Ryan Red Corn and Sterlin Harjo's SMILING INDIANS

People in the children's literature world love to use photographs taken by Edward S. Curtis. They believe his photos to be authentic portrayals of Native life. They're invariably reproduced in a sepia tone, which adds to their perceived authenticity.

The thing is, they aren't authentic. They're staged, and in many instances, he used props, too. If an individual didn't have "Indian" things, Curtis provided them. That isn't a good thing... The props were not specific to the tribe of the person in the picture. There's a little bit of info about the authenticity of Curtis's work on the website for the Hearst Museum. Some years back, I read Christopher M. Lyman's The Vanishing Race and Other Illusions: Photographs of Indians by Edward S. Curtis, published in 1982 by Pantheon. The Library of Congress includes Lyman's book on its page about Curtis. The annotation says:

Lyman critiques Curtis's pictorialist, romantic, and idealized images of Native people because they obscure a drearier, more desperate reality. Curtis is also criticized for editing "modern" elements, such as alarm clocks and automobiles, from the views and for his use of props and costumes. Lyman exposes various misrepresentations in Curtis's depictions, as well as in other photographers' work of indigenous people, with many photographic examples.

It is that imagery that Ryan Red Corn and Sterlin Harjo address with their video, Smiling Indians, below. 



If you're an author, or an editor in a publishing house, and you're thinking about using Curtis's photos, think again. Do you want to contribute to the misinformation captured in his photos? Of course, I hope your answer is a resounding "No!"

Seale and Slapin's A BROKEN FLUTE available in ebook

Seale and Slapin's A Broken Flute: The Native Perspective in Books for Children is available in ebook. I've got two print copies that I hunt for when I need to check on a review. Yesterday I figured out it is available as an ebook that I won't have to hunt for each time I want to use it! I paid $30 for this highly recommended resource.

I got it through Google. (For those who don't know, you can search the web using Google's "Books" option. They have a lot of books available that way.)

Ann Turner's note in FATHER OF LIES

Three Turtles and Their Pet Librarian posted a review of Ann Turner's Father of Lies. The book is about the Salem witch trials. In their review (dated Feb 24, 2011), they feature an excerpt from an author's note in the book:

The opinions about Native Americans expressed in this novel only reflect the historical record and not this author's beliefs. They are important to understanding this period. In Chapters Nineteen and Twenty-Seven, some of the responses in the witch trials are taken directly from the historical transcripts of the trials."

They go on to note what Turner's note refers to:

Truthfully, there is very little mention of Native Americans at all in the book, and it comes in the form of comments you would expect from the townspeople of that time - (from an 'afflicted' girl) "I vow the Devil was tall, dark, and wicked looking, like our enemies the Indians, with an evil heart inside." 

I have several thoughts on Turner's note.

Ann Turner wrote a book in Scholastic's Dear America series. Titled The Girl Who Chased Away Sorrow: The Diary of Sarah Nita, a Navajo Girl, New Mexico, 1864, it was soundly critiqued by Beverly Slapin in A Broken Flute: The Native Experience in Books for Children (by the way, A Broken Flute is a key resource and is now available in ebook from Googlebooks). In that book, Turner tried--and failed--to write from the perspective of a Dine (Navajo) child. She also failed in her attempt to write from the perspective of Sitting Bull in her book Sitting Bull Remembers. Slapin's review of Sitting Bull Remembers is here.

I wonder if those critiques prompted Turner to include the note pointing out the opinions her character expresses are from a historical transcript and not her own creation? Either way, I think it is useful to include the note. It points readers to historical documents, and that's a good thing to do. My copy of the book hasn't arrived yet, but when I get it, I'll say more about the documents. I hope she provides titles of them elsewhere in her note or in a bibliography. I'd like to read that transcript. I did a quick search using "the Devil was talk, dark, and wicked looking" and didn't find anything.


That said, it is important to point out that the note itself says that the opinions reflect "the historical record." In fact, there is more than one historical record. Turner is referring to the historical record of the white people in Salem Village in Massachusetts in 1692. Her note would be far better if she said she is referring to "a historical record." There were, of course, many Native villages all through that area. I doubt that they would liken themselves to the Puritan's Devil. Their historical record, in other words, is not the same as the one of the white people in Salem Village. 
At her website, Ann Turner has a page about her young adult books. There, she's got a "Coming in 2009" section that says:

--Father of Lies ---a novel set in the time of the Salem Witch Trials, but with a difference: the heroine has s [sic] disorder which gives her an eye of truth into the lies of the village; HarperCollins, Fall, 2009.

Turner tells us that in Father of Lies, she is doing something different. As she said on her website, her heroine has an eye for truth into the lies told by people in the village. I guess the heroine doesn't have an eye for the truth about Native people...  Or maybe we're to believe that all the people in the village believed Indians had evil hearts. I suppose that is possible, but if Ann Turner is doing something different already, wouldn't it have been cool if her heroine could see through the village "truths" about Indians, too?

Toni Morrison: "racially inflected language"

I am rereading Joel Taxel's "Multicultural Literature and the Politics of Reaction" wherein he quotes Toni Morrison saying there is "no escape from racially inflected language." I hear that kind of language all the time. Many examples come to mind, such as "sit Indian style" or "off the reservation" or "Indian giver" or "on the warpath." Which ones come to your mind?

Joel's article is as relevant today as it was when it was published in 1997. He writes about the NRA and right wing talk radio.

One thing that needs doing, however, is a shift in categorizing American Indians as part of the "multicultural population" in the U.S. This is not meant as a criticism of Joel or anyone who studies children's lit. It is my effort to bring scholarship and writings of Native people into Children's literature. We are a minority and we are underrepresented but... Due to our status as sovereign nations, there is a legal and political dimension that sets us apart from other groups. I am working on an article about that difference.

"wild Indians" in Dickens' DAVID COPPERFIELD

On our road trip last weekend we listened to David Copperfield (audio book). I enjoyed it more than I expected, but noted Dickens' use of "wild Indians..."

In chapter 4, Murdstone, the sadistic man who married Davy's mother (Davy's father is dead), decides to punish Davy by beating him with a cane. To start, he grabs Davy in a headlock. Davy pleads with him, to no avail, and so, Davy bites him.  This makes matters worse. Murdstone decides Davy must be sent away to boarding school, and that he must wear a sign on his back that says "Take care of him. He bites." (p. 57)

In chapter 6, Davy is at the school. It is a break when the students are gone. He worries of what will happen to him when they return and read the sign, but a boy named Traddles arrives first. He is sympathetic towards Davy and introduces him to other students as they arrive, by pretending that Davy is a dog. Here's the passage (p. 61):

Some of them certainly did dance about me like wild Indians, and the greater part could not resist the temptation of pretending that I was a dog, and patting and smoothing me lest I should bite, and saying, "Lie down, sir!" and calling me Towzer.

There you see, Dickens using "wild Indians." Dickens using "dance about me" like "wild Indians." I'll have more to say about this... later.

American Indians and "Double Jeopardy!" (yeah, the game show)

The Smithsonian's National Museum of the American Indian (NMAI) publishes a blog that is loaded with terrific information. In January, they uploaded a series of images and a video of an episode of Jeopardy. The reason? One of the categories was "National Museum of the American Indian."

The surprise (or maybe not a surprise) was that the contestants chose EVERY OTHER ITEM IN EVERY OTHER CATEGORY. Finally, they had no choice. They had to select an item in the "National Museum of the American Indian" category. Does that blow you away? Jeopardy contestants know a lot of stuff... But they avoided that category. Watch the video NMAI put together.



As you saw, the contestants did ok with the clues in the NMAI category. But they were definitely afraid to go there... 

Want to see more? Read "Double Jeopardy" at the NMAI site, and click around while there! You'll learn a lot.

Leo Politi's LITTLE LEO

As I worked on my review essay about Leo Politi's Song of the Swallows, I kept recalling that somewhere, I'd seen something about another book of his where someone is playing Indian.

A few minutes ago, I did a quick search and found it right away. The book is based on his childhood. Titled Little Leo, here's the cover:

It was published in 1951, three years after Song of the Swallows. I think I have it somewhere... A good friend sent it to me a few years ago. The image above is from Appleby Books, a source for collectible and rare books. Their description:

A story based on Leo Politi's own childhood. Little Leo loved watching the Indians in the movies and one day his father bought him his own wonderful Indian Chief suit. When little Leo and his family traveled to his father's village in Italy, all the children were enchanted with Leo's suit and wanted to be Indians too! 

It is fascinating to think of the Leo-Politi-the-man writing about primitive Indians in Song of the Swallows, knowing that Leo-Politi-the-boy played Indian!

"Teaching Children about American Indians" - U Wisconsin, Eau Claire

What are you doing on Friday, February 25th?

If you're in the Eau Claire area, I'm giving a lecture and workshop on "Teaching Children about American Indians." The lecture is from 10:30 to 11:30 and the workshop is from 1:00 to 3:00. Both will be in the Davies Center.

Reservations are required, but the events are free and open to the public. To register, contact Hannah Moen at moenhj@uwec.edu or 715-836-4565 by Feb. 18.

Indians in Leo Politi's SONG OF THE SWALLOWS

Among the Caldecott Medal books I studied for my presentation at the Children's Literature Symposium at Florida State University-Sarasota last week is Leo Politi's Song of the Swallows. It won the Caldecott in 1950.

Cover and publisher's synopsis:

Every summer, the swallows leave San Juan Capistrano and fly far away, to a peaceful green island — but they always come back in the spring, on St. Joseph's Day. Juan loves las golondrinas, and so does his friend, Julian, the gardener at the mission.

This year, Juan plants a garden in his own yard. There's nothing he wants more than for the swallows to nest there. And on St. Joseph's Day, his dream comes true.




Based on comments and reviews at Amazon, Library Thing, Goodreads and similar sites, readers respond positively to the story. In fact, the story of the swallows is something that I, too, could respond positively to, but I'm continually pulled out of the story by what I know about the history of the missions.

Below, my analysis is in italics. Summary and quotes from the book are in plain text.

On the first page we see Juan (shown on the cover) on his way to school. To get there he goes through the gardens at the Mission and stops to speak to Julian, the Mission's bell ringer. That conversation takes place in the garden, and is shown on the second double-paged spread in the book. Juan and Julian stand in front of a statue, looking up at it. Julian tells Juan "the story of the Mission" as follows:

"Long, long ago," Julian told him, "the good brothers of Saint Francis came to this country from across the sea. Father Junipero Serra and the brothers walked along the wild trail through the wilderness. With the help of the Indians they built many mission churches." 

For me, several of Julian's words leap out:

The "good brothers"
The "good brothers of Saint Francis" were Spanish missionaries who traveled to an area of the United States that became California. "Serra and the brothers" weren't the first ones to walk along that trail in 1776. In fact, they were there in a second attempt to set up a mission. The year before, the Indians rebelled and drove "the good brothers" out of the area, forcing the brothers to abandon their missionary work. Indian men in that area had, for several years, been fighting soldiers who raped their women. Edward D.  Castillo quotes Serra who, in 1773, wrote (emphasis mine):

In the morning, six or more soldiers would set out together, with or without the permission of the corporal, on horseback, and go to the far distant rancherias, even many leagues away. When both men and women at sight of them took to their heels--and this account comes from the father, who learned of it from the many declarations and complaints of the gentiles--the soldiers, clever as they are at lassoing cows and mules, would catch Indian women with their lassos to become prey for their unbridled lust. At times some Indian men would try to defend their wives, only to be shot down with bullets.

Castillo notes, too, that male and female children in the missions were victims of sexual assaults. His article is "Gender Status Decline, Resistance, and Accommodation among Female Neophytes in the Missions of California: A San Gabriel Case Study," published in 1994 in American Indian Culture and Research Journal. So... calling them "good brothers" is, for me, problematic. 


Father Junipero Serra
Serra is a controversial figure amongst American Indians, especially in California. In the 1930s, the process to have him canonized began.  In "Junipero Serra's Canonization and the Historical Record," historian James A. Sandos writes that in December of 1948 in Fresno a historian and two priests testified before an ecclesiastical court about Serra's record. (Note: Sandos article is in The American Historical Review, Vol. 93, No. 5, Dec 1988, pp. 1253-1269).

That, coincidentally, is the same year that Song of the Swallows was published. Sandos writes that, as "Father President" of the missions from 1769 to 1784 when he died, Serro "gave directions for his Indians to be whipped" (p. 254) when they failed to live according to church precepts. Sandos also states that Carey McWilliams wrote a popular history of California in which he said that the missions were like concentration camps. McWilliams' work was based on the work of a physiologist named Sherburne F. Cook at the University of California, Berkeley. 

The Catholic Church was, understandably, not happy with any of these publications and their efforts to see the missions from the point of view of Indians. I wonder if Politi followed any of that controversy?


"With the help of the Indians..."
What kind of help was it? By then, there were Indians who had become Catholics and did help build the churches, but the missions were constructed primarily through forced, unpaid labor, and not through the methods suggested by "help of the Indians." 

Still on that same double-paged spread are these words:

"The Missions were like little villages," Julian said. There the Indians learned to make shoes and harness, blankets and hats, tools and pottery--many of the things they needed in their daily life."

Does Politi mean for us to think that the Indians learned how to do all of that from the "good brothers" in the Mission? That they were shoeless and without blankets, hats, tools, and pottery before the "good brothers" arrived?! As Sandos writes, ideas about Indians as primitives had long been set aside by historians who knew that was not the case. 

Yet, Politi gave his readers primitive Indians and the Caldecott committee either agreed with his portrayal of them, or, didn't think it was important enough to sway them from selecting the book for the Caldecott Medal. 

In all honesty, it is hard for me to enjoy the story about the swallows. The content on the first pages gets in the way. I wonder how the book is used with children? Does anyone point to the inaccurate information at the beginning? Does anyone pause to wonder about the accuracy of that information? Do you?

There's more to say about Serra and Indians... In the 1980s, Rupert and Jeanette Costo published Missions of California: A Legacy of Genocide in an effort to stop Serra from being canonized. It was filled with the writings, scholarship, and testimony of California Indians who did not think Serra was worthy of saint status. The pope ignored it and advanced Serra to beatification on December 11, 1987. 

Further reading:
"Retired Bishop Apologizes for Mistreating the Miwoks"
"California Indians Critique Lesson Plans on California Missions"


UPDATE, Feb 12, 2010
Leo Politi wrote Little Leo two years later. On the cover, Leo is in an "Indian chief suit."

Robert Lawson's "Indians--tame ones" and slaves in Minnesota

This weekend at the Children's Literature Symposium at Florida State University-Sarasota, I'll be giving a talk about the illustrations of Indians in books that won the Caldecott Medal. I've been doing research on the books, reading some of them for the first time, and re-reading others.

One that I am re-reading is Robert Lawson's They Were Strong and Good. Published in 1940, it won the Caldecott that year. The book opens with a Foreword that reads:

This is the story of my mother and my father and of their fathers and mothers.

Most of it I heard as a little boy, so there may be many mistakes; perhaps I have forgotten or mixed up some of the events and people. But that does not really matter, for this is not alone the story of my parents and grandparents, it is the story of the parents and grandparents of most of us who call ourselves Americans. 

So, Lawson tells us, They Were Strong and Good is a family history of sorts. His disclaimer is interesting---it leaves me with many questions. The cover of the book shows us his parents and grandparents:

and the end pages (pages just inside the front and back cover) show us the same people. This image is from Peter D. Sieruta's blog, Collecting Children's Books, where he's got an essay on They Were Strong and Good. His essay title is "They Were Strong and Good Enough for 1940."

In 1994 a revised edition was published. In the revised one, the phrase "Indians--tame ones" was changed. The phrase "tame ones" was omitted. That wasn't the only part of the book that was changed. Its language with respect to African Americans was also changed. Beverly Slapin wrote about the changes a few years ago, and Jean Mendoza shared some pointed questions about the original text.  Please take time to read what they said.

As I studied They Were Strong and Good yesterday, I honed in on this page:

The text that goes with the page places that image in Minnesota. In the foreground are an Indian man and woman who have been given a pie and are being chased away. But who is chasing them? The young girl behind the African American woman is Lawson's mother. Lawson was born in 1892, so I'm guessing the year for that story is roughly 1872, assuming his mother gave birth to him when she was 20 years old. So...  Minnesota in 1870s. Slaves? That gave me pause, so I started digging in to Minnesota history and slavery.  Right away I found a Minnesota Public Radio story about the research and upcoming book by Professor Christopher Lehman at St. Cloud University in St. Cloud, Minnesota. Here's the first few paragraphs from the MPR site:

St. Paul, Minn. — A St. Cloud State University professor has found evidence of slavery in several Minnesota counties before the Civil War, a groundbreaking discovery that sheds light on the Midwest's pre-Civil War history.

Christopher Lehman, an ethnic studies professor who is researching slavery in states along the upper Mississippi River, has documented slavery in Stearns, Benton, Hennepin, Ramsey, and Washington counties.

His research, to be published in a book in 2012, also found that prominent St. Cloud families of the mid-19th Century were slave owners.

I wrote to Professor Lehman to let him know about They Were Strong and Good and he's written back asking for more information. Hence, today's blog post. I don't know if it will, in the end, be useful to Lehman. What I find deeply satisfying about studying children's books is the information they hold. Some, like They Were Strong and Good tell us a lot about history and race. They should not be dismissed as "less than" because they're written for children.

There is value in having children study They Were Strong and Good. I don't recommend it be used with young children "as-is"---it should be studied by students in high school, perhaps in critical media literacy or social justice or civics courses.  

I'm looking forward to the Symposium, listening to learning from others who also work with and study children's books. One keynote speaker is Mary GrandPre. She did the illustrations for the Harry Potter books. The other keynote will be given by Kenneth Kidd, author of Making American Boys: Boyology and the Feral Tale. An excerpt from his book is available at the publisher's website. If you're near Sarasota on Saturday, consider attending the symposium. Registration for the general public is $85.00 and includes lunch and snacks.

"Kossa Indian Dancers"

Would you go to a service in a synagogue, mosque, church, or temple, study the attire, movements, music, and words of the people there, and then perform what you saw, charging people to see your performance?

I think your answer is a firm "no." You would recognize the sacred nature of what takes place there, and, you'd recognize it as inappropriate to copy and perform it.

The "Kossa Indian Dancers" either don't know that Pueblo dances are religious, or if they do know, they don't care.  According to the Suphur Daily News in Louisiana, the "Kossa Indian Dancers" were at Nambe Pueblo (I'm from Nambe) over the recent winter break.

After traveling among the Pueblo people recently, the Kossa Indian boys are now “richer” than they were before they left. From December 23 to December 31, the boys traveled to different Pueblo villages, learning new dances and immersing themselves into culture unlike their own.

“The Pueblo have been able to maintain over 96 percent of their culture over the years. They’re the most friendly, gracious, warm people you’ll ever meet in your life,” said David Kandik, Program Director for the Kossa Indian Dancers.

People who know me would probably say I am friendly, gracious and warm, but that doesn't mean that I think its ok for anyone to watch me when I'm praying, carefully noting the way I hold my hands and the clothes I wear, and then go off somewhere to practice those hand movements, sew those clothes, and then do my prayer as a performance!

Many visitors to New Mexico want to see Pueblo Indian dances. Pueblo, and New Mexico travel and tourist sites, books, and brochures generally include information about our dances. For example, the All Indian Pueblo Cultural Center has this information on its site:

• Tribes value traditions, customs and religion. Some actions and/or questions could be offensive, so refrain from pressing for answers. Tribal dances are religious ceremonies, not public performances. It is a privilege to witness a ceremony.

• Silence is mandatory during all dances and Pueblo ceremonies. This means no questions about the ceremonies or dances while they are underway; no interviews with the participants; no walking across the dance plaza; and, no applause during / after the dance or ceremony.

 The "Santa Fe, NM info" page has this in red letters near the top of their page on the Pueblos:

Visiting a Pueblo is a special experience. People go about their daily work in the modern world, but tradition is woven deeply through every aspect of life. It is important to go with respect for customs and regulations that are very different from you own. Each Pueblo has a sovereign government, ask at the main office for rules. Pueblos sometimes close for private ceremonies.

New Mexico Magazine has a section on Pueblo Etiquette:

Tribes value traditions, customs and religion. Some actions and/or questions may be offensive. Tribal dances are religious ceremonies, not performances put on for tourists. It is a privilege to be part of a ceremony. Keep quiet and don't applaud or touch the dancers.

I guess the leaders of the "Kossa Indian Dancers" aren't aware of any of this. Do you know anyone involved with the "Kossa Indian Dancers" in Louisiana? What about the "Koshares" in Colorado? They do the same sort of thing. If so, you could let them know that they're in violation of the wishes of the Pueblo people. If you're a teacher or parent in Louisiana, don't take your children to see the "Kossa Indian Dancers." If you're a teacher or school administrator who schedules assemblies for your school, do not invite the Koshares to perform.

2011 Opening Minds Conference - Chicago Metro AEYC

A hearty welcome to people who attended Choosing and Using Picture Books about Native Americans: What's New, What's Good, and What's Best Practice at Opening Minds, the 1011 Chicago Metro AEYC conference in January, 2011. (For those who don't know, the conference is for educators in early childhood).

Jean Mendoza and I are glad that you attended our session, and are happy to provide you with this list of books we discussed. Click on the titles for more information about each one. Some may be available from Oyate. Where possible, I provide a link to the webpage for the publisher. As is always the case with a conference presentation, time is limited, and presenters are never able to say something about every book they want to...  So, this is an incomplete list.

Board and Concept Books

• Welcome Song for Baby, by Richard Van Camp, available from Orca Books.
• I See Me, by Margaret Manuel, published by Theytus Books.
• Boozhoo, Come Play With Us, by Deanna Himango
• Learn the Alphabet with Northwest Coast Native Art, and Learn to Count with Northwest Coast Native Art; and Explore the Animals available from Northwest Coast Books.
• Beverly Blacksheep's board books available from Salina Bookshelf.
• Owl's See Clearly at Night, by Julie Flett, available from Simply Read Books.

Traditional Stories

• Pia Toya: A Goshute Indian Legend, by Children of Ibapah Elementary School (order used copy from your preferred used bookseller).
• Muskrat Will Be Swimming, by Cheryl Savageau, available from Tilbury House. 
• The Story of the Milk Way: A Cherokee Tale, by Joseph Bruchac and Gayle Ross (order a used copy from your preferred used bookseller).

Contemporary Stories

• Thanks to the Animals, by Allen Sockabasin, available from Tilbury House.  
• Two Pairs of Shoes, by Esther Sanderson, available from Oyate.
• The Day Matthew Touched the Sky, by Alyssa Kelly, available from the Salish Language Revitalization Institute.
• Good Luck Cat, by Joy Harjo, available from Oyate.
• Jingle Dancer, by Cynthia Leitich Smith, available from Oyate. 
• Less than Half, More than Whole, by Michael Lacapa, available from Oyate.
• Indian Shoes, by Cynthia Leitich Smith, available from Oyate.
• When the Shadbush Blooms, by Carla Messinger, available from Oyate.

Historical Settings

• Shi-Shi-Etko and Shin-Shin's Canoe by Nicola Campbell, available from Groundwood Books.  
• Crossing Bok Chitto and Saltypie by Tim Tingle. Get Saltypie from Cinco Puntos Press.
• Birchbark House by Louise Erdrich, available from Birchbark Books. 

Nonfiction

• Huckleberry Picking by Rosie Matt, Pat Pierre, Melanie Sandoval and Tachini Pete, available from the Salish Language Revitalization Institute.  
• Children of Clay by Rina Swentzell (order from your preferred used bookseller). 

Internet Resources

• American Indians in Children's Literature
• "How to Tell the Difference: A Guide"
• Teaching Young Children about Native Americans
• Examining Multicultural Picture Books for the Early Childhood Classroom: Possibilities and Pitfalls

Chicago Area Resources

• Title VII Indian Education Program, Chicago Public Schools
• American Indian Center of Chicago

Native authored-books on the 2011 Notable Children's Books list

Quoting from the website of the Association for Library Service to Children:

Each year a committee of the Association for Library Service to Children (ALSC) identifies the best of the best in children's books. According to the Notables Criteria, "notable" is defined as: Worthy of note or notice, important, distinguished, outstanding. As applied to children's books, notable should be thought to include books of especially commendable quality, books that exhibit venturesome creativity, and books of fiction, information, poetry and pictures for all age levels (birth through age 14) that reflect and encourage children's interests in exemplary ways.

On the list this year are...

Tim Tingle's extraordinary Saltypie: A Choctaw Journey from Darkness into Light. I wrote about it last year. Saltypie is one of my favorite books.

Congratulations, Tim!

Matt Dembicki's Trickster: Native American Tales, a collection of 21 trickster stories in graphic novel format is also on the list. (Note 1/15/2011: Dembicki is not, to my knowledge, Native. All the authors who have stories in the book are Native.) I like the book very much, with one quibble...  The designer didn't provide information about each story's origin with the story. It's in the book----in the back! It would have done a lot more teaching if that info was included with the opening panel of each story.

S. D. Nelson's Black Elk's Vision: A Lakota Story.  I've got it on order.

An American Indian perspective on changing "Injun" to "Indian" in TOM SAWYER

On January 3rd, Publisher's Weekly carried an article called Upcoming NewSouth 'Huck Finn' Eliminates the 'N' Word. The article says that NewSouth Books is planning to release a version of Mark Twain's The Adventures of Tom Sawyer and The Adventures of Huckleberry Finn in a single volume titled Mark Twain’s Adventures of Tom Sawyer and Huckleberry Finn.  The article also says that the editor, Alan Gribben, replaced "nigger" with "slave" and "injun" with "Indian."

I've received several emails, asking what I think of the change.

I imagine that I probably read The Adventures of Tom Sawyer and The Adventures of Huckleberry Finn when I was in school, but I don't remember much. Waller Hastings (a colleague on child_lit) pointed to the lack of critical discussion of Twain's portrayals of Indians. News about the NewSouth book, and Waller's comment, too, prompted me to read (reread?) Tom Sawyer.

The Adventures of Tom Sawyer

(Note: Page numbers below correspond to the eBook copy of The Adventures of Tom Sawyer that I read in Google books.) 

Some facts:

• The Adventures of Tom Sawyer was first published in 1875. 
• Two chapter titles include the phrase "Injun Joe."
• The phrase "honest injun" appears two times. 
• The phrase "Injun Joe" appears 33 times.
• The word "Indian" appears once.
• The word "Indians" appears twice.
• The word "powwow" appears once.
• The phrase "war-whoop" appears three times.

[Update, 1/12/2011: Unless otherwise noted, illustrations shown are from the 1980 printing by the University of California Press, edited by John C. Gerber, Paul Baender, and Terry Fitkins. It includes original illustrations by True E. Williams. Twain selected Williams to do the illustrations. Page 273 of the text quotes Twain as saying "Williams has made about 200 rattling pictures for it."

Summary and my comments.

Summary: The first Indian that Twain introduces readers to is an unnamed figure in Tom's imagination. This takes place in chapter eight on page 74. Tom has been rebuffed by the girl he's sweet on (Becky) and runs off to the woods. There, Tom thinks about running away to "join the Indians" where he'll "hunt buffaloes and go on the warpath in the mountain ranges and the trackless great plains of the Far West." When he returns, he'll be with "a great Indian chief, bristling with feathers, hideous with paint." He'll go into Sunday-school "with a blood-curdling war-whoop."


Deb's comments: Tom's image reflects America's love/hate attitude towards American Indians. On one hand, we're admired and on the other, we're feared. Or----I should say---IMAGES of us are admired and feared. Tom wants to join Indians who (he imagines) are living the good life out west, hunting buffaloes. He is drawn to the warlike image, too, as he images going on the warpath with the Indians of his imagination. Tom dwells more on the aggressive warlike image of Indians in feathers and paint who utter sounds that terrorize courageous Christians and settlers. 

Summary: In the next chapter, Twain introduces the character, "Injun Joe."  Not counting the chapter titles in the table of contents, "Injun Joe" first appears in the story on page 84.

The scene is a graveyard. Tom and Huck are in the graveyard and hear voices. At first they're afraid, thinking the voices belong to devils but they see that the voices belong to three men, Dr. Robinson, Muff Potter, and, "Injun Joe." The doctor has hired Potter and "Injun Joe" to dig up a body. (We aren't told why the doctor needed this body, but the Report of the geological survey of the State of Missouri says that that near Hannibal is a cave where a "Dr. McDowell deposited a relative's corpse to see if it would petrify" (p. 36). The book was published by Bureau of Geology and Mines in 1874.)

Once the body is above ground and wrapped in a blanket, Potter and "Injun Joe" ask for more money. The doctor says he's already paid them, but Potter and "Injun Joe" want more. "Injun Joe" approaches the doctor, saying:

"Five years ago you drove me away from your father's kitchen one night, when I come to ask for something to eat, and you said I warn't there for any good; and when I swore I'd get even with you if it took a hundred years, your father had me jailed for a vagrant. Did you think I'd forget? The Injun blood ain't in me for nothing. And now I've got  you, and you got to settle, you know!" (p. 85)

A fight ensues, during which "Injun Joe," with Potter's knife in hand, goes

"...creeping, catlike and stooping, round and round about the combatants, seeking an opportunity."(p. 86)

The doctor hits Potter, knocking him out and to the ground. Then,

"...the half-breed saw his chance and drove the knife to the hilt in the young man's breast." (p. 86)

The doctor dies and the "half-breed" mutters

"That score is settled--damn you." (p. 86)

"Injun Joe" robs the body and then puts the knife into Potter's hand. When Potter regains consciousness, "Injun Joe" asks Potter why he killed the doctor. Potter can't recall doing it, so Joe (throughout this conversation, Potter calls him Joe, not "Injun Joe"). Joe describes how Potter killed the doctor. Potter begs "Joe" not to tell anyone, and he agrees to keep quiet. The two part ways. The text says that the "half-breed" watched Potter leave. His knife was left behind.


Deb's comments: As developed by Twain, "Injun Joe" is a vengeful, lying murderer who moves like a cat. In framing "Injun Joe" as animal-like, Twain is not alone. Authors then and now do it. A recent example is seen in James Crowley's Blackfeet characters who gnaw on bones (see section on chapter six). 

And, he's a half-breed whose Indian blood/identity is the reason he's a vengeful, lying murderer. 

He uses "Injun" (not "Indian") to describe himself. What, if any, backstory did Twain work up on him? Who did Twain imagine his parents to be? (In Why Mark Twain Murdered Injun Joe Carter Revard says "halfbreeds" were children of white fathers and Indian women, many of whom were prostitutes.) 

Did "Injun Joe" grow up in Hannibal? We know that he was poor and hungry and that five years prior to the murder, he had been poor and hungry enough to ask for a handout. According to Twain's preface, the book is set 30 or 40 years prior to its publication in 1876. A critical companion on SAWYER indicates that there was an Osage man named Indian Joe living in Hannibal. Twain used his name. 

Would it make a difference in how readers view "Injun Joe" if they read "Indian Joe" instead? I think not! He'd still be a vengeful, lying, half-breed murderer. In fact, replacing the derogatory "Injun" to the too-broad-but-not-derogatory "Indian" actually works to make the character even less sympathetic. Readers may not know what an "Injun" is, but they definitely know what an "Indian" is! Removing the slur without changing the character doesn't alleviate anything derogatory... It absolutely pins wicked evil behavior on Indians.

Summary: From their spot in the graveyard, Tom and Huck witnessed the murder. In chapter ten, they run off and wonder what to do.  They decide to stay quiet because

"That Injun devil wouldn't make any more of drownding us than a couple of cats, if we was to squeak 'bout this and they didn't hang him." (p. 91)

They go through an elaborate ritual, burying their written oath to remain quiet.

Deb's comments: Twain tacks on "devil" to "Injun Joe's" character. Other classic works of literature frame Indians as devils or engaged in "devilment" (see page 284 of Wilder's LITTLE HOUSE ON THE PRAIRIE where the text reads "Mr. Scott said he didn't know why so many of those savages were coming together, if they didn't mean devilment." That text is followed by Mr. Scott saying "The only good Indian is a dead Indian." Death will be precisely how Twain deals with his Indian character.)

Summary: The next day (in chapter 11), the body and Potter's knife are found. "Injun Joe" tells the townspeople that he saw Potter kill the doctor. Tom and Huck watch in disbelief as "the stony-hearted liar" (p. 100) talks.  The two boys expect God to strike the liar with lightning but nothing happens,

"for plainly this miscreant had sold himself to Satan and it would be fatal to meddle with the property of such a power as that."  (p. 100)

"Injun Joe" repeats his lie at an inquest. Again, no lightning strikes him down, and so, Tom and Huck's fear that "Injun Joe" sold himself to the devil is confirmed.  They're fascinated with him and decide to watch him, night and day, in the hopes of actually seeing him with the devil. The townspeople are angry at "Injun Joe" for participating in the grave-digging and body-snatching, but are afraid of him and leave him be.    



Deb's comments: Earlier he was called a devil; now he's sold himself to the Satan, and not even God is willing to use his power against Satan... 



Summary: Worried over what he's seen, Tom feels low and dreary. In chapter 12, his aunt tries various remedies and then starts giving him "Pain-killer." Bored, Tom gives some to the cat, Peter, by prying the cats mouth open and pouring Pain-killer in it:

Peter sprang a couple of yards in the air, and then delivered a war-whoop and set off round an round the room, banging against furniture, upsetting flower-pots, and making general havoc. (p. 107)

Deb's comment: Here, Twain is using the running-around-like-a-wild-Indian imagery, and, he's added the war-whooping sound to make sure the reader sees what he is imagining. 

Summary: Tom is better and heads on to school, wondering where Becky might be. Not seeing her, he goes inside the school house and then sees her pass by the gate:

...Tom's heart gave a great bound. The next instant he was out, and "going on" like an Indian; yelling, laughing, chasing boys, jumping over the fence at risk of life and limb, throwing hand-springs, standing on his head--doing all the heroic things he could conceive of, and keeping a furtive eye out, all the while, to see if Becky Thatcher was noticing. (p.109)

She doesn't notice, so...

He carried his exploits to her immediate vicinity; came war-whooping around, snatched a boy's cap, hurled it to the roof of the school-house... (p. 110)

Becky rebuffs him, he's embarrassed, and sneaks off, crestfallen.

The next few chapters are about Tom, Huck, and Joe Harper, who've run off to an island where they play pirates. They get sick smoking cigarettes. When the boys don't return home, the townspeople think they drowned. At one point when Huck and Joe fall asleep, Tom takes off, headed home. Tom sneaks into his aunt's house and hears her, his brother, and Joe's mother lament the loss of the boys. He also hears when their funeral will be held. After they go to bed, Tom takes off again and returns to their camp on the island.

The boys swim and play, but start to feel lonely for home. When Huck and Joe decide to leave. Tom convinces them to stay by planning their return during the funeral (readers don't know the plan till it happens). That night a storm comes and soaks their camp. The next morning, the boys try to leave again, and Tom reminds them of the plan. They stay and decide to quit being pirates and "be Indians for a change" (p. 147):

...it was not long before they were stripped, and striped from head to toe with black mud, like so many zebras--all of them chiefs, of course--and then they went tearing through the woods to attack an English settlement.


By and by they separated into three hostile tribes, and darted upon each other from ambush with dreadful war-whoops, and killed and scalped each other by thousands. It was a gory day. Consequently it was an extremely satisfactory one.


They assembled in camp toward supper-time, hungry and happy; but now a difficulty arose--hostile Indians could not break the bread of hospitality together without first making peace, and this was a simple impossibility without smoking a pipe of peace. There was no other process that ever they had heard of. Two of the savages almost wished they had remained pirates. However, there was no other way; so with much show of cheerfulness as they could muster they called for the pipe and took their whiff as it passed, in due form.


And behold, they were glad they had gone into savagery, for they had gained something; they found that they could now smoke a little without having to go and hunt for a lost knife; they did not get sick enough to be seriously uncomfortable. They were not likely to fool away this high promise for lack of effort. No, they practiced cautiously, after supper, with right fair success, and so they spent a jubilant evening. They were prouder and happier in their new acquirement than they would have been in the scalping and skinning of the Six Nations. We will leave them to smoke and chatter and brag, since we have no further use for them at present. (pp. 147-148)

Deb's comments: They play Indian much as Tom imagined it earlier in the book. Mud serves as paint. They attack, ambush, kill, and scalp. Because they'd gotten sick smoking cigarettes, they're reluctant to smoke tobacco again. But, they're Indians, and they've got to smoke the peace pipe. They smoke just a little. It doesn't make them sick, and, that's what makes them jubilant---more proud and happy, even, than if they had been scalping and skinning Indians of the Six Nations. 

Skinning Indians? Hmmm... What does Twain mean by that? Skinning Indians meant taking advantage of them. Is that what Twain meant? Or did he mean literally skinning Indians? 

And what is Twain doing with the whole smoking theme? Did he own stock in tobacco?! Did he want boys to know that they should not be afraid to smoke if, on their first try, it made them sick?

Summary: The boys return home in the midst of the funeral service. They are greeted with joy. Summer comes and school is out. Potter's trial is about to take place. Tom talks with Huck, asking him if there is anyone who could force him to talk. Huck says:

"Get me to tell? Why, if I wanted that half-breed devil to drownd me they could get me to tell. They ain't no different way." (p. 190)

Deb's comment: Clearly, Huck is afraid "Injun Joe" will kill him. 


Summary: The two boys swear again to each other to keep quiet, but they feel bad for Potter, knowing he is innocent and that the lie told by "Injun Joe" is the only evidence against him. Everyone gathers at the courthouse. "Injun Joe" is there, too. To almost everyone's surprise (readers learn later that, feeling guilty, Tom met with Potter's lawyer the night before), Tom is called to the stand and is asked where he was that night. Tom glances at "Injun Joe" and after a few minutes, says that he was in the graveyard and starts testifying. When he gets to the part about "Injun Joe" jumping up with the knife,

Crash! Quick as lightening the half-breed sprang for a window, tore his way through all opposers, and was gone! (p. 197)

Tom is a hero to the townspeople. Both Tom and Huck are afraid (Tom has bad dreams), now that "Injun Joe" is on the loose. Huck is glad he didn't have to testify. He's afraid, though, that it'll come out that he, too, was a witness to the murder.

In chapter 25, Tom and Huck embark on another adventure: hunting for buried treasure. They dig in several places. Finding nothing, they head to Cardiff Hill, the location of a haunted house. They go inside to look around. While inside they hear voices of men approaching the house. One of them is "Injun Joe." He and the other man talk about their "dangerous" plans. They've got silver coins with them that they decide to bury before they leave, returning for it later.  "Injun Joe" remembers seeing a pick (it is Tom's pick) and uses it to dig. He notices fresh dirt on it. As he's digging, he finds a box of gold coins.

Tom and Huck happily consider all the money they'll have once the two men leave the house. But, the two men decide not to leave the silver or gold there, but to hide it "under the cross" in "Injun Joe's" "Number Two" den.

"Injun Joe's" companion tells him they have enough money and don't need to do that other job, but with "a wicked light" in his eyes, "Injun Joe" says its not about robbery, it's about revenge.  The men leave, and the boys leave, too.

The next day Tom and Huck plan to find Number Two den. In chapter 29, Huck follows two men who have the box of gold. They go to Widow Douglas's house. Listening to them talk, Huck learns that her husband was a justice of the peace who had judged "Injun Joe" to be a vagrant and

...had me horsewhipped! ---horsewhipped in front of the jail, like a nigger! ---with all the town looking on! HORSEWHIPPED! --do you understand? He took advantage of me and died. But I'll take it out on her." (p. 236)

His companion tells him not to kill her. "Injun Joe" replies:

"Kill? Who said anything about killing? I would kill him if he was here; but not her. When you want to get revenge on a woman you don't kill her--both! you go for her looks. You slit her nostrils--you notch her ears like a sow!"


"By God, that's--"

"Keep your opinion to yourself! It will be safest for you. I'll tie her to the bed. If she bleeds to death, is that my fault? I'll not cry, if she does. My friend, you'll help in this thing--for my sake--that's why you're here--I mightn't be able alone. If you flinch, I'll kill you. Do you understand that? And if I have to kill you, I'll kill her--and then I reckon nobody'll ever know much about who done this business." (pp. 236-237)

Deb's comment:  At the widow's house, readers learn that "Injun Joe" is not just a thieving, lying murderer. He's also racist and barbaric. Racist because he was humiliated at being treated "like a nigger" in front of everyone, and barbaric because he plans to torture and horribly mutilate the widow. 

 At this point in the book, Twain makes "Injun Joe" even more despicable. Now he's not only a liar, a thief, and a murder. He's racist and barbaric, too. 



Summary: Huck races for help, stopping at the Welshman's house to tell him that two men are planning to hurt the widow. Huck goes with the Welshman and his sons, who take their guns to rescue the widow. When he hears their guns fire, Huck runs home. The next morning (chapter 30), Huck goes to the Welshman's house and learns that they did not catch the men. The Welshman questions Huck, trying to get info from him about the two men. Huck, intent on keeping his own identity as a witness to the murder a secret, stumbles over his words trying to describe the two men. But the Welshman is on to him, presses him, and gets Huck to blurt out that it was "Injun Joe." The Welshman says:

"It's all plain enough, now. When you talked about notching ears and slitting noses I judged that that was your own embellishment, because white men don't take that sort of revenge. But an Injun! That's a different matter altogether." (p. 243)

Deb's comment: Again---if we replace "Injun" with "Indian," does it make a difference in how readers view that character? I think not! 


Summary: There is a plan to find the two men, but then everyone realizes Becky and Tom are missing. There is fear they're lost in a cave, and the townspeople spend three days searching for them.

In chapter 31, Tom and Becky are in the cave, lost. They discover that "Injun Joe" is also in the cave. In the next chapter, Tom and Becky are rescued and the cave entrance is sealed. Days pass. When Tom learns that the entrance to the cave is sealed off, he tells the judge that "Injun Joe" is in the cave. In chapter 33, the judge, Tom, and townspeople return to the cave and open the door.

Injun Joe lay stretched upon the ground, dead, with his face close to the crack of the door, as if his longing eyes had been fixed, to the latest moment, upon the light and the cheer of the free world outside. Tom was touched, for he knew by his own experience how this wretch had suffered. His pity was moved, but nevertheless he felt an abounding sense of relief and security, now, which revealed to him in a degree which he had not fully appreciated before how vast a weight of dread had been lying upon him since the day he lifted his voice against this bloody-minded outcast.



Injun Joe's bowie-knife lay close by, its blade broken in two. The great foundation-beam of the door had been chipped and hacked through, with tedious labor; useless labor, too, it was, for the native rock formed a sill outside it, and upon that stubborn material the knife had wrought no effect. (p. 267)

"Injun Joe" died a slow death. Knowing that it was useless to hack at the door with his knife, he ate candle stubs and bats. He had made a crude cup to collect water from drops that fell from a stalactite.


Deb's comments: Having just been lost in the cave, Tom feels some empathy for "Injun Joe" but is glad he's dead and safe from the "bloody-minded outcast." Twain gives readers a lot of details to help readers see the suffering he endured in his last days.  


Summary: "Injun Joe" was buried near the mouth of the cave.

[P]eople flocked there in boats and wagons from the towns and from all the farms and hamlets for seven miles around; they brought their children, and all sorts of provisions,  and confessed that they had had almost as satisfactory a time at the funeral as they could have had at the hanging. (p. 269)

Deb's comments: What is that flaw in humanity, that wants to see grisly events like hangings? Why is witnessing such things "satisfying"?! People attended "Injun Joe's" funeral, not to mourn him, but to celebrate his death. 


Summary: Between finding the body and his funeral, some "sappy women" (p. 269) felt sympathy for "Injun Joe" and wanted the Governor to pardon him:

This funeral stopped the further growth of one thing---the petition to the Governor for Injun Joe's pardon. The petition had been largely signed; many tearful and eloquent meetings had been held, and a committee of sappy women appointed to go in deep mourning and wail around the Governor, and implore him to be a merciful ass and trample his duty under foot. Injun Joe was believed to have killed five citizens of the village, but what of that? If he had been Satan himself there would have been plenty of weaklings ready to scribble their names to a pardon petition, and drip a tear on it from their permanently impaired and leaky waterworks. (p. 269)

Deb's comments: Why did Twain add that bit about the pardon? Did he imagine some of his readers might have sympathy for "Injun Joe"? Framing the signers of the petition as "sappy" and "weaklings" he may be asking his reader who they wish to be. Sappy weaklings? Not likely!

 

Summary: The day after the funeral, Tom and Huck go back to the cave and find the gold and silver. Though they're rich, they promise each other to follow through on their plans to become robbers.

Debbie's thoughts about "honest injun"...
The first use of "injun" in the story occurs on page 17, and it isn't in reference to a specific character.  By that point, we've already met Tom and Jim.  Tom's aunt Polly has punished him, setting him to whitewash a fence. As he works, he realizes a boy named Ben is nearby. He doesn't want Ben to tease him, so, Tom steps back, admires his work, adds another brush stroke, studies it, adds another, and so on, as though its art, not work. Ben asks if he can try it, but Tom says no, that only one boy in a thousand or two could do it the way it needs to be done. Ben asks again if he can do it, and Tom replies:

"Ben, I'd like to, honest injun; but Aunt Polly---well, Jim wanted to do it, but she wouldn't let him; Sid wanted to do it, and she wouldn't let Sid. Now don't you see how I'm fixed? If you was to tackle this fence and anything was to happen to it---"

The phrase "honest injun" came up about a year ago in U.S. politics when chair of the GOP used it. I did a bit of research on it then, and thought that Twain was the first to use to in print. Today, I found an older use of it...  It appeared in 1830 1880 in a collection of items called Very Funny, Not too Funny; Just Funny Enough. The correct year for Very Funny is 1880, not 1830. My colleagues in children's literature may be interested to know that Very Funny was also in an 1880 volume of St. Nicholas, the monthly magazine for children. Back to Tom Sawyer.... the phrase appears again on page 271.

It is a slur but I'm not sure how many people know it is derogatory. A lot of people don't know that "redskins" or "squaw" are derogatory. As I said earlier, I'm not sure what image comes to mind when a child hears the word "injun".  I'm certain that a specific (stereotypical, monolithic) image comes to a child's mind when he or she hears the word "Indian." 


My conclusions about the revised edition of Tom Sawyer?

The Adventures of Tom Sawyer is not helped by changing "Injun" to "Indian."  Alan Gribben (the editor of the revised volume) says in the Introduction to the volume that:

The editor’s decision for this edition of Tom Sawyer has been to render the sixty-seven repetitions of the outcast’s name as “Indian Joe” to assist in retiring another antiquated and insulting word (even though the very name “Indian” itself commemorates a misnomer dating back to Columbus). But the substitution of a merely informative racial sobriquet salvages Twain’s ethnic innuendoes regarding the motivation for Indian Joe’s animosity toward the town’s residents. A total of seventeen miscellaneous usages of the I-word have similarly been altered in both novels. For the same reasons the eight references in Tom Sawyer to “half-breed” have been converted to “half-blood,” which is less disrespectful and has even taken on a degree of panache since J. K. Rowling’s Harry Potter and the Half-Blood Prince (2005).

I've never used "I-word" for "Injun" and I don't know of any Native scholars who've used it either. If you've seen it used, please let me know (send email or submit a comment below).

Earlier in the introduction Gribben says that Twain didn't have to concern himself with African American or Native American readers because they were occupied with recovering from degradation and trying to survive and hence, too busy "to bother about objectionable vocabulary choices in two popular books." Perhaps, but I'd like to see evidence of that claim. In saying that, I think Gribben inadvertently says that we (remember, I'm a tribally enrolled American Indian) couldn't do both---survive and engage in literary study and political activism. I know that's not true. We've been doing both for literally hundreds of years. In 1829, for example, William Apess, a Pequot man, wrote A Son of the Forest in which he said:

[T]he great fear I entertained of my brethren was occasioned by the many stories I had heard of their cruelty toward the whites—how they were in the habit of killing and scalping men, women, and children. But the whites did not tell me that they were in a great majority of instances the aggressors—that they had imbrued their hands in the lifeblood of my brethren, driven them from their once peaceful and happy homes—that they introduced among them the fatal and exterminating diseases of civilized life. 

Gribben thinks changing "Injun" to "Indian" will make the book more likely to be used in schools. What schools, I wonder, does he mean? Does he think the change makes it more likely to be used in tribally-run schools? Or does he mean schools that don't have Native children in them?

His remarks (quoted above) indicate that he thinks that there's enough in the book for readers to understand the motivations for Joe's animosity. What do you think? Do you know of a teacher who is helping children see and understand the anti-Indian racism in the book?

I suppose there may be teachers who can do that, but my experience with other classics (like Little House on the Prairie) tells me otherwise.  Teachers are over-worked, underpaid, and they are not respected for the tremendous job they do, so please know that I'm not dumping on them.

Instead, I am pointing to an overall lack of critical engagement with the ways that American Indians are portrayed in books and movies and textbooks. That lack of engagement spans most universities, from their colleges of Education to their English departments, to their schools of Medicine.

I wouldn't use the old or new versions of The Adventures of Tom Sawyer in any elementary classroom. I might use it in a high school course in a unit that studies racism in literature...

What would you do? Do you know of teachers who teach the book? How do they address "injun" or "Indian"? Do you think they point out anything at all to counter the image generated by Twain?

-----------------------------------------
Note, 1:57 PM CST, Jan 10, 2012

This is a public thank-you to colleagues on child_lit who've been discussing SAWYER and FINN over the last week. I highly recommend the child_lit listserv to anyone interested in children's books. Subscribe to child_lit today.

I shared the link to this post on child_lit. Waller noted something I didn't catch. I pointed out that "Injun Joe" is described as cat-like and I pointed out that when Tom gives the cat some of the pain-killer, the cat races about wildly and does a war-whoop. I didn't connect the two incidents. Usually, the animal characteristics used to describe Indians are wolves. I wonder why Twain used cats? On another note, there's an animated Tom Sawyer in which "Injun Joe" is a bear.

-----------------------------------------------
Update, 2:45 PM CST, March 16, 2011

This thank you is long overdue. On Jan 10, 2011, child_lit colleague Helen Schinske wrote that the correct date for Very Funny, Not Too Funny is 1880, not 1830. Thanks, Helen! I made the changes above and wanted to thank Helen for her research and expertise.

Joseph Bruchac's HIDDEN ROOTS back in print!

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

Sharing terrific news today!

After much back and forth over if/when/how Joseph Bruchac's award-winning Hidden Roots would be back in print, I can---today---tell you where to get it!

Some back story....   

Hidden Roots is about a forced sterilization program in Vermont that sought to "breed better Vermonters" by sterilizing Native peoples of that state. These programs were in other states, too. Bruchac's book is about the Abenaki people in Vermont, many of whom literally hid their identities to avoid being sterilized. Nancy L. Gallagher's Breeding Better Vermonters: The Eugenics Project in the Green Mountain State is an excellent work of non-fiction about the eugenics project in Vermont (not marketed as a book for children but definitely can be used with high school students).

Hidden Roots was---and is---an important book. I featured it in a Google Search Story I put together in the summer of 2010. In 2006, it was the first recipient of the American Indian Library Association's Youth Literature Award, in the Young Adult category.

But, Scholastic opted to let it go out of print. I was disappointed to hear that news, especially since Scholastic continues to books about Thanksgiving that are questionable for their bias and stereotyping.

Myself and colleagues began a writing campaign to Scholastic, asking them to give Bruchac rights to publish the book himself.  I don't know how successful our letters were, but Scholastic did give Bruchac the rights, and the book is now available at Lulu for $9.95.


Are you a bookseller who wants multiple copies of Hidden Roots?

In an email to me, Joe said bookstores and other retailers can be multiple copies at the standard 40% discount by

1) emailing nudatlog@earthlink.net or,

2) by faxing a purchase order to (518) 583-9741.

For those of you who do not know about Hidden Roots, I'm republishing (below) a previous post about the book, originally published here on American Indians in Children's Literature on September 16, 2010. It includes information about small revisions to the original book (note: the post below has been edited for clarity on Aug 31 2014). 

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

Thursday, September 16, 2010


Joseph Bruchac's HIDDEN ROOTS

A few weeks ago, I featured Joseph Bruchac's Hidden Roots in a Google Search Story I put together. Then I started hearing from people that it is out of print. I checked with Joe, and yes, it did go out of print. Scholastic was the publisher.

Those of you who have not read the book may not know what form I'm talking about. I'm not worried about spoilers here. I'm much more interested in telling you about the book and why you should order it.

Hidden Roots is about sterilization of Native people. The book is set in 1954 in New York. When the story begins, Sonny (the sixth-grade protagonist; his legal name is Howard Camp) doesn't know that he's Abenaki. He thinks he is white. He's growing up like other kids. By that I mean he watches cowboy and Indian films at the theater and picks up a lot of stereotypical information about Indians. His mother has taught him to sleep lightly, lest someone sneak up on him. Ironically, he imagines Indians sneaking up on him.

Called Sonny by his mother, father, and the man he's called Uncle Louis since he was a baby, he learns towards the end of the book that Uncle Louis is actually his grandfather. Sonny learns that he is Abenaki, and that his parents and many other Abenaki's have been hiding that identity in order to protect themselves from being sterilized. He learns this towards the end of the book when Uncle Louis shows him a yellowed paper that he carries in his wallet. Here's that part of the book.

It was some kind of printed-out form, like you get from a doctor's office. I could tell that because of what the first lines said. Most of it had been printed up, but the names and the dates on the paper that had been filled in were all written in ink.

We, Harmon P. Wilcox and Frederick Daniels Murtaugh, physicians and surgeons legally qualified to practice in the State of Vermont, hereby certify that on the 12th day of March 1932, we examined Sophia Lester, a resident of Highgate, Vermont, and decided:

(1). That she is an idiot feebleminded insane person and likely (Strike out inappropriate words) to procreate imbecile feebleminded insane persons if not sexually sterilized; (Strike out inappropriate words)
(2). That the health and physical condition of such person will not be injured by the operation of vasectomy salpingectomy; (Strike out inappropriate word)
(3). That the welfare of such person and the public will be improved if such person is sterilized;
(4). That such person is not of sufficient intelligence to understand that she cannot beget children after such operation is performed.

Signed in duplicate this 12th day of March, 1932,
     Harmon P. Wilcox
     Frederick Daniels Murtaugh

Sonny asks Uncle Louis who Sophia Lester was, and learns that she was Uncle Louis's wife, and that both are Indian. He also learns that Uncle Louis is actually his grandfather, and that his grandmother died as a result of the sterilization. To protect their daughter--Sonny's mom--from being sterilized, Uncle Louis had given her to a white family to raise.

In his Author's Note, Bruchac writes that Vermont was one of thirty-one states in the United States that enacted legislation to sterilize the "feeble-minded." The note also says that Abenaki's weren't the sole target of this law. The poor and those who were different from most Vermonters were also targets. Bruchac refers to Nancy Gallagher's Breeding Better Vermonters: The Eugenics Project in the Green Mountain State, published in 1999. You can get her book, or, look at a website she's helped develop at the University of Vermont: Vermont Eugenics: A Documentary History.

Hidden Roots is a very important book. 

We ought to teach children all of America's 

history, not just the part that 

makes its history look good. 

It wasn't all good.  

__________________________

Further information:

There are several research articles coming out of American Indian Studies about the sterilization of Native women that took place as late as the 1970s.

"The Lost Generation: American Indian women and sterilization abuse" by Myla Vicenti Carpio was published in 2004 in Social Justice (send me an email if you'd like a copy of the article). She opens the article by quoting from a Native America Calling radio show about sterilization:

I had been sterilized at the age of eleven, at the IHS [Indian Health Service] hospital here in the 1950s. I got married in the 1960s and I went to the doctor and he told me that I had a partial hysterectomy. [When I was a child] they were giving us vaccinations and mine got infected and a nurse came and gave me some kind of shot so I wouldn't hurt. When I woke up my stomach was hurting and I was bleeding (Woman speaking on radio show, "Native America Calling," 2002).

"The Indian Health Service and the Sterilization of Native American Women" by Jane Lawrence, published in American Indian Quarterly in 2000. The first two paragraphs describe the experiences of a woman and her husband, and, two fifteen year old girls who went into the hospital for appendectomies and follows that with an overview of the Indian Health Service and its development over time. Because Native women began to come forward saying they had been sterilized, the Government Accounting Office conducted an investigation and found that

IHS performed twenty-three sterilizations on women under the age of twenty-one between July 1, 1973 and April 30, 1974, and thirteen more between April 30, 1974 and March 30, 1976. The doctors at the IHS hospitals didn't understand the regulations, and, the doctors under contract for IHS weren't required to follow the regulations.

In "The Continuing Struggle Against Genocide: Indigenous Women's Reproductive Rights," D. Marie Ralstin-Lewis writes that Congress authorized sterilization of the poor in 1970 through the Family Planning Act. In 1974, she writes that the Department of Health, Education, and Welfare (HEW):

circulated pamphlets among Indian communities extolling the benefits of sterilization. One, called "Plan Your Family," contains a cartoon depiction of Indians "before" and "after" sterilization. The Indians before sterilization appear sad and downtrodden. The couple has ten little Indian children and only one horse, implying they are poor because they have too many mouths to feed. In contrast, the Indian couple in the "after" picture is happy; they have one child and many [ten] horses."

She also documents that DepoProvera and Norplant were used on Native women, the majority of whom were mentally retarded, in the early 1970s. Neither drug was approved by the FDA at that time, and wouldn't be available for widespread use until the 1990s. Her article is in Wicazo Sa Review, Spring 2005, pp. 71-95.

Elizabeth Burns review of EVERY BONE TELLS A STORY

How much do you know about the remains of American Indians, and, laws to protect those remains? Did you even know there are special laws in place to protect Native remains?

Elizabeth Burns knows about the law, and she refers to it in her review of Every Bone Tells a Story by Jill Rubalcaba and Peter Robertshaw. I've ordered a copy of the book. Subtitled Hominin Discoveries, Deductions, and Debates, the publisher's website says it is about "the unearthing of four hominins--Turkana Boy, Lapedo Child, Kennewick Man, and Iceman."

If you want some background about the topic of Native remains, here's an excellent video:

 

There's also an excellent children's book about it by Robert C. Echo-Hawk and Walter R. Echo-Hawk called Battlefields and Burial Grounds. Published by Lerner in 1994, it is out of print but definitely worth ordering from a used bookstore. I wonder who Rubalcaba and Robertshaw cite in their book? Do they mention the Native American Rights Fund, a nonprofit law firm whose work is at the heart of NAGPRA and other Native issues? If you've got some time, you might want to visit the NARF website. There's lot to learn there...

Beverly Blacksheep's Board Books

I'm currently doing some research on board books by Native authors...  Ones that feature Native children, or stories, or concept books (books that teach something like numbers, colors, etc.).  Previously, I've written about board books such as Boozhoo, Come Play With Us, and today I'm pointing to the series of board books written and illustrated by Beverly Blacksheep. 

What are board books? 

In The Essential Guide to Children's Books and their Creators, Anita Silvey tells us that Rosemary Wells's board books featuring a rabbit named Max sparked the publication of what we call board books. The Max books came out in 1979. Remember them?  Max's Breakfast was a favorite in our house.

Rather than pages made of paper, the pages in a board book are thick cardboard pages. The thickness makes them relatively indestructible (they don't tear or rip or bend like paper does) and because the pages are stiff, a toddler is able to more easily turn from one page to the next. 

We had many board books in our home, but there weren't any that I knew of that featured Native children or stories. So, I made a lot of books for my daughter. I glued photographs of her family and cousins onto cardboard, covered the cardboard with clear vinyl shelfpaper, and then bound several of those pages together with tape or string. They are treasures and played a role in my daughter's love of books. I wish I had a photograph of us with one of our homemade books, but I don't. Here, though, are three photos of our reading life. Top right is me reading to Liz. I think its Blueberries for Sal. Bottom right is Brooke, Liz's cousin, reading Dear Zoo to Liz. And on the left is a photo of Liz in the "chair and a half" that belonged to her grandmother, Betty (my husband's mother). It is the right size for a parent and child to sit, side-by-side, as they read.

As far as I know, there aren't any board books that reflect Pueblo life. I'll turn now, to the subject of this essay, the board books by Beverly Blacksheep. Here's the cover of Baby Learns about Colors:

I find Blacksheep's books absolutely gorgeous, from the colors she uses to the design of the books, they are wonderful. The colors range from soft pastels to brilliant purples that leap out from the crisp white background used throughout the books.

With the exception of the covers, each page has two languages: Navajo and English as seen in this page from Baby's First Laugh:

The people in the books are all shown wearing traditional clothing that is also worn today by some people as everyday attire.

In all there are eight books, published in 2003 and 2005 as follows:

2003
Baby's First Laugh
Baby Learns about Colors
Baby Learns to Count
Baby Learns about Animals

2005
Baby Learns about Seasons
Baby Learns about Senses
Baby Learns about Time
Baby Learns about Weather

To write my review, I've ordered the books---not by year of publication---but by a chronological ordering of the age of the Navajo baby featured in the series. (FYI: The Navajo Nation spans Utah, Arizona, and New Mexico. They maintain an extensive website where you can learn about tribal government and history.)

Blacksheep has a website where you can see some of her art. The books, however, are available from Salina Bookshelf. Let's begin!

A new baby presents many moments for its family to look forward to...  That first laugh is a big one. We wait and wait and do all manner of things to make a baby smile and laugh. And we delight! We delight in that first laugh. That's what Baby's First Laugh is about.

The book opens with baby, sleeping in her cradleboard. (If you want to learn a bit about a Navajo cradleboard, go here and view a slide show.) Her parents are nearby, wondering "Who will make baby laugh?" It won't be her dad or her mom or her sister or her brother or her grandfather, either. All of them make her cry while trying to elicit that laugh. Then we get to grandma, who, of course, makes baby laugh.

Native families, particularly those on reservations, live near each other, with grandparents figuring prominently in a child's life and are there for many of the "firsts" that a child experiences. My mom, for example, was with me when my daughter, Liz, took her first steps. She spent many hours playing with Liz and singing to her. Here's a photo that captures both, play and singing:

In Baby Learns About Seasons, the baby's mom takes her out of the cradleboard. She's old enough to sit by herself.

In the spring she laughs as she watches her sister give a bottle to newborn lambs. She watches her dad prepare the fields and in the summer she sees the plants growing. She goes with her grandmother to gather corn pollen and is with her mom when she is picking peaches. In the fall she sits amongst pumpkins and leaves and she gathers pinon nuts. And in the winter, she is with her family as they gather and tell winter stories:

In Baby Learns to Count, Baby counts the familiar things in her life: her kitten, shoes, birds, rabbits, fingers, toys, butterflies, letters, marbles, and buttons.

Here's the page about her shoes, or, to use a common word, "moccasins." You don't see "moccasins" in the Navajo text because moccasins is not a Navajo word. It's not a Tewa (at Nambe our language is Tewa) word, either. There is no glossary that tells us which of the words in the Navajo text is their word for shoes. Navajo speakers will know which one it is, though, which points to an interesting aspect of the series. Readers who know and speak and read Navajo can read the Navajo text. The book isn't meant to teach the Navajo language. Instead, it works beautifully for readers for whom Navajo is their first language. Blacksheep's book, then, is unique because of what it does for Navajo families who use their language as their first language. (For a reader-friendly research article on bilingual books, see Bilingual Books: Promoting Literacy and Biliteracy in the Second-Language and Mainstream Classroom, by Gisela Ernst-Slavit and Margaret Mulhern, published in 2003 by the International Reading Association.)

Baby turns two years old in Baby Learns About Time.

The book opens with Baby in her bed on the morning of her birthday. She watches the sun rise and at noon, she helps her sister make lunch and serves everyone the mutton stew they made. In the afternoon her older brother plays with her outside. At sunset she's back inside, blowing out the candles on her birthday cake and in the evening she opens her present and gets a new pony (rocking horse) that she wanted.

Then its bedtime, and her mom sings her to sleep. In Baby Learns About Time, we see elements of mainstream American culture (big bows on wrapped gifts), and, elements of Navajo ways of being (learning to prepare traditional foods) as Baby goes through a day marked, not by the clock, but, by the natural progression of any given day.

A lot of people think that New Mexico and Arizona are deserts with intense heat, but there are four seasons in the northern parts of each state, as shown in Baby Learns About Weather.

Baby is shown on sunny days, but also on rainy days (where she sees a rainbow) and on snowy days where she tries to catch snowflakes. In this and the last three books, you can see that Baby is older.

In Baby Learns About Colors, she plays catch with a red ball and builds a tiny hogan with brown twigs. To do that she needs the dexterity of a slightly older child, and to feed green grass to rabbits and give bread crumbs to blue birds, she needs to know how to be still and quiet.

In Baby Learns About Senses, she helps her grandmother prepare a meal.

To do that, all her senses come into play. She tastes the goats milk they will use, she smells the mutton cooking over the fire, and she listens for the bubbling of the stew. And, she uses her sense of touch when she helps make the frybread:

The last book in my presentation of the series is Baby Learns About Animals.

Thus far, Baby has learned to help her family, and she's learned how to be around wild animals. In Baby Learns About Animals, she learns to take care of the domestic animals that are significant to her and to the Navajo people. She feeds oats to the horse, gives grain to the sheep, and teaches the sheepdog how to sit. She gives water to the colt:

and after all her work is done, she goes to sleep. In this series, readers can learn a lot about a Navajo family, and readers who are Navajo have a terrific set of books that reflect their lives, or, the lives of a Navajo family living a life infused with Navajo ways of being. I love the books and recommend them to everyone. They have something to offer all of us.  They're available from booksellers like Amazon, but if you can, order them from Salina Bookshelf. Its a small press, and I much prefer to send my dollars to a small press. Or, order them from Oyate and support the work that Oyate does.

And if you know of other board books by Native writers, let me know! Here's some that I've written about already:

Boozhoo: Come Play With Us, by Deanna Himanga
I See Me, by Margaret Manuel
Welcome Song for Baby, by Richard Van Camp