What is going on with COLONIZATION AND THE WAMPANOAG STORY by Linda Coombs?

Update at 12:34PM on October 22: The library met today and reversed their decision. The catalog already reflects the change! Instead of jF Coo, the shelf number is J974.004 Coo. 

As news media reports on the change, I'll be back to update with links. --Debbie

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What is going on with Colonization and the Wampanoag Story by Linda Coombs?

Published at approximately 9:45AM on October 22, 2024; updated at 12:34PM on October 22, 2024.

On October 8, colleagues wrote to let me know that a public library in Texas had made a decision to remove Colonization and the Wampanoag Story by Linda Coombs (Aquinnah Wampanoag) from the juvenile nonfiction shelves to the fiction shelves. I joined efforts to write a letter objecting to that decision and I added the book to my log of Native-authored books that have been challenged or banned. 

Colonization and the Wampanoag Story came out in 2023 from Crown Books for Young Readers, which is an imprint of Random House Children's Books. Here's the book description:

Until now, you've only heard one side of the story: the "discovery" of America told by Christopher Columbus, the Pilgrims, and the Colonists. Here's the true story of America from the Indigenous perspective.

When you think about the beginning of the American story, what comes to mind? Three ships in 1492, or perhaps buckled hats and shoes stepping off of the Mayflower, ready to start a new country. But the truth is, Christopher Columbus, the Pilgrims, and the Colonists didn't arrive to a vast, empty land ready to be developed. They arrived to find people and communities living in harmony with the land they had inhabited for thousands of years, and they quickly disrupted everything they saw.

From its "discovery" by Europeans to the first Thanksgiving, the story of America's earliest days has been carefully misrepresented. Told from the perspective of the New England Indigenous Nations that these outsiders found when they arrived, this is the true story of how America as we know it today began.

I've followed and recommended Coombs's work for years. She has done excellent work over many decades, as a tribal historian for the Aquinnah Wampanoag and in writings through which she tries to help teachers create educational materials. I read her book last year and included it in our annual Best Books list. 

The decision to recategorize the book was taken by the "Citizens Review Committee" that is appointed by the county commissioner. When initially formed, that committee had five citizens and five librarians, but in March of 2024, Montgomery County officials decided the librarians could no longer weigh in on reviews of children's and young adult books that residents had challenged. Why they removed the librarians is not clear to me. Professional training in book selection was essentially set aside in favor of "common sense" of the local community (see Montgomery County Adopts Citizen-Led Library Book Review Policy for use of the phrase "common sense."

Montgomery County Memorial Library System is in Texas, north of Houston. That system includes 7 different locations. Yesterday morning when I went to their catalog and entered the book title, this is what I saw:

In the first column are the names of the libraries that have a copy. The second column is "Material Type" where each library has it listed as "Juvenile books, circulating." The third column, "Shelf Number" for all the libraries is "jF Coo" which means juvenile Fiction, Coombs. In the 4th column, "Status" you see "Material being cataloged" at five libraries. From what I've read in news reports, the libraries had to complete the move by October 17, which was 5 days ago. I assume "material being cataloged" means librarians are working on moving the book, changing the information in the catalog, and doing all that needs doing in order to keep track of books in a catalog. 

Here's a fact based on my experience:

A lot of people in the United States don't know we (Native peoples) exist anymore. I've read accounts in which someone says "there's no Indians here" and that books or educational materials about them are not needed in this or that location. 

But here's the thing: we are here, in spite of all that was done over hundreds of years to get rid of us. Did you know, for example, that L. Frank Baum (he wrote The Wizard of Oz) wrote an editorial calling for "the total annihilation of the few remaining Indians." Books by Native writers ought to be in every school and public library. There are more, today, than ever before. When libraries choose to put our nonfiction books in the fiction section, they are continuing efforts to remove us from existence. There's obvious harm to Native kids who look for books that accurately reflect who we are, but there's harm to non-Native kids, too. They'll grow up, mis-educated, and may apply that misinformation to the work they do as adults. 

Why, exactly, did the Citizens Review Committee in Texas make this decision? 

News media states the thinking behind the decision to reclassify the book is not available to the public. I hope reporters will press for the information. 

My guess is that when the committee received a request that Colonization and the Wampanoag be reviewed, they started by looking at the cover and the table of contents. They saw that Coombs structured the book by alternating chapters in an unusual way. Let me explain.

In the book, there is an Introduction, thirteen chapters, an Epilogue, Resources for Young Readers, and a Bibliography. Here's a screen capture of the Table of Contents for my e-copy:

The Introduction is in plain font. Here's a key paragraph:

The book starts with a story, "When Life Was Our Own," which describes Wampanoag life before any European contact. The story was created to relate traditional Wampanoag culture, beliefs, practices, and values based on our oral traditions and research done over many years. There are no written sources of these early times, due to the processes of colonization described in the other parts of the book. An understanding of precontact life brings clarity to the impacts of colonization on Indigenous people. 

Chapter 1, "When Life Was Our Own: Spring and the Time of the New Year" is in italics. Here's a paragraph from there:

Little Bird felt a slight breeze on her face and the sudden warmth of the morning sun, bidding her to open her eyes to a new day. Her body resisted rousing from the warm furs of the bed. Maybe just one more snuggle before getting up! Just yesterday, her family and many others had moved from the winter home to their summer cornfields. Sachem Corn Tassel, the leader of their village, had Little Bird's family return to the same field they'd planted in last year.  

Chapter 2, "Creating Colonies: More than a New Place to Live" is in plain font. Its subtitle is "Some Background Information and Context (Never forget the Context!)." It starts with this paragraph:

This section will discuss three episodes in history that occurred before 1620. These paved the way for the Pilgrims to settle in America. They are the Doctrine of Discovery; the impacts of Christopher Columbus's voyages; and the PPP--Pre-Pilgrim Patterns--which happened along coastal southern New England. 

Chapter 3, "When Life Was Our Own: Summer--Tending to Corn Mother" is in italics, and chapter 4, "PPP: Pre-Pilgrim Patterns" is in plain font. That pattern continues throughout the book. 

In her book, Coombs uses storytelling, or the oral tradition. Is that why the committee decided her book is fiction? Storytelling/oral tradition is a technique that Native people use to pass information from one generation to the next. Coombs uses it to provide a Native perspective on the history the book focuses on. Using that technique she invites readers to be with a Native family, and then in the next chapter she gives readers the information typically found in textbooks. 

I think it is a terrific model. 

And it isn't an unfamiliar one! On Twitter/X, the librarian who writes using ReadingDanger as their name pointed to several books categorized as nonfiction that someone might say 'hey, that's not nonfiction!' One example is the Magic School Bus series. Information in those outstanding books is conveyed by Ms. Frizzle and the kids in her class. A quick look at the catalog tells me those books are cataloged as nonfiction.   

Below I'm providing links to items I've read. I'll add additional links as I can, and additional thoughts as they develop. For starters? I think the book ought to be moved back to the nonfiction section of the library. 

March 26, 2024

Texas county removes librarians from certain book review processes at LoneStar Live. Note from Debbie on Oct 23: As I continue researching how this happened, I'll be adding older items -- like this one from March--that has information about the policy that removed librarians from the committee that was created to review objections to library materials. It reminds me of efforts to denigrate people with expertise as "elites" that are "out of touch" with people. I also want to note that individuals who attended the Montgomery County board meetings to object to books wore red attire.  

October 11, 2024

"American History from an Indigenous Perspective:: Nonfiction or Fiction?" from the Texas Freedom to Read Project. 

October 14, 2024

Texas county sidelines librarians, reclassifies book on abuse of Native Americans as "fiction" by Judd Legum at Popular Information. 

Houston-area library moves Indigenous history book to fiction section at Lonestar Live.

October 16, 2024

Letter to the Montgomery County Commission, signed by American Indians in Children's Literature, and the American Indian Library Association, available at PEN America. 

October 18, 2024

Texas county labels Native American history book a work of fiction, sparking outrage at the San Antonio Current. 

October 19, 2024

We fight book bans in Texas. This county's latest move stunned us at MSNBC.

October 20, 2024

Attacks on People's Stories are Attacks on People. Just Ask a Librarian at Forward Times is an interview with ALA President, Cindy Hohl (Santee Sioux Nation) who has also served as President of the American Indian Library Association.

October 21, 2024

Texas condemned for placing book on colonization in library's fiction section at The Guardian.

October 22, 2024

Texas county reverses classification of history book as fiction by Daniel Wu at The Washington Post. 

Montgomery County library will reclassify book about Native Americans amid pressure at Chron. 

Texas library committee under review after relabeling Indigenous history book as fiction at Lonestar Live.

October 23, 2024

UPDATE: Texas library committee reverses decision to reclassify Indigenous history book as "fiction" reversed by Judd Legum at Popular Information.

Texas county reverses classification of Indigenous history book as fiction in The Guardian

Questions about ABDO's COMANCHE in its "Native American Nations" series

Yesterday, I shared a resolution issued by the Comanche Nation that denounces Gwynne's Empire of the Summer Moon. 

Today I looked for children's books about the Comanche Nation. The one that popped up a lot is published by ABDO. Comanche is part of a "Native American Nations" series they did in which all the books are by "F. A. Bird." It came out in 2022. 

The cover of each book has the name of a tribal nation, the logo for the series, and the author's name:

Who is F. A. Bird? When I got the book, I decided to do this post because there's a lot wrong with this book, and my guess is F. A. Bird made similar errors in the other books. I can't find any information about who F. A. Bird is, anywhere. Help me! If you know who that is, please let me know. 

The series has 10 titles: Algonquin, Apache, Cherokee, Cheyenne, Comanche, Iroquois, Navajo, Nez Perce, Seminole, Sioux. I'll try to get the other books, but for now, I'm looking at the title for the first one: Algonquin. Who is that book about? There is no "Algonquin" tribal nation in what is currently called the US. 

The format for each book consists of thirteen two-page chapters. One of those pages is a photograph; the other has about 3 paragraphs of information. The first twelve chapters are historical in nature and use past tense verbs as if the Comanche people of today don't do any of the things presented on those pages. Let's consider what we see in Chapter 8, "Children." It says their babies "were placed on a cradleboard." Many Native families still use cradleboards. Another example is that "grandparents helped raise the children" and "told their grandchildren stories." That still happens. Grandparents help today, and they tell their grandchildren stories. 

Though the series title includes the word "Nations," it only appears once in the entire book! Chapter 13, "The Comanche Today," is primarily about the "Comanche Nation Homecoming Powwow." How is a teacher meant to teach children the fact of nationhood if that fact is not included in the book? 

Chapter 6 is "Crafts." It is about bows and arrows. Why is that being called a craft? The page is primarily about hunting. In that context, it was not (and is not) a craft. Calling it a craft situates it in a hobbyist space. 

After looking over the information in the Comanche book, I wonder what the Comanche people would want included? How would they want that information presented? Chapter 9 is "Traditions" and talks about "the Great Spirit" and "the Evil Spirit." It tells us that the Evil Spirit was cast out of the "Spirit World" when it refused to recognize humans as "the Great Spirit's best creation." That Evil Spirit hides in fangs and stingers of poisonous creatures. The accompanying photo is of a scorpion. Is that what the Comanche people say in their traditional stories? What is the source for that page of info? 

At the moment, I am full of questions about this book--and the entire series! 

Comanche Nation Denounces EMPIRE OF THE SUMMER MOON

At American Indians in Children's Literature, we occasionally read and recommend books intended for adult readers. We aren't alone in doing that. Within children's literature, the Alex Award is given each year to ten books that have special appeal to young adults, ages 12 through 18. 

We often receive emails asking us to read an adult book, and/or if there's anyone doing critical reviews of adult books like the reviews we do at AICL. In answer to the latter, there is not (as far as we know) someone who reads and critiques books for adults. To the former, we sometimes read/critique an adult book because we know it is shaping the ideas that librarians will use to select children's books. We don't have endless time, however. We pretty much stick to children's books. 

One book I've been asked about is S. C. Gwynne's Empire of the Summer Moon: Quannah Parker and the Rise and Fall of the Comanches. I didn't read it but am happy to share a resolution from the Comanche Nation of Oklahoma. Dated October 5, 2024, their resolution says, in part:

WHEREAS, Mr. Gwynne purposefully eschewed use of Comanche sources in writing his book, and as a result of his over-reliance on ethnocentric sources, the book repeats many inaccuracies and stereotypes concerning the Comanche people. 

If you are an educator or a parent that is homeschooling their child and using Gwynne's book as a resource, please reconsider using it. Here's the Comanche Nation's resolution (you can also find it on their website):

Native Authors--January Rogers and katherena vermette--On Pretendianism

Have you read news reports about false claims to being Native? Back in 2021 I started Native? Or, not? A Resource List of items I had read and thought others would find helpful. In 2023 I started a second list focused on challenges to groups in Vermont, in particular, because within children's literature, Joseph Bruchac is well known (I no longer recommend his books). 

Today I'm point you to Blood Sport by January Rogers and real ones by katherena vermette. Both are meant for adult readers but if you work with high school students, take a look. They might work in your classroom.

Written as a play, Blood Sport is a satirical comedy about Native identity and who can claim it. The Foreword is by Dr. Kim TallBear. I highly recommend that you read her work on this topic. Several items on my resource list are by her. In Blood Sport, we meet a gameshow host and contestants who answer questions about who they are. It is an intriguing treatment of the topic. 

My copy of real ones arrived a couple of days ago. In places where Native people talk about false claims, we often talk about children of those who make the claim. In vermette's book, there are two sisters whose father is Native. But their mother? Well, she's fabricated a claim. She knows it is not true and her daughters do, too. I've just started reading it and am definitely pulled into the story. A reporter has gotten in touch with the daughters, asking them about their mother's claim. 

Get both books! From what I've seen, Native readers are excited to read them. Excited doesn't feel like the appropriate word. The larger point is that false claims to a Native identity are not innocent. They are harmful to anyone who is taken in by a false claim, and harmful to Native people. Books like these two help us find words to talk about why pretendianism is--to use the word January Rogers used--a crisis. 

Sign up! California Indian Ed for All offers a free series of On-line Book Club meetings with Native Authors

This Thursday (September 12), I am giving a webinar in California Indian Ed for All's online book club series. These webinars are open to the public, and there is no charge for them. They start this week and go all the way to June of 2025. They are live/online from 3:30 to 5:00 Pacific Time. Sign up! 

If you teach courses in children's literature or social studies or literature or history or library services for youth (getting a bit carried away there, but I do think anyone whose work has to do with Native peoples and children should join), consider asking your students to sign up. I think you just need to register once and you'll be enrolled in all of them. A few days prior to each event you'll receive an email with a link to join in. (Note: I don't know if the webinars will be recorded and made available later.)

If you are a teacher, librarian, or parent, please sign up! You'll hear directly from authors of books you can use in your classroom. Knowing them through the webinars will help you impart more substance to the children you work with. 

As you look through the schedule, you'll see children's book authors but you'll also see books from scholars whose books will help you become more knowledgeable about Native peoples. Being more knowledgeable helps you become more adept at teaching children and adults, and they help you see problems like bias and stereotyping.

Sept 12 - Debbie Reese, Selecting and Using Children's Books about Boarding Schools

Sept 26 - Jean Pfaelzer, California: A Slave State

Oct 17 - Traci Sorell, We Are Still Here: Native American Truths Everyone Should Know, Being Home, and Contenders

Oct 24 - Christine Day, We Still Belong, The Sea in Winter, and I Can Make This Promise

Oct 31 - Debbie Reese, Children's Books about Native Youth and their Hair

Nov 7 - Laurel Goodluck, Forever Cousins, Rock Your Mocs and She Persisted: Deb Haaland

Dec 19 - Cynthia Leitich Smith, Hearts Unbroken, Jingle Dancer, and Sisters of the Neversea

Jan 16 - Michaela Goade, Berry Song, Remember, We Are Water Protectors, and Being Home

Jan 23 - Deborah Miranda, Bad Indians: A Tribal Memoir

Feb 13 - Cutcha Risling-Baldy, We are Dancing for You: Native Feminisms and the Revitalization of Women's Coming-of-Age Ceremonies

Feb 20 - William Bauer, California Through Native Eyes: Reclaiming History

Feb 27 - William Bauer, We Are the Land: A History of Native California

Mar 13 - Debbie Reese, Children's Books about Native People in the Sciences

Mar 20 - Dina Gilio-Whitaker, Understanding Stereotypes and Native Americans, Part One: Master Narratives and Root Myths

Mar 27 - Dina Gilio-Whitaker, Understanding Stereotypes about Native Americans, Part Two: Modern Myths

Apr 17 - Carole Lindstrom, We Are Water Protectors, My Powerful Hair, and Autumn Peletier: Water Warrior

April 24 - Monique Gray Smith, My Heart Fills with Happiness, When We are Kind, and You Hold Me Up

May 8 - Laurel Goodluck, Fierce Aunties and Too Much: My Great Big Native Family

June 5 - Debbie Reese, Learn about New Children's Books by Native People

Here's screen caps of the schedule. Each one shows photos of the authors and a list of the books they'll be talking about. They are arranged according to months. Share this post with everyone you know! 

Not Recommended: STORIES CALIFORNIA INDIANS TOLD by Anne B. Fisher

Several readers have asked me about Stories California Indians Told by Anne B. Fisher, illustrated by Ruth Robbins. It came out in 1957 from Parnassus Press in Berkeley, California. 

Whenever I am asked about a book, the first questions I pose are these: Who wrote it? When did it come out? What are the author's sources? What verb tense is used? I also consider the title and what it conveys. 

I'd like everyone to pose those questions, too. 

With this book, we see a problem right away in the title. The problem is the word "told." It implies the stories are not being told today. Switch that past tense word for its present tense form: tell. If the title was Stories California Indians Tell, it conveys a living people. I am not suggesting a simple change in a verb in the title would make this book acceptable. 

As far as I am able to ascertain, the author and illustrator of the book are not Native. 

Its publication date is 1957. What awareness did the author and her editor have, about Native peoples and how we feel about representation? Native people knew we were being misrepresented but did not have access to tools we have today (social media). Since then, the publishing world has become more informed and I doubt this book would get published. 

In the book's Forward, I see that the source is Dr. C. Hart Merriam, who "wrote the tales down just as they were told to him by Indian story-tellers." Merriam then told the stories to Fisher (the author), who "turned them into stories for children and young people." One option a researcher can do is look for the source material and compare the source with how it was adapted (in this case, by Fisher). What was left in? What was not used? But when doing that particular kind of study, you'd need to see how reliable the source (C. Hart Merriam) was. In previous studies I've done, I've found those sources lacking. People who gathered the source material were outsiders looking in, not understanding what they were observing. They sometimes forced their own interpretations on what they observed. 

The Forward is written by an anthropology professor at San Francisco State College. His name: Adan E. Treganza. In the forward, several specific tribal nations are named by geographical location. All through there, however, are past tense verbs. Treganza uses "stories" and "myths" and "tales" to describe the contents of the book. In the final paragraph, Treganza writes that the characters in the myths do things that "appear to be impossible." He continues (p. 6): 

California Indians, like all other people, were imaginative and attempted to explain in their myths the world of nature around them. Animals, reptiles, or insects were often given the ability to think and speak like humans and to exert almost unlimited physical powers. Yet these stories were very real to Indian children and adults, as real as our own legendary tales are to us." 

At the moment, I'm looking at verb tense again. The stories "were" real. Are they not real anymore? It pains me to write something that should be obvious to everyone, but, Native peoples in California tell stories, today. Do they tell the ones in this book? I'm doubtful. Let's look at the first one.

The first story in Stories California Indians Told is "How California Was Made." In it, "the Medicine Man of the Gabrielino Indians" sees leaves falling, which signals that "the time for story telling was here." He paints his body, puts on a headdress, went outside of his hut, and called out "Come sit around the fire and I will tell you a story." From all the huts around his, Indian men and their wives and the Indian boys and girls came running. The people loved stories and they loved Medicine Man to tell them." The story he tells is about how the Great Spirit made land using several turtles, who he told to get in a long north-south line, head to tail, with the three at the southerly end placed more towards the east. "You'll make a wonderful California!" he told them. 

The story goes on but I'll pause there so we can critically analyze the information summarized above. 

In the first story in this book, we're asked to believe that a Native man whose people have lived on this continent since time immemorial is telling his people their creation story -- and calling their land by a name outsiders gave to that land. 

When you search the etymology of the word California, you'll find many sites saying it is from a Spanish novel published in 1510. What did Native peoples of the state currently known as California call that land before Europeans invaded their lands? The story says "Gabrielino" Indians, but what did that particular group call themselves, originally, in their own language? By focusing on "Gabrielino" and "California" we can see the problem. This is outsider perspective, and as such, is not something that should be used to teach anybody about the original peoples of California. 

And what the heck -- all the people in this village came running to hear the story?! Creation stories are sacred. 

In short, Stories California Indians Told is not recommended. 

I encourage educators to read and use On Indian Ground edited by Joely Proudfit as a resource! It'll help you make informed decisions about old and new books. 

Highly Recommended: LET'S GO! haw êkwa! BY JULIE FLETT

Let's Go! haw êkwa!

Written and illustrated by Julie Flett (Cree-Metis)

Published in 2024

Publisher: Greystone Kids

Reviewer: Jean Mendoza

Review Status: Highly Recommended

What a treat I had tonight! While browsing through a shelf of the newest books in the children's department at our library, I came across several by Indigenous writers and illustrators. One of them was this sweet-and-substantial story of skateboarding, inspiration, friendships, and fun by award-winning artist Julie Flett.

Here's how the publisher summarizes the book:

Every day, a little boy watches kids pass by on skateboards, and dreams of joining them. One day, his mother brings a surprise: her old skateboard, just for him! haw êkwa! Let’s go! Together, they practice on the sidewalk, at the park, in Auntie’s yard—everywhere. But when it comes time to try the skatepark, the skateboarders crash down like a waterfall. Can he find the confidence to join them?

There are many, many reasons I like and recommend this book.  Here are four.

Reason #1 for recommending Let's Go! haw êkwa!: The illustrations.

The back matter tells us the illustrations were rendered in pastel and pencil, composited digitally. They have the feel of cut paper collage, without feeling stuck to the page. They remind me of what a good sports photographer can do -- "freezing" the subject in a way that implies continuing action. Two "learning to skateboard" pages show phases of the process, including a mishap, each with its own space. Many other illustrations are two-page spreads; the ones that showcase the fluidity of skateboarding are especially impressive. 

Reason #2: use of the Cree language

The Cree phrase "haw êkwa!" (part of the title) means something like, "Okay then!" according to Flett's note to readers at the end of the story. She explains that she and her son became interested in Cree words to describe the "flow state" skateboarders can experience, so they consulted friends at the Cree Literacy Network, who came through with several words and phrases to share with readers. Intriguing! It's possible I've missed something in other books, but this is the first time I've encountered use of Indigenous words to talk about such complex concepts in a book for young children. Of course there is much to gain in sharing Indigenous names for objects, colors, and numbers; this provides additional layers of respect for and knowledge about an Indigenous language.

Reason #3: all kinds of affirmations 

When one of my young relatives was into skateboarding years ago, they said there was a lot of animosity toward skateboarders. That's probably still the case in some places -- but not in Let's Go! Julie Flett dedicates the book to a young skateboarding enthusiast who sought her out at a book-signing, and to her sons and their friends in their skateboarding community. The protagonist and friends are many shades of brown, reflecting the diversity of their group and contradicting the mistaken notion that skateboarders are primarily white. This appears to be a single-parent family, and it's portrayed as loving and supportive. Not only does Mom give her son her old skateboard -- she also drives the children all over the place to visit skate parks! 

Reason #4: read-aloud potential

Teachers who share the book can invite children to participate in the reading in several ways. At the appropriate times, they can call out, "Let's go! haw êkwa!" They can make the sound of the wheels on pavement: "cacussh, cacussh, cacussh." They can move their bodies as the skateboarders do in the illustrations. After the story, they may want to talk about their own ways of getting involved in an activity. Do they usually jump right in, or do they watch and learn for a while before telling themselves, "Let's go!" They might also want to think about experiences that give them the feeling that they have "become a part of something -- and myself," as the protagonist has.

I am quite a fan of Let's Go! haw êkwa!  I'm hoping every librarian, teacher, and relative of a child reads it and shares it -- and buys multiple copies for their shelves and to give to children.

Highly Recommended: I'M FINDING MY TALK, by Rebecca Thomas, illustrated by Pauline Young

HIGHLY RECOMMENDED

I'm Finding My Talk

by Rebecca Thomas (Mi'kmaw)

Illustrations by Pauline Young

Published in 2019

Publisher: Nimbus Publishing

Reviewer: Debbie Reese

Review Status: Highly Recommended

****

A reader wrote to ask me about I'm Finding My Talk. I did not know about the book prior to being asked about it. I was able to get a copy and deeply touched by it. The author's father was in a residential school in Canada. Because of his experience at the school, he was not able to teach Thomas about their language or culture. In the US those schools -- designed to 'kill the Indian and save the man' -- are called boarding schools. 

When I started reading it, I saw that Nimbus (the publisher) dedicated it to Gregory Younging. He was a leading figure in publishing of Native people in Canada. He was Cree. I saw that Thomas dedicated it to her father. So did Young. Her "I will do my best, Dad" embody so much of the emotion and tenacity Native people in the US and Canada carry as we move forward on our homelands. We work to preserve what we have and we work to recover what was taken from us.

Here's the words Thomas gives us on the first page: 

I'm finding my talk.

The one I never had.

The one that the schools

Took away from my dad.

Young's illustration shows us Thomas's father, eyes closed and head down as he stands in front of the residential school he was at when his talk was taken from him. Together, Thomas's words and Young's illustrations give us facts. 

I deeply appreciate the page because these facts are often rendered in overly dramatic ways that take the dignity from the persons being depicted. That dignified presentation continues throughout the book. We see Thomas learning words and getting to know people in her family and community, and their cultural ways. 

This picture book is outstanding. It leaves room for readers to see, and to come to understandings of what those schools did to Native people. Because it is a picture book, some may think it belongs in an elementary school classroom, but I encourage you to read and talk about it in classrooms at every grade level. It touches me, personally. Our cultural ways were always part of me but language? Not so much. My parents were at boarding school. So--Thomas is speaking to any Native people who are learning their language, and she's speaking to non-Native people who don't know about residential or boarding schools. 

In interviews, Thomas tells us that she read Rita Joe's poem (also a book illustrated by Young), I Lost My Talk and was inspired to write I'm Finding My Talk. I'll look for Rita Joe's book and review it here. In the meantime I'll be thinking about this book as I go through my day. 

Highly Recommended: THIS LAND: THE HISTORY OF THE LAND WE'RE ON by Ashley Fairbanks; illustrations by Bridget George

HIGHLY RECOMMENDED

This Land: The History of the Land We're On

Written by Ashley Fairbanks (White Earth Anishinaabe)

Illustration by Bridget George (Anishinaabe from Kettle and Stony Point First Nation)

Published in 2024

Publisher: Crown Books for Young Readers

Reviewer: Debbie Reese

Review Status: Highly Recommended

****

Wow! I love how this book starts! The words on the first double-paged spread say "This is my house." Behind it is a river. Beside the house is a tall pine tree. We see a family by the tree. 

Turn the page and see "Before us, another family lived here." On that page, the illustrations are family portrait style. Four different families are shown, each family unique, each clad in modern clothes. 

Turn the page again and we read the words "Before our house was here, there was another family, with a different kind of house." On that page we see see wigwams in a village and the families who lived in them. The people in that village are wearing clothes with Anishinaabe designs. Behind that village is the river we saw earlier, and that tree? It is a small, young tree.

All the faces and families up to that point are cheery, happy. With the words and illustrations on these pages, Fairbanks and George take us from the present into the past, helping readers see, learn, and feel that the land they're on was someone else's before. 

Another page turn and we get hard history. That phrase is used a lot in social justice networks and curriculum, where educators choose to share truths about history that are often omitted. It is a fact that Europeans who came onto Native homelands wanted that land, and the government helped them get it by removing Native peoples from their homelands. We see that on the next page turn. Here's a portion of that page: 

(Image from my copy of the book)

It is followed by another page of hard history. 

But then, we turn the page again and see the little girl from the very first page, running down the street to her friend's house. That friend, TJ, is Anishinaabe. We see him and his grandma standing in a doorway, smiling and waving at the little girl. 

With another page turn we see the little girl, TJ, and his grandmother making bread. The little girl tells us that TJ's grandmother told her about other Native people. At the top of the page, we see nine different people in traditional clothing. 

Picture me, smiling! One of them is a Native woman who is dressed the way I dress when I'm home for one of our ceremonies. That 'wow' I felt when I first read the book continues! The little girl is on a road trip. Here's a sentence you'll get to: 

At the Grand Canyon, I learned that eight tribes call it home: the Havasupai, Yavapai, Paiute, Hopi, Zuni, Hualapai, Apache, and Diné.

Note: Eight tribes call it home. Present tense verbs! In workshops and professional development, I push very hard to encourage educators to use present tense verbs to talk about us. Again, picture me smiling! 

This book is going to be featured in my work, for sure! Another page spread tells us that Disney World is on Seminole land, the White House is on Nacotchtank and Piscataway land, and that Mount Rushmore is on Oceti Sakowin land. There's a link to a database to see what land you (reader) are on, and that page is followed by a page of discussion questions and suggestions to learn more about the people of that land. Illustrations on that page show Native people holding up signs with their tribal nation's name. 

Can you feel and understand why I highly recommend this book? Get more than one copy if you can, and if you'd like to support Native-owned bookstores, go there (in person or on line). One option is Birchbark Books. This could be an illustration of me. GET THE BOOK! 

(Image from my copy of the book)

Highly Recommended! BOOZHOO! HELLO! by Mangeshig Pawis-Steckley

 

Boozhoo! Hello! 

Written and illustrated by Mangeshig Pawis-Steckley (member 

of Wasauksing First Nation)

Translated by Mary Ann Corbiere (Wiikwemkoong Unceded Territory)

Published in 2024

Publisher: Groundwood Books/House of Anansi Press

Reviewer: Debbie Reese

Review Status: Highly Recommended

****

As you see, we are giving this book a 'highly recommended' review. But... 

Some books are delightful! 

I could also say 'delightfully recommended' because it is precisely the sort of book I would have used back when I was teaching kindergarten and first grade, and that I would have read to our daughter when she was little. Most elementary school teachers know this style of book. Questions are posed and answers given in the text but we can answer as we please, in the moment! 

Cast your eyes up to the cover, above, and look at that wolf's smile as it looks over its shoulder. See the joy in its face? That's where the delight is. The style of Pawis-Steckley's art is called Woodland. In an author's note he tells us he began drawing this book for his newborn daughter. As she grew, he shared the art he was creating. She would clap and smile. I read that author's note after I read the book. I had felt something special as I read it, and now that I have read the author's note, I get it. His illustrations are infused with his daughter's clap, and her smile. 

The format for Boozhoo! Hello! is this: on the left side of the double-paged spread is a page filled with an illustration. Facing it is a page of text in large font. Those words, as you might guess by the book's title, are in Anishinaabemowin at the top half of the page and English at the bottom half, as shown below.

This marvelous book begins with a rising sun and moves through a day's journey. On that first page, it is morning in the woods. "What" I imagine myself saying enthusiastically to a group of children, "do you see?" The sun! Flowers! Trees! Someone would say 'there's an animal behind the trees.'  It is the wolf! When we turn the page we see this:

One of my favorite pages is the one with a young otter on its back in the water, splashing, smiling, playing. A dear one in my own family loves otters. I think he's gonna like that page. 

See why I'm so delighted? 

As we near the end of the book, we see a page where three "little ones" (children) are asked what they hear. Turn the page and we see these words:

gookookoo debtaagzit

dbaajmat dbikak?

Shhh! Mbe nbaak!

Nahaaw, gookookoo.

Gga-waabmin.

an owl hooting

goodnight?

Shhh! It's time to sleep 

now.

Goodnight, owl. 

Imagining myself again, reading that last page in a quiet voice and pointing out the moon, the stars, the owl's closed eyes...  

Highly Recommended: NAVAJO CODE TALKERS by Danielle C. Burbank

HIGHLY RECOMMENDED

Navajo Code Talkers

Written by Danielle C. Burbank (Diné)

Published in 2024

Publisher: Dorling Kindersley

Reviewer: Debbie Reese

Review Status: Highly Recommended

****

I love that Danielle C. Burbank (Diné) opens her book, Navajo Code Talkers, with the word Yá'át'ééh! It signals that we're going to learn about the Code Talkers from someone for whom this is not a subject. Instead, it is her family's life.

On that first page, she tells us her grandfather served as a Code Talker in the US Marines, that the Navajos refer to themselves as Diné (it means "the People"), and that readers will learn about Diné culture, language, and lifeways. 

At the bottom of that page is a photo of Burbank and her grandfather, Deswood R. Johnson, Sr. 

Later, you'll see photos of her daughter and her great grandmother. What we are fortunate to have in this book, is information rooted in her family, her tribal nation, and its history. Earlier this week I wrote about Olympic Gold Medal winner Billy Mills, and that in his book, he tells us that his Native ancestors didn't give up when odds were against them. Their steadfast way mattered to Billy Mills. I see that 'didn't give up' attitude throughout Navajo Code Talkers. 

Because this book is from an insider's perspective, we learn about how Diné culture shapes their way of being in the world and how it shaped how the Code Talkers became who they are and how they persevere when odds are against them. Burbank tells us about kinship and how that mattered, and matters. 

She introduces us to several Diné Code Talkers and their experiences with, for example, boarding school. On page 23, we meet Samuel Tom Holiday, who talks about his older brother, Henry, and how Henry helped Samuel prepare for boarding school. Teachers who are providing students with information about boarding schools will find his story compelling. 

I particularly like the photo on page 10, showing Diné school children reading a signpost at Dream Diné School in Shiprock, New Mexico. Words on the signpost are in their language. Each one points to their sacred mountains. But, as I read on, I find that Burbank does an excellent job of making readers understand that the Code Talkers are not simply a group of Marines. She humanizes them--pulling them from mythical status as vital to a war effort--to a place of knowing them as parents and grandparents whose parents and grandparents had been through a lot, and persevered. 

There's a lot in this book meant for fourth and fifth graders that most people haven't learned. By that, I mean people should read it, regardless of age. You can order it directly from the publisher. I got an e-copy for a few dollars. 

I'm grateful to Burbank for all she did to make this book available to all of us, Native or not. Others are, too. Her nation's library hosted her for a reading a few days ago. And take time to read Diné author writes Navajo Code Talkers book for elementary school readers in Source NM. 

Highly Recommended: WINGS OF AN EAGLE: THE GOLD MEDAL DREAMS OF BILLY MILLS, by Billy Mills and Donna Janell Bowman, illustrated by S. D. Nelson

                  HIGHLY RECOMMENDED 

Wings of an Eagle: The Gold Medal Dreams of Billy Mills

by Billy Mills (Oglala Lakota) and Donna Janell Bowman (not Native)

Illustrated by S. D. Nelson (Standing Rock Sioux Tribe)

Published in 2024

Publisher: Little, Brown Books for Young Reader

Reviewer: Debbie Reese

Review Status: Highly Recommended

****

I spent several hours over the last two weeks, watching the 2024 Olympics. Part way in, I saw that Billy Mills was there. He was sharing photos to his Facebook page. I pulled up the video of his race and shared it with my family. I've seen it many times before, but every time I watch it, I feel a huge surge of excitement. And joy, and pride. Take a look:

Pretty cool, isn't it?!

Now, order a copy of his autobiographical picture book, Wings of an Eagle: The Gold Medal Dreams of Billy Mills! I've heard him speak and know some of his life story but I'm really glad to see his book. Published on July 2, 2024 by Little, Brown Books for Young Readers, I got my copy during the 2024 Olympics. 

There are many pages that stood out as I read the book. His parents died when he was a child. His dad's words after his mother's death become a refrain as he grows into adulthood. A photographer asked him to step away from a group of runners because of his skin color. 

In this post, I focus on the page in his adulthood when he's a Marine at a base in California. Up to then, he ran in high school at Haskell Institute in Kansas, and then in college at the University of Kansas. On the page where he talks about the grueling training he does while he's in the Marines, we read:

I visualize the finish-line tape breaking across my chest 

again and again, 

as if fueled by Indigenous ancestors

who didn't give up when all odds were against them.

Their footsteps are etched into the earth

like a story waiting to be told.

When I qualify for the 1964 Olympics,

I carry the hopes of many.

Because we are stronger together.

I'm going to repeat (and put in bold) some of those words, here: "fueled by Indigenous ancestors who didn't give up when all odds were against them." Across the US and Canada, I hear similar words from Native people. Fueled by Indigenous ancestors who didn't give up. Heck, that guides me, too! When things feel weighty I remember Po'Pay and Pueblo ancestors who didn't give up in the 1500s when European invaders sought to destroy us. Native leaders negotiated to protect the generations that came after them. I suppose some of you are thinking my words here are sappy, but that's ok. I'm here. Billy's here. We're here. 

And he's leading, still! Mills established an organization called Running Strong for American Indian Youth. The final pages of the book provide many photos of his work with youth. Back matter also includes a terrific note from Mills, one from the illustrator, S. D. Nelson, and one from the co-author, Donna Janell Bowman. If you've heard me in a professional development workshop, you know I direct teachers, librarians, parents, and caregivers to study the back matter before using the book with children! There, you'll get information you probably never had before you picked up this wonderful book. 

Update at 4PM on August 13: There's a curriculum guide! Written by Dr. Natalie Martinez! She rocks. Download and use it. 

I'll end this review with a request to get multiple copies of the book for your classroom and school library, and with S.D. Nelson's illustration of Billy crossing the finish line. See the joy in Billy's face? And look at that eagle (remember I said his dad's words become a refrain?)! Highly recommended! 

NOT RECOMMENDED: BACK IN THE BEFORETIME. TALES OF THE CALIFORNIA INDIANS by Jane Louise Curry

A reader wrote to ask if I've read Back in the Beforetime: Tales of the California Indians by Jane Louise Curry. 

The answer? I had not, but the reader's question prompted me to take a look. 

It came out in 1987 from Margaret K. McElderry Books and again in 2001 from Aladdin. It is written  by a person who (as far as I can tell) is not Native.  Back in the Beforetime is one of several books Jane Louise Curry has written about Native peoples. I was able to get an electronic copy of her book. The first thing I do when taking a critical look at a book is to see if there's an Author's Note. There is one in this book. Reading it, I was pretty sure I would not recommend the book. Let me show you what I mean. 

The first sentence of the note starts with "The Indian tales." That word -- tales -- is familiar. You see it with "folk" and "fairy" and "tall" but you rarely see it used with Bible stories. In my work, I've come to see that as a problem. Many "tales" are creation stories considered sacred to the people who tell them, but their stories aren't treated with the same respect given to Bible stories. You don't see Bible stories categorized or shelved as folktales. As I read further, would I find a lack of respect in Back in the Beforetime?

Let's see. The first sentence in its entirety is:

The Indian tales of Back in the Beforetime come from a number of California tribes, from the Klamath River region in the north to the inland desert mountains and the southern coastlands. 

Here's the second one:

In reading through the many tales and fragments of tales recorded during the past century, I chose first those legends which could be woven together to tell the larger tale of Creation from the making of the world to man's rise to lordship over the animals, and then a selection of comic or trickster folktales which seemed to fit happily within that framework.

Hmmm. There's a lot to respond to in that sentence. "Lordship over the animals" sticks out and feels very white to me. And where, I wonder, was she finding these "tales and fragments of tales"? Reading to the end of the note, I don't see a list of her sources. That's important information. Knowing them would help us a lot. Her sources are likely ones collected by white people who had no idea what they were doing when they looked upon Native ways. Their lack of knowing meant their account is a misrepresentation of what was going on. The second part of that sentence tells us she chose legends that "could be woven together" to tell what she calls "the larger tale of Creation." What she did, when she wove some together, is a huge red flag. Why? Because she assumes that all these tribes are the same in how they think about the world. Many writers do that. They take something from one tribal nation's stories and then take something from a different one, and put them together as if that's fine. I don't think it is fine, particularly when books will be used in classrooms to teach children about Native peoples. In fact, anybody who reads the book is being miseducated. 

Third sentence:

In several instances, where a story was incomplete or lacking in detail which could be found in a second version from the same or another tribe, I have told a composite tale.

See? She says right there that she pulled from several places (that she must assume are accurate) to create a "composite" tale. You might be thinking that I've being harsh. You might be thinking that Curry and her editor and others who did the same thing didn't know better. That they had good intentions. We can assume ignorance and good intentions but the product is still deeply flawed. The book came out in 1987. By then there were many people writing about misrepresentations. As far back as 1829, Native people were objecting! Take a look at William Apes (Pequot) on Depictions of Native People in Stories. Many people defend what an author does by saying that nobody spoke up, then, and that it is unfair to challenge the author. People say that about Gone With the Wind but when the movie came out, African Americans protested at a theater in 1940. The New York Times article has photos of the protest. My point is that the author and editor may not have known they were publishing a flawed product--but that doesn't mean people weren't objecting. What anyone knows is shaped by who they know and what they read. 

Back to Curry's note. In paragraph two, sentence one:

Several of the California tribes are represented in Back in the Beforetime by more than one tale, and many by none.

Reading that sentence, I thought that when I read the stories in her book, I'd see names of specific tribal nations. Some would be mentioned more than once because "more than one tale" was from one tribe. That was not the case. Here's the table of contents:

See? Titles of stories, but no tribally specific information. Is there some with each story? Easy enough to check. I turned to the first one: 

There is no tribal nation mentioned after the title, and as I read the story, I didn't find one there, either. On the last page of that story, I see that after having created Grizzly Bear, "Old Man" was afraid of him So, Old Man retreated to his ice mountain and began to "hollow it out for a teepee." A teepee? I wonder about that because I associate tipis with Plains Indians. Curry finishes the story by telling us that the animal people Old Man created never saw him again, but sometimes, they'd see smoke coming from "the smokehole of the white teepee mountain and knew he was still there. They called his mountain Shasta. And so do we, for it is still is there." (Note: I am tempted to go down a rabbit hole wherein I search for "Old Man" and "Shasta" to see if I can find the source for Curry's story. I may do that later.) 

In the second paragraph of the Author's Note, the second sentence is:

Being a storyteller rather than a folklorist, I have not sought to make a representative collection, but one which will offer to readers or to a storyteller's audience entertaining tales that can both stand alone and give some sense of what the context of a single story might have been within a tribe's traditional body of tales.

Entertaining? Ok. Stories do that, but within an educational context, the goal is education. Learning. Understanding. When the stories are about Native peoples, it is crucial that they be specific to a tribe. Without specificity, we all fall into stereotypical chasms that suggest all Native peoples are the same. We're not. 

Next is the third paragraph. First sentence:

Many California tribes have dwindled or vanished. 

Too many books use that sort of language. "Vanish" is especially outrageous. It means to disappear suddenly, without a trace. That's not what happened. Things don't just happen.  Colonization, invasions, killings, removals... that's what happened, over a period of time. Native people fought back. There's more to say about that style of writing but I'll move on to the next sentences.

Others still struggle to preserve their traditions and holy places in a world of change. Of some, little trace is left but their tales, recorded long ago by folklorists and anthropologists.

Part of that "struggle" involves pushing back on misrepresentation that started with those long ago recordings. We could insert "white" in front of folklorists and anthropologists but unless you've studied how they got it wrong, inserting white doesn't help much. 

The last sentence in the Author's Note:

For us their tales of the Animal People, in whom animal and human natures are mingled, are both comic and poignant, reminding us that once there was a time when Man was more fully at home in the natural world.

Comic? As in funny? Amusing? Ludicrous? Ridiculous? The author is definitely making a judgment that bothers me. But I remind myself that her sources may have that quality in them --- because the folklorist or anthropologist got things wrong. 

That's the end of the author's note. And from what I've seen, my earlier thought that I'd not be recommending the book stands. I do not recommend Back in the Beforetime. 

I encourage you to stop using it in your classrooms. And as always, if something I've said doesn't make sense or if you want me to say more, let me know in the comments.

Highly Recommended: BEHIND EVERY RUG by Daniel W. Vandever and Lynne Hardy

Those who follow my work know that I've been frustrated many times with things Scholastic does. Sometimes, though, they do a good thing. Case in point? Behind Every Rug. 

HIGHLY RECOMMENDED

This little book is by Daniel W. Vandever. I highly recommended his previous books. Fall In Line, Holden! came out in 2017 from Salina Bookshelf and his self-published Herizon came out in 2021. Both won the picture book award from the American Indian Library Association. His newest book, Behind Every Rug is for readers 6-8 years old. 

On the first page of Behind Every Rug, we see a little girl, Nizhoni, as she has just gotten off the school bus. Her mom is waiting for her on the sidewalk. Nizhoni is shown in athletic shoes, jeans, a hoodie, and a backpack. Her mother is wearing moccasins, a Navajo-style skirt and woven belt. She's got a set of car keys in her hand. 

In other words? This is a story set in the present day. 

Online, Vandever said this story is based on his own experiences as a child growing up in St. Louis, Missouri. Some of you are nodding because you know Native people are in big cities and on reservations. Those of you who are nodding are gonna want to get this book, ASAP! You know that wherever we are, people in our families may wear items that reflect who we are, and that in our homes we have items that reflect our cultural identity (in Vandever's book, Diné). For Native students, Vandever's book is a terrific mirror of their lives. Those of you surprised by a story about a Native family -- set in the present day -- you need this book ASAP, too, to give students in your school or classroom a window onto a Diné family's life.

The words on that first page are spoken by Nizhoni, who tells her mom that she has to take something to school the next day that shows her Navajo culture. On subsequent pages, her mom makes suggestions. We see the items her mother is suggesting. And we read Nizhoni's responses to her mom. There's a hesitancy, an anxiety. How will classmates respond to her and the item she chooses to share? Finally, she decides to take the rug she and her grandmother made. She's nervous when her teacher calls her name but students respond positively. Her words remind classmates of people in their families and things they do. Nizhoni then gives them more information about how the rug was made. Visually we're in different place. We see her grandmother, and her grandmother's hogan. In the end, Nizhoni realizes that being different is not scary. 

Behind Every Rug is in Scholastic's Our Voices: School & Friends collection. Here's the problem.  I can't figure out a way for you to purchase the book. You have to buy a single-copy collection (one copy of ten different books) for $26.99 but you don't know what the other ten books are. Updating on July 14 to say that the editor for the book sent me a link with the titles of the other books.  Maybe the information is available and I'm not finding it on the Scholastic website! If you see a way to get just that one book, let me know. If a Scholastic rep sees this post, maybe they'll let us know. Perhaps you can ask your child's teacher or a resource person at your school to order the collection. 

And! Just announced today (July 5) is another self-published book from Vandever. Titled We Weave, he shared the cover: 

Bottom line? Look for books by Daniel W. Vandever! 

Finally! I got to see myself at City Lights Book Store!

Earlier this month, my mom, and my little sister and her husband were visiting us in California. We went to San Francisco one day. I pulled up Google maps to see where we were and peered at the map because it showed we were near City Lights Bookstore. Last year, the bookstore installed a set of banners about banned books on their exterior wall. My face was part of it. I hadn't seen it yet. So--when I saw we were nearing the store, I said "let's go see!!!!" 

Then I realized we were on the very street where the bookstore is located. With some glee, I said "we're on that street!" and we five started looking at the buildings and... there it was! I snapped a photo from the back seat where I was sitting:

We parked in a nearby garage and walked over. My little sister's reaction makes me smile, remembering it. She told a person who was passing by, "THAT'S MY SISTER!" And of course, they looked up at the banner and at me, and smiled at us and our giddiness. My husband took a photo of us three:

And I asked a person to take one of us all (my mom is on the far left, then my husband, me, and my little sister. In front is my brother-in-law). 

It was such a joyous moment for us all! (For details, see Debbie Reese featured on Banner at City Lights Books.) 

HIGHLY RECOMMENDED: THE BEE MOTHER

Imagine an overcast, cold, windy, completely dreary early spring day. A plain brown cardboard envelope arrives from Portage & Main -- it must be a review copy of one of their latest books for young people. Rip the cardboard and what should emerge but a much-larger-than-life portrait of a fuzzy, black and yellow pollen-spotted bumble bee foraging on a bright pink flower! "Spring WILL come," the bee seems to say, "and you'll be seeing me. Here's my story." 

This bee is the creation of Metis artist Natasha Donovan. The book is The Bee Mother by Gitxsan writer Hetxw'ms Gyetxsw (Brett D. Huson). That's Nox Ap in Gitxsanimx.  Here she is on the back of our recliner.

The Bee Mother

Written by Hetxw'ms Gyetxsw (Brett D. Huson) (Gitxsan)

Illustrated by Natasha Donovan (Metis)

Published in 2024

Publisher: Highwater Press

Reviewer: Jean Mendoza

Review Status: Highly Recommended 

AICL has enthusiastically recommended the other six books in the "Mothers of Xsan" series. We've urged educators to use them in science curricula. They blend Indigenous (Gitxsan) knowledge and western science, to follow a year in the lives of different animal species significant to the ecosystem of the Gitxsan homeland: sockeye salmon, grizzly bear, wolf, eagle, raven, and frog. There's growing public awareness of the importance of bees in ecosystems across the continent, so The Bee Mother is a timely and relevant addition to the series.

Nox Ap, the bumblebee queen, is the center of the factual narrative, but the author also spends time on two similar insect species-- yellowjacket wasps (also native to the region), and honeybees, introduced to what's currently called North America by humans but now significant to Gitxsan communities. Teachers are likely to find the distinctions among them helpful, as children often are fearful of stinging insects, and have a lot of misinformation about them.

Like other Mothers of Xsan books, The Bee Mother text is engaging, and centers Gitsxan knowledge and words. Natasha Donovan's illustrations are, as always before, appealing and built on fact, and sometimes incorporate formline figures created the author. It's a very effective collaboration overall. There's a good reason these books garner awards and all kinds of positive recognition.

This series is evidence that good picture books aren't only for younger children. Mothers of Xsan books invite readers to engage with the world outside. By showing connections between Gitsxan life and the animals, they also encourage all readers to think deeply about their own relationships with the other species that make their homes on Earth.

 The Bee Mother would be a great resource anywhere on the continent that bees can be found -- and they're just about everywhere. It would be especially cool to invite students to make observational drawings of bees (whether from careful catch-and-release, or preserved specimens, or photographs). When satisfied with their drawings, they could augment them with accurate colors and textures, moving from basic observation to expressing deeper knowledge and understanding of their subject. 

If you're teaching with The Bee Mother, you and your students might want to check out this Bibliovideo interview with Natasha Donovan. Edited on 6/21/2024 to add a link to a Teacher Guide by Jerica Fraser, available as a free e-book from Portage and Main Press.

 It's been months since that cold gray day when my copy of The Bee Mother arrived, with its promise that Spring would come eventually. Today, my prairie plants are finally in bloom, and outside my front window, a bumblebee buzzes around the sunlit spiderwort and coneflower. I'd better go take a closer look.

 

Highwater Press in Winnipeg, Manitoba