Martha Stackhouse's review of Barbara Joosse's MAMA DO YOU LOVE ME

In the spring of 2004, students in Education 493: Examining Alaska Children's Literature. The course was taught by Esther A. Ilutsik for the University of Alaska Fairbanks. Reviews are on the website of the Alaska Native Knowledge Network.

Among the reviews is Martha Stackhouse's review of Barbara Joosse's Mama Do You Love Me. She points out errors in the book and recommends it, as long as the errors are pointed out.

Here's an excerpt:

The story has to have been after contact because the pictures are very colorful and the atikjuks, the outer part of the parka, are made from cloth. In looking at the pictures, the maklaks appear to be soft sole, where we mostly use hard crimped soles. The strings on the maklaks are tied forward, when we tie them towards the back. The mother also is wearing feathers in her braids. I have never seen an Inupiaq woman wear feathers before. This may be a cultural blend with the Interior Indians. The animals are cute, drawn mostly for kids. However on the page where the daughter asks "how long?" (No page numbers through out the book) there is a Yupik looking mask up in the sky. The inner part of the mask would be a better representative of the Inupiaq mask but the appendages to it makes it more like a Yupik style mask. On that same page, there is a puffin howling at the moon. There are no puffins in the northern regions of Alaska. 

In her conclusion, Stackhouse says the book can be used as long as the teacher points out the errors. There's so many errors! So many that if I was teaching elementary school, I'd use the book as an example of how writers make mistakes. Do head over to the site and read the entire review.

Published in 1991 by Chronicle Books.

Rubbing noses in Katherine Kirkpatrick's BETWEEN TWO WORLDS

Katherine Kirkpatrick's Between Two Worlds is another fail from Random House, a major publisher. Published in 2014, it is getting good reviews, which represents another fail in the reviewing world.

The protagonist in Kirkpatrick's story is supposed to be an Inuit teen, Billy Bah, who was the seamstress for Robert E. Peary, one of the white men who claimed to reach the North Pole (I used 'white' deliberately because all the fuss over "first" white men to reach this or that place always make me pause).

As I read Between Two Worlds I thought 

"this does not strike me as an insider's voice." 

There are certain things about Inuit people that most people take to be fact. Here's two: They rub noses. The men get trade goods by offering sex with their wives as their unit of trade. Generally, there's a kernel of truth in such things, but when they seep into an outsider's conscience as THE thing(s) they know about a people, that outsider "knowledge" is vividly on display as ignorance and stereotype.

The degree to which that "knowledge" has come to pass as legitimate information explains 1) why Kirkpatrick could write such a book, 2) why her editor at Random House would not spot the outsider perspective, 3) and why reviewers give the book a thumbs up.

So. Rubbing noses. Everyone knows that is the way Eskimos kiss, right?

Wrong! It is actually a gesture of affection called a kunik by those who do it. In this article, David Joanasi, of the Inuit Tapiriit Kanatami, says "When you're an infant and a little kid, your parents and older siblings sniff you and rub your face with their nose", and Erin Eckman, who is Inupiaq and works for the Alaska Native Heritage Center said "Growing up in Alaska, I only really saw women do it to babies."

Kirkpatrick uses "rubbed noses" 17 times. I noted who is rubbing noses in parentheses.

p. 28: "We rubbed noses..."(sisters, parting)
p. 49: "We rubbed noses." (husband/wife, greeting)
p. 52: "We rubbed noses, ..." (little girl/woman, greeting)
p. 68: "I rubbed noses..." (husband/wife, greeting)
p. 74: "Sammy, rubbed noses..." (woman/little boy, greeting)
p. 77: "...rubbing noses..." (girl/girl, greeting)
p. 85: "We rubbed noses." (husband/wife, working together)
p. 132: "one last time, rubbed noses..."(woman/little girl, parting)
p. 133: "We rubbed noses." (father/daughter, greeting)
p. 137: "We rubbed noses." (husband/wife, greeting)
p. 142: "...we rubbed noses." (husband/wife, greeting and prelude to sex)
p. 145: "...rub noses..." (husband/wife, greeting)
p. 147: "But we rubbed noses." (husband/wife, in bed)
p. 149: "We rubbed noses." (woman/little girl)
p. 200: "...rubbed noses..." (husband/wife, during argument)
p. 230: "...we rubbed noses..." (husband/wife, greeting)
p. 232: "We rubbed noses." (woman/boy)

For the most part, Kirkpatrick uses rubbed noses to convey affection. Though I think she over-uses the phrase, we might think she's using it correctly. But, that is not the case...

That wife-trading I pointed to above? It happens in this book, too. A lot. Early on, Billy Bah's husband, Angulluk (that is his name but mostly she thinks of him as "Fat One") tells her that he's had three offers for her from men on the ship that has arrived at their village. Angulluk has chosen red-headed Duncan to trade with. Later that night when Billy Bah is with Duncan in the sailors quarters, she's thinking that he might "pounce on me like a bear as other sailors had." Note what she says. Other sailors. Plural. As it turns out, Duncan isn't like those pouncing sailors. He sits back and they talk for awhile. Billy Bah asks Duncan why he wanted her rather than Ally, who Billy Bah thinks is prettier. Duncan tells Billy Bah that he wanted her because she can speak better English than Ally, is smart, and he likes her long hair. Billy Bah moves closer to Duncan, who says he would never hurt her (p. 42):

Then he pressed his lips against mine. I drew back.
"No! Kiss me on the nose, never on the lips."
"Why?"
"Our people don't do that," I said. "We don't like it." 

See? That passage tells me Kirkpatrick does not know as much about rubbing noses as we might think! I've read some of her interviews. In one, she says that the inspiration for her book is Boreal Ties, which is a book of photographs of the Peary relief expedition. I read that and wondered what else she used as resources. I flipped to the back of her book and read the Historical Notes. She relies heavily on the work of Josephine Peary (Robert E. Perry's wife). Reading the excerpts there felt just like reading the story itself. Outsider perspective.

I have to stop for now, but maybe I'll be back with more to say about Katherine Kirkpatrick's Between Two Worlds. But like I said up top, it is a fail from Random House. I do not recommend it. 

About the much celebrated Oregon Trail...

A couple of weeks ago, Oregon's ban on same sex marriage was struck down. I was happy about that. In my timeline on Twitter, I saw this image:

I replied to the person who sent it out, noting that the Oregon Trail signaled loss for Native people. She thanked me. She 'got it' immediately.

Today I got a tweet from T. J. Tallie, a queer black scholar at Washington and Lee University in Lexington, VA. The tweet is to an essay titled Failing to Ford the River: "Oregon Trail", Same-Sex Marriage Rhetoric, and the Intersections of Anti-Blackness and Settler Colonialism. Here's an excerpt:

The game offers challenges to American children, presenting them with the potential of a variety of means of death (dysentery, exhaustion, drowning, or others), while erasing the Indigenous peoples who were starved, removed, or otherwise subject to settler violence in the very same project. Indeed, the game offers a collective investment for American students into histories of colonialism and domination, notably through the participation in a game that structures simultaneous removal and forgetting of the very presence of Indigenous peoples, while celebrating the survival and endurance of white pioneers.

There's more. Lots more. I want you (readers of AICL) to read it and think about Tallie's words the next time you read or review (or write) a book about the Oregon Trail. Just now, I searched children's books at Amazon using "Oregon Trail" and got a list of 334 books.

This excerpt from Tallie's essay is about African Americans:

The history of the Oregon Trail is not simply a story of anti-Indigenous settlement, however. The history of the Oregon Territory, and subsequent state of Oregon, is one of profound white settler investment in anti-blackness as well. Beginning in 1844, Oregon Territory passed its first exclusion law, banning African-American immigration into the region, and in 1857, had the dubious distinction of becoming the only free state in the United States to have officially codified anti-black immigration into its constitution (decided by popular vote, no less), which was ratified the following year... 

What is on your shelf? What does it say about Native people? African Americans?

Take some time to read Tallie's essay. Share it with others. And let's all think about what we saw, write, share, and endorse about the Oregon Trail.

"War whoop" in Gayle Forman's IF I STAY

One of the big names right now is Gayle Forman. Her book, If I Stay, is big and gonna be a movie, too. So--I figured I ought to take a look at the book. I opened the preview at Amazon and read the first page. I stopped reading...

The book opens on the morning of a snowfall. Not a lot of snow, but enough that school is cancelled (p. 3):

"My little brother, Teddy, lets out a war whoop when Mom's AM radio announces the closures."

Really? Did Teddy run around the house going woo-woo-woo by patting his hand over his mouth as he said "woooo"?!

"War whoop" is one of those phrases that yank me out of the story an author is telling.

If you look up "war whoop" you'll see that it is defined as being specific to Native people, but you probably already knew that, right? That is, if you even noticed that phrase as you read it (assuming you read Forman's book).

It isn't an innocuous expression. Subtly it affirms stereotypes people carry around. You know what I'm talking about.. The idea that Native people were warlike, barbaric, and savage. Another phrase like that? "On the warpath."

The truth? Native people were fighting to defend our homelands and to protect our women and children. You know damn well that you'd fight, too, and you'd definitely be yelling.

Gayle Forman did not have to use "war whoop" to describe the exuberance her character felt. Nothing is lost if she'd just said "My little brother, Teddy, shouts with glee when Mom's AM radio announces the closures."

Given that her book is going to be on the big screen---what will we see when that scene is turned into a script? Goodness! I hope Teddy doesn't emerge from his bedroom in a headdress. If you're reading this, Gayle, maybe you can make sure THAT doesn't happen.

For now, I'm not getting her book, and this post will be added to AICL's "All you do is complain" page on common phrases.

AICL Stands With We Need Diverse Books and Small Publishers

Saturday morning (May 31, 2014) I woke early with a feeling of joy and excitement. Several hundred miles away from me, a group of eight men and women were in New York City, getting ready for their session at Book Con 2014 (BookCon is part of Book Expo America, BEA for short). The weeks, days, and hours prior to their session were--for me--a roller coaster of highs and lows. I cannot imagine what it was like for them. What follows is the story of We Need Diverse Books as I experienced it. It is my thank you and shout out to a group that sparked a moment and movement that may mark the turning point in the all white world of children's books...

In April, two things happened. BEA announced a panel of blockbuster kidlit writers. That panel was composed of four men and a cat. And, BookCon announced its line-up of authors. This "blindingly white" situation prompted indignation amongst a lot of people. A group was formed. That group is We Need Diverse Books. Their goal was/is to promote books that showcase and promote diversity of content, and diversity of authors that create that content. On May 28th, Aisha Saeed wrote about the upcoming trip to NYC.

I followed the campaign when it was launched in late April, offering help as I could behind-the-scenes, but mostly I used social media to promote the We Need Diverse Books campaign. This is the first graphic the WNDB team released:

Gorgeous, isn't it? The energy radiating from the team was inspiring. With twitter driving it, the campaign took off around the world. Media covered it. The result? BookCon invited the team to do a session in NYC on Saturday morning.

On the 29th (Thursday), I made a graphic with the WNDB logo and location info for their session. I started to tweet it:

On Friday morning (May 30), excitement was building. Ilene Wong of the WNDB team sent this tweet:

My excitement grew when I saw tweets of photos of large displays announcing the location of the WNDB session:

That excitement was tamped down a bit as I read tweets from Cheryl Willis Hudson of Just Us Books. She was walking through the exhibit halls at BEA, looking for books within the diverse framework.  She didn't see much, but did take photos and sent them out. Aren't they terrific? Here's her photo of Because They Marched at the Holiday House booth:

And here's a photo she snapped of Jacqueline Woodson signing books. See what Cheryl said? "Long line" --- cool!

 Here's more photos Cheryl sent out:

As I read tweets from Cheryl and those in the We Need Diverse Books hashtag on twitter, I saw that Cinco Punto Press had tweeted a photo of Tim Tingle's House of Purple Cedar. It was there, on their table, at BEA. I retweeted their photo:

There were to be two other sessions at BEA that focused on diversity. I tweeted info on them, too. One was "Multicultural Publishers in Conversation." Here's that flyer. As you can see, Just Us Books and Cinco Punto Press were scheduled for that conversation on Saturday at 12:45.

Here's the flyer for the third session, "Where Are the People of Color in Children's Books?":

But look! See the time slot in the red bar at top of the graphic? Saturday, 10:00 AM... The same time as the We Need Diverse Books session! I was stomping mad about that, with various obscenities whirling in my head. Then I saw this set of tweets by Ellen Oh (retweeted by Ilene Wong):

What obstacles, I wondered? I figured one was the overlap of the WNDB session and the conversation with publishers session, but Ellen said "obstacles" (plural), so what else went wrong?! Lights out for me... I went to bed. 

Early Saturday morning I was up and catching up on tweets from the night. I learned that the hard copy of the conference program did not have the WNDB session in it. 

People at the Javits were sending out tweets and photos:

And Jacqueline Woodson snapped a way-cool photo of Matt de la Pena arriving at her house. They were going to head over to the Javits center together.

As 10:00 AM drew near, the #WeNeedDiverseBooks tweets from the conference were growing in number.

I saw that the WNDB team had created swag!

And panelist Grace Lin had a "cheat sheet" handout with ways that booksellers can hand-sell books to consumers who shy away from books by or about people of color (get the pdf from her blog):

I wondered how big the room was but when the first photos of the room (as it filled up) started to come across twitter, I estimated 200 chairs. This photo was taken by Ilene Wong, as she notes, 35 minutes before the panel started.

And...

And of course, people in the audience were taking/tweeting LOTS of photos of the panelists:

The room itself filled up and people were turned away (media reports later said there were 300 people in the room, with people in the aisles and three-deep along the back wall). Meanwhile, in the room, the panelists received a terrific reception from the audience:

Panelists delivered powerful remarks that were tweeted and retweeted. Again and again I wished I was in that room rather than hundreds of miles away. I was glad to see tweets indicating that Matt de la Pena had a few things to say about the shut down of the Mexican American Studies program in Tucson Unified School district. Over and over, I was glad for twitter. The emotion captured in photos was astounding.

An unedited audio of the session is now available at the We Need Diverse Books tumblr. No doubt the panelists and WNDB team was bursting with joy once the session ended. Marieke Nijkamp's tweet captures some of their emotion:

I was especially moved by Mike Jung's tweets as he left the conference:

It was VERY poor planning on the part of BEA to offer WNDB and the "Where are the People of Color" session at the same time. I assume it and the "Multicultural Publishers in Conversation" session were both in the program. 

A curious thing, though, was the floor announcement, as captured in this photo tweeted by Daniel Jose Older (photo taken by Tiffany D. Jackson). See the title for the session? How small it is in comparison to the titles of other sessions? And doesn't it look like it was pasted on there? Why?!

Of course, Daniel's jab ("Diversity is so awesome!!!!) is directed at conference planners, and not diversity itself. I don't know if he made it to the 12:45 session. Cheryl Willis Hudson was there and tweeted some photos. Here's one:

Today (June 2, 2014), several recaps of BEA were loaded online. I especially liked what Lyn Miller Lachmann said in her piece, and what Allie Bruce said in hers. Both are committed to diversity, and their commitment shows in their writing. I loved hearing the voices of Ellen Oh, Lamar Giles, and Jacqueline Woodson in their interview with NPR. Claire Kirch's recap for Publishers Weekly is here. Among the things you'll read is that WNDB is working with the National Education Association, and that Lee and Low is launching a "New Visions Award." The big news? That a book festival is being planned...

A good many people have been pushing for diversity for a very long time. With respect to Native people objecting, I think back to William Apes, a Pequot man who was raised by a white family for a portion of his childhood. He read the books they gave him, and because of what he read, was afraid of Indians! He wrote about that fear as an adult, in his Son of the Forest, published in 1831.

In June of 2014, it feels like some substantial change will take hold because the demographics in the country are shifting dramatically. I am optimistic. And--I look forward to meeting members of the WNDB team in Washington DC in 2016 at a festival of diversity in children's books! The plans are in the works. Till then, AICL stands with We Need Diverse Books. This is a cheesy closure but I'll use it anyway... STAY TUNED.

A special note of thanks to Cheryl Willis Hudson of Just Us Books for all that she shared from BEA. I know from 20 years of reviewing children's books that small independent publishers are more likely than the big publishing houses to give us wonderful books that accurately reflect the lives of people of color. For that reason, I've been standing with small publishers for a long time. They embody a commitment to truth over profit.  

WHERE'S WALDO being added to The Foul Among the Good

Last week, Sharon H. Chang tweeted a couple of images from a 1987 copy of Where's Waldo (by Martin Handford, published by Little, Brown) that I am adding to AICL's page, The Foul Among the Good. Here they are:

My response?

May 29, 2014

Dear Waldo,

Yes, in fact, I've seen that a lot in children's picture books and in dog photos created by people who apparently don't know much about Native peoples. For us, feathers are not playthings. They are sacred. I am guessing you know that eagles are protected in the United States. I'm guessing that you do not know that there are also laws that recognize that eagle feathers have religious significance to Native people. If you want to know a bit more about it, the New York Times ran a story about this in 2011. 

I'd also like to note, Waldo, that your depiction of "Indian" people is stereotypical. You drew a tipi, the fringed clothing, and what I think you meant to be a "peace pipe." There are over 500 federally recognized Native Nations in the U.S. Rather than anything meaningful, you're giving your readers monolithic imagery that doesn't do anyone any good. 

I'm hoping that line in your post card, the dog, and the tipi are gone from later editions of your book. 

Sincerely,
Debbie Reese
American Indians in Children's Literature
    

COPPER MAGIC by Julia Mary Gibson, or, an emphatic "Cut it out!" from AICL

In Copper Magic, twelve-year-old Violet Blake is digging by a stream near her house in Michigan and finds a "talisman" -- a copper hand that she comes to call "the Hand." Violet feels that this hand has some kind of power. She thinks she can use it to make wishes come true. Course, her first wish (for a new dress) does come true (actually she gets TWO new dresses), so she's thinking about how she'll use it to get her mom and little brother back home. Her mother is half Odawa.

Well, it turns out there was more than just that copper hand in the spot where Violet was digging. There's also a skeleton there that is dug up (another kid finds it), reassembled, and displayed as a curiosity in a local hotel.

Cue some fake Hollywood Indian music...

Can't be messing around in them Indian burial grounds, right?! We've seen THAT enough times in movies and TV shows to know that messing with bones and artifacts means bad things are gonna happen. And of course, bad things happen to the people in Copper Magic. Lots of bad things. A wicked storm. Lake water behaving in odd ways. Death. Before all that happens, Mercy (Violet's new friend) talks about how there might be a curse on the grave... Violet and her mother (remember--her mom is half Odawa) have special powers, too. They can see things other people can't.

"Cut!"

Cut that fake Hollywood Indian music, that is, and an emphatic "Cut it out!" as my parents would say when I was doing something wrong.

Cut it out, Julia Mary Gibson! 

Cut it out, Susan Cooper! 

Cut it out, Rosanne Parry!

"Cut what?" you may wonder... Quit writing about Native spirituality! You mean well, but you don't know what you're doing. From a place of ignorance, you're adding to an already-too-tall pile of garbage that gets circulated as information about Native people.

A good many writers have a moment in their life that touched them in such a way that they feel they must write about Native people. Gibson's moment is described in her Afterword. When she was eleven years old, she and her family found some bones near their summer cottage in Michigan. "[A]n expert" said they were "most likely American Indian but not old enough to be archeologically significant" (p. 329), so her grandfather "pieced together a skeleton and mounted it on plywood." Her "superstitious" grandma didn't like it and insisted the bones be reburied. This took place in the late 1960s or early 1970s (my guess, based on Gibson's bio at Macmillan that says she was born "in the time of Freedom Rides and the Vietnam War").

Gibson goes on to say that her grandfather didn't know better.

In Copper Magic, Violet is Gibson. The person who puts the skeleton on display is Mr. Dell, a hotel owner intent on increasing his business. The superstitious person who wants the bones reburied? Well, that is Mrs. Agosa, an Odawa woman who tells Violet to "Watch out for ghosts out by you" because "mad ghosts can throw out curses" (p. 134).

Gibson, Cooper, Parry and many other writers poke around a bit and pack their stories with bits of info that make it sound like they know a lot about American Indians. Gibson does that in Copper Magic when she has some of her characters talk about grave robbing and why it is wrong. She also does that when she has Mrs. Agosa talk about the hotel owner burning her people's village and orchards because he wanted their land. In the Afterword, Gibson tells us that part of the story is true (p. 330):

"The real people of the Chaboiganing Band were yanked from their houses by a crooked land grabber and the local sheriff, who flung kerosene over homes and orchards and burned down the whole village, just as Mrs. Agosa tells it."

The burning of that village is important information. It is what major publishers like Macmillan (publisher of Copper Magic) ought to make known. I wish Gibson had made it the heart of her story. Instead, she chose to tell a story about grave robbing, curses, and mystical Indians. There's more to the "mystical Indians" theme... Interspersed throughout Copper Magic are pages about two ancient women: Crooked Woman and Greenstone. Those parts of Gibson's novel are presented in italics. They feed the mainstream monster of stereotypical expectations--where people love to read about "mystical Indians" and our tragic history.

In Copper Magic, Violet's dad is a steady voice saying that Indian graves deserve respect and ought to be left alone. Violet parrots some of what he says but doesn't really understand. Ironically, Gibson is more like Violet than she realizes. Her understanding is superficial. Violet wants to use the hand to get what she wants. Gibson uses the childhood story to do what she wants.

As you may have guessed by now, I don't like what Gibson has done in Copper Magic. And of course, I do not recommend it. Copper Magic is another FAIL from a major publisher (published in 2014 by Starscape, which is in Macmillan's Tor/Forge line.)

Arigon Starr's SUPER INDIAN

If you're Kickapoo author/illustrator Arigon Starr, you gotta be dancing every time you pick up Super Indian and read what Charlie Hill, one of the best Native comedians ever (sadly, he passed away a few weeks ago), had to say about Super Indian:

"Great Scott! The long awaited indigenous super hero has arrived."

If you never saw Charlie Hill perform, those words probably don't move you the way they do me. His humor was perfect. His voice as he told jokes and stories? Perfect.

In Super Indian, Starr's own wit shines. From minute details in the art to the words on the page, I found a lot to like about Super Indian.

Starr opens with a jab at those who create The White Man's Indian. By that, I mean prose riddled with "ancient" and "proud" and "noble" and "fierce" and "sacred quest" and "mystical knowledge." Those words and more are on the very first page, but they're there to tell you that you will not find that guy in Super Indian. Instead, we have Hubert Logan who, as a boy, "attended a birthday party for the local bully, Derek Thunder." At that party, the boys "consumed mass quantities of commodity cheese tainted with "Rezium," an experimental element developed by Government Research Scientist Dr. Eaton Crowe."

My guess is that most readers of AICL are going "huh?" because they don't know what commodity cheese is, but I guarantee that Native people on reservations know exactly what that is, and they're laughing (like I was) as I read that part of the intro.

Cheese aside, Hubert is kind of like Clark Kent: a studious guy in glasses and braids. He works at the Leanin Oak Bingo Hall. "Leanin Oak" is another joke, by the way! It is a poke at a line of over-the-top greeting cards with bogus Native proverbs and the like. Hubert's alter ego is Super Indian. He's got some side kicks, and a dog, too that lends his own thread to the stories in volume one.

Volume one has three different stories in it. After introducing us to the characters we'll meet as we read Super Indian, we begin with "Here Comes the Anthro." It is a perfect opening. The art shows a scary looking anthropologist on the cover, about to grab Super Indian.

Yep--that title is another jab. This one is at the discipline that has been causing Native people headaches (to say the least) for a very long time. I gotta pause here, and drop in Floyd Crow Westerman's song, "Here Come the Anthros" so that you get a full sense of what anthropologists mean to Native people:

Starr's anthropologist is German. I think him being German is a jab at Karl May, a German writer who wrote a bunch of novels about Native people. Goofy ones, that is, that--unfortunately--people don't see as goofy. Starr clearly had a good time writing Super Indian. If you're Native or well-versed in Native life as-it-is (not as outsiders imagine it to be), you'll like Super Indian. One of the characters is a blogger! How cool is that?

Back in 2012, Indian Country Today published an interview with Starr. Check it out. It has good background info. Go to the Super Indian website. Order a copy of Super Indian, and if you're a fan of comics, keep an eye on the Indigenous Narratives Collective of Native American comic book writers and artists. Good stuff.

Published by Wacky Productions Unlimited in 2012.

SWEETEST KULU by Celina Kalluk

Sweet! Sometimes, that exclamation (Sweet!) means something is endearing, and sometimes, it means something is way cool. Both meanings apply to Sweetest Kulu by Celina Kalluk, illustrated by Alexandria Neonakis.

Kulu is an Inuktitut term of endearment. The babe who is the sweetest kulu in this book is Inuit (Inuktitut is one of the languages spoken by Inuit people). I got it yesterday. The sense of peace and promise in Kalluk's book was just what I needed on a particularly trying day. See the cover?

Kalluk's words and Neonakis's art work beautifully together as we learn Inuit values in which people and animals coexist as caretakers of the land. In Kalluk's hands, this is not the stereotypical one-with-the-animals story that we see all too often.

This is a terrific book for those who have a newborn in the house... And for those of us who just need a book that rights the world for us, that reminds us of that world in all its richness.

Sweetest Kulu is another great book from Inhabit Media. By the way! If you're interested in Native music, you ought to add Kalluk to your playlist. She is a throat singer. Check out this video. She was performing in New York with a cousin. You MUST ALSO watch the set of short videos here.

Note (added May 27, 2014): Sweetest Kulu will be available in October. I reviewed it from a bound galley.

Dear First Book: Step Up Your Game!

Editor's note, May 22, 2014: In response to concerns I raised about the information on First Book's Native American Heritage Month page, First Book removed the page. I look forward to one with accurate information about Native people. Thanks, First Book!

_____________________________________________

May 19, 2014

Dear First Book,

I've been tweeting at you over the last week or so, especially in the last 24 hours. Some might think I'm being unfair to an organization that is doing good work.

First...

I agree that you are doing some pretty good work. The list of books you have on your "Native Interest" page? For the most part, it is an impressive list. It includes a good many Native authors. That, in and of itself, is unusual. So, I am very glad to see it. It isn't perfect, though, and I'd really like to see some books come off that list, including:

Island of the Blue Dolphins --- Yeah, I know. It won the Newbery and is on umpteen lists of favorite books. It isn't on my list of favorites. Far from it! It has stereotypes, bias, and misinformation. I'm sure Scott O'Dell meant well, but he goofed. Given its ubiquity in American society, I am concerned that teachers, parents, librarians---whomever it is that orders books from your site---will see it and spend their precious dollars on it because they recognize the title. They may have fond memories of it that prompt feelings of nostalgia. But! I think it ought to be set aside in favor of books that do a far better job of providing children--via fiction--information about Native peoples.

Starfish --- I was astounded when I read that new book. The stereotypes and sensationalism in it are evidence, I think, of how powerful stereotypes of Native peoples are within the minds of writers (like Crowley) and editors at big publishers (like Hyperion).

You, First Read, are a non-profit. You're not trying to make money, right? You're trying to give kids good books, and you're especially interested in diversity. Seems logical to me that you'd stay away from books like Island of the Blue Dolphins and Starfish. 

Second...

Your page on Native American Heritage Month needs some work. You link to New Age music. Not cool. You feature Pocahontas: Princess of the New World. She was not a princess! The whole idea of royalty is European. Promoting that book, you promote misinformation! There are far better choices, many of which you actually have on your Native Interest list! Jingle Dancer by Cynthia Leitich Smith, or Kunu's Basket are both excellent.

That page links to New Age music rather than Native music. In a tweet, I suggested you use the Black Lodge Singers instead. Their kid pow wow songs are terrific!

Third...

Your CEO, Kyle Zimmer, gave an interview to NPR this weekend. Zimmer noted that the We Need Diverse Books is the most recent effort to call attention to what some of us call 'the all white world of children's books.'

I wish that Zimmer had named the men and women who created this latest effort. Most of them are people of color. (For the record, I'm not one of the creators of WNDB.)

In an earlier blog post and in a twitter chat with First Book, I advocated for Native writers/illustrators because I think the identity of an author/illustrator makes a difference. It presents a child with a possible-self, which is a phrase used in psychology. It means 'what I imagine as being possible for myself as an adult.' That idea is more commonly known as a role model.

Imagine what a boost it would be for the children of the We Need Diverse Books campaign, if they'd heard the name of their mom or dad on the radio! White kids hear the names of people that look like them all the time. They get that in books, too. All the time. Lot of possible selves.

That is not the case for children of color. You can do that, First Book. You can offer lots and lots of possible selves.

I want First Book to use their power and influence to do precisely that. Feature and promote writers and illustrators who are outside what we call 'the mainstream' or 'the norm.'

As reported on your website, First Book, you are making a difference. Step up your game. You have nothing to lose and the entire country as everything to gain by such a move.

First Book! Step up your game!

Sincerely,

Debbie Reese
American Indians in Children's Literature

San Jose State University, College of Applied Sciences, School of Library and Information Science, recognizes Debbie Reese for Exemplary efforts to enhance equity and diversity

"According to her nomination form, she was the recipient of the 2013 Virginia Matthews Scholarship Award for her “sustained involvement in the American Indian community and her sustained commitment to American Indian concerns and initiatives.” Her award-winning blog, American Indians in Children’s Literature, shined the spotlight on the Arizona law that led to the recent shutdown of the Mexican American Studies Program in the Tucson Unified School District. According to the American Indian Library Association, Reese not only works with the Nambe community and “she strives to inform the dominant culture about issues facing Indian people today.” --Melissa Anderson, SJSU

Another 'thank you' to Cynthia Leitich Smith

A few hours ago, my daughter called to tell me she'd finished her last exam of the semester. With joy and enthusiasm, she said she was finished with Year One of law school.

I was happy to hear her voice as she described that last exam and reflected on the year. I carried her joy through my day. And then, a hour ago, I was on Twitter when a colleague tweeted a photo from Cynthia Leitich Smith's Jingle Dancer. If you're a regular reader of AICL, you know that I talk about that book more than any other. It is the one I wish I'd had when my daughter was a three year old and dancing for the first time at home. Our dance, by the way, is like prayer. Not entertainment, and not performance. Prayer. Everyone helps get ready for that first dance. Smith depicts that in Jingle Dancer. 

But the particular page that I'm thinking of right now is this one:

That is Jenna on the left. On the right is Jenna's cousin, Elizabeth. At that point in Smith's story, Jenna is visiting Elizabeth. Elizabeth can't be with Jenna on that special day. She's got a big case she's working on. You see, Elizabeth is a lawyer.

Need I say more about why that page is special to me today? Your book continues to give to me, Cyn. Thank you.

Why I Advocate for Books by Native Writers and Illustrators/Gallery of Native Writers and Illustrators

Editor's Note: Scroll down to see the photo gallery of Native writers and illustrators.

I spent an hour today in a twitter chat hosted by First Book. The chat was part of the We Need Diverse Books campaign.

In the chat I advocated for authors who are Native. 

Right away--as usual--a white writer posed a question about white writers, asking the First Read host if authorship of a book matters.

Not surprisingly, First Book said that authorship does not matter. Diversity of characters is what they're after. That's the answer you get from, I'd guess, every publisher.

I persisted, though, because I do think it matters. Here's why:

Just about every book a kid picks up has white people in it. And, just about every book is written and illustrated by a white author or illustrator. For literally hundreds of years, white kids have seen themselves reflected in the books they read, and they've had the chance to see people who look like them as writers and illustrators of those books. By default, they've been able to see a possible-self. By default, they could imagine themselves as the writer or illustrator of that book. It may not have been a conscious thing, but it was the norm. The default. The air they breathe. Every day.

I want that for Native kids. I want them to see books written and illustrated by people who look like them. I want them to be able to think "Hmmm... I could be a writer, too, just like Cynthia Leitich Smith!" or "Hey! I could be an illustrator, too, just like S. D. Nelson!"

I understand that white authors and illustrators feel threatened by my advocacy, but my advocacy is for Native children who deserve the same affirmations white kids get all the time. 

It is also important that kids who aren't Native see books written and illustrated by Native people. Why? Because there are far too many people who think we no longer exist. There are far too many people that think we were primitive people who grunted and ran around half naked. When reading or booktalking a book written by or illustrated by a Native person, the parent/teacher/librarian can say "Eric Gansworth is Onondaga." That two-letter word, IS, is a powerful one and communicates a great deal to kids. That parent/teacher/librarian can then say "The office for the Onondaga Nation is in New York."

I'm closing this post with a tribute to Native writers and illustrators of books I've recommended on AICL. That tribute is photos of them. They are in no particular order. I'll keep adding to this gallery, because I don't have time right now to be comprehensive. I'll do my best, and I welcome you to write to me to let me know to add someone I've missed. Each person's tribe is beneath their name. If there are errors, I apologize, and please let me know.

American Indians in Children's Literature

presents 

A Gallery of Native Writers and Illustrators

Cynthia Leitich Smith
Muscogee Creek
Image source: Cynsations
http://goo.gl/0wneBW

Michael Lacapa
Apache, Hopi
Image source: Northern Arizona Book Festival
http://goo.gl/4POyCQ

Louise Erdrich
Turtle Mountain Chippewa
Image source: Cleveland.com
http://goo.gl/bXzSwn

Eric Gansworth
Onondaga
Image source: Milkweed
http://goo.gl/6FqBTB

Nicola I. Campbell
Nlel7kepmx, Nsilx and Metis
Image source: The Word on the Street
http://goo.gl/l284Ko

Tim Tingle
Choctaw
Image source: My Very Own Book
http://goo.gl/4KRgwp

Virginia Driving Hawk Sneve
Lakota Sioux
Image source: Native Daughters
http://goo.gl/1mCbDU

Richard Van Camp
Dogrib
Image Source: Zimbio
http://goo.gl/Zg8TNR

Arigon Starr
Kickapoo
Image source: Starrwatcher Online
http://goo.gl/hyLzhc

S.D. Nelson
Standing Rock Sioux

Beverly Blacksheep
Navajo

Lee DeCora Francis, and her boys
Penobscot 

Simon Ortiz
Acoma

Cheryl Savageau
Abenaki

Donald Uluadluak
Inuit

Jan Bourdeau Waboose
Nishnawbe Ojibwe

Daniel Wilson
Cherokee

Joy Harjo
Mvskoke

Shonto Begay
Navajo

Cheryl Minnema
Mille Lacs Band of Ojibwe

Wesley Ballinger
Mille Lacs Band of Ojibwe

Luci Tapahonso
Navajo

Greg Rodgers
Choctaw

Marcie Rendon
White Earth Anishinabe

Ofelia Zepeda
Tohono O'Odham

N. Scott Momaday
Kiowa

Laura Tohe
Navajo

Allan Sockabasin
Passamaquoddy 

Julie Flett
Metis

Richard Wagamese
Wabasseemoong Ojibway

Leslie Marmon Silko
Laguna

Heid E. Erdrich
Turtle Mountain Chippewa

Deborah Miranda
Esselen

Anton Trueur
Ojibwe

John Rombough
Chipewyan Dene

James Welch
Blackfeet/Gros Ventre

Tomson Highway
Cree

George Littlechild
Plains Cree