"Cowboys and Indians" and "Tacos and Tequilas"

In the last few hours, several people have found my blog by doing an Internet search using these terms:

"indian war paint for halloween"
"american indian halloween costume face paint"
"american indian war paint"
"halloween indian face paint example with picture"

I read this data as I ponder recent events on the UIUC campus. The Greek (fraternity and sorority) Houses are a significant element here. They have events in which a frat and sorority get together around a specific theme.

This practice started to come to awareness last year, with a "ghetto" party in which the (mostly) white students in the Greek system organized a party where they dressed up like "ho's and thugs."

This year, another party was exposed. This is the "Tacos and Tequila" party (publicly called a Fiesta). This time, students dressed as pregnant Mexican women. Some students attached little brown dolls to their shirts. Males dressed as "farmers" or "gardeners" --- the words they use publicly for what they privately said was "wetbacks" and "illegals." Of course, there is a heavy amount of liquor involved in this get together. Also coming to light are "Cowboys and Indians" parties.

From a rather disturbed perspective this afternoon, I feel some anxiety over what all of this says about society. What are we doing such that this sort of thing takes place? It isn't happening just here. The parties are happening on campuses across the nation.

Those who wrote to me saying that my posts about dressing up like Indian are hypersensitive.... please rethink that response. It isn't the innocent act you think it is.

NOT RECOMMENDED: Gerald McDermott's ARROW TO THE SUN

Note from Debbie on Nov 6, 2021: I inserted "NOT RECOMMENDED" to the title of this post, and I inserted an image of the book cover with "NOT RECOMMENDED" above the cover. I did that to make this review more consistent with ones we've done more recently. 

Gerald McDermott’s Arrow to the Sun won the prestigious Caldecott Medal in 1978. Awarded annually by the American Library Association, the Caldecott Medal is given to the most distinguished American picture book for children published in the United States during the preceding year. My guess is that most public and elementary school libraries order at least one copy of every book that has won the Caldecott. Many of these books are also made available in video and audio format. Due to their visibility and award-winning status, teachers use them extensively. For example, I did an internet search using “Arrow to the Sun”+K12. (K12 is one way of locating school web pages.) The search returned 23,200 hits.

Its popularity and acclaim aside, Arrow to the Sun has many problems. For Pueblo people, kivas are places of ceremony and instruction, not places of trial. However, in McDermott’s kivas, the protagonist must prove himself by fighting lions, serpents, bees, and lightning in four different kivas.

I think most teachers, prepping to use this book, would know that kivas are not scary places, but more like a church or temple. Hopefully, that teacher will pause as she reads the story, to tell her students that McDermott’s representation of a kiva is wrong. Fortunately for her students, they will have had a valuable experience, as they learn to question the books they read, no matter how popular they may be. Course, it is award-winning because the people who selected the book, and the reviewers who gave it a favorable review don't know much, if anything, about Pueblo culture!

What if the teacher does not know anything about Pueblo kivas, and therefore, doesn’t question McDermott’s presentation? I think that her students are harmed by this misinformation. They will come away with a concept of kivas that is incorrect.

If one of her students should visit a pueblo on a vacation, he or she might express fear upon seeing a kiva.

And, what about Pueblo Indian children in this or any classroom where the book is used?

They, too, are harmed, but in a different way. Most likely, they know the story is wrong. How might they grapple with the error? Will they challenge or question the teacher, who is an authority figure they’ve been taught to respect? How might they feel, when asked to participate in a small group discussion on “how do you think the protagonist felt going into the kiva?” Will the child be distracted and unable to focus on school assignments in general?

Another problematic area of Arrow to the Sun is the status of the protagonist. In the story, the protagonist is mocked and chased away by other boys in the pueblo who say to him “Where is your father?” and “You have no father.” This conflict is the impetus for the boy’s journey to the sun. However, the conflict is one that does not reflect Pueblo family structure and values. The concept of illegitimacy does not exist. Children in Pueblo communities are born into large extended families. The stain of illegitimacy is European, not Puebloan.

If there is a copy of Arrow to the Sun in your school or classroom library, read it, and think about what I’ve shared here. I know some will reject what I’ve said as unimportant. It is, after all, a great story, but I hope others will reconsider using that book as “a great story” and use it as a tool in educating children about how authors and illustrators can get things wrong.

Jeanette Armstrong's DANCING WITH THE CRANES

[Note: This review is used with permission of its author, Beverly Slapin. It may not be published elsewhere without written permission of the author. Dancing with the Cranes is available from Oyate, a non-profit organization.]

Armstrong, Jeannette (Okanagan), Dancing with the Cranes, illustrated by Ron Hall (Okanagan/Thompson). Theytus Books, 2005, unpaginated, color paintings, grades 2-up.

Last year, Chi’ and her Temma had come to the lake to watch the birds, and the geese had come so close that they could almost touch her. But now Temma is gone, Chi’s momma is expecting a baby, and none of the birds pay any attention to her. And the sound of a loon especially makes Chi’ feel like crying. The cranes come back in their season, but Temma is never coming back. 

As Momma helps her see the continuity of birth, life and death, Chi’ begins to understand that the cranes that come back every year may not all be the same individual cranes, and like the song of the cranes, “her Temma would always be inside of her." 

Hall’s stylized acrylic paintings are a stunning complement to this gentle, but deep, little story. Full-color pictures in shades of blue, brown and green with red and yellow highlights alternate with text pages on solid colors that complement those in the illustrations. And a “cutout” on each of the text pages further lend continuity to the illustrations. Like the traditional faceless Indian dolls, the artwork allows the young reader to imagine the characters’ facial expressions. In three pictures, a small design on the front of Momma’s dress draws the reader’s eye to where the beginning of a baby is growing. And the picture of Temma dancing with the cranes is awesome in its simplicity and beauty.

—Beverly Slapin

Thomas King's A COYOTE COLUMBUS STORY

If you read comments to AICL's blog posts, you'll see that Fuse #8 (that's Betsy Bird, of School Library Journal) posted this comment to the Oct. 11th, 2006 blog about Columbus Day:

"I'd just like to point out that I'm very very fond of "A Coyote Columbus Story" by Thomas King. If you haven't seen this picture book, you might do well to give it a glance."

King's book is terrific. My dear friend and colleague, Jean Mendoza, has an essay about it in A Broken Flute: The Native Experience in Books for Children. The essay, titled "Goodbye, Columbus: Take Two," discusses A Coyote Columbus Story and Jane Yolen's Encounter.

A gifted writer, Jean deftly critiques both books. Yolen is a powerful name in children's literature, and she's written many excellent books, but as Jean points out, Yolen's attempt to give readers a Taino perspective on Columbus ends up blaming the victim.

King's book is a far better choice. Some of you know that Coyote is a trickster. In this story, Coyote is a girl. Here's part of what Jean says:

A Coyote Columbus Story is no finger-pointing lament. None of its characters slouch in defeat with body parts morphing into thin air, as does the narrator at the end of Encounter. The reader sees indignation, not stoicism, on the faces of the people being kidnapped.

Your school or public library probably has a copy of Yolen's book, but not King's. Order a copy of A Coyote Columbus Story and a copy of A Broken Flute and read Jean's essay. You will gain insights that you can apply to other books.

More on "I am part Native American"

On October 18th, I blogged about the phrase "I am part Native American." I will discuss the topic of Native identity in a series of posts. It is very complex, and filled with tension, but important. A statement claiming a Native identity is one that should be offered with a great deal of thought and care for several reasons.

One reason is the claim itself.

A lot of people say it, but, does the tribe they claim say it about them?

For example, I can say "I am Nambe Pueblo Indian" but I can also say "I am tribally enrolled." That means that Nambe claims me. They have listed me on the tribal census.

My family lineage was unbroken by any of the various efforts to assimilate American Indians into mainstream American society, and my tribe is among the tribes recognized by the US government. We are "federally recognized." You can read more about federal recognition at the webpage of the National Congress of American Indians.

I am what we call, in children's lit, an "insider" who can offer an "insider's perspective" based on a lived experience. I offer my critiques, reflections and reviews of children's books, teaching about American Indians, and playing Indian activities from a place of knowing that is enriched and informed by my experiences.

It is troubling to me when people say "I am Cherokee and I don't think there is anything wrong with dressing up like Indians at Halloween." In my experience, Cherokee people who are connected to their tribe generally don't say things like that.

My experience is that people who say "I am Native American and I don't see anything wrong...." are individuals for whom their claim to Native identity is based--not on their present day life--but on the great grandparent/ancestor situation. It seems to me that they are offering this claim to identity as a means to defend their use of what I feel is the inappropriate use or representation of American Indians.

As people charged with educating children and selecting books, we ought to pay attention to what we say and why we say it, what we claim, and why we claim it.

There's more to say about all of this another day. In the meantime, you may also want to read Oyate's statement on identity.

[Update, 12:54 PM, Oct. 23, 2006: Just above, I said "There's more to say about all of this another day" and I want to let you know that among the "more to say" is the idea of "federal" recognition, and "who can write" or retell stories about American Indians. ]

Native-authored Plays on Internet Radio

Native radio is carried on the web by AIROS (American Indian Radio on Satellite). In November, we'll all have the opportunity to listen to three Native-authored plays that will be broadcast on Native Voice One. I don't know the suggested age for the listener, but think they are probably fine for YA audiences. Details below:
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Celebrate Native American Heritage Month with a Three Course Feast for the Ear

The Native Radio Theater (NRT) Project presents three original radio plays, produced at a National Audio Theatre Festival workshop in West Plains, MO in June, 2006. Melba's Medicine, written by Rose-Yvonne Colletta (Lipan-Mescalero Apache) features a Native Grandmother who hosts her own radio talk show and gives out sage advice. Super Indian by Arigon Starr (Kickapoo) is about an Indian with super powers and his side kicks General Bear and Diogi. THE Best Place to Grow Pumpkins by Rhiana Yazzie (Navajo) tells the story of a young girl who helps her grandfather fight his diabetes through a magical pumpkin patch. Funded by the Ford Foundation, NRT is a project of Native American Public Telecommunications and Native Voices at the Autry.

The hour-long special will be broadcast over Native Voice One (NV1) eight times during November. NV1--The Native American Radio Service distributes through the Public Radio Satellite System to Native American radio stations around the country. Listeners all over the world can hear it on the web at www.airos.org or www.nativeradio.org

Thursday, November 16 at 8 a.m., 1 p.m., 6 p.m. E.T.

Saturday, November 18 at 1 p.m. E.T.

Sunday, November 19 at 1 p.m. E.T.

Twice on Thanksgiving Day, November 23 at 8 a.m., 1 p.m., 6 p.m. E.T.

Saturday, November. 25 at 1 p.m.

Sunday, November 26 at 1 p.m.

“I am part Native American”

In recent weeks there has been an increase in comments to my blog. For the most part, I’ve left the comments alone as a place for dialog among readers to take place. Periodically, I will respond to a specific comment or set of comments.

Today I want to respond to a recurring phrase, in which someone says “I am part Native American” and then goes on to make his/her point.

To those who say that here or elsewhere, I urge you to be specific. It is critical that people learn that the phrases “Native American” or “American Indian” are very broad, encompassing over 500 different tribes, each one different from the next.

A lot of people write to me, asking if they should use "American Indian" or "Native American" or "Indian" in their teaching. I write back, saying that best practice is to specify the tribe. If you're a teacher in New Mexico, best practice is to teach your students about the American Indians of New Mexico. Apache. Dine (Navajo). Pueblo.

Do your part in working responsibly to help everyone know more about who we are. Be explicit. State your tribe.

Cynthia Rylant's Long Night Moon

[Note: This review is used by permission of its author, Beverly Slapin, and may not be posted elsewhere without permission of the author.]
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Rylant, Cynthia, Long Night Moon, illustrated by Mark Siegel. Simon & Schuster, 2004. Unpaginated, color illustrations; preschool-2.

Rylant begins Long Night Moon with this: “Long ago Native Americans gave names to the full moons they watched throughout the year. Each month had a moon. And each moon had its name…” Together with the artist’s description of the author’s “tribute to the Native American tradition of naming the full moons” as “lyrical” and “magic,” and the CIP data describing Long Night Moon as “Indians of North America—Fiction,” unwary teachers may be led to believe that this book has something to do with Indians. It does not. Rather, Rylant, whose ethnicity we might safely assume is not Native American, assigns her own imaginative names and behaviors to twelve of the full moons in a year: “In January the Stormy Moon shines…on a wild wolf’s back.” “In July the Thunder Moon…listens to the clouds beat their drums.”

In the excitement of writing kiddie-poetry about moons and wild wolves and drumbeats, Rylant may not have noticed that the thirteen full moons in the lunar year—by which traditional peoples reckoned the seasons—do not coincide with the twelve months in the Roman year.

The two-page spreads—charcoal, pencil and pastel scenes of a house and surrounding countryside in blues, purples, greens and grays—contain visual markers to lend continuity to the poem: a woman holding a baby, a small house, gazebo, telephone poles, fence, large tree, smaller trees. So what are we to make of two polar bears sleeping in March in the hollow of the big tree right outside the fence?

I can just see classroom teachers making a list of “Indian moons” on the chalkboard, teaching young students to make paper-and-feather necklaces featuring their favorite “Indian moons” or make up their own “Indian moon” names based on their own experiences (e.g., “rollerblading moon”). This kind of thing gives me a headache.—Beverly Slapin

"An Indian?" in CLIFFORD'S HALLOWEEN

Across the country, kids know who Clifford the Big Red Dog is. A long-time favorite in a series of picture books by Norman Bridwell, even more kids are meeting Clifford by way of his television program, broadcast on PBS.

In the book Clifford's Halloween, Emily Elizabeth is trying to figure out what Clifford will be for Halloween. One option is an Indian. That page shows him in a large multi-colored feathered headdress, with what Bridwell must have intended to be a peace pipe in his mouth.

Many books about Halloween have illustrations of kids dressed up as Indians, and due to society's embrace of things-Indian and playing Indian, most people don't give it a second thought. 

Let’s pause for a moment, though, and think about this seemingly innocent act of dressing up as an Indian for Halloween.


What else do kids dress up as at Halloween? I don’t mean animals or superheroes, but people-costumes. They can be policemen, firefighters, cowboys, doctors, nurses, pilots, astronauts, baseball players, cheerleaders... All these are occupations or positions one can, in fact, be at some point, with the proper training.

Now---what about an Indian? You can’t train to be an Indian. You can’t become one. It is something you are born into.

Does that distinction matter? A lot of people would say “No. It’s all in good fun, no harm done.” So you help your child apply his/her “war paint” and put on feathers and other items that complete the costume. Can you imagine yourself painting the child’s face so he/she could be a black person? A minstrel performer, or perhaps a slave, or even Martin Luther King? I’m guessing a parent wouldn’t do that. That parent would know it was wrong. (Doing it in another context----a school play, for example, is a different context.)

Another question to consider: What sort of Indian are we encouraging children to be when we endorse an Indian costume, and what does it teach them? Are they savage Indians, the ones who, according to history books, were murderous, bloodthirsty killers? Or are they the tragic ones, heroic, last-stand, looking into the sunset, riding away despondent over loss?

In either case, the costume they wear is stereotypical. And—savage or heroic—both place Native peoples in the past, not the present, reinforcing the idea that we are an extinct people.

If the book you select for a Halloween read-aloud in storytime has characters that dress up as Indians, turn that illustration into a teachable moment with your students. And, if you’re the parent of a child who wants to dress up as an Indian, talk with your child about that choice and what it means.

In choosing NOT to think about this, are you, unwittingly, fostering the development of stereotypes?

Children's Books about Columbus Day

In comments to the poem about Columbus Day (posted on Oct 9th), anonymous said "There are fewer and fewer students these days who aren't aware of the varied opinions which arise in discussion of Columbus' voyages to the Western Hemisphere."

Do others have similar observations? I think anon's comment may be true with older children, but what about younger ones, in elementary school? Do high school students have to unlearn what they were taught in earlier grades? Or are teachers problematizing the teaching they do with young children?

If you're a teacher of young children, I'd really like to know what you're teaching.

I'm also interested in the children's books you have in your classroom (or library) that are about Columbus. And history texts, too, used in elementary school. Do they glorify Columbus? Is he a heroic figure? Do they say that he "discovered" America?

To get a sense of how to look critically at them, read James Loewen's book THE TRUTH ABOUT COLUMBUS. Published in 1992 by The New Press, it is an analysis of history textbooks used with high school students.

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

A Review of Joseph Bruchac's Geronimo

[This review posted here with permission of its author, Beverly Slapin. It may not be published elsewhere without written permission from the author.]

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Bruchac, Joseph (Abenaki), Geronimo. Scholastic Press, 2006; 360 pages, grades 5-up; Ndee (Apache)

It is 1908, more than twenty years after Geronimo’s final surrender to the White Eyes, and the grouchy, once-fearsome old man is looking for his hat. When his adopted grandson, whom he once called “Little Foot,” flicks his eyes up and then respectfully looks away, the old man discovers his hat—on his head.

As narrated by a younger Little Foot coming of age during the captivity years, the life of the man history has come to call “Geronimo” and the lives of the Ndee people who have come to be called “Apache” are rich with cultural and historical markers and a litany of broken promises. As Little Foot observes, “Lies from the mouths of the White Eyes seemed as certain as the sunrise each morning in the east. Even when they wrote their promises down on paper, they still did not keep them. Paper lies are even easier to burn.”

There is great good humor here too, as when Little Foot attempts to describe the thing called “cement” and as Nana opines in the humid Alabama weather, “Perhaps it would be better of us to sign a treaty with the mosquitoes. If they become our allies, together we can defeat all the White Eyes.”

Chronicling the years from 1886 to 1894, each short chapter begins with a historical third-person record that offers a counterpoint to Little Foot’s narrative and grounds it in the history of the times. Through Little Foot’s interpretation, middle readers will come to know the great spiritual leader as a man who loved his wives and many children, had an infectious sense of humor, and was an astute businessman besides.

Geronimo is a story of resistance and survival, courage and sacrifice, and, above all, the fight to maintain land, culture and community. Told from the perspective of the people themselves—with a refreshing absence of words such as “renegades” and “raiders”—Bruchac’s work is an antidote to the many toxic volumes, fiction and so-called non-fiction, that portray Geronimo and his people as savages.—Beverly Slapin

Jimmy Durham's "Columbus Day" poem

Durham is not Cherokee. I removed his poem.

Details at Indian Country Today: 

Dear Unsuspecting Public, Jimmie Durham Is a Trickster

Jimmie Durham’s indigenous identity has always been a fabrication and remains one

June 26, 2017

The The traveling retrospective Jimmie Durham: At the Center of the World and its accompanying catalog has launched a new conversation about Durham’s claims of being Cherokee, American Indian, and a person of color. Now art writers, museum staff, and scholars are making these claims on his behalf. These false claims are harmful as they misrepresent Native people, undermine tribal sovereignty, and trivialize the important work by legitimate Native artists and cultural leaders.

Durham is neither enrolled nor eligible for citizenship in any of the three federally-recognized and historical Cherokee Tribes: the Eastern Band of Cherokee Indians, the United Keetoowah Band of Cherokee Indians of Oklahoma, and the Cherokee Nation.

Self-determination of citizenship is a basic tenant of any sovereign nation including tribal governments. The three Cherokee tribes, whose history is thoroughly documented and accessible, stem from a history of self-governance that predates the establishment of the United States.

Anskohk Aboriginal Literature Festival

Nicola Campbell’s book, Shi-shi-etko, was awarded Aboriginal Children’s Book of the Year at the Anskohk Aboriginal Literature Festival on September 30^th. You can read Beverly Slapin’s review of Shi-shi-etko here. Campbell is currently working on a sequel to Shi-shi-etko.

Also receiving the award is Dale Auger’s Mwakwa-Talks to the Loon: A Cree Story for Children, which I have not read yet.

Cynthia Leitich Smith's Jingle Dancer

As noted in my profile, I am from Nambé Pueblo, located in northern New Mexico. Several times a year, we dance. Pueblo dance is, essentially, prayer-in-motion. It is not entertainment, and it is not performance.

Twelve years ago, my daughter danced for the first time. She was three years old. I have many strong, powerful, beautiful memories of sewing her clothes, of finding the items we would need to get all the traditional clothing she would need together. We turn to others in our family and community to help. An important note: we do not wear “costumes.” We are not “dressing up.”

Cynthia Leitich Smith’s picture book, Jingle Dancer, resonates warmly with memories of my daughter’s first time dancing. I've referenced Jingle Dancer several times on this blog, but haven't given it the attention it deserves.

The protagonist in Jingle Dancer is not Puebloan; she is a Muscogee (Creek)-Ojibwe (Chippewa) girl named Jenna. In the story, Jenna’s family and community help her get ready to do the Jingle Dance.

The illustrations, by Cornelius Van Wright and Ying-Hwa Hu, are just as important as the story. With each turn of the page, I smile, recognizing items that I see when I’m in my own home, or that of siblings or parents… Native art on the walls, a trunk used to keep traditional clothing.

It is apparent that author and illustrators collaborated on Jingle Dancer. Their book is a treasure, one that I love to share with friends, colleagues, students, and others who look for the best children’s books about American Indians. Several professional organizations and associations include it on their lists of recommended and notable books.

Too many children (and adults) think we no longer exist. Obviously, that is no longer the case. Some of us live on reservations, but like Jenna, a lot of us live in cities and towns across the country. Instead of teaching about Pilgrims and Indians this year, consider teaching students about American Indians as we are today. Start with Jingle Dancer.

I will be home (Nambe Pueblo) for a week and won't be posting until I return.

BASIC SKILLS CAUCASIAN AMERICAN WORKBOOK, by Beverly Slapin and Annie Esposito

I have used Basic Skills Caucasian American Workbook in classes and workshops. My experience is that people find it helpful in understanding what it feels like to have your culture presented by someone who knows little about it (or, more accurately, misrepresented by someone who knows little about it).

In the workbook you will find familiar worksheets. There are segments to read that have unfamiliar words followed by phonetic spelling to help pronounce the words. Blocks of text are followed by fill-in-the blank statements. There is a glossary. There are pages about education and schools, religion, and dating. The illustration on the front cover is of a man at a golf course.

Some people strongly object to the ways that the authors present Christianity, which makes the case beautifully about what is wrong with the ways that Native cultures and religions are presented in children's books.

If you find yourself thinking that a critique of one of your favorite (or a popular) children's book is "nit-picky," you will gain important insight by spending time with this book. It costs little ($13) and is available from Oyate.

Joseph Bruchac's HIDDEN ROOTS

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

[Note: This review is by Beverly Slapin of Oyate. I am grateful to her for sending me her reviews. Early in my graduate work, I read Through Indian Eyes: The Native Perspective in Books for Children, edited by Slapin and Seale. It marked an important moment in my work. In the field of children's literature, it is a touchstone, and its sequel A Broken Flute: The Native Perspective in Books for Children is equally important. As is clear to regular readers of my blog, I link to Oyate often, suggesting you order books like Hidden Roots from there. I would not do that if Oyate was a for-profit bookseller. Oyate is a not-for-profit organization that is doing very important and necessary work on a shoestring. ---Debbie]

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Bruchac, Joseph (Abenaki), Hidden Roots. Scholastic Press, 2004. 136 pages, grades 5-up

Living with his family in a tiny town in upstate New York, 11-year-old Sonny is surrounded by secrets. His parents live in solitude, and so does he. Questions are forbidden, and silence is enforced by his father, who explodes into violence without warning. His only friend is Uncle Louis, who comes around mostly after Sonny’s father has left for work. The old man is tied to the land in ways that Sonny is just beginning to know. As they walk in the woods together, make camp and do a lot of listening, Uncle Louis shows Sonny the relationship among all things. “Is it all right, us praying like Indians that way?” Sonny asks. “Long as no one sees us,” Louis answers.

Taking place in the early 1960s, Hidden Roots is rooted in the Vermont Eugenics Program that began some thirty years before and left the Abenaki people, for generations, “hiding in plain sight.”

Slowly, Sonny begins to understand how a Jewish librarian’s parents’ secret saved her life and how Indians had to pretend they weren’t Indian: “Sometimes people jes have to do the hardest things for their children,” Louis says. The hardest things, such as giving your children away so they can survive.

When Louis can no longer contribute to the silence and shame, Sonny begins to understand the “whys” of having to leave your home in the middle of the night, having secrets hanging heavily in the air, having to keep your head down and not bring attention to yourself, having to watch your father’s self-hatred turn to violence, having been told your grandfather is your “uncle” because he still lives in the Indian way. And Sonny begins to come to know that roots—even hidden roots—run deep.

Hidden Roots is for all those Indian families whose lives were interrupted by the eugenicists and for all the elderly mothers who still whisper to their adult daughters, “You better get your hair cut, or everybody’ll know you’re an Indian.” For all those who see their lives in this story, and for all those who never knew and now bear the responsibility to bring about change.

In a poem called “Rez Kid” (in Above the Line, West End Press, 2003), Joe Bruchac writes,

…hidden roots still give you strength.

There will always be another day.

The wind will always remember our name.

No matter how many roads they build,

the earth under our feet is our mother.

Joe Bruchac has written an honest, truth-telling story that may well be the most important book this prolific writer has ever produced. Thank you, Joe. You have done a good thing.

—Beverly Slapin

Reaction to Slapin’s review of Touching Spirit Bear

Beverly Slapin’s review of Touching Spirit Bear (posted here on September 20^th) has generated discussion on a listserv sponsored by the American Library Association and other places as well.

I share some of the discussion and my responses here. I paraphrase a response and use italics to differentiate it from my response.

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It is well written and a great story. Teen boys who are bullies need books like this to learn about the consequences of their behavior and that there are other ways of behaving. Errors regarding Tlingit culture are excusable because the book has so much value for bullies.

Debbie: Is it ok to use and misrepresent one culture (in this case Tlingit) because someone else (bullies who are presumably not Tlingit) stand to gain?

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I will continue recommending the book because it was favorably reviewed and is on so many award lists.

Debbie: How knowledgeable are the people who wrote the reviews? When Ann Rinaldi’s My Heart is on the Ground came out, it was favorably reviewed and it was likely headed for Recommended Books lists. But our critique headed that off, because, I think, people knew that the information in the critique was (and is) irrefutable, and that it was irresponsible to laud the book.

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IT IS FICTION! JUST A STORY! It doesn’t matter if it is accurate or not.

Debbie: If a work of fiction said that 2+2=7, everybody would know it was a mistake. But we, as a society, know so little about American Indians that we don’t know when American Indian cultures are being misrepresented, stereotyped, or otherwise inappropriately used.

American society is so enamored with a narrow, romantic view of who we (remember, I am Nambé Pueblo Indian) are that it is not open to criticism that gets in the way of wholeheartedly endorsing or recommending a book. People who love the book and don’t like Slapin’s review may feel the criticism is an attack on them, on their personal values. Critiques like Slapin’s are not personal attacks, but they can feel that way when the book under critique is well loved.

If there was only one book like Touching Spirit Bear out there, then maybe it wouldn’t matter. But there are more flawed stories about American Indians than there are good ones. All those flawed ones contribute to the misperceptions American have about American Indians.

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I’m out of time and will have to stop here. Your comments in the "Comments" option are welcome.

Rina Swentzell's CHILDREN OF CLAY: A FAMILY OF PUEBLO POTTERS

Like most people, I feel warm and happy when I find some aspect of my life in an unexpected place (provided, of course, that it is presented accurately and with integrity). Such was the case several years ago when I came across Children of Clay: A Family of Pueblo Potters, a photo essay by Rina Swentzell.

Published in 1992 in Lerner's "We Are Still Here" series of photo essays, I especially like Children of Clay because of its photographs of pueblo people (in this case, from Santa Clara Pueblo). From the baby on the cover to the children and adults throughout the book, readers see Pueblo people working and playing in the present day.

Teachers looking for an art lesson or activity that is related to American Indians might consider clay projects. Using Children of Clay with your students, they can see Pueblo kids making things with clay. You can teach your students that:

1) American Indians did not vanish or become extinct.
2) Pueblo Indians are in New Mexico.
3) There are 19 Pueblos (there is a map of them in the book).
4) They are all different, with different names and locations.
5) There are over 500 federally recognized tribal nations in the US today.

A note of caution: Young children could easily develop an idea that "Pueblo Indians make pots." While that is true for some, it is important to tell your students that not all of us are potters.

Jean Craighead George's JULIE OF THE WOLVES

First published in 1972 by Harper & Row, Julie of the Wolves won the Newbery Medal in 1973. It is included on a wide range of recommended book lists. It is available in audio and video; there is a sequel to it. Numerous teacher's guide and activity books are available for teachers to use when teaching the book. This is the summary of the Julie of the Wolves (from the Library of Congress):

"While running away from home and an unwanted marriage, a thirteen year old Eskimo girl becomes lost on the North Slope of Alaska and is befriended by a wolf pack."

A few days ago on child_lit (an Internet listserv for discussion of children's books), a subscriber posted a link to a review of the book on the Alaska Native Knowledge Network webpage. The reviewer, Martha Stackhouse, is Inupiaq. She points out misrepresentations and misconceptions of Inupiaq culture, and says

 "I humbly would not recommend the book to be put on school shelves."

Spend some time on the Alaska Native Knowledge Network pages. Read Martha Stackhouse's review of Julie of the Wolves. There is much to learn on their site about this and many other popular children's books set in Alaska (i.e. Gerald McDermott's Raven: A Trickster Tale from the Pacific Northwest).

To find the book reviews, go to Honoring Alaska's Indigenous Literature, and click on "Examining Alaska Children's Literature" and "Critiquing Indigenous Literature for Alaska's Children."