Saturday, December 17, 2016

Worry and Wonder, by Marcie Rendon, in SKY BLUE WATER: GREAT STORIES FOR YOUNG READERS

Marcie Rendon's "Worry and Wonder" is a short story in Sky Blue Water: Great Stories for Young Readers, edited by Jay D. Peterson and Collette A. Morgan. Here's a screen cap of the cover and a partial listing of the Table of Contents:



Published in 2016 by the University of Minnesota Press, Worry and Wonder is one of those stories where a character is going to be with me for a long time. I could call Worry and Wonder a story about the Indian Child Welfare Act--or, "ick waa waa." That's what Amy is calling it when the story opens. She's a seventh grader, sitting in her social studies class, doodling "ick waa waa" on her notebook as her teacher talks about the environment, and the importance of water.

Amy's  thinking back to the day before, when she'd been in court and the judge said she'd have to wait another three months before going to live with her dad. Amy's "ick waa waa" and images she draws by those words capture her frustration with ICWA. In those three months, however, she spends more and more time with her dad.

Are you wondering about ICWA? In the story, Amy's dad tells her about it:
He explained that ICWA stood for the Indian Child Welfare Act. He told her how in the 1950s and 1960s Indian children were taken from their families and placed with white families. How those children had grown up and fought to have federal legislation passed so that Indian kids, if they needed to be placed in foster care, would be placed with Indian families, like the home Amy was in, and how it was federal law, tribal law, that the courts and the tribes had to try and find immediate family for children to be reunited with, which is why the courts had found him and told him to come home to raise Amy.
Some of you know that ICWA was in the news in 2016. Five years ago, a Choctaw child was placed with a white foster home in California. Since then, her Choctaw father had been trying to get her back, but the white family had been fighting to keep her. In the end, her father prevailed. In March, when child services went to pick up the six-year-old child, the home was surrounded by media and protestors who thought the white family ought to be able to keep her. That family turned the case into a media frenzy, with one major news source after another misrepresenting ICWA, tribal sovereignty, and tribal citizenship. Right around then, I read Emily Henry's The Love That Split the World. In it, a white couple finds a work-around to ICWA and adopts a Native infant. That character's Native identity is central to that story, which draws heavily from a wide range of unattributed an detribalized Native stories that guide that character. As you may surmise, I do not recommend Henry's novel.

The case of the Choctaw child and Emily Henry's young adult novel were in my head as I started reading Rendon's story of Amy.

Rendon--who is White Earth Anishinabe--gives us a story that doesn't misrepresent ICWA or Native identity, or nationhood. My heart ached for Amy as I read, and it soared, too. Rendon's story is infused with Native content. Some, like the water ceremony, are explicit. That part of the story is sure to tug on the heart strings of those who are following the Standing Rock Sioux Tribe's fight to protect their water from Big Oil. There are other things in the story, too, that Native readers will discern.

Rendon's Worry and Wonder 
is filled with mirrors for Native readers. 

From start to finish, Rendon's short story is deeply touching. I highly recommend it and look forward to more from her. In my not-yet read pile is Murder on the Red River, due out in 2017 from Cinco Puntos Press. It may be one of the books I'll recommend as a crossover (marketed to adults, but one that teens will enjoy).

Above I showed you a partial listing of the Table of Contents. I've yet to read Anne Ursu's story, but I look forward to it. Her character, Oscar, in The Real Boy is like Amy. In my heart. Get a copy of Sky Blue Water. 

Friday, December 16, 2016

Richard Van Camp's SPIRIT

If you follow Native news, you know that suicide rates in our communities are high. Here's a table from a 2015 report by the Center for Disease Control:



That is data for the U.S. If you do an internet search, you'll find news stories about youth suicides in Canada.

Richard Van Camp's Spirit is--as he said in a tweet in September of 2016--a suicide prevention comic book.



It opens with a mom, shucking corn. Nearby, a baby is sleeping. That baby's spirit rises from its body, and flies out the window, and over several pages, we see the baby fly over a Native community of kids and elders. She flies to a house where, inside, a young man in tears is reaching for pills. He looks up, surprised to see her, and drops the pills, and holds her to him. On the next page, we see people gathered round a table, praying. The door opens, and in walks the young man. They call out "Surprise!" together. They're having a feast for him, because they know he's having a rough time. His grandfather gives him some snowshoes and talks about going to their cabin. His grandmother tells him a story about his birth.

His Native family and community, in short, have gathered to help him. With its Native content, it is a powerful message about Native community. While it is crucial that teachers and librarians have books like Spirit in their collections, it is also important to remember that--unless you've got training to work with someone who is contemplating suicide--you may not be the right person to help.

Spirit is published by the South Slave Divisional Education Council, which serves several First Nations communities. It is available in several different First Nations languages. I've written to Richard to ask where people can buy it. As soon as I hear back, I'll add that information, here.

Wednesday, December 14, 2016

Recommended! Darryl Baker's KAMIK JOINS THE PACK

Kamik Joins the Pack was in my mail today. Adapted from the memories of Darryl Baker, who is Inuit, the story is the third in Inhabit Media's series featuring Jake and his pup, Kamik.

I first met Kamik in 2013, in Kamik: An Inuit Puppy Story. Jake had just gotten him. Course, Kamik has all the bountiful energy of a puppy---and Jake has all the frustration of a little boy trying to teach him this or that. Jake's grandpa helps him out, giving him perspective, and stories, too, about the importance of sled dogs. Then in 2015, Kamik's First Sled came out. In it, Jake wants Kamik to learn how to pull a sled. His grandma helps him.

This year, in Kamik Joins the Pack, Jake is visiting his uncle. That uncle has a great dog sled team and has won many races. Jake hopes that, someday, Kamik can be on a team like that. He's still a pup, and still learning.

Jake's uncle is getting ready to take his team out. He shows Kamik some of the things he does to make sure his dogs are in good shape. And he tells Jake about things dogs will do--like chewing on the harnesses and ropes. Knowing how to sew and braid so that he can repair chewed up ropes and harnesses, is important, too! There's other responsibilities, too. It seems like a lot of work to Jake, but his uncle is reassuring. Like Kamik, he'll learn, a bit at a time. As the story ends, Kamik is off, on a short run, with the pack.

As with the other Kamik books, I love the present-day setting, and the significant role extended family members play in Jake's life. In each one, Qin Leng's illustrations are vivid and lively. Endearing and accurate, the Kamik stories are terrific. If you don't have the first two, get them right away when you get Kamik Joins the Pack. As I'm writing, snow is falling outside. It is falling in a good many places in the US... it is wintertime! Perfect time for sharing stories.... about puppies and sleds.

Tuesday, December 13, 2016

Not recommended: INDEH: A STORY OF THE APACHE WARS by Ethan Hawke and Greg Ruth

Eds. note on Dec 16, 2016: Please scroll down to see Greg Ruth's response to my review. In turn, I responded to him.
______________________________

I've received several questions about Indeh: A Story of the Apache Wars by Ethan Hawke and Greg Ruth.

Published by Hachette Book Group in 2016, this graphic novel wasn't published for, or marketed to, children or young adults. That said, we know that teens read a lot of things that wasn't necessarily meant for them. There are awards, too (like the American Library Association's Alex Award) for books regarded as "crossover" ones--which cross over from the adult to the teen market.

Teachers and librarians are asking if Indeh can be used in high school classrooms. Short answer? No.

Generally, reviews on American Indians in Children's Literature are specific to accuracy of content which, in my view, makes them suitable for teachers to use when they develop lessons or select books to read aloud in their classrooms.

The questions I'm getting suggest that teachers wonder if there's enough accuracy in Indeh to use it to teach about the Apache wars. It may also be coming from teachers who know that graphic novels are a hit with teens and that Indeh may work well with teens who are reluctant readers.

Again--my answer is no. It isn't accurate (more on that, later). There's another interesting factor to consider.

Hawke's Use of Geronimo's Words


As I started reading Indeh, I pulled out the resources I use when doing book reviews. I had Indeh in one window (I use a Kindle app on my computer) and in another window, I had a copy of Geronimo's Story of His Life which was "taken down and edited by S. M. Barrett." He was the Superintendent of Education in Lawton, Oklahoma and the contents of this book were told to him by Geronimo. The first pages in it are devoted to copies of letters that went back and forth between several people involved in authorizing Geronimo to tell his story. It was published in 1906 by Duffield & Company in New York.

Right away, I hit the pause button in my reading. Here's a screen cap comparing the opening lines of Hawke's book (on top), and Barrett's (on the bottom):





This paraphrasing happens in several places in the book. (Note: In response to those who asked to see the other examples, I've added three, at the bottom of the post.) In the afterword, Hawke tells us that Once They Moved Like the Wind by David Roberts inspired him to write Indeh. Though Hawke includes Barrett's book in the "for further reading" section, I think he should have written about Barrett's book in that afterword because of passages like that shown above. This happens later, too. A big deal? Or not?

I'm noting it because--in the afterword--Hawke talks about appropriation (p. 228):
The Apache Wars are a vital part of our American history that needs to be told in a way that honestly appreciates and integrates, rather than appropriates, Native American history.
Hawke's use of the word is odd. What does he mean? I could say that, in using Barrett like he did, he's appropriating Geronimo's words. Is that a form of appropriation?

That said, my primary concern is with the accuracy. First, let's look at what Hawke sets out to do with Indeh.

Hawke's Intent


In his Afterword, Hawke recounts a story from his childhood. His parents had divorced, and his dad took him on a camping trip. They were somewhere near the Arizona/New Mexico border when (p. 227):
An old man waved us down from the center of the two-lane road--the only living thing as far as my eyes could see. I heard him say in an unfamiliar cadence, "You are not supposed to be here."
The old man told them they're lucky it was him that found them (he looked directly at 8-year-old Hawke when he said that, and that old man's eyes stayed with Hawke). Hawke's dad turned the car around. Hawke asked his dad what happened.
My father explained what an Indian reservation was, what an Apache was, how we really shouldn't have been there at all, and how lucky he was not to have gotten his ass kicked.
Hawke asked what the old man meant about them being lucky he's the one who had found them.
My father told me, "Many of the Indians are very angry. And they damn well should be." 
Hawke asks if they're mad at him (he doesn't tell us if his dad responded to that question). From then on, he started buying and reading books about Geronimo, Cochise, Victorio, and Lozen. From those books, he says he saw that
...the cowboy movies I'd always loved took on a different hue. They were full of lies. Those gunfights weren't cool, heroic frays--they were slaughters.
All that made me pause. Hawke was born in 1970. So, he was out there on that two-lane road in 1978. My guess is that they were on either the Fort Apache Reservation, or, on the San Carlos Reservation. Though the reservations are under the jurisdiction of their respective governments, they aren't closed to others. There are times when we close off the roads to outsiders, but that doesn't sound like what happened to Hawke. Who was that old guy?! The "should not have been there" portion of Hawke's story sounds... dramatic. I'm not saying it didn't happen; I'm just wondering who the old guy was. Part of me thinks Hawke and his dad got punked! On the other hand, it is possible that the man was home after having spent time with the Native activists doing activist work at Alcatraz in 1969, at the Bureau of Indian Affairs offices in Washington DC in 1972, or Wounded Knee in 1973.

Anyway, Hawke goes on to talk about his adulthood... working in Alaska with Native actors, and watching Smoke Signals and Powwow Highway, and reading one of Sherman Alexie's books. Hawke writes that (p. 228):
The story [of the Apache wars] needs to be told again and again until the names of Geronimo and Cochise are as familiar to young American ears as Washington and Lincoln.
Can I do a "well, actually" here? I think Geronimo IS one of names Americans -- young and old -- are familiar with. Do you remember that "Geronimo" was the code name the US military used for Bin Laden? Do your kids yell "Geronimo!" when they are doing something they think is courageous?

He, I think, is far more visible than Hawke suggests.

I did a search in WorldCat, using Geronimo, and found 26,964 items in the nonfiction category, which is a lot more than the 9,028 items for Sitting Bull and the 4,669 items for Crazy Horse.  (Note: There are 413,469 items for Washington, and 80,501 items for Lincoln.) In its We Shall Remain series (consisting of 5 episodes), PBS did an entire segment on Geronimo. There are more movies with or about Geronimo than any other Native person. I think he's the most well-known Native person.

Hawke's afterword suggests that his goal, with Indeh, is to tell a story that counters the biased stories and movies he saw as a child. Does he succeed?

Short answer: No. In plain text below are summaries from Indeh. My comments are in italics.

Hawke Makes Serious Errors


Part One of Hawke's book is called "A Blessing and a Curse." The story opens with Cochise recounting the Apache creation story to his son, Naiches and to Goyahkla (who will later be known by the name, Geronimo), both of whom are young boys. The blessing and curse is Cochise's power to see the future. Cochise tells the boys that their lives will be hard... and then there's an abrupt shift forward in time, to Goyahkla, seventeen years later. He sits in the midst of a massacre. While he and most of the other men were away, trading, Mexican soldiers attacked their camp. Amongst the dead are Goyahkla's mother, his wife (Alope), and their three children. Naiches--who is narrating the story--tells him they can't stay to bury the dead, but Goyahkla doesn't listen to Naiches.

Debbie's comments: Hawke's telling suggests that Naiches is in charge. Barrett says that it is Mangus-Colorado who was in charge and that it was he who said that they had to leave the dead on the field, unburied. Roberts (Hawke's primary source) says it was Mangas. The date of that massacre, Roberts writes, was March 5, 1851.

In his grief, he remembers when he went to Alope's father to ask if he could marry her. Alope's father asked him for "one hundred ponies" (p. 11). One hundred ponies sounds cool, but I think the "one hundred" is Hawk's flourish. Historians note that Alope's father asked for ponies, but nobody says "one hundred". A small point of inaccuracy? No. When there's such a body of misinformation about someone, it does nobody any good to add to that body of misinformation.

Goyahkla carries Alope's body to their wickiup (in Indeh, the word Hawke uses is "wikiup" which is incorrect). He remembers telling his son a story, and carries his son's body to the wickiup. He remembers his daughter's first menstrual period, and carries her body to the wickiup, too. He lights the wickiup on fire.

Debbie's comments: That is not accurate. They left the bodies and returned to their settlement. There, Goyahkla burned their tipi and all their belongings. That is when he "vowed vengeance upon the Mexican troopers who had wronged me" (Barrett, p. 76).  

Then, Hawke tells us, an eagle appears on top of the wickiup. It tells him that bullets will never hurt him.

Debbie's comments: That did not happen at their camp. It happened later, elsewhere. 

Naiches and others are on horses, waiting. Goyahkla approaches them, the burning wickiup behind him. His words to them hint at the vengeance he will seek. He tells them he will visit other Apache tribes to ask them to join him in avenging their families. He carries out the visits and gathers others who will fight with them. Naiches hopes that the upcoming battle will give Goyahkla peace.

Debbie's comments: That decision to strike back was made--not by Goyahkla--but by Mangus-Colorado. Goyahkla was appointed to go to the other Apaches and ask them to join them in this battle against Mexico.

In the next panels, Goyahkla leads the others in an attack on a Mexican town. There is one small box of text: "There would be no peace" (p. 34-35) that captures what Naiches thinks their future will be. In the foreground is a young girl falling over, with a spear that has been thrust through her chest. On all fours, a few feet away, is a little boy, with a spear in his back. Naiches looks on Goyahkla and thinks his face tells of a new time for the Apaches. In Goyahkla's face there is no pity as he kills the people of the Mexican village. There are no tears, or regret, or joy. In one panel, a sign reads (p. 38-39):
CABALLERAS
APACHE
HOMBRES 5 pesos
MUJERES 3 pesos
NINOS 1 peso

Debbie's comments: That horrific scene is not accurate. I'll say more about that shortly. Regarding the sign, I think "caballeras" is meant to mean warrior. The figures on the sign aren't accurate. Roberts (Hawke's main source) says that the bounty on Apache scalps was 200 pesos for a man, and 150 for a woman or child. Because the sign is an illustration, perhaps the error is Ruth's, not Hawke's. 

On Dec 14, 2016, David Bowles, author of the Garza Twins series (The Smoking Mirror is a Pure Belpre Honor Book) wrote to tell me that "caballeras" is a spelling error. It should be "cabelleras" which means scalps. His note gives me an opportunity to say a bit more about scalping. Though it is widely seen as something that Native people did, bounties were financed by governments. In her book, Angie Debo writes that, in 1835, the Mexican state of Sonora passed a law that offered 100 pesos for every scalp of an Apache warrior. In 1880, Mexican soldiers attacked an Apache camp, and took scalps of 62 men, and sixteen women and children. The city of Chihuahua welcomed them them back. Cost to the government was $50,000. The soldiers brought with them 68 women and children who were subsequently sold into slavery. 
  
The sign is thrust into the chest of a man, lying prone, presumably killed by Goyahkla. Beside his body, Goyahkla is scalping a woman who cries out (p. 38-39):

 "Por favor. Dios me libre!" 

Debbie's comments: Hawke's depiction of this battle, overall, raises many questions. Barrett, Debo, and Roberts (Hawke's primary source) do not write about it the way Hawke does. They write that the attack was against Mexican soldiers (two companies of cavalry and one of infantry)--outside of a Mexican city called Arispe (or Arizpe). 

There was no attack of the kind that Hawke depicts. Rather than bring "honesty" (he used that word in his Afterword) to this story, Hawke has created violent, brutal, misinformation that he is, in effect, adding to that already huge body of misinformation about Geronimo and the Apaches! At that point in Indeh, I am able to say that teachers cannot---indeed, teachers must not---use this book in a classroom to teach history of the Apache people. 

As Naiches watches Goyahkla in the village, he learns what Goyahkla's new name will be: Geronimo. In the village is a banner that reads "LA FIESTA DE SAN JERONIMO." As Goyahkla moves through the village violently killing Mexicans (he beheads one), some Mexicans call out to San Jeronimo. One of the Apache's calls out to Goyahkla "Santo Geronimo" - and, Hawke tells us, that is how Goyahkla came to be known as Geronimo.

Debbie's comments: In a footnote, Barrett writes that the Mexicans at the battle called him Geronimo but does not offer an explanation. In her book, Debo writes that the Mexicans in that battle may have been trying to say his given name (Goyahkla) and that it came out sounding as if they were saying "Geronimo" or that they were calling out to St. Jerome.   

My primary concern is about accuracy. 

There's some small problems with inaccurate information in Part I of Hawke's graphic novel. Of utmost significance, however, is his misrepresentation of the fight that took place after his family was murdered by Mexican soldiers. Hawke's depiction is inaccurate, and it flies in the face of what I understand of Hawke's goal. It seems to me he wanted to correct the narrative of Apache's as blood thirsty savages (my words, not his), but he does the opposite. He affirms existing stereotypes and misinformation, and adds to the image of Geronimo as a savage. The information he passes along is not in his primary source, or in those that are more widely read (some are on his list of further readings). Why did Hawke do this?! 

Bottom line? 
I do not recommend Indeh 
for use in classrooms. 

A colleague, Dr. Laura Jimenez, reviewed Indeh, too. She studies graphic novels. See her review

Sources I used include:

  • Barrett, S. M. (1906). Geronimo's Story of His Life. New York: Duffield & Co.
  • Debo, Angie. (1976). Geronimo: The Man, His Time, His Place. University of Oklahoma Press.
  • Roberts, David. (1994). Once They Moved Like the Wind: Cochise, Geronimo, and the Apache Wars. New York: Simon & Schuster.
  • Utley, Robert M. (2012). Geronimo. New Haven: Yale University Press. 



Update, Dec 13 2016, late afternoon:

A couple of people have written to ask me about other examples of the paraphrasing. Some wonder if Hawke has plagiarized Barrett. Here's three other passages from my notes (sometimes I make tables as I read through texts):










Update: Friday, December 16, 2016

On the Amazon page for Indeh, I posted a brief review and a link to this page. There, I said this:

Hawke meant well. He had a memorable childhood experience that launched him into reading all he could about the Apaches. He tried to make a film about them but ended up doing this graphic novel, instead. Though it is not marketed to teens, teachers wonder if they can use it in their classrooms.
In short? No. In an especially violent series, Hawke and Ruth depict Geronimo and Apaches in a town, impaling women and children on spears, and beheading a man. Another woman is scalped.
None of that is true.
That particular attack was actually one in which the Apaches sought a battle with Mexican infantry who had entered an Apache camp and murdered Geronimo's mother, wife, and two children. Much of America thinks the Apaches were mindless, blood-thirsty murderers. Hawke contributes to that narrative. There are other errors, too. As such, it cannot be used to teach about the Apache people.
A full review here: [...]


Greg Ruth, one of the authors of Indeh responded to my review on Amazon. Here's a screen capture of his remarks:

I think Ruth is defending the book, overall. I am focused on the attack that took place after the Mexican soldiers entered an Apache camp and killed women and children there, including Geronimo's mother, wife, and children. Here's quotes from three sources, one of which Hawke names as his primary source.

Barrett, S. M. (1906). Geronimo's Story of His Life: Taken Down and Edited by S. M. Barrett. New York: Duffield and Company.
When we were almost at Arispe we camped, and eight men rode out from the city to parley with us. These we captured, killed, and scalped. This was to draw the troops from the city, and the next day they came. The skirmishing lasted all day without a general engagement, but just at night we captured their supply train, so we had plenty of provisions and some more guns.
That night we posted sentinels and did not move our camp, but rested quietly all night, for we expected heavy work the next day. Early the next morning the warriors were assembled to pray--not for help, but that they might have health and avoid ambush or deceptions by the enemy.
As we had anticipated, about ten o'clock in the morning the whole Mexican force came out. There were two companies of cavalry and two of infantry. I recognized the cavalry as the soldiers who had killed my people at Kaskiyeh. This I told to the chieftains, and they said that I might direct the battle.
I was no chief and never had been, but because I had been more deeply wronged than others, this honor was conferred upon me, and I resolved to prove worthy of the trust. I arranged the Indians in a hollow circle near the river, and the Mexicans drew their infantry up in two lines, with the cavalry in reserve. We were in timber, and they advanced until within about four hundred yards, when they halted and opened fire. Soon I led a charge against them, at the same time sending some braves to attack their rear. In all the battle I thought of my murdered mother, wife, and babies--of my father's grave and my vow of vengeance, and I fought with fury. Many fell by my hand, and constantly I led the advance. My braves were killed. The battle lasted about two hours.

Debo, Angie. Geronimo: The Man, His Time, His Place (The Civilization of the American Indian Series) (Kindle Locations 685-688). University of Oklahoma Press. Kindle Edition.
They went south through Sonora, following hidden ways along river courses and through mountains, to Arispe. (They seemed to know that the military force that had ravaged their camp was stationed there.) Troops from the city came out to meet them, and there was some skirmishing. The following day the whole Mexican force—two companies of cavalry and two of infantry—came out to attack. A pitched battle followed, a departure from the usual Apache ambush from a hidden position. Geronimo, because he had suffered so much from these same soldiers, was allowed to direct the fighting. (This is his story, and it may well be true.) He arranged his warriors in a crescent in the timber near the river, and the Mexican infantry advanced towards them and opened fire. Geronimo led a charge against them, at the same time extending his crescent to outflank and encircle them and attack from the rear. (At least, that seems to be his meaning.) The battle lasted about two hours, the Apaches fighting with bows and arrows and in close quarters with their spears. Many of them were killed, but when the fight ended they were in complete possession of a field strewn with Mexican dead. It was here, according to tradition, that Goyahkla received the name Geronimo.


Roberts, David. ONCE THEY MOVED LIKE THE WIND: COCHISE, GERONIMO, (Kindle Locations 1674-1692). Simon & Schuster. Kindle Edition.
Near Arizpe, one of the few important towns in northern Sonora, the party camped. Eight Mexicans rode out from town to parley: the Apaches seized and killed them on the spot. “This was to draw the troops from the city,” recalled Geronimo, “and the next day they came.” An all-day skirmish was inconclusive, but the Indians managed to capture the Mexican supply train, greatly augmenting their store of guns and ammunition. 
The pitched battle— a rarity for Apaches— took place the following day: some two hundred Chiricahuas against one hundred Mexican soldiers representing two companies of cavalry and two of infantry. “I recognized the cavalry as the soldiers who had killed my people at (Janos],” insisted Geronimo. Since he had never seen the soldiers who perpetrated the massacre of his family, this claim may seem dubious. Yet keen-eyed survivors could have described the attackers to Geronimo in such detail that he could recognize their horses and uniforms when he saw them. 
Because of the magnitude of his personal loss, Geronimo was allowed to direct the battle against the Mexican soldiers. He arranged the Apaches in a hollow circle among trees beside a river. The Mexicans advanced to within four hundred yards, cavalry ranged behind infantry. Armed with the vision that bullets could not kill him, Geronimo led a charge. “In all the battle I thought of my murdered mother, wife, and babies— of… my vow of vengeance, and I fought with fury. Many fell by my hand.” 
The battle lasted two hours. At its climax, Geronimo stood at the Apache vanguard, in a clearing with only three other warriors. They had no rifles; they had shot all their arrows and used up their spears killing Mexicans: “We had only our hands and knives with which to fight.” Suddenly a new contingent of Mexicans arrived, guns blazing. Two of Geronimo’s comrades fell; Geronimo and the other ran toward the Apache line. In step beside him, the other Apache was cut down by a Mexican sword. Reaching the line of warriors, Geronimo seized a spear and whirled. The Mexican pursuing him fired and missed, just as Geronimo’s spear pierced his body. In an instant Geronimo seized the dead soldier’s sword and used it to hold off the Mexican who had killed his companion. The two grappled and fell to the earth; Geronimo raised his knife and struck home. Then he leapt to his feet, waving the dead soldier’s sword in defiance, looking for more Mexicans to kill. The remainder had fled.

Below are two pages that show how Hawke and Ruth depict it. Clearly, they set the attack in a town. See the children impaled with spears?


Here's another page Hawke and Ruth did, depicting that attack:


I stand by my critique that Hawke and Ruth misrepresented what happened.





Monday, December 12, 2016

Not recommended: POCAHONTAS by Ingri and Edgar Parin d'Aulaire

A reader wrote to ask me about Pocahontas by Ingri and Edgar Parin D'Aulaire. It came out in 1946, which might seem like it is so old that you can't get it... but you can. It is still in print. It is one of those books (there are many!) that gets printed again and again. It is one of those books that I look at and turn away from. It is one of those subjects (Pocahontas) that wears me out.

So, this is a quick reply about the D'Aulaire's Pocahontas. I do not recommend it. It has the word "squaw" in it. It shows men, sitting with their arms crossed up high and away from their chest, which is a stereotypical way of showing Native men. It uses "princess" to describe her. There's problems with the accuracy, too. If you are interested in an essay about how she is depicted in children's books and the Disney film, too, see Cornel Pewewardy's The Pocahontas Paradox: A Cautionary Tale for Educators.




Saturday, December 10, 2016

Recommended! THE WOOL OF JONESY by Jonathan Nelson

Jonathan Nelson's The Wool of Jonesy: Part I is a treat!

In some ways it is (for me) a mirror. See... I grew up on the Nambe Indian reservation in northern New Mexico. As I gaze at the cover, I see a cool dude (that's Jonesy--he's a sheep) sitting on... something (more on that later). He's holding a flip style phone. On the ground is a little red wagon with bent wheels and a backpack. Behind him is... (imagine me exclaiming) a barbed wire fence and a cattleguard! Silly? Not to me! And certainly not to anyone who grew up on a reservation. Or a ranch, somewhere.

Here. Take a look yourself:



Here's how the story starts out: Jonesy has just finished high school. It is springtime. The story opens with Jonesy asleep... and it is getting hot... He doesn't want to get up. Sound familiar?! He reaches over, turns on the electric fan, drifts off again, and the fan quits. He hauls himself out of bed.

Some of Nelson's work on Jonesy was on display at the Heard Museum in Arizona, in 2015. The first three rows in this panel are similar to what ended up in The Wool of Jonesy. Nelson has since expanded the last row (remember this panel was exhibited in 2015):

Source: Heard Museum http://heard.org/event/comic-workshop-071715/
Compare the sleeping Jonesy in the panel to the Jonesy on the cover... he does, indeed, as that last row shows us, shave his wool. The story then, is his efforts to get that wool to the trading post, where he plans to sell it. At the end of the story, Jonesy is back home, waking up, his bag of wool nearby.

As you see in that panel, there is no text. The Wool of Jonesy is a wordless comic. Readers use the images to create the story, themselves. It is like Owly. If you're new to wordless comics, or comics in general, take a look at Gene Yang's Graphic Novels in the Classroom from the January 2008 issue of Language Arts. 

I am pretty sure that I know some librarians and teachers who would love to have this book... As I study it, I see all kinds of things I love (example: it is set in the present day).

What is Jonesy going to do... in Part II?!

The Wool of Jonesy came out in 2016 from Native Realities. Get your copy directly from Native Realities. Heck! Get two copies and give one to a friend or a kid you know! I highly recommend it!

Oh! Follow Nelson on Twitter https://twitter.com/badwinds and check out his website.

Thursday, December 08, 2016

Not recommended: NATIVE AMERICAN STORY BOOK(s) by G.W. Mullins

I've had a couple queries lately, from people asking me about a "Native American Story Book" series by G. W. Mullins.

It is easy to say "not recommended" to the series.

Mullins dedicates Volume Three to his grandfather, Vince Mullins, "a tall red man." Mullins tells us he is Cherokee. Maybe he is, but his use of "tall red man" reflects a romanticized and stereotypical image. In the introduction, Mullins uses, primarily, past tense. His words there, too, suggest a romantic image.  He says, for example,
"I was born Cherokee and as a child heard many of these stories. These stories were passed to me in the old traditional way of my grandfather."
His grandfather may, indeed, have told him some stories, but, the first story in Volume Three is Longfellow's "The Song of Hiawatha." That is not a Native story! Longfellow made it up. Does Mullins know it isn't a Native story?!

As I glance through others in the book, I see that Mullins is including stories from Native writers, like Zitkala Sa--that he took from her books. He's taken others from government reports. The publisher is "Light of the Moon" and the pub year is 2016. There's a note that says the book is:
"... a collection of Native American works which are public domain." 
I looked through a couple of the others, in his series, and find them problematic for many reasons. I do not know why they're popping up right now, but I definitely do not recommend them.

Friday, December 02, 2016

About THE ANTI-VACCINE KID in BAD LITTLE CHILDREN'S BOOKS

Earlier today (December 2, 2016) I saw a post on Twitter that linked to a Book Riot review of Bad Little Children's Books: Kidlit Parodies, Shameless Spoofs, and Offensively Tweaked Covers by Arthur Gackley. It isn't for kids. Published in September of 2016 for the adult market, people in children's lit are talking about it. The Book Riot review, by Kelly Jensen, is titled It's Not Funny. It's Racist.

Amongst its many racist pages is this one (credit for the image is to Kelly Jensen):



In short, this "parody" is a play on genocidal acts. Native people were given blankets infected with small pox. Tim Tingle's outstanding work of historical fiction, How I Became A Ghost, has that fact in it. Abrams lists "Arthur C. Gackley" as the author of Bad Little Children's Books. I don't know if that is a real person or not. That doesn't matter, though. The point of this particular page is to suggest revenge, with a Native family giving a white kid smallpox, and smiling as they look upon him. That alone is disgusting. Genocidal acts are not the stuff of humor.

Did the people who put this together think that the Indian family they put on the cover is Navajo? Did they use "Navajo" because they've heard about Navajo blankets? Do they realize they've used a stereotypical image to represent the Navajo family? Because this is, ultimately, a book of parody, do any of my questions even matter?!

In short: yes.

In some discussions of the book, I'm seeing that people realize the smallpox part is disgusting, and maybe they think that's enough. But, I think it is also important to note that Abrams is using stereotypical imagery and calling it Navajo.

This book, Abrams, is a despicable failure.

Not recommended: PebbleGo Next

Eds. note: Please scroll down to see additional review content, submitted on December 5, 2016.

In the last few months, I've been getting email from AICL readers who are asking if I've looked at Pebble Go Next database. Here's a description:
PebbleGo Next is the next step in research for students grades 3-6. Launching with a States and American Indian studies module, PebbleGo Next is carefully aligned to grades 3-6 curriculum objectives. The databases is simple to navigate and offer key reading supports such as read-along audio and word-by-word highlighting along with a variety of downloadable, including prompts to inspire critical thinking.
PebbleGo Next is published by Capstone. On their page, they write that they're the leading provider of nonfiction materials for struggling and reluctant readers.

The "American Indian" content of the PebbleGo Next database is arranged in geographical sections, called "Cultural Areas." Framing our nations as cultures is a typical error. We are--first and foremost--nations. A better arrangement would be something like "Tribal Nations in the Southwest" instead of "Southwest Culture Area." Not using our status as nations means that PebbleGo Next has no way to address important facts, like this one: we have jurisdiction over our reservation homelands.


Based on the lack of crucial information 
about our sovereign nation status
and what I list below in my close look 
at the Pueblo tab in the "Southwest Culture Area," 
I do not recommend the PebbleGo Next database. 



Introduction

The single, most significant error, is the failure to use the word "nation" to describe the Pueblo Nations of the southwestern part of the U.S.

We do not call our ancestors "Anasazi" which means "Ancient Ones." Anasazi is a Navajo word. The best way to refer to our ancestors is...  ancestors.

History

Use of "the Ancient Ones" in "After a drought in the 1300s, the Ancient Ones moved south and built villages along the Rio Grande River" is awkward. Better to say something like "After a drought, the Pueblo peoples moved south and built villages along the Rio Grande River."

The information about Pueblo homelands being "ruled" by Spain from the 1500s to 1821, and Mexico from 1821 to 1848, and then the US from then on, is simplistic. Each of those nations (Spain, Mexico, U.S.) recognized the Pueblo peoples as nations. This was acknowledged by a series of canes, given to Pueblo leaders, by officials of those nations. The last one was from President Lincoln. For reference, see the documentary, Canes of Power.

Use of "Anasazi" in the timeline is incorrect.

The entry for 1680, in the timeline, is incorrect and incomplete. That year (1680), the Pueblo Nations drove the Spanish out of our homelands.

Traditional Homes, Food, and Clothing

All the information is in past tense.

Family Life

All the information is in past tense.

Government

Finally, a page with a present tense word ("Today...") but the information is too broad and some of it is incorrect because of the broad description.

Beliefs

It is good that present tense is used, but why is the section called "Beliefs" rather than Religion? Information, as with the page on Government, is too broad, making some of it incorrect.

Traditions

In the first paragraph, past tense is used to describe traditional dances, ceremonies, and prayer. The second paragraph is written in a way that suggests that we've moved away from that, to doing it for tourists and as "festivals" that we "celebrate throughout the year." That is inaccurate.

Modern Life

The description of our traditional homes "sometimes covered in adobe" is inaccurate. Our traditional homes are made of adobe bricks, and, plastered with adobe mud, and/or stucco.

The information on "jobs" is incomplete. Native people do more than just work in factories, vineyards (?) and uranium mines. Some of us are teachers, lawyers, engineers, librarians.

The line that "many return home to their villages on the weekends" suggests that those with "jobs" can't live in their homes on reservation lands each night, which is not true. Some do, some don't. Written as it is, the suggestion contributes to a perception that our homelands are isolated and stuck in the past, which isn't true.

__________
Update, December 5, 2016

Jenna Wolf, tribally enrolled with the Muscogee Creek Nation, and librarian at Beaver Country Day School in Massachusetts, submitted this review of the Muscogee content at PebbleGo Next:
I have navigated through PebbleGo Next and also found a lot of issues. The section on Muscogee (Creek) Nation fails to mention much about land allotments after the Trail of Tears, and it only briefly mentions the Dawes Act in its timeline; nary any mention of the implications of signing and forced signings thereafter, as well as how its used as a roll now for tribal enrollment. Just a few things I noticed. The history section just MENTIONS the Indian Removal Act and the Trail of Tears, in the timeline only and not in the narrative section. Big mistakes and blaring holes.
I also did a cursory read through some of the other tribes to which I have personal affiliation via friends and family (Navajo, Isleta Pueblo). I was disturbed on a basic level just about the language used--so much past tense BEYOND the history section and many problems with the Modern Life section. Take for instance the section of Navajos--it mentions they are weavers and jewelers but CAN also have other jobs. This is similar to a book I weeded from our collection about the Navajo which said "they even like to wear blue jeans!".
Just wanted to give you some quick feedback about what I noticed.
This would not be a complete or appropriate resource in my opinion.

Monday, November 28, 2016

HarlequinTeen Moves Publication Date for Controversial Young Adult Novel, THE CONTINENT

On November 7, 2016, HarlequinTeen, using their Twitter account, issued a statement regarding Keira Drake's The Continent:
Over the last few days, there has been online discussion about racial stereotypes in connection with one of our upcoming 2016 titles, The Continent, by Keira Drake. 
As the publisher, we take the concerns that have been voiced seriously. We are deeply sorry to have caused offense, as this was never our or the author's intention. We have listened to the criticism and feedback and are working with the author to address the issues that have been raised.
We fully support Keira as a talented author. To ensure that the themes in her book are communicated in the way she planned, we will be moving the publication date.
- HarlequinTeen
HarlequinTeen joins a growing number of publishers, in 2016, who have responded to concerns with stereotypes, bias, or microaggressions in their books. See AICL's log of revisions.

Here's a screen cap of their tweet: