Showing posts sorted by date for query Peter Pan. Sort by relevance Show all posts
Showing posts sorted by date for query Peter Pan. Sort by relevance Show all posts

Friday, March 08, 2013

Inspired by Students at University of Redlands and Sherman Indian School

On Wednesday, March 6th, I spoke at Cal State Polytechnic University in Pomona. The next day (March 7th, 2013), I spent the day at Redlands University and Sherman Indian School. My hosts at Redlands were Heather Torres and Nora Pulskamp of the Native American Student Programs office. Here we are at the end of the day:




In the morning, I gave a guest lecture to a class on Native Women taught at Redlands University by Dr. Larry Gross. I talked about depictions of Native women in the media and children's books. The students were engaged and engaging. I showed them "What Makes the Red Man Red" from Disney's Peter Pan. Their response was similar to the ones I get when I ask teachers and librarians to read aloud from selected passages of Little House on the Prairie. Surprise, that is, at how racist the depictions are, and that they do not remember those depictions from when they viewed/read these two items as children. We focused on the sexualization of Tiger Lily, and talked about the Violence Against Women Act.

From there, Heather and Nora drove us out to Sherman Indian School. It is one of the boarding schools originally designed (by the federal government) to 'kill the Indian and save the man.' Like Santa Fe Indian School, it is now a different place. Native history and culture is affirmed, for example, by the murals in the hallways:

Murals at Sherman Indian School affirm Native identity

I spent an hour with Native students. I talked with them about mascots, showing them photos of "Chief Illiniwek" (the former mascot at the University of Illinois) and stereotypes in children's literature. They were very attentive. When I showed them the photo of "Chief Illiniwek" doing the splits in mid-air, they exclaimed aloud at how ridiculous it is.


I also talked about the need to have books about American Indians, written by Native authors. My favorite example is Cynthia Leitich Smith's Jingle Dancer. I love showing that book to Native students, no matter how young or old they are. I was delighted that it slowly made its way through the group of 30 or so students, as they pored over the pages. Clearly, Cynthia's book touched them in a good way. After class was over, one young woman approached me to say she wants to be a writer. Her English teacher was also there and praised her work.

I was inspired by the students on both campuses. From them, I gained a strong sense of optimism and hope for the future.

The public lecture on campus last night reminded me that certain segments of society will not welcome them or the work they wish to do. That lecture drew Native people who live in the Redlands area, and Redlands students who tutor Native youth. All took note of the woman who entered the lecture hall wearing a "Chief Illiniwek" jacket. When she took her jacket off, I noticed she had one of the newer shirts fans of "Chief Illiniwek" wear. When the mascot was retired at Illinois, private vendors designed and sold several different kinds of shirts, including the one she wore. It has the word CHIEF in large bold letters across the front of the shirt. The woman sat alone and quiet throughout the lecture, but at the end, told us she is a Fulbright scholar who studies cultural genocide, and that "Chief Illiniwek" is not a violent mascot like the one at Florida State. She was belligerent and loud and said in her 30 years of being at Illinois, she never saw anything violent about it.

Her decision to be there, to dress as she did, to proclaim her credentials, and argue as she did, was puzzling to me. What motivated her to do that? Hate? Privilege? Both?!

Though I'm certain there are administrators at the University of Illinois who wish the mascot was still there, I think they would have been embarrassed at the behavior of this woman. She is, whether she realizes it or not, the embodiment of racism.

The students at Redlands and Sherman Indian School will encounter people like her. Change--for the better--will happen. It is never easy work, but change does happen. "Chief Illiniwek" no longer dances at Illinois because Native people and our allies fought to get rid of it. I leave California with the faces of the students in my head, inspired by each one of them.

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Update at 9:45 AM, 2013
Added photo of mural from Sherman Indian School and cover of Jingle Dancer. 


Saturday, January 26, 2013

Playing Indian - Vintage Valentine's Day Cards

Over at BuzzFeed, Leonora Epstein posted 15 Unbelievably Racist Valentine's Day Cards. I'm sharing two of them in this post. Before I do that, though, let's take a look at the subtitle for her post. She writes "This collection of V-Day cards circa 1900 to 1930 or so will make you wish Valentine's Day never existed." With that subtitle, she suggests that times are different. I think she's not paying attention to mascots like the ones for the Washington Redskins or the Cleveland Indians. She must not know about the Gwen Stefani video either.

Let's take a look at two of the cards:


Problems:
"Ugh ugh" - I'd love to know who it was that first put down "ugh ugh" as words or speech of Native people!

The headdress itself - One of the common stereotypical ways that a headdress is drawn.

The geometric trim around the heart - I guess this could be traced to textiles Native artists weave on looms. But don't artists from other groups also use looms in creating their woven items?

Wondering about his "give me" line. What do you think about that?

And or course, he is playing Indian. The artist didn't intend you to think the boy is actually Native. That's different (mostly) from the other Valentine's Day cards in the BuzzFeed article...


Here's the second one:

Problems:
"How" - Another utterance someone attributed as the way that Indians say hello. You remember it from Disney's Peter Pan?

The headdress - Another of the common ways that a headdress is drawn...

Given her skin tone, we can speculate that the artist meant her to actually be Native, but that's not likely. Like the boy in the card above, she's most likely playing Indian, too.



If you want to see more, check out the ones Adrienne K. has been posting each year at Native Appropriations. As far as I know, makers of the Valentine's day cards no longer use these stereotypes. I wish authors and illustrators of children's and young adult literature would stop, too!

Friday, January 11, 2013

K. D. McEntire's LIGHTBRINGER

I started reading K. D. McEntire's Lightbringer... 

What to say about a book in which a character (Lily) wears braids, refers to her "shaman," is derisively called "Pocahontas" by another character and says things like "A brave needs..." (p. 47)?

I don't want to finish it, that's what to say...

No matter how much people like the author, the story, or the writing, it is still just another book in which an author inserts some half-baked new age baloney into an urban fantasy and offers it up, perhaps, as a 'multicultural' read because its got what the authors wants us to see as Native characters.

Lily (yeah, her name is Lily, like Tiger Lily and the protagonist is named Wendy and there's a guy in "the Never" named Piotr) sees "Awonawilona" or, "the bringer of light" who is, according to Lily's people and her shaman (ick... I really don't know any tribal person who refers to their medicine person as a shaman), able to send souls into another world, freeing them and giving them peace.

I'll stop reading now.

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Update: Friday, January 25, 2013

I am pasting a comment directly into the post because the commenter states that she is the author. I have no way of verifying her statement, but given what is said in the comment, I believe it is, in fact, K. D. McEntire. Below is the comment. Frankly, I'm blown away by what she says. She's forthcoming in what occurred as the novel was being published. Her words give me hope. Here they are (I corrected one typo):

Hi. I don't normally do this - I believe in letting a work stand on its own in the face of all criticism - but I am the author and I'd like to apologize for how Lily was handled in my series. During the early drafts I had a lot more information regarding Lily's past and her tribe. I worked very hard to keep the idea of the Zuni both vague enough that any mistakes that I (as the author and not a layperson in the culture) made might be covered by the general smoothing of time (since Lily has been dead nearly two thousand years) but I was told while shopping the book around that all the extraneous detail I put into secondary characters "bogged down" the story. It wasn't just Lily but Elle, Piotr, and Eddie as well. Poor James' backstory was cut out entirely, diminishing the impact of being a slave down to two throwaway lines. It's a balancing act that, looking back, I know that I lost. I had a certain number of words to hit, a certain number of chapters to reach, and not everyone could get an equal say. Which is a shame, because I LOVE Lily as a character. I *was* trying to emulate the cool confidence of Tiger Lily from Peter Pan and I really hoped I was able to get that aspect of her character across at least.


It wasn't my intention to upset anyone or be disrespectful of ANY culture depicted in any of my books. I quite understand why you put it down and I hope you recognize that this was my debut novel. Every person grows in their field and I am doing my best to grow in mine

Update: Saturday, February 9, 2013

Upon reading McEntire's response, Jeffrey Canton (he teaches in the Children's Studies Program at York University in Toronto, Canada) posed some questions to her. She replied yesterday, and I'm pasting his questions and her comment below. She also wrote to me privately, verifying that it was her who submitted the comment on Jan 25th. Here's Canton's post, dated Friday, January 25th, 2013:

Jeffrey Canton said...

I certainly appreciate McEntire coming forward and explaining the issue BUT what I am curious about is who we're talking about here in terms of her decision to remove what she calls the "extraneous detail" - being respectful of cultural difference isn't extraneous so are we talking about agents or editors or other publishing types? Because debut novelist or not, who you listen to is pretty important and certainly no publisher that I know here in Canada would have recommended cutting cultural specific essentials!

Jeffrey Canton
Toronto



And here's McEntire's reply to me and Jeffrey, dated Friday, February 8, 2013:


Anonymous said...

Jeffrey,

"Extraneous detail" was a catch-all term used to explain that I was spending too much time on the secondary characters - Elle, Lily, James, "Specs", etc - and not on Wendy and Piotr. This came from two different agents who I know in real life, not just my own agent, and several of the publishers the book was shopped to before finding a home with Pyr and the amazing editorial team there.

Yes, it is important who you listen to but, again, this was my first trip into this world. You listen to people who might be willing to pay you for the book you poured your heart into and at the time I thought that I HAD to listen to every suggestion offered. I would have done ANYTHING to get my book published. Now, with the entire series complete - "NEVER" is coming out in May - I now have a better idea what editorial comments that I must take to heart and what I can take with a grain of salt.
You say, "certainly no publisher that I know here in Canada would have recommended cutting cultural specific essentials!"

The crux of the matter lies in a very important word: essentials.


Lily is a secondary character. She's a great character. I LOVE her. I loved writing her. She's wise and subtle and a perfect foil for Elle's over-the-top 1920's racist-sexist-bitchy-as-hell flapper character. But she's secondary. She is not either of the two main characters and as such all the amazing and complex details I found are, simply put, flavor text and thus are up for the editorial slice-and-dice when the word count drifts too high. It sucks. It's not a fun part of writing, but there you go.

Ultimately I really did try to be respectful of cultural differences. Eddie is Jewish, something you catch only via references. I hope this better explains where I was coming from. You can't please everyone but it was never, ever my intention to make anyone feel disrespected.


Oh! Debbie,

One last thing that I forgot to mention before in my prior comment -- "Pocahontas" from Elle is a backhanded compliment. I know you don't intend to finish the book or the series, but if you read on you eventually realize that she is poking fun of Lily because Elle loves and respects her a lot. She's from the 20's. She's racist. She makes off-color jokes and she never regrets them... but Lily and Piotr are her best friends. Lily is the only other person who can go toe-to-toe with Elle and come out on top. It's one of those "I can pick on my brother but don't you DARE" situations.

Friday, June 22, 2012

Jodi Lynn Anderson's TIGER LILY

I'm reading reviews on goodreads of Jodi Lynn Anderson's new book, Tiger Lily. 

In which there's a shaman named Tik Tok who also happens to be Tiger Lily's adoptive father, and, a guy the same age as Tiger Lily... His name is Pine Sap.


According to reviewers, Tiger Lily is shunned because her tribe thinks she is cursed. They also shun Pine Sap because he's very small (physically) and to them, that's not ok...

The first lines in the publisher's promo for the book:


"Before Peter Pan belonged to Wendy, he belonged to the girl with the crow feather in her hair. . ."

Crow feather in her hair?

Reading some of it at the HarperCollins site, I see that Tiger Lily is of the "Sky Eaters" tribe. She stands out because she's like a cross between a roving panther and a girl. She stalks instead of walks. And, because she's female, she's out in a field when the story opens, cultivating tubers, because that is a woman's job.

I don't have an ARC. If someone wants to send me theirs, send me an email and I'll send the mailing address. The book is due out on July 3rd.


Monday, February 06, 2012

What did Curtis Acosta teach in his Mexican American Literature course?

[Note: A chronological list of links to AICL's coverage of the shut-down of the Mexican American Studies Department at Tucson Unified School District is here. Information about the National Mexican American Studies Teach-in is here. The best source for daily updates out of Tucson is blogger David Abie Morales at Three Sonorans.]

___________________________________



Barack Obama's speech at the 2004 DNC Convention is among the readings Curtis Acosta taught in his Social Justice, Resistance, and Literature course. 

Ever since January 15th when I read Who's afraid of "The Tempest" in Salon, I've been wondering what the teachers in the Mexican American Studies courses were teaching that led people to write laws to penalize school districts that offered courses that sought to "promote the overthrow of the U.S. government" or "promote resentment towards a race or class of people" or were "designed primarily for pupils of a particular ethnic group" or "advocate ethnic solidarity instead of the treatment of pupils as individuals."

Since then, I've learned a lot about the Mexican American Studies (MAS) Department and resistance to it.  There's a lot more to know. I continue to study the historical context that the program and resistance to it are nested within.

It seems the primary targets of the law were ideas taught in MAS history and social justice classes. I say that based on Governing Board President Stegeman's 2011 proposal to make those courses electives rather than allow them to count as fulfilling core course graduation requirements. Students and community that support the MAS program successfully stopped that proposal from being voted on by occupying the board's meeting room. Students chained themselves to board members chairs. Depending on who you ask, it was a violent and threatening event, or, it was a peaceful demonstration.

TUSD's response was to start having heavy police presence at their meetings. This included the use of helicopters, cordoning off streets, and admitting people to meetings only after they were wanded by security. Most of us know about the police brutality at Occupy Wall Street events, but I don't think the police brutality in Tucson is getting that attention. If you've seen it in the national press, please send me links. Here's a video of that brutality (the video is from a story about police brutality at the Three Sonorans page at Tucson Citizen):



What was being taught that moved people to write the law in the first place? What was being taught that motivated supporters of the program to fight so hard to keep the program intact?

Below is Curtis Acosta's syllabus. I didn't get it from him or the MAS program. I found it on the website for Tucsonans United for Sound Districts (TU4SD). Their January 2012 newsletter, written by co-founder Loretta Hunnicutt, takes credit for the shut down of a program that allowed "political predators" in the classroom to be funded by taxpayer dollars. They've got links to the syllabus for eight different courses, but they've reproduced his on their site. Obviously, they view it as evidence of the work of a "political predator."

At present, they are working on new legislation modeled on the Ethnic Studies law that would say "A teacher who uses partisan books and/or partisan materials or teaches any partisan doctrine or conducts any partisan exercises in school is guilty of unprofessional conduct and his certificate shall be revoked."

This new proposal is meant to control what is taught in any classroom by any teacher, but their work to rid TUSD of the MAS program and their use of Acosta's syllabus as an example of inappropriate course content is very telling.

Jane Yolen, author of Twelve Impossible Things Before Breakfast, has wondered why her book is on the list of books that may no longer be taught by teachers who once taught in the MAS program. When I found Acosta's syllabus, I wrote to Jane to let her know it was her "Lost Girls" story that was being taught. That story is Yolen's take on Peter Pan. In Fairy Tales Reimagined: Essays on New Retellings, Susan Redington Bobby writes that it "subverts a story meant to reinforce traditional gender roles and uses it to reinforce values of feminism" (p. 58).

Race. And feminism, too. What stands out to you? I don't like sounding like a fear mongerer, but I definitely thing we have a lot to be fearful of in the politics of the present time, and I hope you are, too. Could a law like the one in Arizona be passed in your state? Given the money driving politics in the United States right now, I think that the right question is not "could a law" but "When will a law like the one in Arizona be passed in your state?"


Social Justice, Resistance, and Latino Literature

First Quarter - Contemporary Fiction
Non-Fiction - Personal Reflections
  • My Dungeon Shook by James Baldwin
  • La Conciencia de la Mestiza: Towards a New Consciousness by Gloria Anzaldua
Short Stories
  • Selections from Ten Little Indians by Sherman Alexie
  • Eleven by Sandra Cisneros
  • Vatolandia by Ana Castillo
  • Love in L.A. by Dagoberto Gilb
  • Lindo y Querido by Manuel Munoz
  • Brisa by Dagoberto Gilb
  • Aurora by Juno Diaz
  • Lost Girls by Jane Yolen
  • Selection from Tuff by Paul Beatty


Second Quarter - Critical Race Theatre
Counter Story Telling and Cultura Through Teatro 
  • And Where Was Pancho Villa When You Really Needed Him? by Silviana Wood 
  • Culture Clash in America and Culture Clash: Life, Death and Revolutionary Comedy by Culture Clash
Shakespeare, Colonization, and Critical Race Theory
  • The Tempest by William Shakespeare


Third Quarter
Immigration - La Lucha Sigue
  • The Devil's Highway by Luis Alberto Urrea

Resistance Through Rhetoric

Nonfiction
  • The Puerto Rican Dummy and the Merciful Son by Martin Espada
  • Jesse Jackson's speech at the 1984 Democratic National Convention
  • Barack Obama's speech at the 2004 Democratic National Convention
  • Speech at the Afro-Asian Conference by Ernesto "Che" Guevara
  • "Women, Power, and Revolution" by Kathleen Cleaver
  • "Political Prisoners, Prisons, and Black Liberation" by Angela Davis
  • Message to Aztlan by Corky Gonzales
  • Message to the Grass Roots by Malcom X
  • "Beyond Vietnam" and Where We Go From Here by Martin Luther King Jr.
  • "Does 'Anti-War' Have to be 'Anti-Racist', too? by Elizabeth "Betita" Martinez

Fourth Quarter
Resistance/Revolution in Spoken Word, Slam Poetry, and Hip Hop
Poetry
  • Selections from William Carlos Williams, Amiri Baraka, Nikki Giovanni, Ana Castillo, Tracy Morris, Paul Beatty
Hip Hop
Selections from Olmeca, Sihuatl-De, Dead Prez, Common, Kanye West, KRS-1, Mos Def, Talib Kweli, Rage Against the Machine, etc.



Friday, January 13, 2012

Stereotypes of American Indians in Little Golden Books

Editors Note: Updated April 10, 2013 with annotations for My Little Golden Dictionary, Howdy Doody and the Princess, Bugs Bunny and the Indians; the addition of the Giant Golden Book, Cowboys and Indians, and The Little Trapper.

_______________________________________

In 1942, Little Golden Books was launched. Among them are several with stereotypes of American Indians and Alaska Natives.

I don't know if this compilation is comprehensive...  If something is missing, let me know!  Below are the covers of books published from 1948 through 1974. Some observations about the 20 books:
  • Two are alphabet books.
  • Seven are television shows or movies.
  • Four show a non-Native kid (or a rabbit) playing Indian.
  • Seven show warbonnets.
  • Six show headbands. 
  • There are 18 Indians shown on these covers (two on the Bugs Bunny one; none on the Roy Rogers and Little Trapper books). Only 2 are female. One of the two females is... umm... Howdy Doody's "Princess." I wonder what words Margaret Wise Brown used in her book? It is possible the Eskimo is female, too. I've assumed it is a male. If I'm wrong, let me know! 

Do you have any of these books? Others? What are your observations?

I have Golden Legacy: How Golden Books Won Children's Hearts, Changed Publishing Forever, and Became an American Icon Along the Way by Leonard Marcus. I don't think he mentions any of these in his book. 

Here we go...



1948
Up in the Attic: A Story A B C
by Hilda K. Williams, illustrated by Corinne Malvern




1948
Cowboys and Indians
by Kathryn Jackson and Byron Jackson
illustrated by Gustaf Tenggren

From reviews at Amazon, I see the book has 52 stories and rhymes. The Indian's is "Little Bear." There's also a Chinese cook named "No Pow Wow."

In "Lazy River Ranch" we read that "Injuns" that were "painted all up with fierce war paint" fought "your grandpa" but "a heap of red men bit the dust."

In "The Poor Wandering Cowboy" there's an Indian who comes riding along: "The Indian said 'How!'" Head over to Golden Gems and read both in their entirety, and others, too.






1949
My Little Golden Dictionary
illustrated by Richard Scarry


I for Indian was once commonly done. So was E for Eskimo. Notice all the other items shown on the cover are objects or animals. No G for German, J for Japanese, etc.

This seemingly innocuous use of "Indian" or "Eskimo" dehumanizes and obscures who Native people are. There are over 500 federally recognized tribal nations in the US and Alaska. "I for Indian" suggests that we all wear large feathered headdresses. We don't.







1950
The Little Trapper
by Kathryn and Byron Jackson
illustrated by Gustaf Tenggren

No Indian on the cover, but inside, Dan (shown on cover), meets an "Indian girl." To see her, go to Golden Gems. She looks just like Teggren's Little Bear on the cover of Cowboys and Indians (shown above) except that she is wearing a dress, a necklace, and a bracelet. Like Little Bear, she has blue moccasins and trousers trimmed with red triangles on a white background. Her hair and Little Bear's hair is identical, and so is the feather (white on bottom, red on tip). Her headband is red; his is multi-colored.





1951
Bugs Bunny and the Indians
by Annie North Bedford

Bugs Bunny spends the summer on a ranch where he wears two guns. None of the other cowboys have guns, by Bugs tells Porky Pig, "You have to be prepared, my Boy... There might be wild Indians around." The cowboys laugh at Bugs and conspire to play a trick on him, in which Cowboy Slim, who is "a real Indian" and other Indians capture a very scared Bugs. One "brave" (Cowboy Slim) says "Now let us see you shoot those guns you carry for the wild Indians." Turns out Bugs is armed with water pistols. The Indians love 'em and trade with Bugs. In the end, he's wearing a feathered headdress.  




1952
Howdy Doody and the Princess
by Edward Kean

The princess is named "Princess Summerfall Winterspring." From his airplane (the "Air-o-doodle") they see a "contraption" (wagon). Princess says "Looks like a medicine man to me." They land to check it out. The "medicine man" is a showman (not an Indian) named Doc Lemon who does magic tricks. The princess has a magic necklace and outshines Doc. He's a sly one and swaps her necklace with one of his that isn't magic. Later when she talks to hers: "Kawa goopa tinka tonka--which way?" it does nothing. They set out to get it back.

Problems? Name of princess; calling showman a medicine man trivializes medicine people who are revered within Native Nations; words princess uses are bogus; stereotype portrayal of princess--no tribe, tipi, fringed clothing.




1952
Indian Indian
by Charlotte Zolotow





1952
The Little Eskimo
 by Kathryn Jackson



1952
Peter Pan and the Indians
by Annie Bedford



1953
Hiawatha
Walt Disney Studios




1954
Little Indian
by Margaret Wise Brown
illustrated by Richard Scarry




1956
Buffalo Bill, Jr.
by Gladys Wyatt
illustrated by Hamilton Green



1956
Roy Rogers and the Indian Sign
by Gladys Wyatt
illustrated by Mel Crawford



1957
Lone Ranger and Tonto
by Charles Verral




1957
Brave Eagle
by Charles Verral




1957
Broken Arrow
by Charles Verral
illustrated by Mel Crawford




1958
Cowboys and Indians
by Willis Lindquist
illustrated by Richard Scarry




1959
Tonka
by Elizabeth Beecher



1961
I'm An Indian Today
by Katheryn Hitte
illustrated by William Dugan



1974
Little Crow
by Caroline McDermott

Saturday, September 04, 2010

PETER PAN in China

Troubling info...
"[B]rowsing at Chinese bookstores reveals that the children's book sections mostly contains books translated from the Western popular folk tales, such as Little Red Riding Hood, Peter Pan, and Snow White."

That's from "The Cultural Significance of Reading Instruction in China." Written by Yang Hu, the article is in The Reading Teacher, Volume 57, No. 7 (April 2004). I found it as I started looking for information about the Chinese National Curriculum.

I was looking for info on the Chinese National Curriculum because a former student was home in China this summer and brought me a copy of Little House on the Prairie. I'll scan the cover and some pages from the book later today. Printed across the top front of the cover is a note that says the book is part of the Chinese National Curriculum. I'd like to know more about that curriculum, and how Little House on the Prairie ended up on it. 



Monday, April 26, 2010

Why This Blog Matters, and, My Visit to Penn State...



I left State College on Saturday afternoon with a warm glow. Sounds cheesy, I know, but that's the right way to characterize it...

I was there to give a talk in a lecture series to celebrate the 40th anniversary of the American Indian Leadership Program in Penn State's College of Education. I spent most of my time with students and faculty in the program, and thank them here (publicly) for that warm glow: Heather, Peter, Connie, Arlene, Rose Mary, Kari, and Jane; and, professors John Tippeconnic and Susan Faircloth.


I also spent some time with a handful of professors in the College of Education: Gail Boldt, Dan Hade, Lisa Hopkins and Jacqueline Reid-Walsh. Dan's work on the commodification of children's literature is excellent, and I encourage people to look for it. You can listen to him via a podcast here. The podcast link is on the left side of the page under MULTIMEDIA.

Tippeconnic and Faircloth recently released findings from their study of graduation rates of American Indians. Titled The Dropout/Graduation Rate Crisis Among American Indian and Alaska Native Students: Failure to Respond Places the Future of Native Peoples at Risk, their findings are grim. Quite often, statistics about American Indians are not part of large studies of drop out rates. The reason for that is, we are deemed "statistically insignificant" and therefore, ignored. 

That "statistically insignificant" attribute is ironic, given that images of American Indians are everywhere. Because they are, we don't actually see them until someone points them out. They may be innocuous, or, they may be highly derogatory. The findings of my content analysis of SLJ's Top 100 Novels is a good example of how unexpectedly pervasive this imagery is. Another example is the reviews of Peter Pan in Scarlet (the sequel to Peter Pan), only one of which noted the negative stereotyping I found in it.

On page 7 of the report, Tippeconnic and Faircloth note that being left out because we're statistically insignificant is an example of:
"...structural and institutional racism, placing [Native] students... at a further disadvantage in opportunities and outcomes" (Toney, 2007, p.8).
And, they point to studies (see p. 27) that dropping out is the result of a cumulative process of academic and personal difficulties by which students detach from school. They go on to note that "school-level factors associated with dropping out include "a perceived lack of empathy among teachers" and "irrelevant curriculum." 

"A perceived lack of empathy among teachers" reminds me of the hundreds of times someone has written to me, dismissing my critiques because the book I'm critiquing is "FICTION" (they often use caps or boldface to emphasize the word 'fiction') and therefore, everyone should know that the author is making things up (and as such we shouldn't believe what we read as truth, and, I am stupid for asking fiction to accurately depict American Indians). It also reminds me of the time that my daughter tried to tell a teacher that Brother Eagle Sister Sky is stereotypical, and the teacher told her "but its not about your [Pueblo] people." Lack of empathy. Definitely a problem. 

That teacher was right about only one thing. Brother Eagle Sister Sky is not about Pueblo Indians. In fact, it isn't about any Indian people at all! There was good intent on the part of Susan Jeffers, but she only created a mass of stereotyped and extinct Indians. As such, it doesn't do anyone any good. As a book used in the curriculum of many schools, it is irrelevant to everyone! But, its defenders say, its got a good message about taking care of the earth, and that message outweighs the problems with its depiction of American Indians. With that rationale, aren't we telling Native kids that they're just not that important? If so, then, it is no wonder they detach from school.

Drawing from other research studies, Tippeconnic and Faircloth include twelve strategies to decrease dropout rates. Among them are:
  • Review and revise school policies and avoid implementation of policies that exclude, repress, demean, embarrass, harass or alienate Native students.
  • Make schools physically, mentally and emotionally safe by working to end racism, sexual harassment and other forms of physical and emotional assault.
  • Avoid use of negative stereotypes.
Reading Tippeconnic and Faircloth's report reminds me of the findings from Stephanie Fryberg's research on the effects of stereotypical images on the self-esteem and self-efficacy of Native youth. As was the case when I first read and wrote about her study, I'm glad to send it to you. Just send me an email to debreese at illinois dot edu.

I want you to read Fryberg's article, and, Tippeconnic and Faircloth's report. And then I want you to consider what you have in your library or on your classroom shelves. I know you can't take things off the shelves lest you be labeled a censor, but, you can definitely ADD things to your shelves that are, in fact, relevant. Add, for example, fiction that is relevant! Fiction that accurately reflects the lives of Native people in the present and past. 

Imagine what effect that would have on Native students in your schools. Might they become more engaged?

Sunday, April 25, 2010

PETER PAN in Canada: Two steps forward, and then two steps back again

Friday, April 23rd, The Globe and Mail published an article in the Arts section. Written by J. Kelly Nestruck, the article is titled "Sensitivity Training in Neverland.

It opens with Nestruck posing this question: "Are the Neverland Indians of Peter Pan going the way of the Beothuk in Canada?"

Given that the article is about getting rid of stereotypical images of Indians in Peter Pan, I imagine that Nestruck thought he was being clever by comparing the fictional Indians in Peter Pan with the Beothuk. The Beothuk, according to a quick look-see of research, are a tribe that no longer exists. However! I'm not inclined to believe that they vanished. I've heard that "vanished" story before. I'll check into it, by talking to First Nations people. (If you're First Nations and have info that can help me with this research, let me know.)  Some may think Nestruck's playful opening is clever. I don't think it is clever at all. Regular readers of American Indians in Children's Literature know that I think it is important to examine where people situate American Indians. We're often in the same sentence as wild animals, and in the case of "Sensitivity Training in Neverland" fictional stereotypical Indians.

The first full paragraph says that the Peter Pan that will be on stage next week in Halifax and Stratford, will not have any references to "Indians" or "redskins" in the script. Next, Nestruck tells us, that Tiger Lily's tribe is in both productions, but, that "its members no longer bear any resemblance to North America's aboriginal peoples."

Obviously, someone (Nestruck? Producers? Playwrights?) think the Indians in J. M. Barrie's play did, in fact, bear resemblance to North America's aboriginal peoples. Which ones?! We do not (and did not) all look alike....

Fourth paragraph, Nestruck says the "beloved" story has been "causing controversy of late." Of late? Maybe it is news to Nestruck that we (indigenous people) don't like the way we've been portrayed for a long time. Take, as one example, what William Apes, a Pequot man, said in 1829 in A Son of the Forest:
[T]he great fear I entertained of my brethren was occasioned by the many stories I had heard of their cruelty toward the whites—how they were in the habit of killing and scalping men, women, and children. But the whites did not tell me that they were in a great majority of instances the aggressors—that they had imbrued their hands in the lifeblood of my brethren, driven them from their once peaceful and happy homes—that they introduced among them the fatal and exterminating diseases of civilized life. 
Fifth paragraph, Nestruck reports that George Pothitos and the theatre in Halifax "found itself in hot water" when it sent out a casting call for "Pirates/Indians." The artistic director was contacted by "angry artists" and apologized for the oversight, "not realizing how offensive that might be to some first-nations people."  So then Nestruck goes into the Land of Offense. (My term, not his.)


He says that "if" Indian is now considered derogatory "in some circles" now, the word "piccaninnies" is "much more problematic." Here's paragraph eight:
In Peter and Wendy, Barrie's 1911 novelization of his earlier play, the Scottish author describes these “redskins” on the warpath with their tomahawks not as an imaginary people, but as just another group of North American Indians. “Strung around them are scalps, of boys as well as of pirates, for these are the Piccaninny tribe, and not to be confused with the softer-hearted Delawares or the Hurons,” he wrote.
There's a lot wrong---and confusing---in that paragraph. Where is my copy of Peter and Wendy...


Moving on to the tenth and eleventh paragraphs, wherein Tim Carroll, the British director for the production being staged in Stratford, says:
“Coming here, it was obvious to me that we had to be more sensitive to the feelings of people who would be watching a debased version of their forefathers put onstage,” he says.
So, I guess, it is ok to be racist if there's nobody looking? Carroll decided to recast Tiger Lily's tribe as Amazons, thereby paying off thematically because now, he is "adding a mysterious female hinterland to the very male world of Neverland's Lost Boys and pirates." He doesn't mean the indigenous peoples of the Amazon. He means "the women warriors of Greek mythology."

Meanwhile, back in Halifax, Pothitos said "I decided we'd produce our own Neverland, with a tribe not based on any one ethnicity." In his production, Tiger Lily's tribe is inspired by "primitivist Henri Rousseau as well as bits and pieces of Mayan, Egyptian, and East Indian culture." Rather than just mess with North American Indian stereotypical imagery, they've decided to add in a few other cultures...  That's no better than the mish-mash we already have to deal with....   Indians in headdresses, standing beside totem poles outside tipis...

Finally, in the last four paragraphs, Nestruck turns to the words of Tara Beagan, a playwright who is Ntlakapamux and Irish-Canadian. She is among those "angry artists" who contacted the Neptune about the casting notice. Nestruck wrote:
To Beagan, Peter Pan's casual equation of “Indians” with imaginary Neverland creatures such as mermaids was part of a larger racist British mindset that didn't see native North Americans as a real people who existed in the present.
I'm not sure where he got "racist British mindset" from. She didn't say that. He followed that with a quote from Beagan:
“The early 20th-century English theatre-going public literally thought of native North Americans as a vanishing race: This is what their rulers intended,” she writes. “England has made several very creative attempts at eradicating Canada’s first peoples – the mythologization of first-nations peoples was a false ‘swan song’ type of trend that has, sadly, lasted until 2010.”
And he ends the article with this paragraph:
In a recent article she penned for the Praxis Theatre blog, Beagan imagined her mother on a field trip from the Kamloops Indian Residential School in 1953 watching Disney's cartoon version of Peter Pan with its stereotypical Indians saying “Ugh” at a local theatre that only allowed native people to sit in the balcony. (Beagan's mother doesn't remember the specific films she saw on these trips, but the timing fits.) “My mom’s grandchildren – my niece and nephew – sit in any section they want, in any theatre they want,” Beagan wrote. “If things continue to look up the way they have been, they won’t ever sit through a production of something that will teach them that their people say 'ugh.’” In productions of Peter Pan at Stratford and Neptune, at least, that will be the case.
I searched the Praxis Theatre pages and found the blog post Nestruck quoted from. He left out her final sentence, which is:
Hell, it might be to watch something that one of them has written.
The article itself and the casting, revisions, and Barrie's story itself are all worth studying. I'm glad the article is available. It tells us there's some awareness (two steps forward), but, not understanding, or if there IS understanding, an inability to apply that understanding (two steps backward).

I think the theater people are trying, but, they're not slowing down enough to really think this stuff through. From Nova Scotia news is a favorable review that includes this:
Choreographer Jim White, who cooks up a lot of variety, has created an Indonesian-style dance for Tiger Lily and the tribesmen, in their grass skirts and bright blue and orange head dresses. Heidi Ford is a wonderfully lithe and expressive Tiger Lily.
There's a promo for the Neptune Theatre presentation at youtube. Tiger Lilly and her tribemen come onstage at 0:44 for a few seconds.  I'm not sure this is an improvement over the sequel to Peter Pan, titled Peter Pan in Scarlet... 






Monday, March 29, 2010

Nancy Bo Flood's WARRIORS IN THE CROSSFIRE

I recently read a galley copy of Nancy Bo Flood's Warriors in the Crossfire (Front Street, 2010). Flood is a gifted writer. Her book is a page-turner and a quick read. 

There are, however, specific parts of the book that give me pause. One example is her descriptions of a dance that Joseph (the main character) does. Given my study of the (inaccurate/romanticized/stereotypical) ways that American Indians are portrayed in most children's and young adult literature, I wondered if Flood's portrayals of the Chamoru (also spelled Chamorro) and Carolinian people---from their dance to their stories---was accurate.

As of this writing (March 29, 2010), reviews from two journals are available. Kirkus gave the book a favorable review, saying
"The understated design, which includes Japanese characters in the chapter titles and brief, impressionistic poems as chapter lead-ins, makes this volume stand out. An important and little-known perspective on World War II." 
while the review in the Bulletin of the Center for Children's Books was more qualified:
The narration, however, rings with the formal, stilted cadence generally associated with Hollywood portrayals of cultural outsiders in films of decades past: “‘Kento, I must carry my father to the sea. I cannot carry my father alone.’ Kento did not look up. ‘I am sorry, Joseph. I cannot help you’; “You have turned your back on us. . . . You have become . . . Japanese.” Nonetheless, readers who can visualize the living, breathing characters behind the awkwardly mannered voices will be rewarded with a heart-pounding reimagining of desperate times. A historical note is appended Review Code: Ad -- Additional book of acceptable quality for collections needing more material in the area. 
The Bulletin's reviewer zeroed in on cadence, referencing Hollywood portrayals of cultural outsiders. That is similar to my concerns with the ways that Flood describes dance (p. 40):
“I had learned from my father the ancient words of the chants and the ancient movements–the leaping, twisting, striking stick against stick. Gleaming with sweat and coconut oil, we danced, beating the rhythm faster and louder. Slapping, whirling, chanting our battle cries, we called to our ancestors. Guide us! Give us strength to leap, to fly, to defeat our enemies.” 
"Leaping", and "twisting" and "faster and "louder"...  Flood's words and image sound a lot like outsider description. In a lot of children’s and YA lit, outsiders describing Native dance say that Native people “stomp” and “leap” and “hop.” See, as one example, page 8 of Sign of the Beaver, or, the illustrations of dance in Dancing with the Indians, or Peter Pan, or, Little House on the Prairie, or, Touching Spirit Bear, or Walk Two Moons, or.... (you get the picture).

I've seen videos of the stick dancing Flood is describing, and it doesn't match with her description. Maybe it is not the same dance.  Still, though, I can't imagine an indigenous person describing dance quite that way. That whole section of her book could have been done differently. She could have had Joseph telling the reader how the Japanese describe the indigenous dances. She does this a little bit on page 32, when she writes "But to the Japanese, we are all the same, we are natives, barbaric outsiders, gai-jin."



Like Lyn Miller-Lachman, Warriors in the Crossfire inspired me to learn more about WWII, Saipan, the indigenous peoples of Saipan, Japanese occupation of Saipan, and, the samurai.

I have a copy of Chamoru Childhood, a collection of stories written by Chamoru people. I wrote about it a few months ago here. Knowing Keith Camacho, one of the Chamoru authors in the book, also figures prominently in how I'm responding to Flood's book.

From Keith, I learned about We Drank Our Tears: Memories of the Battles for Saipan and Tinian. The latter is a collection of stories told by men and women who lived through the invasion of Saipan. If you wish, you can go here and see a little of what the book contains. The page includes a bit of info about Benita Borja Cepeda's story, as told to her granddaughter, Madisa Lisa Messo Omni. There are photographs of both, and, the art at the bottom of the page is done by Madisa. Here's an excerpt about the book:
A project of the Pacific STAR Young Writers Foundation under the direction of Katharyn Tuten-Puckett, this new book is a moving collection of stories told to CNMI school children by their elders who experienced the war when they, themselves, were children. Each of the 74 stories, related by the students and accompanied by hand-drawn illustrations and photographs of the students and the elder who's story is being told, is a unique and memorable experience. No one who reads these stories can help but be struck with a profound sense of awe, respect and admiration for these families who's courage and perseverance brought them through the war.

We Drank Our Tears is important as a history. But perhaps its greater value is in the sharing of the collective experiences that define modern-day Chamorros and Refalawash people. Whether you live on-island or off, this book belongs on your shelf and in the hands of young readers who can only benefit from knowing something of the recent past that had such a profound affect on their parents and grandparents who lived it. It can go a long way toward bridging the generation gap with appreciation and understanding.
I've ordered a copy of We Drank Our Tears and look forward to it. 

In the meantime, I'll work on my analysis of Warriors in the Crossfire. I've got lots of questions. Like on page 39, the Emperor has ordered a victory celebration, and Japanese officials command the men and women of the village to perform. They do "sacred warrior dances." The Japanese men and women sit in chairs and watch the dance. I'd like to know more about that command to dance.

Update, March 30, 6:52 PM
To see a previous discussion of tribal protocols on intellectual property, go here.

Tuesday, November 03, 2009

Analysis: PETER PAN IN SCARLET

After spending the last 24 hours re-reading and making notes on Geraldine McCaughrean's Peter Pan in Scarlet, I feel a bit like the character, Mr. John.  The book opens with him saying "I'm not going to bed." (p. 2) He doesn't want to go to bed, because he'll have another dream. These dreams are unsettling to him. The worst night are when John dreams of Captain Hook.

Riffing off Mr. John's feelings...

As I read Peter Pan in Scarlet, I'd take time out for meals, teaching, talking with students, and the like. It was a relief to set the book aside to do those things! Tasks finished, then, I was a lot like Mr. John (avoiding something unpleasant). I didn't say "I'm not going to bed." I was thinking "I'm not going to pick that book up again." (But I did.)  Mr. John's worst nights are when he dreams of Captain Hook. The worst parts for me, as I read this book, are McCaughrean's references to Indians:

  • Head-dress
  • Warpaint
  • Redskins
  • Tepee
  • Warpath
  • Totem Poles
  • Hidden warpaths
  • Cannibals
  • Chief
  • Signal fires
  • Tribes

And then.... the Indians themselves.

  • Waist high
  • Wearing full warpaint
  • Armed with hatchets, bows and arrows, bowie knives
  • Child warriors
  • Long silken hair
  • Buckskin tunics
  • Scalping
  • Papooses
  • Squaws
  • Braves
  • Throat slitters
  • Warpainted pirates
  • Warriors
  • (Puppy eaters)
  • Throat-slitters ready to shoot arrows

In all of what I've listed above, McCaughrean, (apparently in the same style as Barrie), provides readers with a specific viewpoint or portrayal of Indians.  Like countless writers, she provides her readers with a stereotypical Indian... a mish-mash of tribes...

Tipis (she spells it tepees) and totem poles do not originate with the same tribe!

Her Indians are warriors and squaws in warpaint, carrying bows and arrows and knives. They know about scalping. And her Indians are also throat slitters. Throat slitters??? That's a new one for me. I've never seen it before (that I can remember) in any children's or young adult book. Just now, I've done a search on "throat slitters" and the hits are all related to terrorists.  Do any of you know of a book that says Indians were throat slitters? If you do, please comment below or write to me (dreese dot nambe at gmail dot com).

Not only does McCaughrean use just about every stereotypical image of Indians and just about every word to describe them, she adds a new one... One that is brutal, violent, and graphic. Where did McCaughrean get throat slitters? And why did she add it? I don't think it was in Peter Pan.

Moving forward in the book now, to chapter 24, "Back Together." There, we learn of the "Tribes of the Eight Nations." What is that? I can't pin it down to anything I know of, but, McCaughrean tells us what it is made up of:

Bison
Appaloosas
Travois
Squaws
Dogs
Braves
Thunderbirds
Drums
Papooses
War Bonnets
Peace Pipes
Braids
Coup Sticks
Moccasins
Bows and Arrows

Some list, eh?! This "Tribes of the Eight Nations" came in response to the "smoke signals" (p. 280) that Peter sent from the top of Neverpeak.  These tribes are from the north, south, east, west, and "the other place" (p. 280). What is that other place?!

When these tribes see Peter and the Explorers, they "bang on their shields and drums and papooses..." (p. 280). Their papooses?! Doesn't McCaughrean know what papooses are?! My question shouldn't be read to mean that I think that's an ok word.... I've written elsewhere that it IS a word for baby, but it is not EVERY tribal nations word for baby. Unfortunately, it has come to be seen as the universal Indian word for baby. It isn't.

They have a potlatch, during which a Princess smears their faces with warpaint and tells them they are now honorary members of the Eight Nations. Oh dear. I don't know what to say to that... 

And just as suddenly as they appeared, the Indians go away, moving off in eight different directions, to:

Tepees
Hogans
Kivas or Longhouses
Roundhouses
Bivouacs
Stockades
Under the stars

Why does McCaughrean say kivas or longhouses? Does she think they're the same thing? (They aren't.) Bivouc and stockade?! I associate those with the army. And, under the stars? Did she add that to reach her tidy number of eight? Eight tribes, eight directions, eight kinds of houses...  And what is it with eight??? Is that from Barrie? Or is that all McCaughrean?!

Peter Pan in Scarlet got great reviews. Only one reviewer (to my knowledge) mentioned the stereotypical Indian content. Over on  Amazon, there are 45 customer reviews (I'm looking at the page on November 3, 2009). 30 readers give it four or five stars.  None of the reviews, good or bad, mention the Indian content.

Of course, I object to all of it. It's all stereotypical, and the addition of throat slitters really bothers me. All of that aside, the story is dark. Bleak. Scary. A lot of the imagery is nightmarish. Let's hope it doesn't trouble my sleep tonight. I have more questions than answers or analysis... 

To see my extensive notes, read Notes and Summary:  Peter Pan in Scarlet.

Notes and Summary: PETER PAN IN SCARLET

Back when Geraldine McCaughrean's Peter Pan in Scarlet (nearly everytime I type the words "Peter Pan" I have to fix a typo.... instead of Pan it comes out as Pain) was published, I posted some initial notes. I finished the book, but, events at that time were such that a follow-up post was lost. A colleague wrote to me asking if I'd done anymore work on the book. His query prompted me to dig out the book and my notes (thanks, PN!).

I begin, anew. Below are notes and pretty thin chapter by chapter summaries.

Chapter 1 -  The Old Boys

Atop John's wardrobe are things from Neverland. Among the things is "an Indian head-dress" (p. 3). At night, John has bad dreams about Neverland. In the mornings, things from Neverland are in the bed. Mrs. John puts them on the wardrobe.

The Old Boys (Mr. John, Judge Tootles, Dr. Curly, Honourable Slightly, Mr. Nibs, and, the Twins) meet to talk about their dreams. The Twins say they tried to avoid the dreams by staying awake all night for a week. They finally fell asleep on the London omnibus and when they woke up, they were "both wearing warpaint" (p. 5). 


At the end of chapter one, Wendy says something is wrong in Neverland, and that they must go back.

Chapter 2 - First Find Your Baby

In response to Wendy's suggestion, the Old Boys reply (on page 10):

"Go back!? Go back to Neverland? Go back to the mysterious island, with its mermaids, pirates, and redskins?"
They are incredulous at the idea of going back. Wendy ignores their protests, and by the end of the chapter, they have found a baby, made it laugh its first laugh (which hatches a fairy), and collected fairy dust from that fairy.The fairy's name is Fireflyer.


Chapter 3 - A Change of Clothes



Fireflyer is living in "a kind of tepee" (p. 22) that Wendy made out of a lampshade. He has red hair, tells "extraordinarily big lies" (p. 23) and is always hungry.


Each of the Old Boys must have clothes of a child in order to go back to Neverland. Most have children of their own, and take clothes from them. But Honourable Slightly does not have children, and the other Old Boys have apparently forgotten that he has no child from whom to take clothes. Throughout all the planning, he remains quiet. McCaughrean says that he had no children, "no one whose clothes he could borrow, no one to make him young again." (p. 26)


She goes on to say,

"Because, of course, that's how it is done. Everyone knows that when you put on dressing-up clothes, you become someone else."(p. 26)


The Old Boys put on their children's clothing, which magically fits them, and off they go, to Neverland. As they fly there, they remember their days there and call out to each other. One of them says

"If the redskins are on the warpath, I'm going too!" (p. 30)


They arrive over the island, look down, and see that it is completely changed.

Chapter 4 - The One and Only Child

As they fly over the island, they see that all is not well.

"The redskin totem poles leaned at crazy angles, felled by wind or war, and roped in creepers and ivy." (p. 36)

Clearings where they'd had fires and meetings are gone. It is autumn (hence "Scarlet" in the title).

"If there were redskins on the warpath, their warpaths were hidden from sight." (p. 36)

They eventually find Peter Pan. When Wendy asks if he's in trouble, he replies, baffled:
"How 'in trouble'? In a cooking pot with cannibals waiting to eat me, you mean?" (p. 39)

He describes a few other trouble-scenarios, none of which he's experienced. Tootles asks
"Are you quite well, Chief?" (p. 41)
and takes Peter's pulse and temperature. Peter says he is dying, of boredom, and now that they are back in Neverland, they can have adventures.


Chapter 5 - Tootles's Quest

The chapter is about fighting dragons. The Twins find a Forest Dragon and kill it with fire. Wendy finds a circus and meets Ravello, the ring master. At the end of the chapter, the adventures over, Peter wants to play War, but the Old Boys don't want to. They're remembering "the Big War" during which Michael Darling was "Lost" (p. 63). Peter doesn't understand what "lost" means, and, the text reads,
"No one tried to explain. They knew that Peter Pan (and foolish young fairies like Fireflyer) were much better off not knowing about the War. (p. 63)
Chapter 6 - A Ravelling Man

After rejecting Ravello's offer of a place to sleep, Wendy asks Peter if he smells smoke. He replies
"Signal fires," he said. "Or bonfires...Maybe the Tribes are feasting." (p. 71)
They hear a great crackling sound and the cries of frightened and agitated animals. Peter remembers the Twins saying they had killed a Forest Dragon. He asks them how, they say "with fire" and they realize they've set the forest on fire. They're trapped on the beach, face the lagoon, and see a boat.


Chapter 7 - A Certain Coat

The boat is the Jolly Roger. Somewhat fearful, they go on board. Finding Captain Hook's chest, Peter pulls out a red coat. In a pocket he finds a treasure map. They head off to find the treasure.

Chapter 8 - All At Sea

Out at sea, they come upon another boat, a steel steam-cutter called the SS Shark. On board are pirates (p. 88):
They made an unnerving sight, because these pirates, though no more than waist high, were wearing full warpaint and were armed with hatchets, bows and arrows, and bowie knives.


"Starkey's redskins!" said Peter under his breath.

The Shark rams the Jolly Peter (he changed its name from Roger to Peter), pushing the Jolly Peter ahead of it. The Jolly Peter is helpless.

The captain of the steam-cutter was carried for'ard from the bridge, borne aloft on a swiveling leather captain's chair carried by four child warriors. (p. 89)
Of Starkey's crew, McCaughrean writes:
Half were girls, with long silken hair and cleaner buckskin tunics. But they were all armed. Drawing back their bowstrings to full stretch, they bowed (or curtsied), blinked their large dark eyes at the crew of the Jolly Peter, and shouted, "Hello. Thank you very much. How do you do. Delighted I'm sure. Kindly shed your loot in our direction, then lie face down on the deck or, sadly, we will have to slit your gizzards and feed you to the fishes. Deep regrets. Please do not ask for mercy, as refusal can give offense. Thank you very much. Nice weather we are having."  (p. 89)

Captain Starkey approves of what they said, and then says
"Very good, buckos, but you forgot about the scalping. You must always mention the scalping." (p. 89)

At this point, Starkey recognizes the coat Peter is wearing. Peter, humiliated to have the Jolly Peter being pushed about by the SS Starkey (they realize it was not called Shark) yells out to Starkey, trying to humiliate him. Peter says:
"I heard you were captured by the redskins, Starkey! After we routed you in the Great Battle? I heard you were put to looking after their papooses! Terrible fate for a man who calls himself a pirate!" Peter loaded the words with contempt, as he would have loaded a musket. (p. 90)
Starkey agrees that it was beneath him, calling it a fate worse than death, but, Starkey says, he made the best of it:
See what a job I done on 'em, my little squaws an' braves? You won't find better manners in the King of England's parlous. An' I trained them up in a trade, too, which is more'n you can say for most schoolmasters. Learned 'em everything I knowed. Turned 'em into pirates, every Jack-and-Jill of 'em. Got some real talent in there, I can tell you! Pride of me heart, these little throat slitters are! Pride of me heart." (p. 91)

He orders "his little throat-slitters" (p. 91)  to board the Jolly Peter and look for loot. The "warpainted pirates" (p. 91) jump onto the Jolly Peter. Finding nothing, they put the Darlings into their pirate bags. Starkey says he "I can get me a good price for slaves!" (p. 91). His "warriors" (p. 91) were very polite and their hands were "soft and well washed." They talk to each other, discussing "whether Puppy was best cooked with giner, squid, or piri-piri sauce." (p. 92) [Note: Puppy is a real puppy brought to Neverland with the Old Boys.]

Starkey orders Peter to empty his pockets.  Peter replies "Never!" (p. 92), and Starkey says
Turn out your pockets, cock-a-doodle, or I'll have my throat-slitters shoot you full of arrows, and take a look myself, after." (p. 92)

Wendy sees that Peter plans to jump ship instead and calls out to him.

Starkey laid a fatherly hand on the shoulder of one young squaw, whose bowstring was pulled taut. "On my word, bucko... shoot him in the thigh," he said, and the squaw took careful aim. "Let's see what an arrow can do to puncture his pride!" (p. 93)

Out in the sea, five small islands are approaching the two ships. On the islands were inhabitants:

Grappling irons came over the ship's rail like gigantic claws. After that came... well, gigantic claws. The redskins saw the tigers first. (p. 94)

In addition to the tigers, there were panthers, bears, baboons, and palmerions. [Note: What IS a palmerion?!]

No doubt Starkey's sprogs were, in the normal course of things, wonderful at archery and throat slitting. (p. 94)

But, they were afraid and went down a hatch, below decks. From one of the islands came Ravello.



Chapter 9 - Fair Shares


The animals are all under the command of Ravello. All except the bears go back to their islands. The bears dip their paws into the hatch.

The little redskins inside could be heard screaming and whimpering and calling for their mothers. (p. 98)

Ravello wants to work for Peter Pan. They learn that Starkey's cargo is "Silverskins." Nobody but Ravello knows what that actually is. Ravello asserts that Peter should keep half and divide the rest among his crew. That starts the "Silverskin War" (p. 101) as they argue about who should get what. Amidst all the arguing, Starkey tries to get away. Peter grabs him and shouts at him (to turn over the booty):

After years spent teaching manners to redskin sprogs [babies], Starkey said it without thinking: "Now now, son. What's the little word that gets things done?" (p. 104)


The cargo is opened, and out pops Fireflyer who had eaten all the booty. Silverskins are onions.


Chapter 10 - Lodestone Rock

On board the ship, Ravello is very helpful. Among the many things he does is to make "the redskins sew their blankets ito warm coats for the League" (p. 108)

As they sail, they tow Starkey and his crew. They are guarded by bears from one of the floating islands. Wendy asks Peter what he plans to do with them:

"We'll sell them for slaves or spit-roast them for supper!" (p. 109)

The text says he doesn't mean it, but that in saying those words, he sounds decisive. They're looking for the treasure, studying the map. On that map is a "vast blank" labeled "Unknown Territory" (p. 110). Here's what they say:

"We shall map it as we go!" said Peter.

"And find the source of the Nevva River!"

"Discover new animals!"

"Take rock samples!"

"You might also care to name mountains and lakes, sir," suggested Ravello, setting down the afternoon tea.

Then Ravello says, that since Captain Hook had put the treasure there, the territory should be named Hook's Territory. Peter cries out that the territory is his, not Hooks, and that the treasure is also his. Wendy says that she thinks Peter meant 'ours.'  Peter is flushed and says:

"Pour me a tot of Indian courage," he commanded. "The smoke from Starkey's filthy pirate barge has turned my stomach." (p. 111)

Suddenly the Starkey began dragging the Jolly Roger. Nobody can see smoke coming from the Starkey's smokestacks. They fear what may be causing it to move through the water with such force. Ravello looks at the maps and sees Lodestone Rock, which is magnetic. It is drawing the Starkey to it [the Starkey is made of steel]. The bears abandon the Starkey, and:

"the redskins swarmed on deck, weeping and shrieking and struggling into cork life-jackets." (p. 112)

The Starkey hits Lodestone Rock, and the chain between the Starkey and the Jolly Roger breaks. Peter thinks they're safe, since their ship is made of wood, but all the nails are pulled out of the Jolly Roger and it falls apart. The Old Boys use fairy dust,and  muster enough good thoughts (when Peter reminds them of the treasure) to fly up. Wendy sobs, remembering that Fireflyer was locked up in the ship that just went down. Ravello is in the water, holding on to Hook's chest.


Chapter 11 - Grief Reef and the Maze of Witches

Fireflyer is ok and joins the "Company of Explorers" as they fly, looking for land. They sight land and head for it. There, they find Ravello, and, the five islands, too. On the shore are hundreds of prams and baby carriages. Ravello explains these are prams of babies left unattended. Babies who became Lost Boys. The prams got to this shore, called Grief Reef, by the nursemaids who, fired by angry parents, set out to search for the lost babies, not to find them, but to seek revenge. The thought frightens the Lost Boys. Peter reminds everyone that grown-ups can't get into Neverland, and

"everybody felt so much better that they decided to overlook all the grown-up pirates, redskins, and circus masters known to inhabit Neverland." (p. 121)

The Company of Explorer's head inland and come upon a Maze. In it are the nursemaids. This place, Ravello tells them, is the Maze of Witches. Their failure and temper turned them into witches. As witches, then, they could enter Neverland. Eventually, the Company makes its way out of the Maze.

Chapter 12 - Fare Shares

Slightly plays his clarinet. Fireflyer likes the music. The higher the note Slightly plays, the higher Fireflyer goes. Slightly asks what he sees as he flies higher. Then Slightly puts the clarinet aside and whistles, which sends Fireflyer even higher. Slightly asks what he can see:

"Oooo. Right into the past! I see the Aztecs and the Vikings!" (p. 136)

Peter doesn't like the whistling and tells Slightly to stop. Gradually throughout the latter few chapters, Peter's appearance and behavior are changing. Peter shoves Slightly. This scares the others. Wendy says she hardly recognizes him. He is also no longer able to imagine food for them to eat. They remember biscuits in Hook's chest, but find out Fireflyer has eaten them. Peter banishes Fireflyer. They're all increasingly hungry and go to bed. To their surprise, they wake and find Peter has berries for them. They eat and head off into a forest where Peter says he got the berries. All except Slightly are too short to reach any. Thinking he can get back into Peter's good graces by picking some, he pulls down three bunches. Peter is outraged, calling him a traitor. Turns out, Slightly is growing up, which makes him a traitor. Peter imprisons him, and they leave him behind.

Chapter 13 - Taking Sides

Though they've left him behind, they still hear Slightly playing his clarinet. Ravello says that the Roarers may get him. They, Ravello explains, are boys who've grown up. Banished by Peter, they roam around, living as bandits. The Company enters and leaves a desert, finds a waterfall, and are suddenly in a blizzard that turns out to be fairies, thousands of them, that bury them. These fairies are having a war: the Reds fight the Blues. The fairies ask the Company to take sides. Peter goes into the waterfall and holds up a rainbow. This confuses the fairies. They leave, and the Company presses on to Neverpeak Mountain to find the treasure.

Chapter 14 - No Fun Anymore

They can't find food, so eat the last of the berries Peter had given them earlier. They finally get to Neverpeak, which is shaped like a cupcake with steep granite walls. The Company asks Peter to go up there alone. He chides them and sets out alone. Ravello tells them Roarers are all around, which prompts them all to start climbing trees to scale Neverpeak. They struggle through mosquitos and hail as they go. Ravello cuts away the shadows of all but Peter and puts them into the chest.

Chapter 15 - Nowhereland

The story shifts in this chapter, from Peter to Nowhereland, where Slightly and Fireflyer are now. Fireflyer wants a story, so Slightly tells him about their first visit to Neverland. He describes Hook, and realizes that Peter has become just like Hook. Slightly and Fireflyer turn in for the night but are surrounded by Roarers. They tell Slightly that they think Peter used poison to turn them into grownups. He also put poison in the Lagoon, which caused many changes in Neverland, including the fairies war. Slightly asks who told them all that, and figures out it is Ravello, and that Ravello is a danger.

Chapter 16 - Shadow Boxing

Back to Peter and the quest for the treasure. The Boys, without their shadows, climb easily. Peter struggles, and so, Ravello cuts it off, too, and begins to croon and then roar about how awful mothers are. Ravello sees all the Explorers staring at him:

"What language is he talking?" asked John. "Is it Esquimeau?" (p. 187)

Wendy asks Ravello if he's a Lost Boy, which he vehemently denies.  Puppy is missing. Next morning, they set off again, calling out for Puppy as they go. Its very cold and icy. Crossing an ice bridge, Peter looks down, sees something, slips, and falls. He clings to an icicle. He tells them he saw his reflection in the ice and that it was Hook. Hook. Ravello tells him it is only a bad memory and reaches to help Peter. Peter realizes he should be able to fly, and asks Ravello why he can't fly. Ravello ignores the question, and helps everyone across the bridge. Ravello and the sea chest nearly fall into the ravine. Ravello chuckles in an ominous way.


Chapter 17 - Not Himself

They get to the top of Neverpeak and look across the territory, noting places they had been. Snow is very deep. Peter starts to dig, cued by Ravello. He finds the chest. They open the lid and find things in there that they'd wished for. Twigs to make a fire, fairy dust to fly home with, food, and, Tinker Bell. There is also a trophy. Peter, gazing at it, sees his reflection again. He tells Wendy he is not himself. Ravello appears and tells Peter that he has become Captain Hook. And, he tells Peter, that he has groomed him well, that it all started when he convinced Peter to put on his second-best jacket.

Chapter 18 - Taking Deadness

Ravello says that, putting on clothes makes the wearer into that person. Peter has become Hook. Ravello once was Hook, but now, Peter is Hook. Peter takes off the coat, but Ravello tells him that shedding the coat does not change who he has become. The Boys are afraid and want to go home. Wendy gives them dust, readying them to leave, but Ravello reminds them that he has their shadows and can no longer fly. He tells them his life story, including what Peter did to him and how it came to pass that Peter became Hook. Ravello asks Peter what he wants to be now, and then, Slightly appears and tells Peter not to answer the question. Slightly tells everyone how he was tricked by Ravello, and thereby started to turn into a grownup. He tells them that he's figured out Ravello.

Chapter 19 - Burned

The boys start a fire to keep warm. They cook the food that was in the chest and

"sent smoke signals summoning help (though the blizzard did its best to smudge them out)." (p. 229)

Chapter 20 - Ill Luck

The Company decides to leave the mountain. They're exhausted. Peter starts coughing and then suddenly disappears over a ledge. He lands on Hook (Ravello is now Hook again). The boys tumble down, too. Peter lies there, still, and they think he has died.


Chapter 21 - Coming of Age

Peter needs a doctor. Curly had grown up to be a doctor. To save Peter, he asks Hook to ask him the question (what do you want to be when you grow up) which will trigger his growing up and ability to help Peter. Slightly reminds him that he'll grow up and be a Roarer, never able to go home. Curly goes ahead, and then saves Peter, removing a strand of London fog from Peter. Peter is restored to health and vigor. The renew their descent from Neverpeak, and find themselves surrounded by Roarers.

Chapter 22 - Consequences

The Roarers bind their prisoners to trees and discuss what to do with Peter. Ravello is in the trees overhead, watching Peter as he starts to sink in quicksand. The Roarer's blame Peter for their growing up and subsequent banishment by him, but Wendy tells them Ravello is the one who poisoned them. They recognize and remember him, and move towards him. He summons his circus animals. The Roarer's scatter, and John and the Twins rescue Peter. The Company lay on the ground, together, recovering, when they realize that Ravello's beasts are closing in on them.

Chapter 23 - The Red Coat

First Twin has the red coat tied around his waist. He throws it up into the air. The animals paw at it, and Peter cries out "Red! Do you See? Red!" (p. 267) which summons the blue fairies. This distracts the animals and the Company sneaks away. Ravello pleads for the animals lives, Wendy remembers the rainbow, and the fairies let up. The animals recover. Peter and Hook prepare to fight each other. Just before Hook kills Peter, Puppy returns, but is now fullgrown. Puppy attacks Hook, saving Peter. Wendy kisses Hook on the cheek and leaves him there to sleep, drifting to death. Peter is furious with her and tries, unsuccessfully, to banish her.

Chapter 24 - Back Together

The Company sets out again, walking across the island, to get to Neverwood. The going is tough. As they go (extended excerpt, spanning p. 280 to 282),

...the sky ahead turned ochre yellow with flying dust. Sandstorm, they thought. Then they topped the rise, and a sight met their eyes that none would ever forget. There, streaming towards them across the flat skilet of the sear desert sands, came all the bison and appaloosas and travois and squaws and dogs and braves and thunderbirds and drums and papooses and war bonnets and peace-pipes and braids and coup sticks and moccasins and bows and arrows that went to make up the Tribes of the Eight Nations.

The smoke signals Peter had sent from the top of Neverpeak had never been smudged out completely. Now Tribes from north, south, east, west, and the ohter place came thundering over the Thirsty Desert as fast as their appaloosas and bisons would carry them. At the sight of Peter and his fellow Explorers, the Tribes began to bang on their shields and drums and papooses and so forth in a triumphant chorus of greeting.

The Tribes threw a potlatch for the League: A party that consisted of eating and drinking and giving away most of their belongings. They gave a lot of these to Peter and Wendy and Tootles and the Twins and John (who was thrilled to the core). Bud sadly, because they had nothing of their own to give, the children had to give away the gifts they had just been given.

At the feast that followed, a lovely Princess came and smeared their faces with warpaint and told them that now they were honorary members of the Eight Nations.

"Hello, Tiger Lilly," said Peter. But the Princess looked at him strangely and said she was Princess Agapanthus, actually. "Ah. I could never remember names," Peter said. "Or faces."

"Twins? Whatever is the matter?" asked Tootles. "Just because you had to give away those bowie knives..."

But the Twins were not crying because of the bowie knives. They had just remembered riding on an omnibus to Putney and falling asleep and waking to find themselves wearing warpaint. "Will we ever see Putney again, Wendy?" they asked.

Wendy put on her most businessslike face. "We shall just have to wait for the fairies to stop quarrelling and for our shadows to grow back. Look: yours are starting to come already." The Twins brightened--then, of course, their shadows stopped growing again, which rather defeated Wendy's efforts.

They travelled on in a cloud of dust, with an escort of Eight Nations (not to mention the bison)--through the Elephant's Graveyard, over Parcel Pass and the primaeval ruins of Never City and the Groves of Academe. If there were Roarers or lions lying in ambush, the bison and travoises flattened them, because suddenly the horizon was plush with the trees of Neverwood, and the Tribes were saying good-bye and moving off in eight different directions--to tepees, hogans, kivas or longhouses, roundhouses, bivouacs or stockades; some to sleep under the stars. (p. 282)
The Company of Explorers curl up to sleep, too. Puppy is with them, but, suddenly he runs off, starts to dig, and next thing he's dug a hole into the den where Peter and the Lost Boys lived. What follows are reunions and lots of storytelling.

Chapter 25 - The Heartbroken

In this chapter, Lost Boys find their parents, the Darlings get back home, Peter heads back to Neverwood. Ravello wakes up, no longer Ravello but Hook, once again, waiting to tangle with Peter Pan.

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That's it. Now to think about it...