 1988 in A Little House Sampler, edited by William T. Anderson. A Little House Sampler is cited in eleven other books (according to Amazon), and yet, nobody commented on the Bender's, or Wilder's decision not to include that story.

Think about that omission and what it means. I invite your comments, and please take a minute to read about racism in the Little House books (links below).

Update, July 5, 2008

A librarian in Kansas wrote to point me to info on the Benders, who are quite well known as serial killers. She writes:

The Bloody Benders, as they were called, represent one of Kansas' most enduring mysteries. They appeared to be a family of well-organized killers who robbed and killed unsuspecting travelers who ventured into their home/inn for a meal and whose bodies dropped through a trap door in the floor under the chair in which they were seated. Here is further information from our state historical society: Bender Knife.

There is a museum in Cherryvale, KS, which has items from the Bender home and a wreath of human hair from their victims, as well as a roadside marker near Labette, KS: The Bloody Benders.

And, another person has written, pointing me to a graphic novel called A Treasury of Victorian Murder: The Saga of the Bloody Benders.


For further reading:
Posts about racism in Little House on the Prairie series

Red Wire Magazine

Another must-get I learned about as a result of my visit to the University of Arizona last week is Red Wire Magazine. Here's info from their "About Us" page:

Redwire Native Youth Media Society is a media and arts organization dedicated to Native youth expression.

Redwire Magazine published its first issue in April 1997 with the support of the Native Youth Movement (a grassroots Native youth group) and the Environmental Youth Alliance. Today Redwire distributes 11,000 copies across Canada, four times a year. Redwire is the first-ever Native youth run magazine in Canada, and is committed to operating with Native youth staff, writers, artists and publishers.

Redwire's mandate is to provide Native youth with an uncensored forum for discussion, in order to help youth find their own voice. Redwire is by, for and about Native youth; all content, editorial decisions and associated media projects are initiated and led by youth, inspiring creativity, motivation and action.

A subscription is $20/year for four issues. Each issue includes articles, art, poetry, news, letters, and reviews. The June 2007 issue has a piece called "Canadian Colonialism: The Three Bears and the Locks" by David Fullerton-Owl, of the Sagamok Anishinawbek First Nation. Here's the opening paragraphs:

The Three Bears lived in the woods, as had their ancestors from time immemorial. There was a Mama bear, a Papa bear and a wee little baby bear. Since it was a beautiful sunny morning, the bear family decided to fish and pick some berries for an afternoon picnic. Fishing and berry picking, a traditional means of survival, required the bears to travel some distance. It so happened that the bears were up for a nice long walk.

Papa bear lifted wee little baby bear on his shoulders, but Mama bear wanted baby bear to learn self-reliance; wee little baby bear crawled down and off they went.

The woods were filled with all types of animals. Something was not right, though, and the raven decided to fly high above the thick trees to see for herself. The raven quickly observed that intruders had entered the forest. A burly man carried a large suitcase in one hand, with a sharp axe in the other. Behind him walked a petite woman and a little girl with gold hair. These people were sent on a mission, known to others as the Locks family.

The note preceding the story says "The fictional account below is a commentary on the present Caledonia land dispute and the age old tale of Goldilocks, her encroachment on foreign territory, and the overarching theme of intruders invading traditional territory. "

The Caledonia land dispute is known in Native circles, but is the sort of thing that doesn't get much coverage in mainstream press. And, when it does, there's bias against the Native people involved. It is, in short, a struggle for land.

Like Red Ink, Red Wire provides you with Native voices. And like Red Ink, I think Red Wire ought to be on your library shelves.

Ofelia Zepeda's OCEAN POWER

While I was in Tucson last week for the American Indian Language Development Institute, I listened to Ofelia Zepeda read some of her poems. She was a guest speaker in Angie Hoffman's class on children's literature. Dr. Zepeda read from her book, Ocean Power.

She read "Pulling Down the Clouds" and at this line...

With dreams of distant noise disturbing his sleep,
the smell of dirt, wet, for the first time in what seems like months

... my thoughts turned to being home, at Nambe, smelling the dirt when it rains. It is a bit hard to explain, and no doubt many of you will find it odd, but... The smell and the taste are one and the same. That smell made (and makes) me want to eat that wet dirt. It's a smell like none anywhere else. It's not like a food smell, or a plant smell, or an animal smell. It's unique. Some of our Puebloan homes have mud plaster on interior walls. Splash a little water on that mud plaster, and you get that smell. My mom and dad like to tell of how, when we'd visit my sa?yaa (grandmother in Tewa), after we'd leave, she would find three wet circles in one of her rooms, where me and my two sisters would have had a go at the walls, licking them like lollipops.

Zepeda's book has many poems in it that high school and college teachers can use in the classroom. Here's one of the poems. (Note: The small width on Blogger's program means line breaks don't fall quite right. I know that is a problem. Line breaks matter in poems. To make sure they fall correctly, I'm using a smaller font for the poem. I apologize for its size.)

Deer Dance Exhibition

Question: Can you tell us what he is wearing?
Well the hooves represent the deer's hooves.
the red scarf represents the flowers from which he ate.
the shawl is for the skin.
The cocoons make the sound of the deer walking on leaves and grass.
Listen.
Question: What is that he is beating on?
It's a gourd drum. The drum represents the heartbeat of the deer.
Listen.
When the drum beats, it brings the deer to life.
We believe the water the drum sits in is holy. It is life.
Go ahead, touch it.
Bless yourself with it.
It is holy. You are safe now.
Question: How does the boy become a dancer?
He just knows. His mother said he had dreams when he was just a little boy.
You know how that happens. He just had it in him.
Then he started working with older men who taught him how to dance.
He has made many sacrifices for his dancing even for just a young boy.
The people concur, "Yes, you can see it in his face."
Question: What do they do with the money we throw them?
Oh, they just split it among the singers and dancer.
They will probably take the boy to McDonald's for a burger and fries.
Then men will probably have a cold one.
It's hot today, you know.

Ofelia Zepeda is a member of the Tohono O'odham tribe in Arizona. As we sat together, we talked about tribal names. The Tohono O'odham people are among the first, if not the first, to successfully change what they are known as. They were formerly known as Papago.

Zepeda is a professor of Linguistics at the University of Arizona. She wrote the first grammar of the Tohono O'odham language, A Papago Grammar. In 1999, she won a MacArthur Foundation genius grant. In Ocean Power, many of the poems have both, English and Tohono O'odham in them. Ocean Power is available from Oyate.

Terrific essays about Meyer's character "Jacob" in TWILIGHT

A post to YALSA about people of color in fantasy led me to a livejournal post about Jacob, the Quileute character in Stephenie Meyer's Twilight saga.

Saskaia (the author of the essay) is finished with the first three books (I'm partway thru the second one, having set it aside to read and work on Landman's Apache: Girl Warrior. By the way, it would be so cool if the powers-that-be over at Candlewick would say "STOP THE PRESSES!" and cancel the release of Landman's book in the U.S.).

In this 'slice' of a larger essay, saskaia (the author doesn't capitalize the first s) considers the plausibility of Jacob. Here's an excerpt:

While Jacob is surely overwhelmed with being a teen werewolf attending the tribal high school while patrolling Quileute land in all of his free time, I can scarcely believe that he and the other Quileute characters never attend powwows or social dances - not one is ever mentioned. It's disconcerting to anyone familiar with Native culture in the United States, especially reservation culture where powwows and social dances still serve as the major arena for socialization.

Saskaia has an engaging style of writing. I enjoyed reading her critique and am with her as she says

I am all for deviation for the typical character archetype but this is where I am thrown from the story, out the window and into my street. I can buy that Jacob thinks himself in love with Bella, but where are Jacob's experiences so he can freely choose Bella? Where are the other Native women?

Saskaia has a link in her essay that I'm placing here, too: Stephenie Meyer's use of Quileute Characters. This is her first post about the saga, wherein she talks about herself (she is Native) and says

While Jacob was written to be mostly age-appropriate, I think she did fall into uber-sexy warrior territory after his first phasing as a werewolf...

Do take a few minutes to read saskaia's critiques. They are terrific!

[Update, 12:54 CST, June 30, 2008---Saskaia's got quite a following! My sitemeter stats show lot of hits from livejournal. Welcome to my site!]

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If you want to read more on the ways that the Quileute's are portrayed in the series, look over to the right side of this page. Scroll up or down till you see the section labeled TWILIGHT SAGA. There you'll see several links to posts about the series.

Native literary magazine: RED INK

As noted yesterday, I'm in Tucson, visiting the American Indian Language Development Institute. Yesterday I was in Angie Hoffman's class on children's literature. Her class is outstanding. In discussion, students talked about how eye-opening Angie's class has been for them. One said she had read Meyer's TWILIGHT saga, and now after this class, is looking at Meyer's books with new eyes and insights. Students in the class work with Native children. Angie is White Mountain Apache, working on her dissertation at the University of Arizona.

In yesterday's class, students read aloud poetry. Some read poems they wrote. Marlon B. Evans (Akimel/Tohono O'odham) read a poem he wrote. After listening to him, I asked if he'd had any of his poems published. In fact, he has, and you can find them in two volumes of Red Ink Magazine. He was featured in Volume 13, No. 2, and he has four poems in the most recent volume (Vol. 14, No 1, Spring 2008). Red Ink is a student run publication at the University of Arizona, published by the American Indian Studies Program. Individual subscriptions to it are $25/year (two issues are published each year), and $35/year for an institutional subscription.

I think you'd be pleasantly surprised at what you find in Red Ink. Graphic art, photography, poetry, short stories... By new poets and established writers, too, like Simon Ortiz and Laura Tohe.

Visit Red Ink's website and place your subscription. If you appreciate Native literature, you'll love this magazine, and ought to consider using it in college lit classes. If you're a school teacher, the poems and stories are best suited for junior and senior English classes, while the graphics can be studied by 7th and 8th graders. The art on the front cover alone is worth the subscription cost. With this post is the cover of Vol. 13, #2. The art is by Ryan Redcorn. In both issues I mentioned above, you will find art by Bunky Echo-hawk. Regular readers of my blog know I especially like his work.

A special shout out here to Ashley Tsosie-Mahieu (Dine). Ashley is a graduate student at the University of Illinois. Her short story "Walk in Beauty" is published in Volume 13, #2.

Last, a warm thank you to Martha L. Dailey. Martha is Dine. I love her poem, "Reflections of Spider Woman." It reminds me of my grandmother. Here's the opening lines of that poem. It is a sample of what you'll find in Red Ink. (If I can secure permission, I'll include the entire poem. Note---I got permission!)


Reflections of Spider Woman
Martha L. Dailey

After you died, we sifted through a footlocker
found under your bed. We sorted through
your belongings and uncovered
a hidden part of your past --
turquoise jewelry, a '65 T-Bird title,
and photo after photo of memories
frozen in exact dimensions.

Mom was given a squash blossom,
Aunt Dot took the silver bracelet,
Uncle Jesse wanted the concho belt.
Like land divided into plots,
each person was given something of value--
small parts to your greater whole.

I claimed a 3 x 3 photo
of you crouched, legs kneeling,
weaving a rug on a makeshift loom.
Your fingers bent strategically,
threading colored yarn in and out,
over and under, through and through.
A map full of lines running
wild across your hands,
connecting one point to another.
One deep line tells of a time
you pawned a saddle for food.
Another line holds the tears
from the pain you withstood
at the birthing of twelve kids--
one of which is my mom.

Was I a line? or just a dot?
Did I mean enough of something
to you to be placed in an archaic
structure of memories cut into your skin?

The Old Ones say don't speak of the dead.
Your name called aloud keeps your spirit here
and not to the place where you begin again.

Eight years after your death,
I still don't call to you.

More on Tanya Landman's APACHE: GIRL WARRIOR

Last week, I posted my initial thoughts on Tanya Landman's book, and, I posted Beverly Slapin's review of the book. My copy of the book arrived a few days ago. I've read it and am sharing my thoughts today with readers of this blog, but I'll also be featuring the book in a lecture I'm giving at the University of Arizona. (As I write these words, I'm in Tucson. My hotel window is open and I'm enjoying the breeze and the qualities of the air. Dry heat. I love it. As I walked in the 108 degree heat yesterday, I reveled in the feel of that heat. I'm a guest of the American Indian Language Development Institute, an outstanding program that is now in its 29th year. If you work in a school that serves Native children, I urge you to look at the website and enroll in this summer program.)

Back to Landman:
[Note---I'm adding to this post as I spend more time with the book. Comments I add today (June 27th) will be in red typeface.]

Landman's book is on the shortlist for a the Carnegie Medal, a prestigious award in Britain. From the medal's website is this:

The book that wins the Carnegie Medal should be a book of outstanding literary quality. The whole work should provide pleasure, not merely from the surface enjoyment of a good read, but also the deeper subconscious satisfaction of having gone through a vicarious, but at the time of reading, a real experience that is retained afterwards.

Note that the word 'real' is in bold typeface. Also note that the book should provide a "deeper subconscious satisfaction of having gone through a vicarious" and "real experience that is retained afterwards." What does 'real' mean to the people who wrote the criteria, and what does it mean to the people who will select this year's winner of the medal? Does it mean accurate, or correct? When people say "this is the real deal" or "the real McCoy" they mean genuine. If that is the way the Carnegie considers the word, then Landman's book doesn't meet the criteria.

As Landman says in her note "I've made no attempt to produce an accurate historical novel." And, she says, the story she tells is "based on events" and "inspired" by an autobiography of Geronimo. So, what does all this look like in her book?

Landman's characters are of the "Black Mountain Apache" tribe. There is no Black Mountain Apache; that is a fictional tribe Landman created. In that fictional tribe are characters based on real people. Her characters include:

"Siki" - the main character. She and her brother, Tazhi, are "orphans." In English literature, there are a lot of characters who are orphans. This status is the impetus for a lot of journeys, in which the character seeks to learn who he/she is, and the circumstances by which he/she became an orphan. With unique characteristics, this orphan is often a hero. This orphan theme is, I think, incorrectly applied by non-Native writers creating stories about Native peoples. Based on what I know from personal experience and from study, the concept of 'orphan' (an outcast, solitary existence, abandoned, alone, without someone to care for you) doesn't apply. Paula Gunn Allen wrote about this in her book The Sacred Hoop. She said "Indians... care for their children... You never see an Indian orphan..." (p. 49 of Sacred Hoop). So, anytime I see a Native character speaking of him or herself as an orphan or described that way in the narrative, I view it as an error. Do children lose their parents? Yes. The difference is, that in our communities the child is not only the child of his or her parents, but of the community itself. Someone will take care of that child. A grandparent, an aunt, or an uncle, or an adult sibling.

"Tahzi" is Siki's little brother. He's four years old when killed by Mexicans. Brutally killed. His head is chopped off. His death opens the story. Landman writes: "Tazhi was sent to the afterlife, condemned to walk for ever headless, and alone." Native peoples, like any peoples, have ways of thinking about death. "walk for ever headless, and alone" seems rather melodramatic to me. Necessary for the story that Landman wants to tell, but it'll take some more research and conversation for me to know how well what she says fits with Apache ways.

"Golahka" - he is a "powerful young warrior" married to "Tehineh." They have three children who are killed by the Mexicans. His wife and children and Tahzi are killed at the same time in Landman's story. Their deaths bring Golahka and Siki together. As the story progresses, she will ride with him as they both seek vengeance. At the end of the story, Mexicans use big guns to fire on Golahka and Siki and others who are fighting the Mexicans. A rock is blasted loose, strikes him on the head, leaving a wound that, by the next day, will have killed him. Before he dies, though, he pulls Siki to him and says:

"We have the same heart, Siki," he whispered, his breath warm in my hair. "The same soul. We have grown from the same earth, you and I. Our roots entwine in the living rock. Hold fast to that certainty. It is the only truth that matters." So it was that in the gathering dark of that hidden valley, I became wife to Golahka. By dawn I was his widow.

The phrase "became his wife" means they had sex. Through this act, Siki is pregnant with his child. From my study of Landman's book, Golahka is based on the man commonly known as Geronimo.

"Chodini" is the leader of the Black Mountain tribe Siki and Golahka belong to. The pregnant Siki goes with him to surrender to the "White Eyes." These are the American soldiers. They kill Chodini. Chodini is Cochise.

In looking at characters, Landman strives to make them 'real' but is it ok to borrow so heavily from a peoples history, "stretching" (Landman says) things to make it all work? I'm not sure. Certainly, that is part of the craft of writing. Creating this or that, but I don't think it's ok when you're doing historical fiction. And, I especially think this is problematic when there is so little known about the actual people a book purports to be about. This medal is based on 'real' and I don't think Landman's book meets that criteria.

Some stats from the book.
I did some word counts. These are "at least" numbers. I may have missed occurrences of some of the words listed below.

butcher appears 4 times
slaughter appears 4 times
hacked appears 5 times
revenge appears 6 times
avenge appears 8 times
vengeance appears 10 times
ambush appears 13 times
slain/slay/slayed appears 20 times
war/warfare/warpath appears 28 times
blood/bloodied/bloodshed appears 44 times

These are powerful words of violence. The impetus for this entire story is given to the reader on the first page. This is a story of revenge. Revenge drives the protagonist. Her pursuit of revenge is unrelenting. The people she lives? They're intent on revenge, too. Rarely (relatively speaking) does Landman refer to men as men. She uses the word "warrior" to stand in for men. That word is used 233 times. In contrast, men/man/boy/boys is used 53 times.

At one point in the story, one of the "warriors" makes a hole in the roof of a church where the Mexicans are gathered for Sunday services. He drops a "chilli bomb" into the church. Other "warriors" have barred the doors so the Mexicans can't escape. They're killed by that bomb. Problem? I don't know what a chilli bomb is! I can find no references to it in any of the searches I've done. That includes searching in academic journals and books. I am finding references to it on Google, as an item being used and/or in development in India for crowd control...

Things to think about:

Is Landman aware that, all through the story, Golahka calls Siki "Little Sister" but at the end of their time together, they sleep together... Siki says "by dawn I was his wife."

On page 219, Landman talks about beauty, beauty that "makes men breathless." I'll have to check on this... My first thoughts? Native people appreciate beauty, but there's a difference. Landman's presentation aligns well with European/American notions of women and beauty.

On page 270, is this paragraph:

In revenge, Chodini tied the dead White Eyes by their ankles and dragged them behind his horse, galloping around the fort in fury, heedless of the shots that flew past him, that the White Eyes' chief might see what his actions had cost him.

Sound familiar? Hector? The Trojan War?

Apache: Girl Warrior did not win the Carnegie. It is, however, slated to be released in the US as I am Apache. A fellow critic said it has been getting a lot of buzz in the book world. I have not seen reviews of it in US journals yet. It stands to reason that US reviewers might have a more critical eye on this kind of book, but we will see.

If you want to know more about the Apache peoples, visit these sites:
White Mountain Apache Tribe
Nnee - San Carlos Apache
Chiricahua Apache Nde Nation
Jicarilla Apache Nation
Yavapai-Apache Nation
Fort Sill Apache Tribe

ALA's 2008 Conference Game: "California Dreaming"

The American Library Association is holding its annual conference in Anaheim, California June 26th thru July 2nd. Among the planned activities is a game that will take place during the conference. It is called "California Dreaming." Here is the information being sent out:

The California Myth Authority needs your help! During your normal conference routine, you'll notice clues to mysteries surrounding California history and pop culture spread out around the convention center ­ in sessions, on the exhibit floor, and in other unexpected places. Use your librarianly skills to solve the puzzles and then bring your answers to the California Myth Authority Game HQ in the new Gaming Pavilion on the exhibit floor or text us your answers to build up your score.

As more team members answer questions correctly, you can coordinate your power and claim territory throughout the state. It's a mad rush and the CMA is parceling out land in exchange for correct answers. Each hour teams will earn bonus points for controlling regions of California. Stop by the game headquarters to view the map and strategize.

The team with the most points at the end of the game wins. The highest scoring player on each team will win a prize, as will three random players from the winning team who have each submitted answers. Any attendee can join a team and play for free. Sign up at wikis.ala.org/annual2008 or come by the CMA HQ. Each player will receive a team sticker so you can identify teammates and work together to find clues and solve them.

I understand that the purpose of the game is to build community among conference attendees. The idea itself has merit, but I find this part troubling (bold mine):

As more team members answer questions correctly, you can coordinate your power and claim territory throughout the state. It's a mad rush and the CMA is parceling out land in exchange for correct answers. Each hour teams will earn bonus points for controlling regions of California.

Coordinate power. Claim Territory. Mad rush. Parceling out land. Controlling regions.

The glorification of colonization, massing of capital. While framed as a game for fun, the historical parallel to the experience of Native peoples of California is (to me) glaring. I have no doubt the game developers and ALA had only good fun and good intentions in mind, but they've missed the mark, especially given their goals of increasing diversity within ALA.

Would they create a game that celebrated slavery? I don't think so. I have no doubt they want people to learn about slavery, but would they advocate that learning via a trivia game? Again, I don't think so.

The problem is, not enough people know enough about California's history---from the perspective of the indigenous people who were and are there. I think, some day, people will know, and games like this will not be developed. Getting there, though, will take a lot of study, a lot of work, and a lot of courage. Are you up for that? I hope so.

Paulette Molin's AMERICAN INDIAN THEMES IN YOUNG ADULT LITERATURE

Yesterday I posted an essay by my colleague, Paulette F. Molin, about activities found in the American Automobile Association's magazine. If you're a member of AAA, take a look at her essay. If you're a classroom teacher or librarian, consider using her essay and the online material for a lesson on critical media literacy. Paulette has been studying curriculum materials since the 1970s.

Paulette has an excellent book out that librarians and teachers should add to their shelves: American Indian Themes in Young Adult Literature. In her foreword is a letter from Genevieve Bell, the woman Scholastic hired to vet (fact check) Ann Rinaldi's My Heart Is on the Ground. Here's part of that letter:

I completely sympathize with the critical review of Rinaldi's work that has proliferated both on the Internet and off it. There is much in the book that is offensive, and I did say so to Scholastic. Indeed, there is much more in this book that is offensive that I missed, which is why I urged Melissa Jenkins [of Scholastic] to get a Lakota person to read it. She knew that I was not Native American. However, I also contracted with Scholastic to fact-check the manuscript and thought it only appropriate that my name be attached to that act. Again, I can only reflect on the naivete that made me think that my comments would be taken seriously enough to change the course of the publication. I am deeply sorry that they did not. And I apologize for the offense that I have given, however, inadvertently (xv).

The book has three sections (Contemporary Literature, Historical Fiction, and Nonfiction). In "Contemporary Literature," you can read her discussion of Lipsyte's three books The Brave, The Chief, and Warrior Angel or see what she has to say about Will Hobbs or Ben Mikaelsen. Course, she also talks about books that are well-done, such as Cynthia Leitich Smith's Rain Is Not My Indian Name.

In the bibliography is an extensive list of articles that will be of interest to librarians and scholars alike. One example: a scholar might want to look at Mary Gloyne Byler's 1974 article in Library Journal, "The Image of American Indians Projected by non-Indian Writers."

Like Through Indian Eyes and A Broken Flute (both subtitled The Native Experience in Books for Children), this is one of those books that belongs in every library.

As noted yesterday, the book is available from Oyate. It was published in 2005 by Scarecrow.

Stereotypes in AAA's magazine

Today, I am pleased to share an essay written by Paulette F. Molin. Paulette is on the board of directors for Wordcraft Circle, and is an enrolled member of the Minnesota Chippewa Tribe from White Earth. Among her writings is an excellent book called American Indian Themes in Young Adult Literature. The book is available from Oyate. I've referenced it on this site before, and its on my list of recommended books, but I realized (today) that I've not written specifically about it. Tomorrow, I'll do that. For now, here's her essay.

_______________________

Paulette F. Molin, June 19, 2008

Just as I was about to discard the May/June 2008 issue of Going Places: The Magazine for Today’s Traveler, a publication of AAA, a stereotypical image caught my eye, part of a pitch for Going Places’ interactive website, "Making Tracks for Kids." Looking further, I read this: "Meet Allaquippa, an Iroquois maiden named after the famous queen! Tell a tall tale, build a family tree, play a game and learn about Native American life and the history of Pittsburgh." See http://aaagoingplaces.com/gp_makingtracks/mj08/mt_reading.asp

If you make tracks to the May/June 2008 issue of Making Tracks, an interactive website of games and activities for kids,” to “Meet Alliquippa, an Iroquois maiden,” you will not find anything new. Instead, you will encounter the usual stereotypes about American Indians.

“Meet Alliquippa” features a cartoon “maiden,” fictionalized as a descendant of “Alliquippa, a Seneca Queen” in the piece. The historical Aliquippa, a sachem or leader of a band of Mingo Seneca near Pittsburgh, Pennsylvania, flourished during the first half of the eighteenth century. She garners only three sentences in “Meet Alliquippa,” described in the fictional Alliquippa’s voice: “One legend says that my ancestor Alliquippa, a Seneca Queen, set up camp many years ago where the three rivers meet near Pittsburgh. And it was there she met George Washington, who was on a military mission near her camp. The two became friends, the legend says.”

The Alliquippa cartoon image, like mascots and other caricatures, masks the actual history and contemporary status of Native people. This particular fictional “maiden” sports black hair hanging in two pig tails, wears feathers (the main one, green with red and white accents), and is decked out in a short top and slit skirt with generic Indian designs. Posed in a stereotypical stance, Aliquippa stands with her arms folded under a fringed wrap against a backdrop recognizable as a Plains star quilt design. She wears a bit of a smile, perhaps to reveal that she is friendly (in keeping with text such as, “Meet Alliquippa, our Seneca friend”). In one section, the Alliquippa figure is positioned above a photograph of an unidentified Iroquois male (actually, it is the Seneca leader Cornplanter, but he remains anonymous in the piece, with neither his name nor his history revealed).

The website’s stereotypical visual depiction is reinforced by the text, which fails to provide even the most basic information about the Seneca, such as identifying the tribal group as a member nation of the Iroquois Confederacy (the piece describes the Seneca as “one of the six tribes that make up the Iroquois Nation”). Furthermore, “Meet Alliquippa” does not identify any of the Seneca communities in the United States and Canada (among them, Cattaraugus, Allegany, and Tonawanda reservations in New York, the Seneca-Cayuga Tribe of Oklahoma, and Seneca citizens in Ontario). Although the website mentions “the Iroquois’ ‘Six Nations,’ it does not adequately describe or discuss the Haudenosaunee (“people of the longhouse”), neglecting to identify the member nations (Cayuga, Mohawk, Onondaga, Seneca, Oneida, and Tuscarora). In fact, the word “Confederacy” does not appear in the piece. “Meet Alliquippa” also overlooked an opportunity to identify and discuss the Seneca as “Keepers of the Western Door” of the Haudenosaunee or its specific role as a member nation.

“Meet Alliquippa” glosses over the role of women, especially rich among the Haudenosaunee, failing to address the contradiction between citing a historical female leader (“my ancestor Alliquippa, a Seneca Queen”) with its statement, “Men are the political leaders in our tribe.” Furthermore, the piece does not explain why the historical Alliquippa was called “Queen,” a European term of royalty. The clan system receives similar treatment (“The Seneca tribe is made up of clans: Turtle, Bear, Hawk, Heron and Wolf, among others”).

“Meet Alliquippa” also talks down to children, relying on clichés or exaggerated exclamations —“dance to the beat of your very own drum with our creative craft! “…the senators are like tribal council members who report to a chief—the president!” “A whole clan of 60 people could live in one longhouse! “ “But today, we live in houses or apartments, just like you!” The website also makes the fictional Alliquippa serve as the voice for the Seneca, substituting ersatz words for what tribal members would and could say about their own culture. The reading list offers no relief, listing only two books associated with the Seneca, both of them centered on myths or legends.

Unfortunately, the activities are along the same lines. “Create a Drum Craft” trivializes drums, which have deep religious and cultural significance in tribal societies, and reduces them to playtime craft. “Use a couple of beads,” the instructions direct, “to finish off your Iroquois drum below!” The activity is accompanied by an unidentified photograph of what appears to be a group of nineteenth-century Plains Indians, giving the impression that tribal groups are interchangeable. The text accompanying the activity conveys the notion that Europeans, not Native Americans, were settlers: “Many Native American tribes lived in Western Pennsylvania around the time it was settled. One of the tribes was the Iroquois.” In other words, Native American residence does not count as settlement in this contrived version of American history.

Another activity, “A Silly Piece of History,” is introduced by these words: “Every piece of land was ‘discovered’ by someone; from the first American who crossed over the Bering Strait thousands of years ago, to the European explorers who came later.” This self-serving narrative would have children believe that all “discoveries” are equal, neglecting to impart factual information about the European colonization of the Americas. Furthermore, it summarizes the indigenous presence in the Americas to “Bering Strait” origins, one Euro-American theory.

“Seneca Sling,” another activity, is merely a computer slingshot game, designed for participants to launch cyber rocks at animals and fish. The visual is stereotypical and cartoonish, featuring a headband-wearing, generic Indian male in a canoe. This activity is violent, playing out the killing of all manner of species and linking it to Indians. The fourth activity, “Build a Family Tree,” is introduced by these words: “History isn’t just about famous explorers and Indians.” In other words, this statement tells children that famous explorers and Indians are mutually exclusive.

Make Tracks away from this website. There are better materials available online and in print, including exciting works by contemporary Seneca and other Haudenosaunee authors.

Addition to the site

Meyer's Twilight, Mikaelsen's Spirit Bear, Alexie's Diary. These and other books get a lot of attention on this site. To help you find all the posts on each of these books, I'm adding a new section to the site. It's way at the bottom. It is called "CLUSTERS." It'll take a while to add all the books and all the links for each title. To start, I added the links to discussions of Caddie Woodlawn. I hope it makes the site more user-friendly. When you have specific troubles with the site, please let me know! Trouble, suggestions for improvement, etc. I do this site for you, so I need (and use) your feedback to improve the layout of the site.

Another award for Alexie's YA Novel

Editors Note on Feb 25, 2018: Please see my apology about promoting Alexie's work. --Debbie

~~~~

Roger Sutton, editor at Horn Book, just posted to the child_lit listserv, that Sherman Alexie's The Absolutely True Diary of a Part Time Indian has won the 2008 Boston Globe-Horn Book Award for Fiction and Poetry. Roger's post says:

"Novelist Sherman Alexie is new to young adult literature but not to acclaim. A 1995 PEN/Hemingway Award recipient for his first collection of short stories for adults, he is also a poet, a film director, and a standup comic. Last fall, The Absolutely True Diary of a Part-Time Indian won the National Book Award for Young People’s Literature."

The award will be presented October 3rd in Boston. Acceptance speeches are printed in the The Horn Book Magazine.

Congratulations, again, to Sherman! I look forward to his work in progress, which is another YA novel: Radioactive Love.

Consider handing Alexie's DIARY to students that are enthralled with Meyer's TWILIGHT saga. His realistic depictions of Native youth in Washington are way better than hers.

Slapin's review of Landman's APACHE GIRL WARRIOR

As indicated in my previous post on this book, I asked Beverly Slapin about Landman's book. She sent this review.

[Note: This review may not be published elsewhere without written permission of its author, Beverly Slapin.]

Landman, Tanya, Apache Girl Warrior. Walker Books, 2007. Grades 5-up

This atrocious young adult historical novel is the product of Landman’s (stated) lifelong fascination with Indians combined with an outrageous sense of white entitlement, sloppy research habits, a Euro-feminist approach to history and a penchant for imaginative exercises. From her comments on the back cover: “The image of a girl carrying a spear formed behind my eyes, but I didn’t know if a Native American woman would have been allowed to become a warrior…. The more I read, the more I found that what I’d imagined was entirely plausible.”

In Landman’s imagination, the Ndee refer to themselves as “Apache” (an enemy name) in the late 1800s, all “Apache” men are warriors (whether or not they are engaged in battle), all “Apache” women (“maidens”) are ineffectual (except for the girl who becomes a warrior), all “Apaches” have those ubiquitous “black eyes” that distinguish them as Indians, and hatred and vengeance are the sole motivating factors in “Apache” life. Besides one stereotype after another, much, much cultural confusion (e.g., wikiups are not interchangeable with “teepees” [sic]), and godawful writing, including relentlessly garbled metaphors ([Y]et hope tiptoed on softly moccasined feet, setting my heart beating with excitement”) and relentless ethnographic expositions (“It is the custom of our people to burn the possessions of the dead. And thus I burned our teepee.”), there’s the complete absence of family members: grandparents, aunties and uncles, husbands, mothers, children who play, joke, sing and enjoy each other’s company. Real families. Just like anyone else’s.

And the “Apaches,” of course, are doomed: “[I]will die proud. I will die free. And first I will live, and I will fight. I am Apache.”

Landman’s “historical note” is her not-so-veiled attempt to justify what she has done: “[E]ach of the tribes, all of the characters and every place name are fictional. I’ve made no attempt to produce an accurate historical novel: this is an imagined evocation of how it may have felt to have lived through events like these. I’ve tried to be authentic as far as period detail goes, but at times I have had to stretch things in order to make the story work.”

It has just been brought to my attention that Landman has done another young adult novel, called AZTEC: THE GOLDSMITH’S DAUGHTER, about another “doomed” civilization, whose protagonist’s “spirit and fire held [her] captivated for months while [Landman] wrote her story.” Landman is one of those authors, along with Lynne Reid Banks and Anne Rinaldi, who, through willful ignorance, mangle the histories and lifeways of the peoples they write about, tromping all over real peoples whose descendants live today, in order to come up with books that sell well and win awards. These people really ought not to be writing about cultures other than their own.

Teachers and librarians who already have copies of APACHE GIRL WARRIOR can teach middle readers critical reading skills by having them compare it with Joe Bruchac’s excellent book, GERONIMO.

—Beverly Slapin

[Note from Debbie: Bruchac's book is available from Oyate.]

Debbie's thoughts on Tanya Landman's APACHE: GIRL WARRIOR

A colleague wrote to ask if I know anything about a book called Apache: Girl Warrior, by a British writer named Tanya Landman. The book was recently shortlisted for the Carnegie Medal in Literature, an award given annually in the United Kingdom. I don't have a copy of the book yet (it is en route), but my reading of Landman's webpage makes me think it is one of those tragic Indian stories that people love. Not all people, though... As readers of this site know, American Indians object to those romanticized books that confine us to the past, and, that provide readers with factual errors and biased stories about who we were, and who we are.

I wrote to Beverly Slapin of Oyate, to see if she's read the book. She has. And, she uses it in workshops as an example of a problematic text. First published in the UK, it is sold in the United States under a different title: I Am Apache.

Peter Hollindale (reviewer for "Books for Keeps") highly recommends it, but he also says this:

"Apache life may not have been like this, but few readers will doubt that it probably was. To write a compelling adventure story which is also a moving portrait of a doomed civilization and its values..."

May not have been like this?! Does he sense inaccuracies? And "doomed civilization" dovetails with Landman's discussion of the book and how she thinks about the Apache people. From my perspective, the "doomed" theme is really grating. For those who don't know (Hollindale and Landman, perhaps?), the Apache people are vibrant, strong, and very much not doomed.

Given Landman's book is shortlisted for the Carnegie award, I'm going to write about it here in the coming days. Check back for updates!

2008 Children's Literature Association Conference

I spent the last couple of days at the 2008 Children's Literature Association (ChLA) Conference. I met many people (professors) with whom I've had email with over the last ten or so years. Among them are Michael Joseph, Tammy Mielke, Kara Keeling, and June Cummins. A lot of people there read this blog and encourage their students to read it, too. It was terrific, too, to meet Tom Crisp, a student in Teacher Education at Michigan State, and talk with Ben Smallwood, at Illinois State.

There were several presentations on Sherman Alexie's YA novel, and one on Bruchac's Dark Pond and Skeleton Man. Ben Smallwood talked about Tim Tingle's books. All were thoughtful papers, not romanticizing the writers or their books, but posing good questions. I am intrigued by Adrienne Kertzer's challenge over whether or not the illustrations in The Absolutely True Diary of a Part Time Indian support the text, and will return to the book to consider her challenge.

In my presentation, I talked about three books I've written about on this blog (McDermott's Arrow to the Sun, Pollock's Turkey Girl, and Rodanas Dragonfly's Tale,) none of which I recommend.

Conferences are time well-spent. Meeting people, hearing others thoughts in person. Next year's conference is in Charlotte, North Carolina. A special thanks to Linnea Hendrickson for encouraging me to attend ChLA.

Tlingit Elder's Comments on Ben Mikaelsen's TOUCHING SPIRIT BEAR: "I can just picture Tlingit kids being very, very embarrassed."

Eds. note: These comments about Mikaelson's Touching Spirit Bear were submitted to American Indians in Children's Literature by Tlingit elder, Eileen Baustian. 

To me, the first thing that comes to mind is embarrassment. When the banishing incident happened in 1993, two teenage Tlingit boys were taken to Klawock, Alaska, by Rudy James, who claimed to be a tribal judge. The whole tribe felt embarrassed by his misrepresentation of our tribal customs. And then to have this book, which was obviously based on this incident, just felt insulting. I just know that Mikaelsen flat-out copied this event for his book. I felt that it was totally bizarre that Mikaelsen would use this incident, even though he denies it.

I really have a hard time, I don’t know how to express what we feel about words, about using words like “at.oow,” which is special regalia. It’s not just a blanket, it’s spirit. It’s the clan’s property. It would never, ever have happened that this kid would be given at.oow. This Tlingit probation officer could not have handed over at.oow. Mikaelsen’s use of that word it implies an understanding and yet the context is inappropriate; it just couldn’t have happened that way. I don’t feel Mikaelsen had the right to use the word without understanding how at.oow is used.

The animal dances, the ancestor rock, the anger rock, the anger stick, I don’t even have any words for this. I kept thinking, where did he come up with this? I can’t even imagine any of these rituals happening today. And the animal-impersonation dances: I thought I’d die. Even if these things all existed, this is a white boy from Minnesota. How would he know how Tlingits move when we dance?

It’s interesting that Mikaelsen says that the Tlingit culture was peripheral to the story, so he didn’t feel he needed to delve into cultural aspects in great depth. But he did go into cultural aspects in great depth; he just made them up. He says that his book was shared with a “First Nation [sic] spiritual leader,” but who is this unnamed spiritual person? Is she/he Tlingit? Does she/he have permission to advise non-Indians about Tlingit culture and ritual?

I can just picture non-Native kids reading this book and thinking they understand Tlingit culture. I can just picture teachers using the “Tlingit culture” in this book as a springboard for cross-cultural exercises. And I can just picture Tlingit kids being very, very embarrassed. 

Eileen Baustian

Elder

Eagle/Shark Clan, Tlingit

Evangeline Parsons Yazzie's DZANI YAZHI NAAZBAA'/LITTLE WOMAN WARRIOR WHO CAME HOME: A STORY OF THE NAVAJO LONG WALK

[This review may not be used (published elsewhere, online or in print) without written permission of its author, Beverly Slapin.]

Yazzie, Evangeline Parsons (Diné), Dzáni Yázhi Naazbaa’/Little Woman Warrior Who Came Home: A Story of the Navajo Long Walk, color paintings by Irving Toddy (Diné), Navajo translation by the author. Salina Bookshelf, 2005, grades 3-up

Children, today more than ever, need to know the truths of history, even—no, especially—the ugly parts, the parts often deemed “not for children.” One of these truths is what has come to be known as the “Navajo Long Walk.” In 1863-1864, U.S. soldiers launched a scorched-earth offensive against Diné Bekayah, grabbed up some 8,000 Navajo women and men, children and old people, and marched them off to a barren concentration camp known as Bosque Redondo (Fort Sumner). On this death march of hundreds of miles, more than 3,000 died of cold and starvation or were killed—the soldiers shot pregnant women and elderly people and all others who couldn’t keep up.

Dzáni Yázhi Naazbaa’ (Little Woman Warrior Who Came Home) is the young Naabeehó (Navajo) girl who survives the Long Walk and the four-year incarceration at Fort Sumner. Yazzie, to whom these family stories have been passed down, spares little detail—the terror of being forcibly taken from home; seeing the elderly and sick being shot as they fall behind; experiencing crop failure and having to rely on foreign, rotten and bug-infested rations; stealing food from the soldiers’ horses to allay starvation. But throughout the torture, persecution, hunger and homesickness, the parents and elders feed the children with perseverance and hope that come from the clan system and the prayers and stories, and the knowing that the land, culture and community will survive. And, indeed, Little Woman Warrior does come home. Toddy’s paintings, especially those of the land and the frightened children, perfectly complement this bilingual story, in Navajo and English, of endurance and strength.

Of all the published children’s stories about the Long Walk period, only Dzáni Yázhi Naazbaa’/Little Woman Warrior Who Came Home and Joe Bruchac’s and Shonto Begay’s Navajo Long Walk (National Geographic, 2002) tell these truths, and Little Woman Warrior is a perfect antidote to Scott O’Dell’s toxic Sing Down the Moon (Houghton Mifflin, 1970) and Ann Turner’s equally poisonous The Girl Who Chased Away Sorrow: The Diary of Sarah Nita, A Navajo Girl, New Mexico, 1864 (Scholastic, 1999).—Beverly Slapin

[Note from Debbie: This book is available from Oyate.]

What do Native writers write about?

An observation: Most of the books written by Native writers are about Native people of the present day. There's a few works of historical fiction and a few traditional stories, but for the most part, the stories they are moved to tell are best described as realistic fiction. Something to think about!

Posts to this site are fewer than usual. I'm home (Nambe Pueblo), spending time with family and friends. I spent most of yesterday with Evelina Zuni Lucero. She teaches creative writing at the Institute for American Indian Art. She's from Isleta and Ohkay Owingeh. You can read about her novel and other writing here. I'll write about her book Night Sky, Morning Star later this summer. We went to see a new exhibit, Comic Art Indigene, at the Museum of Indian Arts and Culture. It makes an important point. Though much of America thinks of Native people as suspended in time and days of long ago, we're very much part of the present day. We are critical of representations of us that America loves to love. The exhibit demonstrates all of that. Excellent work to be seen! If you're in Santa Fe this summer, do visit the exhibit.

First Nations Fantasy by Daniel Heath Justice

Within Native Studies, there are a lot of awesome people. Daniel Heath Justice is among them. He teaches in the Centre for Aboriginal Initiatives at the University of Toronto. Daniel is Cherokee.

Academic work aside, Daniel writes fantasy. Specifically, a trilogy called "The Way of Thorn and Thunder." In it are three books: Kynship, Wynwood, and Dreyd.

You can read an interview with Daniel here.

I bought the books, but have not yet read them. Daniel calls the trilogy "an Indigenous Epic Fantasy." On this page, he talks about the "civilization" vs "savagery" binary, the Noble and Ignoble Savage imagery that predominates representations of indigenous peoples, and then, he talks about his series.

If you've read them, I'd love to hear your thoughts! If you're a fan of fantasy, order the books. They're published by (and available from) Kegedonce Press.

TWILIGHT/Treaties

In drafting yesterday's post, some information on treaties dropped out, so I'm posting that now.

Treaties are agreements between state entities, generally called nations. When tribal leaders enter into a treaty, it is with a state entity, not a small group that operates in a way that is different from the rest of its group.

In TWILIGHT, Meyer has Quileute elders making a treaty with a group of vampires. Elders are esteemed in Native communities. Their counsel is highly valued. When they are leaders, they are in a position to negotiate treaties. Otherwise, they cannot. Perhaps Jacob's great grandfather was a leader. She doesn't say.

She also uses 'truce' to describe the agreement made by Jacob's great grandfather and Edward's pack. That could be a more apt term for this agreement, but it implies these two groups had been fighting, which is not the case.

Using 'treaty' gives vampires the status of a nation. I wonder how much Meyer actually knows about treaties? Does she know tribes are sovereign nations and that is necessary for a treaty? Or, does she really think that any member of any group can enter into a treaty?

Debbie

Meyer's Twilight: second post

A few days ago, I posted passages from Stephenie Meyer's Twilight. Passages of the Native content in the book... I talked about the Quileute boy, Jacob, but didn't include the physical description of him. Here it is:

Jacob...

"looked fourteen, maybe fifteen, and had long, glossy black hair pulled back with a rubber band at the nape of his neck. His skin was beautiful, silky and russet-colored; his eyes were dark, set deep above the high planes of his cheekbones. He still had just a hint of childish roundness left around his chin. Altogether, a very pretty face" (p. 119).

A plausible description; realistic, predictable.

On page 234, Bella and Edward are in his car, in her driveway, talking. At this point in the book, Bella knows Edward is a vampire. Edward sees a car approaching. Staring at the car, Edward's expression is a "mix of frustration and defiance." Bella gets out, Edward takes off. In the approaching car is Jacob and his dad, Billy. Meyer describes Billy like this:

"In the passenger seat was a much older man, a heavyset man with a memorable face--a face that overflowed, the cheeks resting against his shoulders, with creases running through the russet skin like an old leather jacket. And the surprisingly familiar eyes, black eyes that seemed at the same time both too young and too ancient for the broad face they were set in. Jacob's father, Billy Black. I knew him immediately, though in the more than five years since I'd seen him last I'd managed to forget his name when Charlie had spoken of him my first day here. He was staring at me, scrutinizing my face, so I smiled tentatively at him. His eyes were wide, as if in shock or fear, his nostrils flared."

Another complication, Edward has said.

Billy still stared at me with intense, anxious eyes. I groaned internally. Had Billy recognized Edward so easily? Could he really believe the impossible legends his son had scoffed at?

The answer was clear in Billy's eyes. Yes. Yes, he could."

Meyer's physical description of Billy is not as well done as her description of Jacob. Cheeks resting on his shoulders? Yikes! And black eyes? Actually, there is no such thing as "black" eyecolor. Dark brown, yes, but black? No. Meyer is not alone in that error; lot of writers say Indians have black eyes. Eyecolor aside, consider the adjectives: too young, too old. Conveying... vitality? wisdom?

Update: Tuesday, May 27, 2008
A reader wrote to say that her father's cheeks rest on his shoulders. She says that is what gravity does to the face, and wonders if I'm trying to make the point that a Quiluete wouldn't have that happen to them. She's being a bit sarcastic, saying explicitly that my comment on Billy's cheeks and eyecolor are nit-picky and take away from the validity of my other concerns. In response to her.... Yes, I do know that age and gravity effect the skin tone, but cheeks resting on shoulders.... the only image I could come up with in my mind was of Jabba the Hutt! The question on eye color: I stand by it. It is not biologically possible to have black eyes. They may be very dark brown, but not black. That in itself is not a big deal. Put the remark into context, however, and it becomes important. When trying to convey the idea that Native people are scary and threatening, writers often use 'black' eye color to invoke a sense of fear. I know... Bella is not afraid of Billy and Meyer is not trying to make Billy out as a scary person.

Charlie (Bella's dad) is the chief of police in Forks. On page 236, he says to Jacob:

"I'm going to pretend I didn't see you behind the wheel, Jake,"

to which Jacob replies

"We get permits early on the rez."

That line "we get permits early on the rez" stands out to me. I wonder if the Quileutes do, in fact, give drivers permits to 15-year-olds? As sovereign nations, some tribal nations issue automobile license plates that are valid, just as any state-licensed-plate is. With a tribally issued license plate, a tribal member can drive anywhere. As yet, I don't know about driver's permits/licenses.

Update: Tuesday, May 27th, 2008
Some tribes do issue driver's permits, but the Quileute's do not. I called their tribal offices and asked. All driver's licenses held by Quileute's are issued by the State of Washington.

I'm digging into research on Meyer's novels because Twilight is being made into a movie. The part of Jacob will be played by an actor named Taylor Lautner. In this interview, he says that in preparing for this part, he learned that through his mother, he is part Potawatomi and Ottawa. It doesn't sound like he was raised Potawatomi or Ottawa. In the interview, he talks about meeting Quileute tribal members.

About his character, he says he loves the contrast in Jacob's Native American side and his werewolf side:

Lautner: His Native American side ... he is very friendly and outgoing. He loves Bella and is very loyal to Bella and his dad. But on the werewolf side, they're very fierce and just attacking, and they have this huge temper. So there's a lot of stress and things going on inside him as he's trying to keep his temper to himself. I love that part, which Stephenie [Meyer, on whose novel the movie is based] created, with the contrast between the Native American side and the werewolf side of him.

At the close of the interview, he talks about a line he likes, about being half-naked. I think he's referring to a part in the second book, New Moon, where he transforms into a werewolf. That suggests that parts of New Moon will be included in the film.

So...

In Meyer's stories, there are white vampires that do not hunt humans. White humans, that is. But, they might hunt their natural enemies--the Quileutes who were wolves before being turned into men--who they might attack if they are in a weakened condition. To protect the Quileutes, an elder made a treaty with the vampires. They promised not to expose the vampires presence to the whites (pale-faces) and in turn, the vampires promised not to go onto the reservation.

My thoughts...

First, you have to accept the premise that the vampires and Quileute ancestors are traditional enemies. Then, you have to imagine that the elders have decided to give these enemies a chance. The elders think this particular group of enemies/vampires--because they are controlling their urge to attack humans--are deserving of a chance to co-exist nearby. But they don't quite trust them, so, the all agree that the vampires will stay off the reservation. In return, the tribe will not expose the vampire's identity to the good people of Forks.

In telling Bella about the identity of the vampires, Jacob laughs that he has violated the treaty.

Hmmm...

Tension between vampires and Quileutes, but no tension between the white people in Forks and the Quileutes. Because it is fantasy, we've got to suspend disbelief and accept the vampire/Quileute tension. And, because it is fiction, we're encouraged to believe that the people of Forks and the Quileutes get along. But, relations between whites and Quileutes have been complicated. In the 70s, the northwest tribes were engaged in legal proceedings to have fishing rights based on the treaties honored. Here's a line from this document: "More than a century of frequent and often violent controversy between Indians and non-Indians over treaty right fishing has resulted in deep distrust and animosity on both sides. "

A treaty between the vampires and the Quileutes, but no mention of treaties between Quileutes and the federal government. Is Meyer assuming her readers know about such treaties and reservations?

A Native laughing about violating a treaty. Possible, but not likely. Particularly unlikely for a reservation-raised Native. There's always an exception to every generalization, but I doubt that an actual Quileute teen would say the things that Jacob does.

I've got the second book on order...
.

New blog: Deborah Miranda

In December of 2006, I posted a review of Deborah Miranda's book, The Zen of La Llorona (click here to read the review.)

Take a look at her blog, "When Turtles Fly."

Interview: Veronica Tsinajinnie

In April, Veronica Tsinajinnie was awarded the 2008 Lacapa Spirit Prize for her story, Jóhonaa’éí: Bringer of Dawn. According to its website, the Lacapa Spirit Prize is “a literary prize for children’s books about the peoples, cultures and landscapes of the Southwest.

Here’s a paragraph about the book, excerpted from the Lacapa Spirit Prize website:

Jóhonaa’éí: Bringer of Dawn is a beautiful and peaceful story of the relationship the sun has to the earth and its inhabitants as he rises every morning and brings dawn. Veronica Tsinajinnie’s bilingual narrative is powerfully subtle in its presentation of Navajo culture. The story chronicles the journey of Jóhonaa’éí, the sun, as he passes over land, plants, animals, and humans, ushering in a new day. After Jóhonaa’éí wakes the field mice, the rabbits, and the sheep, he is “contented to know his job is done…” He finally arrives at a hogan door to wake “his children” who live inside. The sun then watches as the family offers “white corn to the morning spirits” and “give thanks to the bringer of dawn” before they begin their day also content to know that their job is done as well. Young readers will delight in Tsinajinnie’s progressive repetition, recognizing the daily path as one they, too, walk.

A few weeks ago, I had an e-conversation with Tsinajinnie about her book. Today, I share that conversation.

------------------------------------------------------

DR: Is Jóhonaa’éí: Bringer of Dawn your first book?

VT: Yes. It is my very first “published” book. I was a student at Dine’ College from 2001-2004 and took a children’s literacy class. One of our projects was to write a children’s book. It was a Navajo adaption to the story If You Give a Mouse a Cookie. My story was titled If You Give a Glissi Roasted Corn. Glissi is Navajo for goat. For this project, I actually drew the pictures to go with the story. So if, by chance, you decide to look it up online I must warn you that the pictures were drawn very badly and way before I began “seriously” practicing art/drawing. [Note from Debbie. The text is in Navajo. It is a multi-media project; you can listen to the book being read, in Navajo. Click here. Tsinajinnie's is one of many on the site.]

So technically, Jóhonaa’éí: Bringer of Dawn is not my first book because I did have to have a binding, pictures, table of contents, etc. for If You Give a Glissi Roasted Corn. But it is my first professionally published book.

DR: What prompted you to write it?

VT: At the time I was an educational assistant with a Family Literacy Program, in the preschool classroom. I was constantly reading to the children there and as the number of my nieces and nephews grew I began to feel a feeling of guilt because very few of the books we would read to them (at work and at home) were about them and the things they knew. So……I began to write stories for them about them and about the things they know.

DR: What sorts of books did you read when you were a child? Do you remember one with particular fondness?

VT: I remember my favorite books being Caps for Sale by Esphyr Slobodkina, Millions of Cats by Wanda Gag, and Tikki Tikki Tembo by Arlene Mosel. I’m not really sure why these were my favorite books but my father says that I would have him read them over and over again.

My all time favorite stories though were not in book form but orally told. I remember loving the summer times and winter breaks from school because that was when my family would stay with my grandparents. In the winter my grandfather would tell the coyote stories by firelight or around the lantern (they did not receive electricity until about 15 years ago). In the summer time they would tell us stories about when they were growing up; I was so fascinated. My grandfather was a great story teller because he loved to laugh. I have fond memories of him telling us a story and my grandmother getting a little bent because according to her, his story was completely untrue. An example of one would be the story my grandfather would tell about how he met my grandmother. The way he tells it he was riding his horse home from a one of his uncle’s house and he came upon a beautiful girl (my grandmother) as she herded sheep. He says she was so beautiful and he knew he wanted her to be his wife so he rode by her and picked her up from atop the horse and never took her home. This was one story my grandmother continues to deny happened. Regardless if it is true or not it is one of my favorite stories.

DR: Where were you born, and did you go to a public elementary school? Or a day school?

VT: I was born in the old hospital in Ft. Defiance AZ. (I really wish I had a cooler story like "in a hogan in the middle of winter" but I don’t.) From kindergarten until about second grade I went to Birdsprings Little Singer School. After that I went to Ganado for elementary, middle school, and high school. I always came back to Little Singer School for summer school though.

DR: Will you have another book out soon?

VT: I’d like to say that I’d have another book out soon although there is not one in the works right now. I have continued to submit more stories but sadly none have gone any further that that.

Stereotypes of Australia's Indigenous Population

The United States is not alone in its misrepresentation of its Native population. Take a look at "Prejudice in children's books" to see how Australia has portrayed its indigenous population in its children's books. The accompanying activities and worksheets at the site are worth a look, too.

One question... The books shown are old. Cynic that I am, I wonder what representations look like in books published in the last ten years?
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Stephenie Meyer's TWILIGHT

Many people have written to ask me about a young adult novel called Twilight. Written by Stephanie Meyer, Twilight is the first book in the "Twilight Saga." The "Twilight Saga" has been on the New York Times best-seller list for 40 weeks and as of this day, is in the number 1 spot.

I've been asked about it because the books include werewolves who are Native. Quileute, to be precise, from the La Push reservation in Washington. Quileute is not made up, and neither is La Push. Both are real.

I read the book, quickly. Here's passages that begin on page 124. The Quileute boy, Jacob, is with the protagonist, Bella, on an outing. Bella's love interest is a guy named Edward Cullen. Bella suspects Edward is different (doesn't know yet that he's a vampire), and is trying to get information out of Jacob. I'll start with Bella speaking to Jacob, and his reply:

"What was that he was saying about the doctor's family?" I asked innocently.

"The Cullens? Oh, they're not supposed to come onto the reservation."

Jacob feels he's said too much, but Bella promises she won't tell anyone. Assured with her promise, Jacob goes on, saying:

"Do you know any of our old stories, about where we came from--the Quileutes, I mean?" he began.

"Not really," I admitted.

"Well, there are lots of legends, some of them claiming to date back to the Flood--supposedly, the ancient Quileutes tied their canoes to the tops of the tallest trees on the mountain to survive like Noah and the ark." He smiled, to show me how little stock he put in the histories. "Another legend claims that we descended from wolves--and that the wolves are our brothers still. It's against tribal law to kill them.

"Then there are the stories about the cold ones." His voice dropped a little lower.

"The cold ones?" I asked, not faking my intrigue now.

"Yes. There are stories of the cold ones as old as the wolf legends, and some much more recent. According to legend, my own great-grandfather knew some of them. He was the one who made the treaty that kept them off our land." He rolled his eyes.

"Your great-grandfather?" I encouraged.

"He was a tribal elder, like my father. You see, the cold ones are the natural enemies of the wolf--well, not the wolf, really, but the wolves that turn into men, like our ancestors. You would call them werewolves."

"Werewolves have enemies?"

"Only one."

I stared at him earnestly, hoping to disguise my impatience as admiration.

"So you see," Jacob continued, "the cold ones are traditionally our enemies. But this pack that came to our territory during my great-grandfather's time was different. They didn't hunt the way others of their kind did--they weren't supposed to be dangerous to the tribe. So my great-grandfather made a truce with them. If they would promise to stay off our lands, we wouldn't expose them to the pale-faces." He winked at me.

Jacob goes on, eventually telling her the cold ones are vampires. Then he says:

"Pretty crazy stuff, though, isn't it? No wonder my dad doesn't want us to talk about it to anyone."

I couldn't control my expression enough to look at him yet. "Don't worry, I won't give you away."

"I guess I just violated the treaty," he laughed.

"I'll take it to the grave," I promised, and then I shivered.

"Seriously, though, don't say anything to Charlie. He was pretty mad at my dad when he heard that some of us weren't going to the hospital since Dr. Cullen started working there."

"I won't, of course not."

"So do you think we're a bunch of superstitious natives or what?" he asked in a playful tone, but with a hint of worry. I still hadn't looked away from the ocean.

There's more as the book progresses, but none of the reviews mention the werewolf/Quieluete material...

More later. (And if you've read the books, please comment.)

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If you want to read more on the ways that the Quileute's are portrayed in the series, look over to the right side of this page. Scroll up or down till you see the section labeled TWILIGHT SAGA. There you'll see several links to posts about the series.

Video: I'M NOT THE INDIAN YOU HAD IN MIND

Got the review (below) yesterday... Sounds terrific, and with its length of five minutes, would work well in a classroom, leaving time for meaty discussion! The image shown here is from the website of the American Indian Film Institute. (Note: This review may not be published elsewhere without permission of its author, Beverly Slapin.)

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I’m Not the Indian You Had in Mind. 2007, 5 minutes, color, grades 7-up.

“I’m not the Indian you had in mind. I’ve seen him, I’ve seen him ride, a rush of wind, a darkening tide, with wolf and eagle by his side…” In this brilliant, fast-paced visual and spoken-word performance, Tom King and actors Tara Beagan and Lorne Cardinal juxtapose themselves and other contemporary Indians with cringe-inducing media images of Indians—“the clichés that we can’t rewind.” But there is more than stock footage of tomahawk-wielding Indians, a cigar-store Indian and a haute cuisine Indian-themed restaurant whose waiter wears war paint. I’m Not the Indian You Had in Mind is razor-sharp social commentary with visuals of pollution-spewing smokestacks and gas pumps and freeways and drained lakes and war rooms and a world gone “Monsanto-mad,” and this, muses King: “Sometimes late at night when all the world is warm and dead, wonder how things might have been had you followed and we led.”

(Note from Debbie: The DVD is $15.00, available from Oyate.)