Established in 2006 by Dr. Debbie Reese of Nambé Pueblo, American Indians in Children's Literature (AICL) provides critical analysis of Indigenous peoples in children's and young adult books. Dr. Jean Mendoza joined AICL as a co-editor in 2016.
With a few days left in October, librarians and teachers across the country are (likely) in the midst of planning activities about American Indians. Why? Because that month is "American Indian Heritage Month."
According to the Cooperative Children's Book Center (CCBC) at the University of Wisconsin...These statistics represent only quantity, not quality or authenticity. Additionally, a significant number—well over half—of the books about each broad racial/ethnic grouping are formulaic books offering profiles of various countries around the world.
The statistics, of course, tell only one part of the story. Throughout the year, it wasn’t the numbers but individual books that made a profound impact on us— compelling, vivid works that represent some of the finest creative output of authors and artists in 2007: The Absolutely True Diary of a Part-Time Indian by Sherman Alexie...
In 1992, we helped put together Returning the Gift, a gathering of Native American writers held at the University of Oklahoma. Returning the Gift, the first major meeting of Native American writers ever held, brought together more than 200 Native authors from across the continent. Most of the authors who participated have publications found in this online catalog, and more will appear in the future.
The overall goal of the North American Native Authors Online Catalog is to increase the distribution of creative work by Native writers, and to raise public awareness of the range, strength, and beauty of contemporary Native American writing, research, storytelling, and performance.
The North American Native Authors Catalog is a project of the Greenfield Review Press, a Native owned and managed 501(c)3 non-profit organization. The Greenfield Review distributes and has published many of the works included in this catalog, in addition, a percentage of proceeds are used to support Native American cultural and literary foundations, including, but not limited to the Returning the Gift Project and the Wordcraft Circle of Native Writers and Storytellers.
[Note: This review may not be published elsewhere without written permission from its author, Beverly Slapin. Copyright 2008 by Beverly Slapin. All rights reserved.]
Duncan, Barbara, The Origin of the Milky Way & Other Living Stories of the Cherokee, illustrated by Shan Goshorn (Eastern Band Cherokee).
Duncan, education director at the Museum of the Cherokee Indian in Cherokee,
Told by Cherokee elders Davy Arch, Robert Bushyhead, Edna Chekelelee, Marie Junaluska, Kathi Littlejohn, and Freeman Owle, these stories are effectively put down in a style known as “ethnopoetics,” which reflects the words and speech pattern of the storyteller by breaking a line when a teller pauses. So, in reading the stories, one can almost “hear” the story being told.
The stories told here teach that everyone has something to contribute (even if you are a rattlesnake, a small clumsy child or a bird with big feet), that bragging and boasting will get you nowhere (except maybe a ratty-looking tail), that generosity can get rewarded in a number of ways (including being taught all the cures of the forest), and that the sight and smell of strawberries can remind us not to fight with those we love. All of the stories—which range from very funny to very sad to very scary—teach connection to land, culture and community.
Shan Goshorn’s luminous cover painting shows an elderly storyteller sitting on a porch, surrounded by Grandmother Spider bringing fire, two Little People, the Corn Woman Spirit, the dog who created the Milky Way, and the wolf whose clan was taught the medicine ways.
—Beverly Slapin
[Note: This review may not be published elsewhere without written permission from its author, Beverly Slapin. Copyright 2008 by Beverly Slapin. All rights reserved.]
Carlson, Keith Thor, and Albert “Sonny” McHalsie (Stó:lo), I am Stó:lo! Katherine explores her heritage, photos by Gary Fiegehen, illustrations by Rachel Nicol-Smith. Stó:lo Heritage Trust, 1998, grades 5-up
As a school project about cultural heritage is planned, fourth-grader Katherine McHalsie is not happy when another student voices his thoughts about Native peoples based on a cowboy-and-Indian movie he saw on TV. So Katherine sets out to research her heritage.
In conversations and hands-on experiences with her large extended family and Stó:lo (Coast Salish) elders, Katherine learns about the importance of story, community, ceremony, history, and her ancestors. And she learns that everything—the trees, the fish, the land—is alive, everything has spirit, everything has volition, everything has purpose.
From learning history while watching her father transform a small piece of cedar into a carved sturgeon, to learning about keeping safe while listening to her brother relate a particularly scary story, to learning about traditional foods while helping her mother pick and clean stinging nettles, to learning about traditional fishing while helping her father mend a eulachon net, to learning about traditional basketry while helping an elder gather and split cedar roots, to learning about the responsibility that goes with being given a traditional name, to learning about the land and place-names while watching a gigantic whirlpool arise seemingly out of nowhere, Katherine learns about the Stó:lo people by living in the community, by listening to and working with her elders, and by, as her father tells her, “being Stó:lo.”
When she returns to school ready to present her report, Katherine is more confident about what she has learned and what she has yet to learn. She informs the class that she is not going to talk about “horses and buffalo,” but rather about “something that has special significance for me.” Unwrapping the carved sturgeon her father has made, she begins.
The engaging narrative is enhanced by lovely photos of Katharine and her extended family. Maps, archival photos, artwork, a glossary, and a key to the Stó:lo writing system all work together to complement the story and set it in time and place. In a lengthy preface well worth reading, Carlson relates the collaborative process by which I am Stó:lo! came to be; it’s an honest discussion by a non-Native author of how serious obstacles and ethical dilemmas were dealt with by the Stó:lo chiefs and elders who guided the project, and by the McHalsie family with whom he worked. Highly recommended.—Beverly Slapin
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