Highly Recommended: HEART BERRY BLING by Jenny Kay Dupuis; illustrated by Eva Campbell

HIGHLY RECOMMENDED

Heart Berry Bling

Written by Jenny Kay Dupuis (Member of Nipissing First Nation)

Illustrated by Eva Campbell (Not Native)

Published in 2023

Publisher: Highwater Press

Reviewer: Debbie Reese

Review Status: Highly Recommended

****

A few weeks ago, I saw a photo of a person at a conference posing with a copy of Jenny Kay Dupuis's new picture book, Heart Berry Bling. Today, I read an advance sample copy and am here to give it a Highly Recommended rating! 

Here's the description from the publisher's website:

On a visit to her granny, Maggie is excited to begin her first-ever beading project: a pair of strawberry earrings. However, beading is much harder than she expected! As they work side by side, Granny shares how beading helped her persevere and stay connected to her Anishinaabe culture when she lost her Indian status, forcing her out of her home community—all because she married someone without status, something the men of her community could do freely. 

As she learns about patience and perseverance from her granny’s teachings, Maggie discovers that beading is a journey, and like every journey, it’s easier with a loved one at her side.

In this beautifully illustrated book, children learn about the tradition of Anishinaabe beadwork, strawberry teachings, and gender discrimination in the Indian Act.

I'll start by saying that I love stories where a kid is with a grandparent because like many children, I spent a lot of time with my grandmother. When the book is about a Native family, however, the content of the story adds to my emotional response to what I see on the pages. 

The story opens with Maggie and her dad in the car. When they park, they walk a while to get to her granny's house. As they walk Maggie hears the sounds of a city. That's important! There is a tendency to think that Native people lived long ago (we're still here!) and that they all lived on reserves/reservations or in rural places. Some did and do, but not everyone does. Showing us granny, in the city, is great!

When Maggie and her dad arrive at her grandmother's house, Maggie can smell the fry bread her grandmother made. On the kitchen table are granny's beads. Granny is on the phone, speaking Anishinaabemowin with her sister. All of these are markers--in print and illustration--of a Native home.

As the two sit on the couch to look at photos that have inspired granny's beading designs, Maggie asks her about a person shown in an old photo. Granny tells her:

"That's me. Back when I lived on the reserve."

She goes on to say that she married a man who wasn't First Nations, and under the laws that existed then, 

"I was stripped of my Indian status and had to leave the community."

Right there is when I paused in my reading, thinking about Native people like Maggie's grandmother, whose identity is taken from them. 

There are many ways in which this happens. There's a long history of social workers deeming Native parents "unfit" to care for their children. Their infants and children end up in foster care and white adoptive homes. There's also a long history of non-Native people thinking they had an ancestor who was Native, so they decide to claim that identity as if it is one within their lived experience. Some trot out a story of tragic separation but that story undermines the realities of the lived experiences of people like Maggie's grandmother. 

On the next page, Maggie's grandmother tells us more about the Indian Act. Maggie asks for more information. It is an outstanding page that I hope readers will sit with. 

As the story moves back to beading, I hear -- in Granny's words -- how beading helped her heal some of the pain she experienced due to the Indian Act. On the book cover we see Maggie looking into a mirror. She's wearing the earrings she made with her grandmother. 

So many teachings are embodied in those earrings! So many memories are sewn into them! From the shiny beads to the tears Maggie shed when she accidentally poked her finger with the beading needle, to Granny's life story... this is quite a magnificent story from Jenny Kay Dupuis! 

As I've noted before, we're seeing more extensive author notes than was the case in the past. In Heart Berry Bling we have a two-page note that tells us Granny's story is the story of the author's own grandmother. There's more details on what was lost when her status was taken from her. We also learn about First Nations women who fought that Act and were eventually able to get some changes to it in 1985, but it wasn't until 2011 that changes were made that made it possible for Jenny Kay Dupuis to have her First Nations status. More changes took place in 2017 and 2019. 

We need books from writers like Jenny Kay Dupuis--people whose families hold these brutal realities in their memory as something they lived through--and people across North America have so much learning to do about Native life and history, and about authenticity of storyteller and storytelling. 

Thank you, Jenny, for sharing this story with us. It is a story with difficult parts, but also the joy in this Native child and her Native grandma, being together!  

Another New Cover for Frank Asch's POPCORN

Back on July 23, 2015, I wrote about Frank Asch's picture book, Popcorn. It came out in 1979 and is about Sam (a bear) who is having a Halloween party. 

It came out again in 2015 with marketing info that said "This refreshed edition of a beloved classic features the original text and art with an updated cover." For the 2023 edition, the promo line tells us that the book has been "...refreshed with new art..." 

Here's the three covers:

The refreshing that was done to the original cover was to remove the jack-o-lantern border and replace it with a yellow one. The refreshed new art for the 2023 version (due out in the summer) replaces the bear's costume. He's no longer dressed like an Indian. In the new edition he'll be a pirate. 

In the original, each guest brings popcorn that reflects their costume:

 

We know--based on the cover--that the interior pages where Sam is shown wearing a headband, feather, and loincloth will be changed, but I wonder about the other costumes. Will the one holding "Walrus Blubber Popcorn" be "refreshed", too? We'll see! 

"Could he still use the youth edition of 'An Indigenous Peoples' History of the United States'?"

The title of today's blog post is from an article in The Washington Post. It came out yesterday (March 6, 2023). Its title is 'Slavery was wrong' and 5 other things some educators won't teach anymore.' Its subtitle is "To mollify parents and obey new state laws, teachers are cutting all sorts of lessons." Written by Hanna Natanson, it is a look at the experiences of six teachers. 

I encourage you to read the entire article. I'm focusing on Native content taught by two of the teachers. 

Greg Wickenkamp:

Greg Wickenkamp taught eighth grade social studies in Iowa. There, a new law had been passed in June of 2021 that barred teachers from teaching "that the United States of America and the state of Iowa are fundamentally or systematically racist or sexist." Unclear about how the law would impact him, he emailed the district when school started again in the fall, to give them a list of what he was teaching. The Washington Post article says they have copies of the emails. Because the article says "Could he still use the youth edition of An Indigenous Peoples' History of the United States for Young People?", I gather that An Indigenous Peoples' History of the United States for Young People was on the list he sent to the district. The article includes a video, dated Feb 8, 2022, of Wickenkamp's conversation with the superintendent. The conversation centers on slavery. He wants to say that slavery was wrong but the way the law is written suggests that a statement like "slavery is wrong" is a "stance" and therefore not ok. At the end of the school year, Wickenkamp left his position as a teacher and is working on a PhD in Education. My guess is that a statement like "colonialism is wrong" would also be deemed inappropriate. 

Teacher in North Carolina:

The post does not disclose the teachers name because that teacher fears harassment. (Note: I know that fear. Many teachers and parents and librarians write to me about something but ask that I not share it or their name. They fear backlash on themselves or their children or family.) The teacher (of sophomores) taught excerpts from Christopher Columbus's journal, using the first chapter of Zinn's A People's History of the United States. A parent objected, saying it made her White son feel guilty. The district admonished the teacher and told them to stop the lesson on Columbus. They did, and at the end of the year, switched to a different school where they were able to teach those excerpts about Columbus. 

****

I am one of the people who brought forth An Indigenous Peoples' History of the United States for Young People.  We know some teachers are using it in their classrooms and we know that some Native children carry it around everyday in their backpack. We know it matters, tremendously. 

I'm grateful to know about the teachers featured in the article. They are exercising leadership in their classrooms. There are many, across the U.S. They and librarians are under tremendous pressure. They need support. School administrators are afraid, too. When your school board is meeting to discuss what is taught in the classrooms, and what is on the library shelves, are you going to the meeting to voice support for teachers like the ones in the article? I hope so. 

Debbie--have you seen SWIFT ARROW by Josephine Cunnington Edwards?

Some time back, a reader wrote to ask if I had read Swift Arrow by Josephine Cunnington Edwards. It was published in 1997 by a publisher I was unfamiliar with: "TEACH Services." On their website is a page about their history. A paragraph from there:

On January 1, 1984, a small home in Harrisville, New Hampshire, became the maiden office of TEACH Services, Inc. The mission of the newly formed publishing company was to encourage and strengthen individuals around the world through the distribution of books that point readers to Christ. 

I see, there, that the author was a missionary to Africa. And here's a description of the book: 

Colored leaves, red, yellow, and brown, fluttered past George as he rode behind Woonsak in the long string of Indians and ponies. They were riding north and moving quickly. So many Indians moved along the path that George, who rode near the front of the line, could not see the end when he turned around to look. The farther they went, the more unhappy George became. For with every step, Neko (his faithful pony) took him farther and farther from his home and from Ma and Pa. Even the fluttering leaves seemed like little hands waving good-bye all the day long. So begins chapter seven of this beloved classic by Josephine Cunnington Edwards. George, a young pioneer boy is captured by Indians and raised as the son of a mighty chief. He spends his time learning the ways of these native Americans, and yearning for the day that he might find a way to return to his loving family.

The TEACH website offers a preview of the book. That same preview is available in Google Books. Historical fiction often has biased and anti-Indigenous words, so I sometimes do a search (that's an option in Google Books) on a particular word to see how it is used in the book. In Swift Arrow, I found:

"squaw" -- 20 times

"squaws" -- 18 times

"paleface" -- 13 times

"brave" (as word for male) -- 12 times

"papoose" -- 11 times

"redskins" -- 4 times

"firewater" -- 3 times

"savages" -- 2 times 

I also looked for the word "dance" to see how it is used. Classic and award-winning books often include deeply offensive depictions of what they call Indian dance/dancing. In Swift Arrow, George watches "several warriors" jump into the middle of a circle and begin "a strange dance" where they leap into the air, and howl. Then, "several more braves" jumped into the circle. As George goes to sleep, he listens to the "howling" and thinks about this "savage life." You see that sort of description in Little House on the Prairie, and Sign of the Beaver, and Touching Spirit Bear. 

As the description above notes, George gets captured by Indians. When he arrives at the village, a few "squaws" pointed at him and "a few reached up dirty hands to touch his light face and run their fingers through his curly hair." There's a lot to say about that particular scene but I draw your attention to the word "dirty." It is also commonly used in historical fiction, as if being dirty is a way of life for Native people. It wasn't. 

As I look at reviews, etc., I see that their chief, "Big Wolf" plans to make George--who is now called Swift Arrow--his son and future chief of the tribe. That sort of thing is seen in many works of historical fiction. An authority figure (in this case "Big Wolf") is choosing a white captive for a significant role in the tribe. Those storylines are examples of white supremacy. Knowing that the author was a missionary, it does not surprise me that she created that particular plot. 

If I decide to order the book I'll be back with a more in-depth review but right now, I am confident in saying that I would not recommend it. I wish this book was an outlier but I think the questions I've received about it point to it being used more and more within politically conservative spaces. 

 

"Presenter Self-identification Statement" at 2023 Tucson Festival of Books

Earlier this week within Native networks, I saw people sharing a link to a "Presenter Self-identification Statement" on the website for the 2023 Tucson Festival of Books. It says:

The Tucson Festival of Books takes no steps to verify, determine or otherwise confirm the race, ethnicity and or lineage of its authors, presenters or participants. All claims about history and ancestry of each person participating in the festival are entirely their own. Furthermore, the festival will not deny a qualified author admittance to the festival based on race, color, religion, sex (including pregnancy), national origin, age, disability, veteran status, sexual orientation, gender identity, or genetic information. We follow the University of Arizona’s Nondiscrimination and Anti-harassment Policy which can be accessed here. 

I'd never heard of such a statement before at a book festival and asked (on social media) if this was new. From replies I've received so far, it is new.  On social media, people were sharing the link to the statement. I tried to find it on the festival website but can't find it on any menus.  Edit on March 1 at 12:53 PM Pacific Time: Thanks to a reader for help in locating the statement on the site. It is the last item in the 'About' section in the same row where you see "Authors/Get Involved/Sponsors." On my screen, the 'about' section doesn't show unless I tap the >> after the last item. 

The statement basically says that it is not the job of the organizers to verify, determine, or otherwise confirm the claims that an author, presenter, or participant makes regarding their identity. I am assuming that the statement is in anticipation or response to growing conversations in the US and Canada about the ways in which people state they are Native. 

When I started studying children's books in the 1990s there weren't many by Native writers. Some that were promoted as such were by writers whose claims to being Native were well known--in Native circles--to be fraudulent. A good example is the person who went by the name, "Jamake Highwater." His fraudulent claims were well known in Native circles.

So, I've known for a long time that people would claim to be Native and that other people would accept their claim. I accepted claims from people we hired when I was on the faculty at the University of Illinois in Champaign Urbana. It was painful to realize that their claims could not be substantiated. 

Why did it become a conversation? Because people were talking about the two (Andrea Smith -- she claimed to be Cherokee, and Anthony Clark -- he claimed to be Meskwaki). That conversation led us to draft an "Identity and Academic Integrity" statement that says (note: I left UIUC in 2012):

American Indian Studies is committed to the highest standards of professional and scholarly conduct and the best ideals of academic freedom. We are also committed to developing strong and sustaining partnerships with people and programs in American Indian and Indigenous communities. These commitments will sometimes create tensions and might at times be in conflict, but we see them both as necessary to our conception of the work we do. Free academic inquiry helps us to test the limits of accepted wisdom, seek out new approaches to chronic problems, and recognize that being creative about the future might lead us to embrace people and ideas that have been in various ways excluded from the American Indian social and political world. At the same time, our commitment to partnering with people and programs in Native communities creates a need for us to make our work intelligible to a constitutive audience of that work. While we retain responsibility for defining the boundaries and limits of our scholarly and creative work, we also actively seek opportunities to be transparent in articulating what we do and why.

In such articulation, we recognize the importance of being able to identify ourselves clearly and unambiguously. Too often, we realize, American Indian studies as a field of academic inquiry has failed to live up to its potential at least in part because of the presence of scholars who misrepresent themselves and their ties to the Native world. While we do not in any way want to suggest that only Native scholars can do good scholarship in Native studies, neither do we want to make light of the importance of scholars who work in this field being able to speak with clarity about who they are and what brings them to their scholarship and creative activity. Indeed, we hope that our partners will subject us to whatever level of scrutiny they find appropriate as we seek to build bridges between the academic world and Indigenous communities.

[Adopted by American Indian Studies faculty, September 2010]

That statement is in the drop down menu in the Research tab. As a statement that is publicly available, it conveys the serious nature of claims to Native identity. Since then I've read excellent essays and watched videos in which the emphasis is not on an individuals stated claim to being Native, but on their relationships to the communities they claim to be part of. We quickly get into dicey spaces about being enrolled, disenrolled, ineligible to enroll, disconnected, reconnecting, and so on. 

In 2021 I started AICL's Native? Or, Not? A Resource List. I add to it when I come across an item that I think helps make it a better resource. I added to it yesterday (Feb 28). I'm trying to do (at least) two things with that list: provide the resources but also, demonstrate that this is not a new concern. My first public remarks about claims to Native identity were in 2008 at a conference at Michigan State. Some of the presentations were video taped and are available on YouTube. 

Returning, now, to the Tucson Festival of Books and their statement. It strikes me as a "not our problem" sort of thing. I think they're wrong. Any festival on this continent is taking place on Native homelands. 

The growing recognition of Native land can be seen in the growth of Land Acknowledgements. There's one on the Tucson Festival of Books "Happening" page. When you click on it you see this: 

It suggests that they are aligned with the university's statement. It reads:

We respectfully acknowledge the University of Arizona is on the land and territories of Indigenous peoples. Today, Arizona is home to 22 federally recognized tribes, with Tucson being home to the O’odham and the Yaqui. Committed to diversity and inclusion, the University strives to build sustainable relationships with sovereign Native Nations and Indigenous communities through education offerings, partnerships, and community service.  

I assume they'll have someone read it aloud at the opening of the festival. Are the organizers of the Tucson Festival of Books acting respectfully? I don't think so! Their "Presenter Self-Identification Statement" says that "All claims about history and ancestry of each person participating in the festival are entirely their own."  That "entirely their own" coupled with "takes no steps" is disappointing.

I think they could use words that convey an expectation of integrity in the claim. That expectation would more closely align with the respect conveyed in the land acknowledgement--especially if an author is claiming to be from one of the 22 Native Nations in Arizona. 

This post seems clear to me as I get ready to hit the publish button but it may not be! I welcome questions and comments. 

Stereotypes in Beverly Cleary's HENRY HUGGINS

A Native parent wrote to tell me that they were reading Henry Huggins aloud at home. They got to chapter four ("The Green Christmas) and read this: 

In September he had been Second Indian in a play for the Westward Expansion Unit. That hadn't been too bad. He had stuck an old feather out of a duster in his hair and worn an auto robe his mother let him take to school. It was an easy part, because all he had to say was "Ugh!" First Indian and Third Indian also said "Ugh!" It really hadn't mattered which Indian said "Ugh!" Once all three said it at the same time. 

They talked about the paragraph, including that reference to a "Westward Expansion" unit. They decided not to continue reading Henry Huggins. My guess is that many of you read it in your childhood and didn't notice the problems with that paragraph. If you were reading it aloud, today, would you pause when you got to that part?

****

Henry Huggins was first published in 1950, with illustrations by Louis Darling. I was able to locate a copy from that year. Here's a screen capture of that page:

The parent who wrote to me did not mention the illustration that shows Henry with the feathers and robe (note that he has a stern expression on his face for that part but when he's being a tooth he's smiling), so I think they were reading a newer edition, like this one from the 2007 edition: 

There are no illustrations of Henry in his various roles in the 2007 edition. My guess is that someone decided they should not have an illustration of Henry as an Indian. But the passage? It is just as bad as the older illustration. No edits were made to the passage. I sure would love to see records of the conversation and decisions that took place! Read it without the paragraph. It would not impact the story at all if that paragraph were simply removed. 

I also found a 2004 edition, in Spanish, that has the old illustration:

And, I wondered about other books in which Beverly Cleary may have included stereotypical content. I looked at book covers and noticed Henry--in face paint--on the 1979 Dell Yearling edition of Henry and the Clubhouse:

In chapter three, "Trick or Treat," we see that Henry has decided to be an Indian for Halloween:

On page 70 are the details of what he did: 

On page 73, he goes to the living room to show his parents. His mother "pretended to be frightened at seeing an Indian and a wolf in the house." 

Update: 

I see that, in 2004, Neil Patrick Harris did the audio book edition of Henry Huggins. I listened to chapter four. He reads that paragraph aloud. What do voice actors do with passages like that? Do they have the opportunity to talk it over with anyone involved in the audio recording? 

****

I wonder what might have happened if the child of the parent who wrote to me had been reading Henry Huggins in school? Would the teacher pause the read-aloud? Would they discuss it? If you or your child has had an experience like that with this book or any other one, please let us know. 

Not Recommended: The Little Indian Runner

Yikes! You know how you get a request and think you'll take care of it 'tomorrow' and then suddenly, time has passed and it sits, undone? Well, that is me today. Three years ago...   No, let me say it this way: THREE YEARS AGO (caps capture my emotion) a librarian wrote to ask me about The Little Indian Runner. Written by a Native writer, I was (of course), excited. 

The book is by Mark E. L. Woommavovah, a citizen of the Comanche Nation. When he was a kid walking with his aunties, he'd run ahead of them, wait for them to catch up, and run ahead, again. In my mind, that's such a terrific image! A Comanche person of the present day giving us a book about his childhood, running, sounds great. 

But then...

I saw the book. I am so disappointed. The illustrations are garish.  Garishly stereotypical. The person who did them is James Koenig. He is not Native. Instead of a Comanche kid of the 1950s or 60s or 70s (I don't know how old the author is, so those years are an estimate of the time period during which he may have been a kid), we see a caricature that (to me) looks like it came right from old, stereotypical cartoons. I'm not sharing the images here. You can look them up if you wish. 

I'd have much preferred art that showed Woommavovah as he probably was back then: clad in jeans, some kind of athletic footwear, and a t-shirt. Instead, we get over this figure with its bare torso, painted face, feathered headband, leggings and breechcloth, and moccasins. 

The art is a mess. 

The content? That depends on the reader's point of view. It ends with the end of the runner's day when he goes to bed and says a prayer. It isn't a Comanche one. Instead, it is that "now I lay me down to sleep" one, which I think, appeared in The New England Primer in 1781. Anyone who recited that prayer or has children that recite it may like seeing it here, but I don't. My guess is that the author is Christian. He could have submitted the manuscript to a Christian publishing house, where an editor might have helped edit the writing (some of it is clunky). Based on what I've seen from some Christian publishing houses, they'd have probably been fine with Koenig's illustrations.    

Anyway for many reasons, I do not recommend The Little Indian Runner. 

And a note: If you have a story from your childhood and you'd like to get it published, I strongly recommend you read books being published today, by Native writers. There are so many to study. The goal is not to force a conformity in what you do; instead, it is to help you see where we are, now. A book like The Little Indian Runner might have gotten published by a major publisher years back but I don't think that would happen today. 

A final note to the librarian who wrote to me three years ago: I'm sorry it took so long for me to do this review! You had concerns. You were right. 

Highly Recommended: POWWOW DAY by Traci Sorell

Powwow Day

Written by Traci Sorell (Cherokee)

Illustrated by Madelyn Goodnight (Chickasaw)

Published in 2022

Publisher: Charlesbridge

Reviewed by Jean Mendoza

Review Status: Highly Recommended

Powwows are an Indigenous tradition that many non-Native readers (child or adult) have at least heard of, though misconceptions abound. Most seem to emphasize the entertainment -- the drums, the singing, the dancing -- with little awareness of the reasons Native people hold powwows in the first place. 

That awareness can be gained from several contemporary picture books by Native creators. There's White Earth Anishinaabe author Marcie Rendon's photo-essay Powwow Summer: A Family Celebrates the Circle of Life (1996/2013; photos by Cheryl Walsh Belleville). The protagonist of Jingle Dancer (2000/2021) by Cynthia Leitich Smith (Muscogee) gets ready for a powwow, and in Bowwow Powwow (2018) by Brenda Child (Red Lake Ojibwe), the main character dreams about a highly unusual powwow. And I don't want to forget Josie Dances (2021) by Denise Lajimodiere (Turtle Mountain Band of Ojibwe), in which a girl, her mom, and three other family members prepare for her to dance at the next powwow.

A 2022 addition to that list is Powwow Day, by Cherokee author Traci Sorell and illustrator Madelyn Goodnight, Chickasaw. 

Here's what the book jacket says about Powwow Day:

Today is powwow day. Then River remembers: no dancing for her this year. Even though she's feeling  better lately, she's still not strong enough. Maybe she can at least dance Grand Entry? Join River and her family as they enjoy a cultural tradition -- their tribal powwow. As River tries to make peace with her temporary limitations,  she reminds herself that her beloved jingle dress dance is to honor the Creator, the ancestors, and everyone's health -- including her own.

And here are 4 reasons why AICL strongly recommends Powwow Day.

Reason #1: The story line is emotionally resonant.

Many children have had to temporarily stop doing something they love due to illness or injury. It won't be hard for them to empathize with River's sadness, frustration, and (ultimately) hope as she stands apart from activities that mean a great deal to her.

Reason #2: The illustrations emphasize a Native child's personal experience of a public traditional event. 

Every time I look through this book, I find something else to appreciate about Madelyn Goodnight's depictions of the characters and the event. Tenderness and a sense of loving community are on every page.  Illustrations and photos of powwows can feel impersonal or disconnected from the individuality of the people pictured. But Goodnight's powwow-goers have a range of skin tones, facial shapes, hair styles, and expressions. And several of them wear glasses! Each dancer's regalia is unique. 

Yes, there's beautiful, bright, sound-filled spectacle, but the personal elements are foregrounded, showing River's deeply-felt connections to her family and community. No one, least of all River, is there to be entertained.

Reason #3: It's tribally specific, indirectly.

Powwow Day doesn't name River's Native Nation, but the author's use of the term "tribal powwow" suggests that this event may be smaller, more local, than the intertribal powwows that draw participants and audiences from far and wide. The back matter is more specific about the tribal origins of powwows and of the jingle dress dance. In her note, Traci Sorell also makes clear that she didn't attend powwows until college; they were not part of her Cherokee heritage. That's an important point to make for many non-Native readers who tend to assume that all tribes had powwows, historically (a variant of the "Native tribes are all alike" stereotype).

Reason 4: It doesn't have to stand alone.

Sharing Powwow Day with children, along with any or all of the other 4 powwow-themed books I mentioned earlier, can begin to give them a multi-dimensional picture of what powwows are like. Kids can watch for details and make comparisons. What does each book say about the jingle dress dance, and other dances? About the drums? What does each main character do to get ready for a powwow? What's depicted in the background at each powwow? (For example, can they spot the rows of portable toilets in Powwow Day? That's a most welcome feature of contemporary powwows.)

If you teach about powwows, we'd love to hear what you're doing, and what place books like Powwow Day have in your planning.

EDITED by Jean 2/10/23: Some cool additional information from author Traci Sorell, via comment on Facebook: "We do share the tribe in the art on the Grand Entry page. Look for the black flag behind the eagle staff. It's the flag of the Sault Ste. Marie Tribe of Chippewa in MI's UP. The short story "Secrets and Surprises" I wrote in ANCESTOR APPROVED continues with this family and begins in the tribe's rez up in the Soo."

Use/Misuse of the Word "Treaty" or "treaty" in Children's Books

Last week, I had a conversation with an educator who told me about conversations they'd had with teachers about Sign of the Beaver. Here on AICL we've had several posts about the book. I can't recall why I decided to take a look at it again, but I did. 

In particular, I noticed the way that the author used the word "treaty":

On page nine, we see:

Since the last treaty with the tribes, there had not been an attack reported anywhere in this part of Maine. Still, one could not entirely forget all those horrid tales.

The book is set in the 1768; I will try to figure out what treaty the author is having the white character refer to. Obviously the second sentence about "horrid" tales is meant to tell us that white people were being viciously attacked by Native people. There's bias in that passage but use of "treaty" is ok. 

The next use is not. 

On page 30, Matt (the white protagonist) is grateful to Saknis (a Native man) who helped Matt recover from bee stings and a fall. He gives Saknis a book (his copy of Robinson Crusoe). Matt realizes Saknis can't read. Saknis asks Matt if he can read. When Matt says yes, Saknis says:

"Good," he grunted. "Saknis make treaty." 

"A treaty?" Matt was even more puzzled.

"Nkweniss hunt. Bring white boy bird and rabbit. White boy teach Attean white man's signs.

"You mean--I should teach him to read?"

"Good. White boy teach Attean what book say." 

There, the use of treaty is wrong. Treaties are the outcome of negotiations between heads of state. They are not something that a person and another person do. Using the word in that way, Elizabeth George Speare misrepresents their significance of the word. Why did she do that?

Her book won a Newbery Honor in 1984. Did anyone on the Newbery Committee that year notice the word being misused? Did Speare's editor notice? I have not seen any articles that address that point. I do see lesson plans that note the passage, but not in the way I am noting it. The reason Saknis wants Matt to learn to read is so that Native people won't be tricked by words in treaties. I find that a bit ironic because I think readers of Sign of the Beaver are being subtly led to a misunderstanding of the word. That may be due to a lack of understanding (in the author, editor, reviewers, etc) that Native peoples are citizens of nations. Somehow, they seem to be framing a treaty as a cultural artifact specific to Native peoples rather than a political one specific to diplomatic negotiations between heads of state. 

It reminded me of the way that Stephanie Meyer used it in her Twilight series. She has a treaty between vampires and a pack of wolves. She misused it, too. 

With that in mind, I posed a question: how are writers using the word in their books for children/young adults? I asked it, on Twitter, and will use this post to keep track of replies. At some point I hope to write a blog post about what I find. 

If you see the word in a book for children/young adults, let me know and I'll add it below. I am not limiting my question to anything other than books for children and young adults. Fiction, nonfiction, by Native writers, not by Native writers, set in the past or not.... I want it all. An analysis of its use will be interesting! I anticipate lot of misuse but hopefully, some good uses, too! Metaphorically would be fine -- if done carefully. We'll see what turns up, and thank you for suggestions! 

Children's and Young Adult Books that use the word "treaty"

Note: Initial list created on Jan 28, 2023; books added after that date will be noted with "[added on...]"). This is not a list of recommended books; it is a list of books that have the word treaty in them.

• Belin, Esther, Jeff Berglund, and Connie A. Jacobs. The Dine Reader. Published in 2021 by the Arizona Board of Regents.
• Boulley, Angeline. Firekeeper's Daughter. Published in 2021 by Henry Holt.
• Collins, Suzanne. The Hunger Games. Published in 2008 by Scholastic Press.
• Craft, Aimée. Treaty Words: For As Long As the Rivers Flow. Published in 2021 by Annick Press.
• Crawford, Kelly. Dakota Talks About Treaties. Published in 2017 by Union of Ontario Indians.
• Cutright, Patricia J. Native Women Changing Their World. Published in 2021 by 7th Generation.
• Davids, Sharice. Sharice's Big Voice: A Native Kid Becomes a Congresswoman. Published in 2021 by HarperCollins.
• Davis, L. M. Interlopers: A Shifters Novel. Published in 2010 by Lynberry Press. 
• Day, Christine. I Can Make This Promise. Published in 2019 by HarperCollins.
• Dimaline, Cherie. The Marrow Thieves. Published in 2017 by Dancing Cat Books.
• Frank, Anne. The Diary of a Young Girl. Published in the US in 1952 by Doubleday.
• Gansworth, Eric. If I Ever Get Out of Here. Published in 2013 by Scholastic.
• Gansworth, Eric. Give Me Some Truth. Published in 2018 by Scholastic. 
• Gansworth, Eric. Apple Skin to the Core. Published in 2020 by Levine Querido
• Gansworth, Eric. My Good Man. Published in 2022 by Levine Querido.
• General, Sara and Alyssa General. Treaty Baby. Published in 2016 by Spirit and Intent.
• George, Jean Craighead. The Buffalo Are Back. Published in 2010 by Dutton.
• Keith, Harold. Rifles for Watie. Published in 1957 by Harper.
• Marshall, Joseph III. In the Footsteps of Crazy Horse. Published in 2015 by Amulet.
• McManis, Charlene Willing. Indian No More. Published in 2019 by Lee & Low Books.
• Merrill, Jean. The Pushcart War.
• Pierce, Tamora. Alanna, the First Adventure; Wild Magic, First Test, Trickster's Choice. 
• Prendergast, Gabrielle. Cold Falling White.
• Prendergast, Gabrielle. The Crosswood. 
• Sorrell, Traci. We Are Still Here. Published in 2022 by Charlesbridge.
• Speare, Elizabeth George. The Sign of the Beaver. Published in 1983 by Houghton Mifflin.
• Stevenson, Robert Louis. Treasure Island. Published in 1883 by Cassell and Company.
• Tingle, Tim. How I Became A Ghost. Published in 2013 by Roadrunner Press.
• Treuer, Anton. Everything You Wanted to Know About Indians But Were Afraid to Ask: Young Readers Edition. Published in 2021 by Levine Querido.
• Twain, Mark. The Adventures of Tom Sawyer. Published in 1876 by American Publishing Co.
• Verne, Jules. Twenty Thousand Leagues Under the Sea. Originally published as a serial in 1870 in France.
• Wilder, Laura Ingalls. Little House on the Prairie. Published in 1935 by Harper (Harper Collins).

Nostalgia for Margaret Wise Brown's DOCTOR SQUASH THE DOLL DOCTOR

Yesterday (Monday, Jan 17, 2023) this image appeared on the timeline of my Facebook account. Specifically, it was shared to a Facebook group about children's literature. I paused when I saw it:

Those of you who read AICL would probably have paused when you saw it, too. There's derogatory stereotypes on that page. I wish it was being shared to call attention to the problems but that is not the case. 

The illustration is from Doctor Squash the Doll Doctor. Written by Margaret Wise Brown, the first edition was illustrated by J.P. Miller. It came out in 1952. 

An author shared it on her page, and an administrator for the Facebook group shared it to a Facebook group for children's literature. Right now (Tuesday Jan 17, 6:26 AM Pacific Time), there are 40 likes and hearts on the author's original post. There are five comments saying things like "Love this!" and "Oooh, a vintage one to check out" (followed by a smiley face with 3 hearts on it). The original post was shared, uncritically, by five people. 

When I saw it on the FB group page, it had 36 likes and hearts and one comment from a person who has the book and quoted a line from it ("Whenever you are sick, sick, sick, call for the doctor quick, quick, quick!"). 

There's clearly a lot of nostalgia for what is--speaking honestly--racist imagery!

I submitted a comment to call attention to the stereotyping. I also anticipated the responses I'd likely get defending it, and included arguments to counter them ahead of time. This morning, the share to the children's literature group is gone. My guess is that the administrator who initially shared it decided to delete it. I wish they had left the post there, for discussion. 

You may recall that I wrote an open letter to Kate Di Camillo last year, about her Facebook post where she had warmly shared a memory of reading Island of the Blue Dolphins. She read my letter and asked her followers to read it, too. I think I'll share that post to this facebook group. There was a time when I had warm feelings about a book I read as a child. That book is The Five Chinese Brothers. I didn't see the stereotyping it in until I was an adult looking critically at images. I definitely see it now and when I work with teachers and librarians, I'll usually talk about that memory and letting go of the book. 

Doctor Squash the Doll Doctor is one I want to dig into a bit. The illustration above is from the first edition. Here's that cover (screen capped from an Etsy page):

In 2010, it was reissued (I think as an e-book) by Random House with new illustrations by David Hitch. Here's the 2010 cover:

Here's the review of the 2010 e-book from School Library Journal:

K-Gr 3–This newly illustrated reissue of a 1952 Golden Book recounts the illnesses of various dolls–squeaky soldier, teddy bear with a bloody nose, fireman with a broken leg, Indian with poison ivy, etc–and Doctor Squash, who comes running to dispense medicine and advice as needed. When the good doctor falls ill, the toys get the chance to return the favor and take care of him. Hitch's cartoon illustrations complement the text well with bright colors and great facial expressions. They are updated from the original (no Mammy doll) but still have an old-fashioned look. References to the snowman doll's illness and “wild Indian” have been removed. Perplexingly, the story does continue to refer to cough drops as “good as candy and just as pretty” and to mention writing prescriptions for measles, mumps, chicken pox, and whooping cough. Updated, but still a bit out-of-date.–Catherine Callegari, Gay-Kimball Library, Troy, NH. (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted. --This text refers to the library edition.

Here's the review from Kirkus: 

A Little Golden Book first published in 1952 with illustrations by J.P. Miller sees new life with new art, proving yet again that Brown is synonymous with timelessness. When dolls are sick or in pain, there’s really only one doctor to call: the good Doctor Squash, who attends to their every need. From broken legs and poison ivy to coughs and the mumps, the doctor always has the right cure on hand. And when the doc falls ill, the dolls take care of him in return. Some of the original text has been updated to suit the times (for example, the Wild Indian Doll becomes simply the Indian Doll). Gone too are such anachronistic images as the mammy doll. Appropriate though these changes may be, it is a pity that there is no mention of them in this new edition. Nevertheless, playing doctor with dolls never falls out of style, and Hitch’s retro style and modern toy updates work overtime to ensure that this book becomes a classic all over again. Entertaining and charming. (Picture book. 4-8)

As both SLJ and Kirkus noted, the 2010 one does not have the Mammy doll. Neither review pointed out that the doll with a sombrero, huge mustache, serape, and guitar is also gone. (SLJ noted that the snowman is gone; in the original the snowman got frostbite on his left foot.) 

Here's the page with "the Indian Doll" (screen cap is from the Internet Archive):

If the text in the 2010 version is the same as the text in the original 1952 edition, the words on that page were "The wild Indian Doll fell off his horse when he was out for a ride one day." Do you think "The Indian Doll" is an improvement? I don't. 

At the website for the Smithsonian's American History Museum, I was able to find illustrations (but not text) for the original book. Here's the way Miller drew that page:

The "Indian" doesn't have a big nose, feather and tomahawk in the updated version. I suppose Hitch and the art director at Random House thought that was a good change, but it isn't. Not really. We still have use of a single image to represent "Indian" as though we're all the same. And I suppose they decided it is not ok to have a Black or Latinx doll -- that perhaps they can't be playthings, but did they decide a toy Indian is ok? I think they did. They are wrong, of course. They seem more knowledgeable than the people on FB who feel warmly towards the original, but the "Entertaining and charming" line from the reviewer at Kirkus is disappointing. Overall, from the readers on a FB group page to the professional reviewers, we see lot of room for growth. 

Obviously, I do not recommend Doctor Squash the Doll Doctor. 

That's all I have for now. On to other things. As always, I welcome your comments. 

"Tlingit don't exist for the benefit of bad teenagers."

In a recent conversation, an educator told me about people in her networks who are still using Touching Spirit Bear.  That educator has read my posts about the book and is frustrated by those who continue to use it. Here, I'll paste the cover and overlay it with a red X:

In reading through comments about the book and Slapin's review of it, I remembered the one submitted by Mike M. in February of 2018. I'm sharing it here to bring it more visibility. Mike is Tlingit. Here's what he said:

Tlingit don't exist for the benefit of bad teenagers.

Sorry I seem to be late to this party. I've known about Touching Spirit Bear for years, but have avoided reading it, until just this week. I'd read about it here, and in Clare Bradford's essay, and figured that I would not like it. Now I have read it, and I do not like it. The book bothered me. Many of the comments here bother me. Some who defend the book use the argument that reading it is helpful for many troubled young readers, so any minor factual inaccuracies don't matter. There seems to be some formula that can be used to balance the benefits against the harms; I don't know what that formula is. The harms do seem to be undervalued by those who make the argument. I have to ask: if thousands of sports fans are made happy by acting out an ugly caricature, does that joy outweigh the tragedy of dehumanizing whole groups of people? How many happy fans balance one young suicide? What exactly is the Stereotype to Redemption exchange rate--and is it a fair transaction?

I am fairly certain that I am not the only Tlingit person who has been informed, as soon as his tribal affiliation is discovered, that "Ooh! I loved Touching Spirit Bear." This has happened to me, more than once, if not in these exact words. That it is intended as a positive statement does not erase the realization that a whole culture is reduced to a couple of characters. (And worse, that these are characters whose creator claims that their culture is not relevant to the important matter of his book.) One wonders how many young readers (or adult readers--many of them teachers, apparently) put down this book, fiction or not, believing that at.oow is kind of like Linus Van Pelt's comic-strip blanket, or that Tlingit villagers can cure a sociopath by letting him dance out his feelings after dinner.

The book may indeed be helpful for some troubled youth. I can't say, but I don't like the cost. Touching Spirit Bear would have been better if the whole Tlingit angle had been left out. The character of Edwin, the Tlingit elder, was more Hippie than Tlingit. Garvey, the parole officer, could have been anyone from Southeast Alaska. Rosey, the Tlingit nurse, was believable, as were the teenagers who carried the stretcher: they would have been acceptable as irrelevant Indians. I read that the author claimed that Touching Spirit Bear was not based on the controversial real-life Tlingit banishment case that hit the national news a few years before his book; neither have I seen any mention of the real-life Circle Peacemaking Program in the Tlingit village of Kake (rhymes with Drake): so it must be assumed that the Tlingit connection in Touching Spirit Bear is mere New-Age appropriative garbage.

Mike is not the only Tlingit person who has said no to Touching Spirit Bear and he's not the only Native person who has said no, either! 

Many people talk about a book that changed their life. Some argue that Touching Spirit Bear changes lives of children who bully others. That is certainly possible but it does that at the expense of other peoples and factual knowledge of Tlingit people. Does that make it ok? If the book that changed your life had derogatory content of a people, would you use it with young people? My hope is that you'd hold on to the lessons you took from it but that you'd not use it with others.

Teachers: let go of this book! 

Back Matter in 2022 book from Charlesbridge -- THE GARDENER OF ALCATRAZ

This morning on Facebook (in a discussion of books by region), I saw mention of The Gardener of Alcatraz. Written by Emma Bland Smith and illustrated by Jenn Ely, it came out in 2022 from Charlesbridge. In my experience, Charlesbridge is one of the publishers that is really trying to be conscious of content about Native peoples. 

I know the history of Alcatraz. Would any of that history, I wondered, be in The Gardener of Alcatraz? 

The answer is yes. Information is included in the back matter. I think solid info in a book's back matter as a step in the right direction. 

Here's the description for The Gardener of Alcatraz:

When Elliott Michener was locked away in Alcatraz for counterfeiting, he was determined to defy the odds and bust out. But when he got a job tending the prison garden, a funny thing happened. He found new interests and skills--and a sense of dignity and fulfillment. Elliott transformed Alcatraz Island, and the island transformed him.

Told with empathy and a storyteller's flair, Elliott's story is funny, touching, and unexpectedly relevant. Back matter about the history of Alcatraz and the US prison system today invites meaningful discussion.

I do hope that the back matter invites meaningful discussion! Many (most?) kids won't read the back matter--but teachers, parents, librarians--you certainly can! Read and study it so you can give more depth to students when you teach or book talk The Gardener of Alcatraz. Here's what I see:

• In the Time Line is "1969-70: Native American occupation of Alcatraz" (p. 36).

• In Alcatraz and Its Gardens (p. 37), there are several subsections:

The first paragraph of "The Early Years" says "Because there was no source of water, Native people did not live on the island (although historians believe the members of the Ohlone tribe may have hidden there to avoid being captured and forced into slavery in the California Mission system)." 

The second paragraph says "Native Americans were also imprisoned there for refusing to allow their children to be taken away and placed in boarding schools." 

There's an entire subsection called "The Native Occupation." The first paragraph is about the prison being expensive to maintain, and so it was shut down. The second paragraph is: 

Then, in 1979, a group of Native activists from different tribes occupied Alcatraz. Their goal was to raise awareness about the brutal ways in which Native people had been treated and to protest the recent closings of reservations across the country. The Indians of All Tribes occupied Alcatraz for nineteen months before the government evicted them. Signs of their presence remain on the island to this day, inspiring visitors to reflect upon Indigenous people's ongoing fight for their rights.

I wish the author had included sources or books for this information. There's a selected bibliography but none of the primary sources, books, online resources, or DVD's that they list are specific to Native people at Alcatraz. She cites books that are not ones for children. For example, she cites Michael Esslinger's Alcatraz: A History of the Penitentiary Years. She could have cited one of Adam Fortunate Eagle's books. You can read his Heart of the Rock: The Indian Invasion of Alcatraz at the Internet Archive (or get a copy from your library). Another option is Troy Johnson's books about the occupation. They are primarily photo records of that period and I find them gripping. The National Park Service hosts a page he wrote about the occupation: We Hold the Rock.  She includes links to online resources and could have added ones about the Hopi parents who were imprisoned there. The National Park Service has this one: Hopi Prisoners on the Rock.  

•  In Author's Note, Smith writes that Corrina Gould, Tribal Chair of the Confederated Villages of Lisjan, "went over the passages concerning Native people's relationship with Alcatraz." (p. 40). 

I am psyched to see Smith's note -- and that she worked with Corrina Gould! I met her (virtually) last year when we were doing a session for caregivers in the San Francisco Bay area. 

As noted earlier, I think it is great to see inclusive back matter! I hope teachers use it when they use the book in the classroom. 

Highly Recommended: Two for 2022 from Highwater Press!

Highwater Press often sets a high bar for Indigenous-centric publishing. This post recommends two of their 2022 releases: Returning to the Yakoun River and Dancing with Our Ancestors. Both are by Sara Florence Davidson and her father, Robert Davidson, illustrated by Janine Gibbons. Dancing with Our Ancestors is among the Globe & Mail's top-10 children's book for 2022. Both are on AICL's list of the best books we read in 2022, and here's a "short and sweet" summary of why.

Returning  to the Yakoun River

Written by Sara Florence Davidson (Haida/Settler) and Robert Davidson (Haida descent)

Illustrated by Janine Gibbons (Haida Raven of the Double-Fin Killer Whale Clan)

Published in 2022

Publisher: Highwater Press (Portage and Main)

Reviewed by Jean Mendoza

Review Status: Highly Recommended

Dancing with Our Ancestors

Written by Sara Florence Davidson (Haida/Settler) and Robert Davidson (Haida descent)

Illustrated by Janine Gibbons (Haida Raven)

Published in 2022

Publisher: Highwater Press (Portage and Main)

Reviewed by Jean Mendoza

Review Status: Highly Recommended

Reason #1 to recommend these two books: Emphasis on Indigenous pedagogies

Both offer a close "insider perspective" on two traditions of Haida communities -- fish camp (Returning to the Yakoun River) and potlatch (Dancing with Our Ancestors). The text and the illustrations work together to portray intergenerational Indigenous teaching and learning.

Reason #2: The story-telling

Both are based on the authors' experiences. The writing is clear and straightforward, yet effective at conveying both informative and emotional content. See, for example, Sara Davidson's closing words in Dancing about her brother, or the descriptions of the children's fish camp experience in Yakoun River. I couldn't help but smile at their pleasure over breakfast of "tiny boxes of cereal that we are never allowed to eat at home" and their dash to climb into a little boat so they can ride the wake of a passing motorboat. 

Janine Gibbons' illustrations are powerful, and play a key part in the storytelling -- for example, in Returning, you'll see panoramic scenes (such as the end papers), extreme close-ups (such as a cereal bowl, a salmon head seeming to threaten a finger) and more, not just matching but accentuating portions of the text.

Reason #3: The supplemental information

In the back of each book is a map of Haida Gwaii, where the action in the books takes place, as well as some information about the Davidson family.

Take a look at this video on the Portage and Main Web site (less than 30 minutes long) about the potlatch on which Dancing with Our Ancestors is based. 

The archived virtual book launch for both books is available for viewing, and is full of interesting information.

Highwater Press sells a teacher's guide to go with the Sk'a'da Stories, and there's a link to a free pronunciation guide to the Haida words that appear in the books.

Reason #4 to recommend these two books: They're part of a strong series.

The two previous Sk'a'da Stories, Jigging for Halibut with Tsinii and Learning to Carve Argillite, created by the same author/illustrator team, were among CBC Books' Best Children's Books of 2021. Throughout the series, they interweave cultural and historical information with storytelling about their family and community. The information goes beyond the basic "Here's what our tradition looks like", in line with an essential purpose of the series -- to actively preserve Haida culture for future generations:

As I watch from the side, I think about the laws that tried to stop us from gathering .... They wanted to stop us from being Haida. No laws stop us today. Today our history is recorded in our art, our stories, our dances, and our songs. Today we dance with our children so our culture cannot be stolen again."

In short, Dancing with OurAncestors and Returning to the Yakoun River are two books to learn from and to appreciate for storytelling and for the Indigenous knowledge shared.