Not recommended: TWISTED TRUE TALES FROM SCIENCE: MEDICAL MAYHEM

This morning, I read Elisa Gall's review of Medical Mayhem, a book in the "Twisted True Tales from Science" series published by Prufrock. She shared these two images:

At 5:06 AM on July 21, 2017, I used twitter to thank Elisa for that review. I tagged the publisher.

At 10:14 AM, Prufrock replied, saying
"We should never have allowed these images in a book by Prufrock Press. We are deeply sorry."

At 10:16 AM, Profrock said
"This is inexcusable. We are in the process of destroying that inventory and replacing it with a corrected edition."


I assume they know that it is not just the images, created by Eliza Bolli, that are a problem. The text, by Stephanie Bearce, also needs attention.

The editor, Lucy Compton, did not see the problems in text or illustration. Neither did any of the "experts" who reviewed it at the Prufrock page for the book. Elaine Wiener, a gifted education communicator, missed it. So did Terri Schlichenmeyer, of New York Parenting, and Lori Cirucci of NSTA Recommends (NSTA is the National Science Teachers Association), and Paula Young of Science-Nook, and Muhammed Hassanali of the Seattle Book Review. If you go over to the Goodreads page for the book, you'll see lot of praise there, too.

Prufrock is an educational publisher. Looking at their products, I see page after page of materials for teachers. There's other children's books, too. There's one on the Wild West and one on the Civil War. What, I wonder, lurks in those two books--and the professional materials, too?

I'm glad that Profrock is going to destroy this inventory and replace it. For that--this post about the book and their response is going on to the Revisions to Racism page here on AICL.

First look at PURITAN GIRL, MOHAWK GIRL by John Demos

John Demos has a book coming out in October of 2017 from Amulet Books (an imprint of Abrams). Some of you who read history books may recognize his name because of his book, Entertaining Satan, or because of his Unredeemed Captive: A Family Story from Early America. Demos is a history professor at Yale, but I don't know if he's teaching there or not on a regular basis.

In doing the background work for my review of his Puritan Girl, Mohawk Girl, I see that he did another book for young readers, back in 1995. That one is The Tried and the True: Native American Women Confronting Colonization. I'll see if I can find a copy of it.

The story Demos tells in this book is about Eunice Williams. Its audience is children who are 8 to 12 years old. Here's the description at Amazon:

In this riveting historical fiction narrative, National Book Award Finalist John Demos shares the story of a young Puritan girl and her life-changing experience with the Mohawk people.

Inspired by Demos’s award-winning novel The Unredeemed Captive, Puritan Girl, Mohawk Girl will captivate a young audience, providing a Native American perspective rather than the Western one typically taught in the classroom.

As the armed conflicts between the English colonies in North America and the French settlements raged in the 1700s, a young Puritan girl, Eunice Williams, is kidnapped by Mohawk people and taken to Canada. She is adopted into a new family, a new culture, and a new set of traditions that will define her life. As Eunice spends her days learning the Mohawk language and the roles of women and girls in the community, she gains a deeper understanding of her Mohawk family.  Although her father and brother try to persuade Eunice to return to Massachusetts, she ultimately chooses to remain with her Mohawk family and settlement. 

Puritan Girl, Mohawk Girl offers a compelling and rich lesson that is sure to enchant young readers and those who want to deepen their understanding of Native American history.

Eunice Williams was a real person, born in September of 1696. As a child, she was captured in a raid. The story Demos tells in Puritan Girl, Mohawk Girl is described (on the back cover of the ARC) as a historical novel inspired by The Unredeemed Captive. His Unredeemed Captive is cataloged as biography.

Todays "First Look" is the first in a series of blog posts I'll do on Puritan Girl, Mohawk Girl.

The Cover 

The words "PURITAN GIRL" are in black font. They're easy to see. The words "MOHAWK GIRL" are in a tan font. They're harder to read. I don't know what the cover designer was going for with the two different colors but I find the tan one less prominent. Visually, that makes Puritan more visible than Mohawk.

Look, too, at the 'R' in the first use of Girl and the R in the second use. See the difference? This reflects a design element in which font style is used to signal "other." You may have seen this on some book covers--where the shape and design of letters are used to visually signal "other." The R in the Puritan girl is what most would recognize as the way R's look, but the R in the Mohawk girl is angular. Visually, this different treatment of the R signals difference in how we're to think of these two peoples. Some would see the difference as good; others would not.

What are your thoughts on these visual ways of setting Puritan apart from Mohawk?



Preface

The first line in the preface is

When Christopher Columbus and other explorers got to America from Europe, they found millions of people already living there. 

Right off the bat, I see problems there.

First,"explorers" is the default word for Columbus and other "explorers." That idea--of exploration--is generally seen as a good, or, something positive. The word 'explore' means to investigate, study, analyze, become familiar with.  The word "explorer" means one who explores. But, I think we all know there is more to Columbus's voyage than "explore." He was looking for something that would make him, those who sponsored his voyages, and others, too, wealthy (and wealthier).

Second, Demos used "America" to describe a place that wasn't--at that time--called America. The millions of people who were living there when Columbus arrived had their own words for it. The word "America" -- according to the Oxford dictionary -- dates back to the early 16th century and is believed to be a derivation of the name of Amerigo Vespucci, who sailed along the west coast of South Africa in 1501.

In the 2nd paragraph, Demos writes

They saw America as a "new world." They settled on the land and claimed it for themselves. They started farms, villages, and towns. They organized "colonies" that belonged to their home countries in Europe. They didn't ask permission from the Indians; they just went ahead with their plans. They viewed Indians as inferior to themselves--as "savages" living in a primitive way. 

Demos is following a well-trod way of depicting this "new world." By that, I mean he fails to note that Native peoples had farms, villages, and towns before Europeans got here. In the next paragraph he says that the two groups had certain advantages over the other, which is accurate, but what he says pretty much affirms the "primitive" and inaccurate imagery so many people have. More about that, later.

I'm also curious about using the idea of "asking for permission" to characterize what happened. It doesn't work, right? Let's bring it to something of the present day. Say you have some acreage that someone thinks you're not using. Let's say someone from Spain comes over, sees it, and thinks they'll build something there. They knock on your door and say "with your permission, I'd like to build my house on that spot over there." See why the idea of "permission" doesn't work?

I gotta dash off for now to do some other work. I welcome your comments on what I've said so far about this book.

Debbie--have you seen BLACK SHEEP WHITE CROW by Jim Kristofic?

A reader writes to ask if I've seen Jim Kristofic's Black Sheep, White Crow.

Published in 2017 by the University of New Mexico Press, I'm hoping that anyone who buys it will read the preface carefully and then set it aside. By that, I mean--I hope they choose not use it with kids, as-is.

Here's why. In the preface, Kristofic writes:

Some stories were told to me while I was growing up on the Rez. Some stories are blends of my own imagination with the traditional ideas of the Animal People and the lessons they can teach.

That passage in the preface prompts several questions. For starters...

Did Kristofic have permission from the tellers to publish the stories told to him? If yes, how did he get that permission? Did he use the tired and exploitative "if we don't do this, the stories will be lost forever" approach?

Does Kristofic realize that--in blending his imagination with those stories--he is, in effect, assuming that he has the right to tinker with the religious stories of another peoples' traditions? Of course, that's been done a lot, so he may think it is fine. I do not, and neither do a lot of Native people. Too many writers think they can just add, willy nilly, to our creation stories. That they can come up with their own stories, based on ours. That's disrespectful to us. Maybe Kristofic would do that cherry picking sort of thing to the Bible, too, but would he then label the stories as "Bible Stories"? I think not. They wouldn't be Bible stories. They'd be his fictions.

Because of the preface alone, I'm tagging Kristoff's book with a not-recommended. I know I'll catch heck from some people for saying "not recommended" before I've "read the whole book" but that's ok. I stand on what I said.

When someone who is not of the people a book purports to be about, the act of rewriting and adding to that peoples stories and then labeling them as stories of those people, is not ok. It is, in my view, misleading to the reader and disrespectful to the people who shares stories with the writer.

In summary: I do not recommend Jim Kristofic's Black Sheep, White Crow. 

Debbie--have you seen THE QUEST FOR Z: THE TRUE STORY OF EXPLORER PERCY FAWCETT AND A LOST CITY IN THE AMAZON by Greg Pizzoli?

A teacher wrote to ask if I've seen The Quest for Z: The True Story of Explorer Percy Fawcett and a Lost City in the Amazon by Greg Pizzoli. Out in June of 2017 from Viking Books for Young Readers, it is getting starred reviews. Here's the description:

British explorer Percy Fawcett believed that hidden deep within the Amazon rainforest was an ancient city, lost for the ages. Most people didn’t even believe this city existed. But if Fawcett could find it, he would be rich and famous forever. This is the true story of one man’s thrilling, dangerous journey into the jungle, and what he found on his quest for the lost city of Z.

Rich and famous. Explorer. British. Why the starred reviews for another in a long line of stories that celebrates exploitation, colonization, and, well, capitalism?!

Page one (and the title, too) tell us that this story is about the Amazon rainforest:

Less than one hundred years ago, maps of the world still included large "blank spots": distant and dangerous lands that mapmakers and scientists had not yet explored.

Critical readers will ask--right away--about the point of view of this story. That land was not "distant and dangerous" to the people that lived there. And it was not unexplored by them, either. Here's one possible rewrite of that sentence:

Less than one hundred years ago, British maps of the world still included large "blank spots": distant and dangerous lands that British mapmakers and British scientists had not yet explored. 

Here's another:

Less than one hundred years ago, British mapmakers and scientists, imagining themselves superior to all other peoples of the world, called the homelands of those peoples "distant and dangerous" and could not imagine that those peoples also had mapmakers and scientists. Those British people were racist. 

It is frustrating to see books like this one... Do you have a copy? How might you re-write it? Might you do a re-write of it--with kids? It would be an excellent exercise in point of view, racism, and the ongoing refusal to decenter Whiteness.

I may be back, later, with more to say...

A Native Perspective on the Upcoming Total Solar Eclipse

Eds. note: American Indians in Children's Literature is pleased to share this open letter about the upcoming total solar eclipse. Written by Naomi Bishop (Gila River Indian Community), currently serving as President of the American Indian Library Association, we think teachers and librarians -- and parents, too -- will find it useful. 

____________________

July 5, 2017

Dear librarians and teachers, 

Eclipse viewing glasses and library programs are big in social media and libraries right now. It is a great opportunity to share STEM programs with the public. However, some cultures view an eclipse differently. While I can’t speak for all cultures impacted, I can speak for some Native American communities. In Navajo culture the shadow that is made by the sun is very important and viewing the eclipse is not encouraged. Many Native American families visit our libraries, attend our programs, read our books and view us as part of their community. 

If you decide to host an eclipse program, please be aware that some families might not be receptive. If a family does not want to participate, respect their choice. Please avoid placing children in a position where they need to explain their beliefs or identify themselves as Native American. Give them a safe way to back out, or to decline participation. 

If you would like to learn more about Navajo Astronomy there is a great book you can order for your library called Sharing the Skies : Navajo Astronomy by Nacy Maryboy and David Begay. 

Sharing the Skies : Navajo Astronomy.

Author: Nancy C Maryboy; David Begay; Indigenous Education Institute.; World Hope Foundation. Publisher: Tucson, Ariz. : Rio Nuevo Publishers, ©2010.

Sharing the Skies: Navajo Astronomy was published by a Navajo scholar and educator. David Begay is one of the founders of the Indigenous Education Institute. He lives on the Navajo Nation and works with UC Berkeley, Space Science Labs in the areas of Western and Indigenous science with support from NASA and the National Science Foundation. Nacy Maryboy is a Cherokee/ Navajo scholar and focuses on Indigenous science and astronomy. She is President and Executive Director of the Indigenous Education Institute. This book was published as a resource for teachers and families. It is a beautiful book and an excellent collection to any library.  The authors note in the beginning of the book has this important cultural information: 

"Although this book is available year round we encourage teachers to be sensitive to the cultural protocol and use this book primarily during the winter months." 

Here are some more resources for teachers and librarians focused on Indigenous STEM programs. 

Indigenous Education Tools - University of Washington

http://indigenouseducationtools.org/briefs 

Implementing Meaningful STEM Education with Indigenous Students & Families

http://stemteachingtools.org/brief/11 

http://stemteachingtools.org/assets/landscapes/STEM-Teaching-Tool-11-Meaningful-Indigenous-STEM-Education.pdf

Teaching STEM In Ways that Respect and Build Upon Indigenous Peoples' Rights

http://stemteachingtools.org/brief/10 

Indigenous Education Institute

http://indigenousedu.org/wp/about-iei/ 

The American Indian Science and Engineering Society 

http://www.aises.org/about  

Society for the Advancement of Chicanos and Native Americans in Science

http://sacnas.org/ 

I hope this information is helpful and encourages more learning and discussions among educators and librarians. Feel free to contact me with any questions. 

Sincerely,

Naomi Bishop, MLIS 

Member of the Gila River Indian Community 

AILA President 2017-2018

Northern Arizona University Cline Library 

Teaching, Research, and Learning Services

Science and Engineering Librarian 

Debbie, have you seen JUAN PABLO AND THE BUTTERFLIES by JJ Flowers?

Eds. note: August 10, 2017--see excerpts of Beverly Slapin's review. 

****

Today, a reader asked me about Juan Pablo and the Butterflies, by JJ Flowers. Out this year (2017) from Simon and Schuster, today's question rings a bell. I think someone asked about it before. Anyway--here's the description:

After facing a vicious drug cartel in Mexico’s Monarch Butterfly sanctuary, Juan Pablo and his best friend Rocio risk everything and try to escape the cartel’s henchmen—determined to pursue them at all costs—by following the butterflies’ migration all the way to California.

I did a quick look-inside and see three passages with the word "Indian" in them. Here is the first one:

The text is this: "Following his abuela's suggestion, he and Rocio had built an Indian tepee in the forest just beyond the meadow." This tepee is a secret. There, Juan Pablo and Rocio play imaginary games... like Indians. Rocio plays "the chief" and Juan Pablo plays "the brave. Like many of you, I'm wondering if kids in Mexico play Indian in the way that kids in the US do.

In the second passage, Juan Pablo and Rocio are on "an old Indian path." He thinks that Indians lived there after the Aztecs and before the Spaniards. I wonder who he's thinking the "Indians" were, exactly? There's a lot of Native nations in California... still there... not gone...

There's one more passage... about an "old Indian" prediction about spider webs.

If I get a copy of the book, I'll be back with a review. If you've got it and want to say a bit about it, please submit a comment.

Max of WHERE THE WILD THINGS--as a Native kid

People in children's literature are familiar with Where the Wild Things Are, by Maurice Sendak. I read it to kids many times.

I'll never read it the same way again, though, thanks to Steven Paul Judd's imagining of Max as a Native kid!

The t-shirt is available today at 11:00 Central Time (6/24/17) in limited quantities from The NTVS.

Oh! I learned about the shirt this morning, from Rebecca Roanhorse. She's got a book in the works! Its title is Trail of Lightning. It'll be out in 2018 from Simon & Schuster's Saga imprint.

Debbie--have you seen BLOWBACK '07 by Brian Meehl?

A reader writes to ask if I've seen Blowback '07 by Brian Meehl. I haven't but will look for it. Here's the description:

Clashing teenage twins Arky and Iris have one thing in common: an ancient musical instrument left to them by their mother. When Iris plays the strangely curved woodwind, the trouble begins; Arky's friend, Matt, the school's star quarterback, disappears.

Transported to 1907 and the Carlisle Indian School, Matt is forced to play football for Coach Pop Warner as the Carlisle ''Redmen'' revolutionize Ivy League football. Matt's struggle to ''play his way home'' is complicated when he falls in love with an Indian girl.

Meanwhile, Arky and Iris discover a cache of secrets that might bring Matt back, and lead to the ultimate rescue: their mother, trapped in the past.

Blowback '07 launches a century-spanning trilogy to be continued in Blowback '63 and Blowback '94. Books two and three propel Arky and Iris to the illuminating past, and transform them in ways they never imagined. After all, as their mother once cautioned, ''Every road to the future winds through the past.''

Published in 2016 by Mill City Press, I'm wary of Meehl's book--not because of the publisher, but because of the content. Any stories that delve into the boarding schools Native children were forced to go to must be done with extraordinary care and research, lest they come out like Ann Rinaldi's disastrous My Heart Is On the Ground.

Why, I wonder, did Meehl select Carlisle as the place his character would go?

When I get a copy, I'll be back with a review.

Highly Recommended: Cherie Dimaline's THE MARROW THIEVES

I first came to know Cherie Dimaline's writing last year, when I read "Legends are Made, Not Born" in Love Beyond Body, Space, and Time: An LGBT and Two-Spirit Sci Fi Anthology. The character she writes about in that story is named Auntie Dave. 

I wrote, then, that I had to "just be" with Auntie Dave and that story for awhile. There's a quality in Dimaline's writing that reached from the page, into my being. 

That's the case, too, with The Marrow Thieves. I paused again and again as I met and came to know 16 year-old French, and then the people who would become his family: Miig, Wab, Zheegwon, Tree, RiRi, Minerva, Chi-Boy, and Slopper. 

Later, French will meet and fall in love with Rose. On page 32, there's a line about her that squeezes my heart. "We had a future and a past all bundled up in her round dark cheeks and loose curls." 

French (sometimes called Frenchie; his given name is Francis) and the rest are on the run, running away from "the Recruiters." Here, I'll share the description from the back cover:

Humanity has nearly destroyed its world through global warming, but now an even greater evil lurks. The Indigenous people of North America are being hunted and harvested for their bone marrow, which carries the key to recovering something the rest of the population has lost: the ability to dream. 

In this dark world, Frenchie and his companions struggle to survive as they make their way up north to the old lands. For now, survival means staying hidden.... but what they don't know is that one of them holds the secret to defeating the marrow thieves. 

The hunters in Dimaline's story are "the Recruiters." They're the ones French and all the others are hiding from, running from. The Marrow Thieves begins when French is 11, being chased by those Recruiters who want to take Indigenous people to schools to take their marrow. That's a specific reference to the residential schools of the past, where so much was taken from Native children. It is one of many points in The Marrow Thieves where--painfully or with exquisite beauty--Dimaline's story resonates with me. It will resonate with other Native readers, too, especially those who are Anishinabe. Several tribal nations are mentioned in here, too.

One moment that made my heart swell is when the group has come to an abandoned hotel. After months of sleeping on the ground in tents, they cautiously enter the hotel, and then later, enthusiastically say good night, each in their own rooms, on beds. For the first time, French and Rose are curled up together. They're startled when they hear little Ri say "French, can I sleep with you guys?" and then a minute or two later, Slopper (he and Ri are the two children in the group) appears and says "Move over, French. I can't sleep." They drift off to sleep. That's how it is.

There's a passage in The Marrow Thieves that, for me, embodies what matters for any society. French thinks about how, when a people don't have their youngest and their oldest, they are without deep roots, and without an acute need to protect and make things better.

That's a key piece of why this story is one I'm carrying. It is about caring, about love, about how people can continue, and will continue.

There's so much more to say. About... song. About Miggs and Isaac, about Ri, about Minerva, about French.  But I'll stop and let you be with these achingly dear characters.

I highly recommend The Marrow Thieves. I ordered my copy from Canada. Published by Dancing Cat Books (an imprint of Cormorant Books), it isn't available in the US till later this year.

Doris Seale, 1936-2017

Back in the early 1990s when I started graduate school, I learned of the work of a Santee, Cree, Abenaki woman named Doris Seale. I read her writings about the ways that Native people are depicted in children's books. Those words were fierce. I learned a lot from her. She also wrote two books of poetry: Blood Salt, and Ghost Dance. 

In 2001, she won the American Library Association's Equality Award for the work she'd been doing, for over 40 years. That year, ALA's meeting was held at a Marriott Hotel in San Francisco that was in a labor dispute with its workers. Rather than cross a picket line to accept her award, Doris Seale joined that picket line.

Source: http://libr.org/juice/pics/4.23/Marriott.html 

Doris started her work as a librarian a year before I was born, in the children's department of the Brookline Public Library, in Brookline Massachusetts. She passed away this year. That marks 60 years, or so, of her words, doing work, for children.

She founded Oyate, too.

In her honor, I'm going to start compiling a bibliography of her writings. It will be on this page. At this point in time, people in the fields of education and library science point to me as an important voice in understanding the ways that Native peoples are depicted in children's books. I learned a lot of what I know from Doris Seale. I invite you to read her work. Cite it, and share it. And let me know of ones I've missed, too.

***

Doris Seale's Writings about Native Peoples in Children's Literature

Seale, D. (1981). Bibliographies about Native Americans—A mixed blessing. Interracial Books for Children Bulletin, 12, 11-15.

Seale, D. (1984). Indians without Hope, Indians without Options--The Problematic Theme of Hatter Fox. Interracial Books for Children Bulletin, 15(3), 7.

Slapin, B., & Seale, D. (1988). Books without bias: Through Indian eyes. Oyate.

Seale, D. (1991) 1492-1992 from an American Indian Perspective. In Lindgren, M. V. The Multicolored Mirror: Cultural Substance in Literature for Children and Young Adults. Highsmith Press, W5527 Highway 106, PO Box 800, Fort Atkinson, WI 53538-0800..

Seale, D. (1992). Let us put our minds together and see what life we will make for our children. Slapin and Seale, Through Indian Eyes: The Native Experience in Books for Children, 7-12.

Slapin, B., & Seale, D. (1992). Through Indian Eyes: The Native Experience in Books for Children. New Society Publishers, 4527 Springfield Ave., Philadelphia, PA 19143.

Slapin, B., Seale, D., & Gonzales, R. (1996). How to tell the difference: A guide to evaluating children's books for anti-Indian bias. Berkeley, Calif.: Oyate.

Seale, D. (2001). Parting Words: The Works of Paul Goble. Multicultural Review, 10(1), 120-120.

Slapin, B., & Seale, D. (2001). Presenting the Wounded Knee Massacre in Books for Children: A Review Essay on Neil Waldman's Wounded Knee. MultiCultural Review, 10(4), 54-56.

Seale, D., & Slapin, B. (2006). A broken flute: The Native experience in books for children. Rowman Altamira.

Seale, D. (2007). Navajo: Visions and Voices Across the Mesa. Review at American Indians in Children's Literature. 

Dow, J., & Seale, D. (2009). Tomie de Paola's The Legend of the Indian Paintbrush. Review at American Indians in Children's Literature.  _________

See: 
Doris Seale: In Memorium at Dawnland Voices
Doris Marion Seale (obituary at The Boston Globe)

About DANNY AND THE DINOSAUR

Last month, Harper Collins celebrated the 60th anniversary of its I Can Read books. I wondered if they would remove this page from the new edition of Danny and the Dinosaur, by Syd Hoff. The book was first published in 1958.

I went to the Harper Collins website and saw that they've got worksheets up for some of the I Can Read books. They had some for Danny and the Dinosaur, including this one, which told me that they clearly had not revisited that page. I did a screen capture of it, added the red arrow, and tweeted to Harper Collins, asking them about that page.

They wrote back to me that same day (May 9, 2017), saying:

"We appreciate your valuable feedback and sincerely apologize that this activity was offensive. It has been removed from the site."

It is, indeed, gone, and when I pressed them about the page in the actual book, I got a DM (direct message) that said "We are reviewing the book and will be in touch in the future." I thanked them. When they get in touch, I'll be back with an update. Let's hope they're getting rid of that page.

Some thoughts on Chelsea Clinton's SHE PERSISTED

Chelsea Clinton's picture book, She Persisted, was released on May 30, 2017. Parents and teachers will buy it. So will activists. Published by Philomel Books (an imprint of Penguin), it is already marked as a best seller at Amazon.

The title, as many AICL readers will likely know, is based on Mitch McConnell's remark about Elizabeth Warren, who persisted in trying to read Coretta Scott King's words on the Senate floor in February of 2017. Some of you may recall that I've written about Warren before, when she persisted in making a claim to Cherokee identity. That persistence showed a lot of willful ignorance. I don't want to get sidetracked, though, in this post that focuses on one page in Clinton's She Persisted. 

I like the concept: a picture book about women who push back on those who want them to be quiet, to sit down, to go away... that's a great idea. But the execution--with respect to the page about Maria Tallchief--fails to push back on the ways that most people think about Native peoples.

Here's a screen capture of the text about Maria Tallchief. It says:

"After MARIA TALLCHIEF's family moved to California, partly to support Maria's dreams of becoming a dancer, she was teased by students in school for her Native American heritage and later was encouraged to change her last name to something that sounded Russian (since many professional dancers at the time were from Russia). She persisted, ignoring all the taunting and poor advice, to become to first great American prima ballerina."



At first glance, that info about her sounds great, doesn't it? It is based in fact. An Entertainment Weekly interview points to the autobiography Clinton read (Maria Tallchief: America's Prima Ballerina). Here's that part from Tallchief's book. This took place in 1933:

Some of the students made fun of my last name, pretending they didn’t understand if it was Tall or Chief. A few made war whoops whenever they saw me, and asked why I didn’t wear feathers or if my father took scalps.

When you hear "Native American" or "American Indian," what image comes to mind? For a lot of people, it will be a large feathered headdress, some war whoops, a tomahawk, a tipi, and maybe a herd of buffalo. In other words, the same things that Tallchief had to deal with in 1933.

It is way cool that Clinton is showing us a Native person as a ballerina. That image counters the other imagery that comes to mind, but calling her a Native American leaves the generic or monolithic "Native American" term itself, intact.

In other words--I wish Clinton had written in there, somewhere in those 60 words, that Maria Tallchief was Osage. It is a missed opportunity for Osage kids to see the name of their nation, in print, in a picture book that millions of children are going to read.

That bit about her name is interesting, all on its own.

Clinton tells us the ballet company wanted Tallchief to change her last name to something so that it sounded Russian. In her autobiography, Tallchief wrote that they wanted her to add an 'a' to Tallchief and swap that 'f' for a 'v' so it would be "Tallchieva." Sheesh! She didn't want to do that, but did agree to use "Maria" rather than her given name, Betty Marie. 

If I was teaching She Persisted, I'd substitute "Osage" for "Native American." And of course, I'd talk about the Osage Nation. I've not studied how Clinton writes about the other women in the book. If you have, let me know in the comments.

Book cited:
Tallchief, Maria. Maria Tallchief: America's Prima Ballerina. Henry Holt and Co.

Not Recommended: THE HEART OF EVERYTHING THAT IS: THE UNTOLD STORY OF RED CLOUD, AN AMERICAN LEGEND by Bob Drury and Tom Clavin (adapted by Kate Waters)

In 2013, Simon and Schuster published The Heart of Everything That Is: The Untold Story of Red Cloud, An American Legend. White people loved it. They bought it. They praised it. It became a New York Times Bestseller. White people love The White Man's Indian. 

And so--unsurprisingly--Simon and Schuster decided they ought to make it available to young people, too. The "young readers edition" came out in February of 2017 from Margaret K. McElderry Books. It was adapted for young readers by Kate Waters. 

(An aside: as I write this post, I throw down snark--and then delete it--again and again.)

Shall we take a quick look? First is the subtitle "The Untold Story of Red Cloud, an American Legend." 

Untold? What does that mean?! To me, it means that Drury and Clavin see themselves as saviors. Gonna tell the world, they are, the "untold" story of Red Cloud. Untold... to what person, in particular? 

Oh, I get it... What they mean is a different kind of story about Red Cloud! Their book, we are expected to believe, will be different than the 2,272 books that came up when I searched WorldCat using "Red Cloud" in the search box. 

Is it, though?

I have doubts, because being Good White People means... lot of blind spots! 

Like how Drury and Clavin think of him, right there, on the cover. To them, he is "an American legend." Would Red Cloud call himself an American? 

The dedication page tells us that the book is dedicated to "the children of the Pine Ridge Indian Reservation." Oh. Ok. Sounds a lot like all those ways that White people think they honor Native people. Dedicating books to us, donating a percentage of their sales to us, creating stories about us... how nice! (Yeah, that "how nice" is me being snarky). 

So, let's think about a Native kid, maybe even one of "the children of the Pine Ridge Indian Reservation" who picks up this book. One thing that kid is going to come across is the word "brave" to refer to Native boys, men, and elders... Here's an example from page 14: 

Veteran braves grunted and yipped in approval.

See that? They grunt. And yip. 

Frankly, I don't want to finish this book. I looked at the professional reviews at Barnes and Noble's website. The unsigned Kirkus review says (all their reviews are unsigned):

This adaptation will diminish Red Cloud's legacy, perpetuate negative stereotypes, and provide incorrect information to young readers: skip." 

I concur with Kirkus. Kudos to their reviewer! The review by Laura Simeon at School Library Journal says: 

"Not recommended for purchase. Consider Joseph Marshall III's In the Footsteps of Crazy Horse instead for a fictional look at a Lakota leader."

Laura is right! Get Marshall's book instead! 

I hope you didn't order this young readers edition because the adult version did so well. You should take a look at this essay in Indian Country Today: The Heart of Everything That Isn't: The Untold Story of Anti-Indianism in Drury and Clavin's Book on Red Cloud.  

In short, I do not recommend the 2013 or the 2017 editions of The Heart of Everything That Isn't by Drury and Clavin. 

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Update: I'm glad people read my blog. Within a half hour of loading this review, I got a comment from Jamalia Higgins that I'll paste here so I can respond to it:

Excuse me? "White people loved it. They bought it. They praised it." Do you have any statistics to back up these claims? Were white people the only buyers of this title? The only ones who loved it? 
I do not disagree with your review of either version of this title, but this language is extremely concerning to me and other POC who are readers, book buyers, library users, and book review readers and writers.

The call for statistics to "back up" a claim is familiar. She does ask a question that I can toss back out as this: does anyone think that it is Native and People of Color who made this 2013 edition a best seller? I could just say "People loved it." Shall I go back and say that? She's right, though. I'm sure some people of color loved it. In children's lit and elsewhere, people disagree about things. Institutionalized racism is everywhere.

Debbie--have you seen SISTERS IN BLUE/HERMANAS DE AZUL by Anna M. Nogar and Enrique R. Lamadrid?

A reader wrote to ask if I've seen Sisters In Blue/Hermanas de Azul by Anna M. Nogar and Enrique R. Lamadrid. Illustrations are by Amy Cordova; publisher is UNM Press, and the publication year is 2017.

Here's the description:

Sisters in Blue tells the story of two young women—one Spanish, one Puebloan—meeting across space and time. Sor María de Jesús de Ágreda, New Mexico’s famous Lady in Blue, is said to have traveled to New Mexico in the seventeenth century. Here Anna M. Nogar and Enrique R. Lamadrid bring her to life, imagining an encounter between a Pueblo woman and Sor María during the nun’s mystical spiritual journeys. Tales of Sor María, who described traveling across the earth and the heavens, have traditionally presented her as an evangelist who helped bring Catholicism to the Pueblos. Instead this book, which includes an essay providing historical context, shows a connection between Sor María and her friend Paf Sheuri. The two women find more similarities than differences in their shared experiences, and what they learn from each other has an impact for centuries to come.

Frankly, I'm usually suspicious of books that emphasize similarities amongst people when the history of interactions between these particular peoples is so fraught with horrific and oppressive actions. If I get a copy, I'll be back with a review.

Debbie--have you seen PURITAN GIRL, MOHAWK GIRL by John Demos?

A reader wrote to ask if I've seen Puritan Girl, Mohawk Girl by John Demos. It is due out on October 31, 2017 from Amulet Books (which is part of Abrams) Books. Here's the summary:

National Book Award finalist John Demos brings to life the compelling story of Eunice Williams, a Puritan girl who was captured and adopted by Native Americans

In this riveting historical fiction narrative, National Book Award Finalist John Demos shares the story of a young Puritan girl and her life-changing experience with the Mohawk people.

Inspired by Demos’s award-winning novel The Unredeemed Captive, Puritan Girl, Mohawk Girl will captivate a young audience, providing a Native American perspective rather than the Western one typically taught in the classroom.

As the armed conflicts between the English colonies in North America and the French settlements raged in the 1700s, a young Puritan girl, Eunice Williams, is kidnapped by Mohawk people and taken to Canada. She is adopted into a new family, a new culture, and a new set of traditions that will define her life. As Eunice spends her days learning the Mohawk language and the roles of women and girls in the community, she gains a deeper understanding of her Mohawk family. Although her father and brother try to persuade Eunice to return to Massachusetts, she ultimately chooses to remain with her Mohawk family and settlement.

Puritan Girl, Mohawk Girl offers a compelling and rich lesson that is sure to enchant young readers and those who want to deepen their understanding of Native American history.

If I get a copy, I'll be back with a link to my review. 

Not recommended: JUNIE B. JONES, TURKEYS WE HAVE LOVED AND EATEN by Barbara Park and Denise Brunkus

Series books are popular. Kids come to know and love the characters. They eagerly read one book after another and wait for new books to appear. Publishers happily comply. Often, though, you'll come across one that has stereotypical or factually inaccurate content about Native peoples.

Turkey We Have Loved and Eaten in the Junie B. Jones series is one. Written by Barbara Park, illustrated by Denise Brunkus, and published in 2012 by Random House, it is a good example of a book with problematic content.

As such, the red x overlaid on the title is meant to signal that I do not recommend it.

Here's the description:

Meet the World’s Funniest First Grader—Junie B. Jones! Room One is getting ready for their very own Thanksgiving feast! There’s even a contest to see which room can write the best thankful list. The winners will get a pumpkin pie! Only it turns out being thankful is harder than it looks. Because Junie B. is not actually thankful for Tattletale May. Or scratchy pilgrim costumes. And pumpkin pie makes her vomit, anyway. Will Room One win the disgusting pie? Can May and Junie B. find common ground? Or will this Thanksgiving feast turn into a Turkey Day disaster?

No mention, there, of Native people. But once you start reading...

The books open with an image of a "Dear first grade journal" letter written by Junie B. Jones. Writing errors are crossed out. That's a clever device and I'm sure teachers especially enjoy those letters. With spelling and grammar errors corrected, here's what the letter says:

Dear first-grade journal,
Today is the month of Thanksgiving.
At Thanksgiving we draw a lot of turkeys.
Also we draw Pilgrims and Native Americans.
They are eating at a table usually.

If Barbara Park or her editor had been thinking critically, "Native American" would be crossed out, too, and Wampanoag would be written, instead. That's the first error in Turkeys We Have Eaten. 

There's more to the letter. Junie says she doesn't understand the Pilgrims. Their "costumes" (her word) look to Junie like they would make the Pilgrims hot and sweaty. There's the second error. Those weren't costumes. The clothing they wore was... clothing. Junie goes on to write that they're going to have a Thanksgiving feast. Their families will join them at school for this feast.

Junie and another girl in the class, May, don't quite get along. This may be a thread in all the books. In this book, they both brought the same item for show and tell. They start to argue about it. Somehow, the Pilgrim costume is brought up, and then, Junie tells May that if she was an Indian.... and that right there (her use of Indian) is the third error. How does that line up with the letter that used "Native American"?

When chapter 9 opens, Junie wrotes about how all the kids have to dress up like Pilgrims or Native Americans. She writes that she told her mother that she didn't want to be a Pilgrim but that her mom had asked her grandmother to make the costume and... it is a Pilgrim dress. She has to wear it to school anyway.

At school, May comes into the classroom, and she's "dressed like a Native American Indian girl" (Kindle Location 705-706). Remember what I said earlier about being specific? Just what does it look like when someone dresses like a Native American Indian girl? If you're a regular reader of AICL, you know that I've written a lot about how many tribal nations there are, how diverse we are in terms of material culture, social organization, and on and on and on. Obviously, what Park and Brunkus are delivering to readers is stereotypical information. We could call this their fourth error.

May taunts Junie, saying (Kindle Location 709-711):

“Look how great this costume is! Look at the fringe on the bottom of my dress! Look at the beads around the collar! Look at my cute moccasins! Look at the long braid in my hair!”

Junie turns away from her, but May continues (Kindle Locations 712-714):

“Guess what my name is, Junie Jones? My name is Chief May—Chief of Everybody. And I will be bossing around the Native Americans at the feast today. Plus I will be bossing around the Pilgrims, too." 

And then... (Kindle Locations 717-720):

“What is your name, little Pilgrim girl?” she asked. “Do you have a name?” I made squinty eyes at her. “My name is Get Out of My Face, Chief Nutball,” I said back.

Those early errors are bad, but this whole scene, with the stereotypical clothing and the mockery of Native names takes this book to a whole different level.

Now, Turkeys We Have Loved isn't just miseducating kids, it is also mocking Native kids. This is the sort of thing that makes me furious. I think of Native kids in my family, being asked to read things like this. Becoming, via things like this, the target of jokes like this from their peers... Do you see why this is not acceptable?

Clearly, Turkeys We Have Loved and Eaten, published in 2012 by Random House, is not recommended. For anyone.

Debbie--have you seen RUN FOR YOUR LIFE by Trevor Kew?

This morning (May 3, 2017) I learned about Run for your Life by Trevor Kew, due out from Lorimer on August 1 of this year. I did a series of tweets about it. I'm pasting them here (I don't know how to remove the gray background from 2-15).

1) Due out sometime this year is a book that's making me go oh-oh. Set in Canada, the story is abt a kid whose dad was a refugee from Iran.

2) The kid is a runner. Rather than help with a fundraiser for First Nations displaced by a fire, he'd rather train for a big race.

3) When he's wiped out, he gains what he needs to keep going by imagining he is being chased by bloodthirsty savage Indians w tomahawks.

4) Training session over, he's catching his breath at a park. Someone asks him if he's ok. That someone is... a First Nations teen.

5) The First Nations teen is named Jason. He asks Chris (the runner) if someone was chasing him.

6) Chris knew it was not ok to imagine being chased by blood thirsty savage Indians. Jason's question, then, is awkward.

7) Chris realizes Jason is one of the FN people who is displaced by a fire. Turns out, Jason is also a runner.

8) The two boys will race against each other, later. And guess what: Chris still imagines himself being chased by savage Indians.

9) I get where the author (Trevor Kew) is going with this story (RUN FOR YOUR LIFE), but did he imagine Native teens as readers of this bk?

10) There were huge fires in Canada recently. So many Native ppl in my networks were fearful for family in danger of the fires.

11) With that in mind, this story might seem relevant and timely to some but I have doubts. And questions.

12) What I shared here is from the "look inside" feature at Amazon. It is due out on August 1, 2017, from Lorimer.

13) When Chris introduces Jason to his friends, there is awkward silence as they look at him. Then, the Korean kid says "You're a real ---"

14) Chris steps in before Yongwon (the Korean kid) says "Indian", saying "hockey player" instead. That's when Jason tells them his nation.

15) If I get RUN FOR YOUR LIFE, I'll be back.

New edition of Robert Louis Stevenson's A CHILD'S GARDEN OF VERSES

Back in 1951 (and again in 1961) a new edition of Robert Louis Stevenson's A Child's Garden of Verses, was released, with illustrations by Alice and Martin Provensen. That book is back out this year, from Golden Press. Here's a photo (a heartfelt thanks to Allie Jane Bruce for sending me these images!) of the old and new.

The 1963 edition has a poem in it called The Land of Storybooks. Just before it is one called The Flowers:

Here's the next page from the 1963 edition...

Here's a closer look at the Provensen's illustrations of the little boy playing at being an "Indian scout" and his imaginings of Indian scouts (who are hunting lions and tigers).

The Land of Storybooks is not in the 2017 edition. See? It goes from The Flowers to The Cow. That's a step in the right direction!

Stevenson's collections--by the way--have more than one poem that is racist in word and/or how an illustrator depicted the "Indian" in it. Over in AICL's "Foul Among the Good" gallery is an entry about Foreign Children, illustrated by Charles Robinson, in 1897.

I assume Foreign Children isn't in the new Provensen edition. I wonder, though, how the Provensen's illustrated that poem, back in 1951?

Some day, I might spend time looking up images of Foreign Children and The Land of Storybooks. I wonder, for example, how Brian Wildsmith did those two, when he illustrated the book in 1966? What do you have on your shelves? If you've got editions with illustrations of Foreign Children or The Land of Storybooks, please take a photo of those pages and send them to me. I'll add them here.

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Tibby Wroten (a reader of AICL) sent me these photos from a copy of the book, with illustrations by Gyo Fujikawa (thanks, Tibby!). The pages are from a 1985 printing, with a copyright of 1957. Here's the cover:

And here's the interior pages:

Update: Sunday, April 30, 2017

Another reader sent a batch of photos. These are from a 1985 edition published by Crown Publishers. Illustrations are by Jessie Smith Willcox. Here's the cover:

Here's Foreign Children. "Turned the turtles off their legs" -- what do you think? Is that meant to be the Indian, Sioux, or Crow? It is an interesting poem. I wonder if there's any analysis of it, anywhere? Given that Stevenson was specific with Sioux and Crow, I wonder if "Indian" is meant to be someone from India?

Here's the illustration and poem, The Sun Travels. It, too, has "Indian" in it, but this time, Willcox definitely has a Native person in mind.

The reader also sent me the page for Land of Storybooks. Here's the illustration on top. No feathers. I think this is the child imagining himself as a hunter. Not an Indian one, just a hunter.

I'll keep adding to this gallery of art for Steven's A Child's Garden of Verses as I receive more photos, or as I find them.

Today (Nov 8, 2017), a reader sent this image from a 2011 publication of the book:

A public thank you to Weezie, and to Rick Riordan regarding "spirit animal" in THE SWORD OF SUMMER

Note from Debbie on May 6, 2021: A couple of weeks ago, I received an email from a reader asking about a page number for "spirit animal" in Riordan's book. In the book, it appeared in the first pages of chapter eight. Mr. Riordan carried through. The phrase is not in later printings. 

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Yesterday (April 25, 2017), Weezie, the Mvskoke person who tweets from @WeeziesBooks, tagged me on a tweet about a page from Rick Riordan's The Sword of Summer*. Here's a screen cap of the tweet. Below the screen cap, I've typed up the content of the screen cap.

Early in The Sword of Summer, Riordan's character is talking about his mother. Weezie said this to Riordan:

Hi, Rick! Can you explain this passage? Native readers know spirit animals are sacred... why include this?

The passage Weezie asked about is this:

It's hard to describe her. To really understand Natalie Chase, you had to meet her. She used to joke that her spirit animal was Tinker Bell from Peter Pan.

Predictably, Weezie got piled on for asking the question. This morning on Twitter, I asked Riordan if he could delete that line from future printings (as before, here's a screen cap followed by the content of the screen cap):

Riordan replied:

Just spoke to my editor and we will delete that in all future printings. Thank you for pointing this out. Apologies for my insensitivity. 

In response, some people thanked him. Others said his decision was unnecessary. I'm amongst those thanking him--and Weezie, too--for bringing attention to it. He joins Julie Murphy and others who take decisive and public steps about using that phrase.

I think Riordan's public decision tells us that he is aware that Native children read his books and that he wants to do right by them. In doing right by them, he's also doing right for all children who read his books.

As the title of this post indicates, this is a thank you. To those who speak up, and those who listen and respond, as Riordan did. This post will be added to AICL's growing list of links to books that writers change when they revisit content like "spirit animal."

If you're on Twitter, follow Weezie. And check out Weezie's Whimsical Writing.

Update, April 27, 2017:

People continue to pile on Weezie. Someone tweeted to Riordan about it, and he replied that:

All choices about and responsibility for my text are mine. If people want to be mad at someone, they should get mad at me and me only.

Here's a screen cap of that:

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*My apologies to Mr. Riordan. In the initial post, I incorrectly identified his book as "The Summer of the Sword." My error has been corrected, thanks to a reader at ALSC. I deeply value email from those who point out my errors. Please don't hesitate to send them!