Showing posts sorted by relevance for query Thanks to the Animals. Sort by date Show all posts
Showing posts sorted by relevance for query Thanks to the Animals. Sort by date Show all posts

Tuesday, January 02, 2007

Allen Sockabasin's THANKS TO THE ANIMALS


My family in New Mexico is among those coping with a huge snowfall. My sister says there's two feet outside her door. They're in northern New Mexico, at Nambe Pueblo. Winter has definitely arrived there, with two huge snowfalls in a week's time. Allan Sockabasin's story sounds perfect for my nieces and nephews. Beverly Slapin's review of Thanks to the Animals is below. It may not be published elsewhere without her written permission.
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Sockabasin, Allen (Passamaquoddy), Thanks to the Animals, illustrated by Rebekah Raye. Tillbury House, 2005. Unpaginated, color illustrations; all grades.
Winter arrives, as a Passamaquoddy family prepares for the trip north to the deep woods of Maine, their winter home. Everyone helps as they dismantle their house and tie down the cedar logs and everything else they need—canoe, food, clothing, baskets—on the bobsled, making sure there is enough room for the children to ride in the back. As Papa Joo Tum drives the horses and Mama and the older children settle in for the long ride, nestling together in the warmth of their sealskin coats and patchwork blankets, they don’t notice that little Zoo Sap has tumbled off the sled.
Alerted by Zoo Sap’s cries, the animals of the forest—large and small—come together to keep him warm until Papa Joo Tum comes to get him. Joo Tum thanks the animals, one by one, and carries little Zoo Sap—none the worse for wear—back to his family. This quiet, gentle story is enhanced by the warm, watercolor-and-ink paintings, my favorite of which shows little Zoo Sap contentedly and “safely sleeping in a great pile of warm animals.” Thanks to the Animals, with Passamoquoddy names for the animals in the back, is a perfect bedtime story.
—Beverly Slapin

Sunday, December 06, 2009

Quileute elder on Quileute stories

Thanks to Miriam B. for letting me know about two newspaper articles in the Peninsula Daily News, published in Port Angeles, Washington. (For the not-Twilight fans, Port Angeles is one of the settings Meyer used in her Twilight saga.) I think both of these articles were published on November 29th.



First is "Twilight fiction doesn't always jibe with Quileute legend." In this article, Paige Dickerson (the reporter) talked with Chris Morganroth III (shown above) about Quileute stories. Here's some excerpts from the article:

The Quileute people are ready to embrace the fans and teach them the real legends -- which do not include the werewolves Meyer's books describe.

Though the legends about the origins of the Quileute people in the best-selling vampire books set in Forks and LaPush have some resemblance to the real stories -- they both involve wolves -- the tribe wants to make sure fans are aware of the rich reality of their true culture.
Dickerson talks a little about Twilight, but devotes most of her article to what Morganroth said about the origin of the Quileutes. Here's that excerpt:

Quileute beginnings

If you begin to look into the stories and how we got to be here, they go back to the beginnings of time.

Before that, Spirit beings could transform themselves into animals or people at will. There were even living beings in outer space, such as the sun. They called those people the fire sky people.

After some time, the Spirit beings had to choose what they would be and were no longer able to transform.

After this, K'wati came into the area of LaPush and found that there were no humans. He went to the mouth of the river and there were wolves, timber wolves.

Now these wolves always travel in pairs and they mate for life.

K'wati saw that there were no people in this area near LaPush. So he transformed that pair of wolves into the Quileute people.

K'wati is a supernatural figure in Quileute stories who transforms people or objects.

K'wati wasn't a "sorcerer" or "witch king," as Meyer's has it.

"He wasn't really a god, but a transformer -- he was put on Earth to make things better," Morganroth said.

Although Meyer's teen werewolves are not part of Quileute legends, she draws from the tribal connection to wolves.

Even in present times, the wolf is often referred to as a brother of the tribe, as is the orca -- which also is said to have descended from the wolf, Morganroth said.

The New Moon werewolves aren't your average, hairy-faced cross between a man and a wolf. The boys "phase" into bear-sized wolves with enough superpowers to kill vampires.

And they developed out of a need to protect the people of Forks and LaPush from vampires.

The Quileute have no such legend.

The second article, What did Jacob say to Bella?, begins by describing the Quileute response to that question. If you've seen New Moon, you know that Jacob says something to Bella in the Quileute language. Fans are determined to figure out what he said. The Quileute's won't say. The bulk of the article is about the premiere of the film, specifically, about the Quileute's who attended the premier in Los Angeles.  According to the newspaper article, they had a great time. What stands out to me is what Page Foster (a thirteen-year-old Quileute member who went to the premiere) experienced:

Foster said that her father, Tony Foster, who is on the tribal council, showed several his business card from the council.


"They were so shocked that he was the real deal," Foster said.




The fans were shocked. A telling statement! A telling statement that should motivate you to do all you can to teach children and teens in your schools and libraries that the Indigenous Peoples of the United States are very much "the real deal." Instead of myths and legends (many of which are deeply flawed), purchase books written by Native writers. See my list of recommended books, and another list I put together for School Library Journal last year.


My most recent post about Twilight  (We saw New Moon on Friday) includes several links, including one to the Quileute Nation's facebook page, essays on the Native content in the books, and links to my previous posts about the book.


I should note, too, that I do not recommend Meyer's books or the films. The Quileute's are doing what they can to make the best of the situation. So is the town of Forks. My friend, Jean Mendoza,visited Forks recently. She wasn't making a pilgrimage as a fan of Twilight. She was in the area to visit family. Jean sent me some notes and photos of her visit. They're going to be featured in my next post about Twilight.

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If you want to read more on the ways that the Quileute's are portrayed in the series, look over to the right side of this page. Scroll up or down till you see the section labeled TWILIGHT SAGA. There you'll see several links to posts about the series.

Tuesday, November 03, 2009

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...

Friday, March 01, 2019

Not Recommended: A MONSTER LIKE ME by Wendy S. Swore

Earlier this week, a reader wrote to ask me about A Monster Like Me by Wendy S. Swore. I was able to get a copy from NetGalley. Published by Shadow Mountain Press, it is due out on March 6. Here's the description:
Sophie is a monster expert. Thanks to her Big Book of Monsters and her vivid imagination, Sophie can identify the monsters in her school and neighborhood. Clearly, the bullies are trolls and goblins. Her nice neighbor must be a good witch, and Sophie’s new best friend is obviously a fairy. But what about Sophie? She’s convinced she is definitely a monster because of the “monster mark” on her face. At least that’s what she calls it. The doctors call it a blood tumor. Sophie tries to hide it but it covers almost half her face. And if she’s a monster on the outside, then she must be a monster on the inside, too. 
Being the new kid at school is hard. Being called a monster is even harder. Sophie knows that it’s only a matter of time before the other kids, the doctors, and even her mom figure it out. And then her mom will probably leave—just like her dad did. 
Because who would want to live with a real monster?
****



The description of A Monster Like Me is kind of awkward. We're told that Sophie can identify monsters. Some are "bullies and trolls and goblins" but does the mention of "fairies" within that framework tell us that she thinks they, too, are monsters? 

I'm going to go along with the use of the word, but doing so is unsettling when the monsters are Native characters. Equally unsettling is that A Monster Like Me got a starred review from Booklist.  

Sophie has a hemangioma on her face. The author, Wendy S. Swore, had one on her forehead, which is why some of the promotional materials say the story is inspired by real events in the author's life. 

The story is set in Portland, Oregon. Most people know that there are many Native nations in the place currently known as Oregon. 

In chapter thirteen, "Ghostly Falls," Sophie, her friend Autumn, and her mom are at Multnomah Falls. As they walk on the trail, Sophie sees something in a puddle and picks it up (p. 127):
A picture of a beautiful Native American girl in a white dress stares back at me from the soggy flier with the headline Princess of Multnomah Falls. Gently I turn it over, but the print is dirty and hard to read.
"What did you find?" Mom peeks over my shoulder. "Oh, the legend of the falls. I always liked that one."
"The paper says something about a princess?" Autumn points to the faded image. "I didn't even know there was a king here." 
"No king," laughs Mom. "She was the Multnomah chieftain's daughter."
With a gasp, Autumn claps her hands. "A princess and a chief? How romantic!"
Her mom goes on to tell her that people were dying of a "great sickness." The "chief" called his council and "best warriors" together to find a cure (p. 127).
"Then, an old medicine man told them the only way to save the tribe was to sacrifice a young woman by throwing her off the mountain to appease the Great Spirit."
Sophie's mom tells her that at that time, there was no waterfall there. The chief didn't want to sacrifice any of the girls, but then, his daughter's betrothed got sick. The daughter/princess decided to save him and everyone. So, she jumped. Sad, the chief asked the Great Spirit for a sign that his daughter was (p. 128):
"safe in the land of the spirits. That's when water started flowing over the top of the cliff." 
Sophie has the story of the princess in her mind as they walk on the trail. At the top, she holds to the railing and peers over (p. 129):
Someone walks up beside me and thin white gauze brushes my face. I brush it away and scoot over so the lady's dress doesn't blow into me again. Then I freeze as I take in her wispy white dress and long black hair. Her face looks different than it does in the picture, but the ghost of a Native American princess can probably look however she wants to look.
The woman starts talking to Sophie, pointing with her chin, telling her that she had fought alongside fireman when the lodge was on fire. Sophie wonders if the fireman knew that "the spirit of a Native American princess was standing beside them, adding her magic to the fight that night." She wonders if her mom and Autumn can see the woman. The woman is wearing a pendant that is a crystal nestled in gold leaves. Sophie asks if it is magic. The woman says it is, to her, because she had made it herself, and that the magic worked for her. When the woman touches Sophie, she feels a jolt of electricity. She's never been touched by a ghost before. Autumn and her mom rush up beside her, looking over the railing, too. Sophie asks Autumn (p. 131):
"Did you see her?" I whisper in her ear.
"See who?"
"The princess!" I point down the trail and gasp.
The path is empty.

Debbie's comments:

"The path is empty." is the last sentence in that chapter.  So--one question is this one: Is that "Princess of Multnomah Falls" a story that Native people told/tell? Or is it a White Man's Indian? I use that phrase from time to time, borrowing it from Berkhofer's book (that's the cover on the right side of this paragraph). It is an "account of the self-serving stereotypes Europeans and white Americans have concocted about the “Indian” [...] and manipulated to its [western civilizations] benefit." 

I've spent the afternoon looking through my sources but can't find anything (other than a sketchy website) that says it is a Native story. A "medicine man" telling his people they have to sacrifice a young girl to appease a wrathful "Great spirit"---that doesn't ring true to me as a Native story. 

I did find a site that has a detailed history of the dedication of The Vista House--and information about "Chief Multnomah." The person who wrote it, Dr. David Gene Lewis, worked for several years for the Confederated Tribes of the Grande Ronde Community of Oregon and is a member of that nation. He wrote:
On June 7th, 1918 the state of Oregon dedicated the Vista House built between 1916 and 1918, at the crest of Crown Point overlooking the Columbia River. The opening of the house, really a scenic vista wayside and pioneer memorial, commemorated and called attention to the opening of the Columbia River Highway. The House was to be the memorial to the spirit and grit of the pioneers who first came down the Columbia to the Oregon Territory.
Dr. Lewis has several historical photos on his site along with the research he's done. The Oregonian (newspaper) published a narrative of the dedication ceremony. The ceremony and narrative, too, were created by "the Rosarians." Lewis writes that the Rosarians were a romantic cultural organization with a king and a queen. In their ceremony, they meet a "redskin" called "Chief Multnomah" who realizes that "his days of rule are over." So, he lays down his bow and arrow and leaves, disappearing near the base of the falls (go read the whole thing). 

I include Dr. Lewis's account here because the Rosarians wrote about the Native man as being "a ruler" much like kings and queens of Europe. Characterizing him as a "ruler" (king) creates the space for a daughter who would be a "princess" like the one that Swore wrote into her story. Sophie's mom rebuts the "king" part of the "legend" but doesn't tell Autumn that her use of "princess" is wrong, too. Sophie and Autumn's thinking of a Native American "princess" remains intact--and so does the reader who holds that wrong idea of Native princesses! 

In the rest of that legend, we're expected to believe in a wrathful "Great Spirit." That doesn't work for me. It sounds far more like a white writer--maybe a Christian one--creating a legend. Indeed, in the twitter thread I started on March 1, an individual pointed me to "The Legend of Multnomah Falls" written in 1905 by Susan Williamson Smith. You can see the digitized copy online. It lines up with my thinking that this whole princess story is a White Man's Indian. 

Moving to the woman Sophie meets at the rail... the spirit, we're told, of that princess. I took care to include the way Swore has her pointing: with her chin. I did that because she seems to have a bit of info about Native gestures. Many Native people do that and I've seen some White writers use it. To them it might seem to lend authenticity to their writing but within the larger picture of what they've written, it is a #fail. This princess is wearing a crystal that the wearer (and Sophie) think has magical power. 

That crystal is a significant problem. It fits right in with the New Age writings. It is important to the arc of Swore's story and how Sophie deals with the hemangioma, but tying it to this "princess" is a major problem.


In chapter sixteen, "Zoos Are for the Birds," Sophie, Autumn, and Sophie's mom are at the zoo. There's a totem pole there, with an eagle at the top. In her pocket is the crystal necklace she found in chapter 15. Sophie thinks (p. 156):
"...it was a normal thunderbird who got tired of throwing lightning bolts and decided to sit up there and rest, but then got stuck and couldn't leave." 
A crow lands on the totem pole. Sophie thinks it is a Crow God who can see that she is a monster. She stares back at it and says (p. 156):
 "No tricks, Chulyen." I've got enough trouble without a Native American trickster god running amok. 

Debbie's comments:

I don't like the flip and dismissive tone Sophie has about the totem pole and I don't like the tone she has towards what she's imagining as a trickster, either. I can't put my finger on why it is bothering me. I do wonder why she thinks this god is named Chulyen, and, I definitely don't like the generic "Native American" attribute Sophie/Swore is using there.  Looking around a bit, I see "Chulyen" in a "Fantastic Fest" that took place in 2015. It was, I gather, a short film and it seems to fit within this "monster" framework that Swore developed for this story. There are--in fact--Alaskan Dena'ina stories about Chulyen (a raven) but they're not like Swore's Chulyen. 

As Sophie and Autumn move on into the zoo exhibits, Sophie is so absorbed in looking at a woman she thinks is Medusa (the woman has green ribbons woven through her dreadlocks, and long green nails that are more like talons than fingernails) that she almost bumps into an elk. She grab's Autumn's hand to stop her, too, but there's no elk there (p. 156):
...there's only a man in a worn cowboy hat with feathers tucked into the band on both sides.
This man has a dusky tan face, a million wrinkles ("like the inside of a walnut"), wisps of gray hair, braids, and
...a thick beaded string with a clasp hangs around his neck like a tie, and a leather pouch dangles dead center on his chest.
He winks at her when he sees her looking. Chulyen caws overhead and lands in a tree behind the old man who seems to understand what the bird is saying. Chulyen follows Sophie, her mom, and Autumn through the zoo. They get to the Birds of Prey outdoor show and settle down on the grass to watch.

Sophie pulls her crystal out of her pocket and is holding it in her hand. Suddenly, Chulyen swoops in and takes it. He sits on a nearby pole. Sophie goes to the pole and tells him to give it back. She's startled when she hears "He doesn't give things back." It is the old Native American man with the feathered cowboy hat. First, he tosses popcorn to entice Chulyen but that doesn't work. Then, he tells her to look away. "As long as you're watching, he'll hang onto his prize only because you want it." She watches the bird show for awhile. The man tosses more popcorn around. Then, the crow is at her feet to get some of the popcorn. Her crystal falls by her feet. She grabs it, tears try to leak from her eyes.
"That necklace is special to you, eh?" he asks.
She nods and he says his is special, too. His is that leather pouch. She asks if it is magic. He nods and tells her it is his medicine bag. She asks how he knows what to put in it.
"Many things have power, but some things call to you so strong, they make powerful medicine for you."
"They say your name?" How weird would that be if a rock started calling for me? Hey Sophie! Over here! But then, the crystal kind of called to me, didn't it? 
"Not in words." The man taps his heart. "They'll call to you in here. It could be anything. A pinecone. A bead. A carving. A stone. Each person's medicine is different."
"And it heals you?"
"It heals my heart, my spirit."
Sophie's mom calls to her; she rejoins her and Autumn. She looks back to the man and sees he is walking away, with Chulyen on his shoulder. They seem to be talking.
Just before he turns the corner, he casts a shadow on the wall of a building and I see the shadow of an elk.
No. Not an elk, a caribou.
I'd spoken face to face with the Caribou Man. 
She wonders what to tell Autumn about Caribou Man. He's a leader for all animals. When he speaks, they listen.
That the tribes feared and revered him so much, they were careful to treat all their hunts with great respect so he didn't get angry.
She realizes that he's very powerful, but he chose to speak to her. She feels a warm bubble at that thought. As they get to their car Chulyen and some more black birds appear. They tumble about in the air, and then glide away. Something white flutters down. It is part of a white peacock feather. It is, she thinks, a gift of healing medicine from Chulyen. It has power. (In the next chapter, we read that she has attached the peacock feather to the crystal.)

Debbie's comments

So... Caribou man isn't a real person. He's a figure in the book of monsters that Sophie carries around. He, like the princess, appears in this story, to help Sophie. 

The way that Swore depicts this man, works, for a white audience. He's got some wisdom and some teachings that whiteness fawns over. As Caribou man, he has power and if you don't treat him right, well, it won't go well. There... again, is the depiction of wrath. As with the "Great Spirit" at the falls, I think this is more White Man's Indian. 

Swore's book is introducing stereotypes to readers who aren't aware that they're stereotypes. For those who open her book with stereotypical ways of thinking about Native people, her words affirm their "knowledge." That, ultimately, is harmful to what they grow up "knowing" about Native people. 

It is also, of course, harmful to Native readers who know this is all nonsense. If they've picked up the book on their own accord, they can set it down but if a teacher assigns the book, they're in a difficult position. Some will be unsettled by the nonsense. The impact can be unsettling in the moment, but later, too, when they're supposed to be doing other schoolwork. 

Published in 2019, I do not recommend Wendy S. Swore's A Monster Like Me.

Tuesday, February 07, 2017

Not Recommended: THE LEGEND OF SKYCO: SPIRIT QUEST by Jennifer Frick-Ruppert

A reader asked me about The Legend of Skyco: Spirit Quest by Jennifer Frick-Ruppert, due out on April 4 of 2017 from Amber Jack Publishing. I was able to get an ARC. Here's the synopsis:
Skyco, an Algonquin boy, is heir to the great chief Menatonon, but he has much to learn before he can take his place within the tribe. He studies with the shaman Roncommock, who teaches him how to enter the spirit world and communicate with spirits and other animals, while he also learns practical skills of hunting, fishing, and starting a fire from other men in his village. But learning to throw a spear with an atlatl and shoot arrows with a bow are just precursors to the ultimate test, the husquenaugh, when he is challenged to use his hard-earned skills to survive the harrowing life-or-death ritual.
I am sharing detailed summary/comments for chapters 1-3, followed by general comments.

Chapter One: The Raid

The main character is Skyco. He's part of a war raid and has just missed being shot by an arrow. He's pulled to the ground. At first he thinks it is the enemy, but it turns out to be Roncommock, the shaman who is accompanying him. Skyco and Roncommock are Algonquin and speak Algonquian. The enemy tribe speaks a different language. It sounds like snakes hissing, so, the Algonquins call them the rattlesnake people, the Mangoaks.

As Skyco and Roncommock run to safety, hiding behind trees, Skyco sees a snake and, frightened, leaps up high. Soon, Roncommock tells Skyco they're safe. He's shot the warrior who had been shooting at them. He teases Skyco about how high he jumped when he saw that snake, and that maybe Skyco can turn that jump into a (p. 4):
"...good move for our next dance. Do you think you could teach the others? The snake jump?"
No longer worried about the enemy, the two head on back to their village, Chowanook. Skyco hears a noise. It is a bear. It knocks Roncommock down, mauling his shoulder and thigh. Skyco has no weapon to use, so decides to roar at the bear. That roar stops the bear from attacking Roncommock.

Skyco roars again and the bear goes away. Roncommock is bleeding heavily. Skyco takes off his loincloth and wraps it around Roncommock's thigh. He keeps an eye out for moss he can use to help with the bleeding. He also finds a brown puffball, which has dust that Skyco sprinkles on the wound. As they make their way, Roncommock leans heavily on Skyco.

Fearful of being in the woods alone at night when predators might smell the bloody wound, Skyco tells Roncommock he'll run ahead to the village telling Roncommock (p. 12):
"That bear was powerful and we need the medicine man's magic to help restore your spirit while it fights that of the bear."
Skyco realizes he is naked without his loincloth, but that it will be faster to travel naked. When he gets to the village, he goes right to Chief Menatonon and tells him what happened. The Chief assigns two "braves" (p. 13) to go with Skyco. They bring Roncommock back for the medicine man, Eracano, to work on, but he's lost a lot of blood. Eracano does all he can, but (p. 18):
"it is up to Roncommock to return to us from the world of the spirits." 
The next day, Roncommock is better and tells Skyco what he learned while he was in the spirit world, fighting the bear's spirit.

He tells Skyco that the bear is the strongest of animals, but wise, too. He knows when to fight, and when not to fight. This bear is Skyco's "guardian spirit" (p. 22). The bear has been looking out for Skyco all along. Its spirit knew that someone was trying to hurt Skyco. When it saw Roncommock, it thought Roncommock was the person trying to hurt Skyco, so the spirit of the bear told the bear to attack Roncommock. Roncommock explains why the bear made that mistake. Because they were on a war raid, he hadn't been wearing his shaman clock and medicine pouch. Instead, he was wearing a bow and arrow and was wearing a warrior's loincloth.

When Skyco roared at the bear, it got the spirit bear's attention. It realized that it had told the bear to attack the wrong person. So, the bear itself went away but its spirit continued to fight with Roncommock's spirit, in the spirit world. That fight continued until (p. 22):
"the bear stripped me of my physical being and searched my spirit in the spirit world"
 and realized that Roncommock was the Skyco's protector.

Now that Roncommock knows the bear is Skyco's guardian spirit, he tells Skyco that he must begin his training in the spirit world (p. 22):
It is very unusual that the bear recognized you so early, even before your spirit quest. The spirits are ready for you now and we will oblige them by beginning with learning the way of the spirits before you learn the ways of the warrior or the hunter. You must enter upon the sacred quest as soon as the spirits decree it, even before you enter the husquenaugh. Your training will differ from that of the other boys who will undergo the next husquenaugh as you pass from childhood to adult. You have more to learn." 
Skyco returns to his mother's wigwam. His mother's brother, Chief Menatonon is there, waiting for him. He was sitting on a mat and asks Skyco to sit, too (p. 24):
As I sat down, I carefully folded my legs so that each foot was underneath a thigh and rested my hands atop my knees, palms down, adopting the position I was taught.
Menatonon tells Skyco he is proud of what he's done, and that he is proud to call him his heir. Menatonon gives Skyco a new loincloth and tells him that he knows Skyco will succeed in the husquenaugh. Skyco admires the quality of the loincloth and then realizes that Menatonon said husquenaugh. Two of Menatonon's most trusted men enter the wigwam and the four go outside, where most of the village members are gathered. Menatonon raises his hands and says (p. 25):
"You see before you my kin and recognized heir. I submit Skyco for the next husquenaugh. If he succeeds and becomes a man, he will be your next chief."  
Everyone inclines their heads in agreement. That night, Skyco thinks about the "grueling ritual" (p. 26) that will test his body and mind to see if he is strong and worthy enough to become an adult. If he fails, he cannot become an adult. "To fail is to die" (p. 26).

My comments:

(1) In her author's note, the author says that Skyco was a real person, kidnapped as a child, by Sir Ralph Lane, who led an expedition to Roanoke Island in 1585-1586.  I found references to "Skiko" in several sources. This verifies that the author based this story on the life of a real person. 

Right away, I am concerned. The author, a non-Native woman writing in the 2010s, is imagining what a Native boy of the 1580s (and his family and members of his tribal community) would do, say, and think. As far as I know, we do not have records of these Native peoples' speech or thinking. The author has nothing to go on.  There are some resources (like Lawson, who she cites in the back matter), but they're written by people who were not of that tribe. They were Europeans. They brought their non-Native lens to what they were writing. What we have, in essence, is a Native people of the 1500s, whose ways of that time were recorded by Europeans, and now, a non-Native writer of the 2010s, imagining their lives. In short, we have an outsider perspective on top of hundreds of years of time. 

(2) Several words in chapter one signal outsider voice and, by extension, a lack of understanding of words and what they convey.  

First is the use of "braves" for men. I noted it once but it occurs more than once. Dictionaries often define brave (as a noun) that is dated, and, is "an American Indian warrior." Synonyms are warrior, soldier, or fighter. My goal, in the writing I do about words used to describe Native people, is to push writers to stop using "brave" or "squaw" ("squaw" is not used in this book) because in addition to being dated, those two words (there are others, too) invoke an Indian man or woman--but with qualities that mark them as very distinct from a English man or woman, or a French man or woman. Amongst those qualities are ones that frame Native peoples as not-quite-human. More... primitive. More... barbaric. They, in short, otherize Native peoples, making them exotic and markedly different from non-Native men and women. 

I also highlighted shaman. That, too, is used by writers as if all Native peoples, everywhere, use that word. We don't. 

(3) In that passage where Roncommock tells Skyco that he can make a new dance step out of that frightened leap when he saw a snake is troubling, too. It demonstrates a lack of understanding of the significance of Native dance. Many of our dances are prayerful in nature, or, done in preparation for a gathering or event. It may be helpful for you to think of prayerful activities or moments within your own religious practice. Would something like leaping into the air be easily turned into part of what you do, in this religious activity? 

(4) When I read that detailed passage about how Skyco sat on the mat, I did it, just to see what that might look like. Sure enough, it is sitting "Indian style" without saying that. I'm glad Frick-Ruppert didn't say "Indian style" but why go into that detail? Why can't Skyco just sit down?! 

(5) Most of chapter one is about that bear, the spirit of that bear, how they determine that the bear is Skyco's "guardian spirit," and then Skyco's anxiety over the husquenaugh. I find all of that especially troubling, for the same reason I noted in (1), above. Frick-Ruppert's story is about real people and their ways of being. As I noted above, what are the sources anyone can use, to accurately depict the ways of this particular nation? In that back matter, Frick-Ruppert references "the Chowanoke Indian Nation" (p. 292) that is trying to get federal recognition. What, I wonder, would they think of what she's written?

Chapter Two: The Black Drink

Skyco and his friend, Ascopo, are talking about the husquenaugh. Ascopo's mother submitted his name, too. The two boys will go through it, together. While they're out, Roncommock approaches them and says that the bear guardian is particularly interested in Skyco, and that he is to move into Roncommock's wigwam and begin his learnings (p. 28):
The spirits have decreed that you undergo the black drink ritual as a preparation for the spirit quest.
Roncommock tells Ascopo to go, right away, to Memeo, who will do his training. Roncommock tells Skyco to take off his new loincloth because the black drink they take will get soiled during the ritual. Both drink it and almost immediately the contents of Skyco's stomach and bowels are purged. They do this a second time and then go to the river to clean up. When they get to Roncommock's wigwam, he shaves Skyco's head on one side and trims the length of it on the other side.  Then they slather bear grease, tinted red, and then rest.

Roncommock wakes Skyco. It is time to start. He is to inhale tobacco smoke that Roncommock sprinkles on a fire. If his mind is relaxed and open, the spirits will come. The spirits are powerful. They could strike a man dead, or ignore him completely. Skyco is a bit anxious but remembers the relaxation techniques his mother taught him. Soon, he feels as peaceful as a baby, and sees his mother. She touches him and points toward something out of view.

That startles him. He wakes, and Roncommock tells him that his spirit is strong, that he hasn't been taught how to call the spirits, and yet, they came to him anyway. Skyco tells Roncommock he only felt his mother, touching him as if he was a baby in her arms, and that she had pointed. This, Roncommock says, means that the spirits have recognized him. They didn't reveal his quest, yet, but his mother, pointing, means they are ready to receive and teach him.

They leave the wigwam to have the evening meal with the people of the village. Skyco notices things he didn't notice, before. Walking by his mother's wigwam he sees the paintbrush by their door. It is her spirit guide. Men have animal spirit guides, but sometimes, women receive a plant guide from the spirit world. She is the only woman in the village with a spirit guide. She can tell that he has been accepted by the spirits and brings him water with sassafras leaves. He takes some into his mouth to clean his mouth and the words he is going to say, spits it out and thanks his mother and family for all they've given him. He bows low before her, and then takes another sip of the water, spits it out, and turns to Roncommock and says he wishes to join his household.

My comments:

As with chapter one, there is a lot in chapter two that feels to me that it is created by the author. Creating the religious ceremonies of others makes me uneasy for so many reasons. It feels sacrilegious and presumptuous. This is the sort of content that New Age practitioners will use as authentic ways to get in contact with a spirit world. 

An aspect that bothers me is the gaze on the loincloth, on peoples faces, and their bodies. In chapter two, Skyco removes his loincloth so he doesn't soil it when the contents of his stomach and bowels are purged. 

Chapter Three: The Day I Became An Ant

Roncommock takes Skyco for his first lesson. They go to a field where Roncommock slowly eased himself to the ground (p. 42):
... crossed his legs, folded his feet under his thighs, and placed his hands on his knees in the appropriate position of respect.
He tells Skyco to sit, too, but yells when Skyco nearly steps on an anthill. Skyco sits. He's given some herb water to cleanse his mouth and must wipe some over his eyes, nose, and ears so they, too are purified. Then he drinks some sacred water that will help him contact the spirits. Roncommock sprinkles some powdered uppowoc over the ant mound. The ants run about, picking it up. Roncommock tells Skyco to focus on them, and to try to reach one with his mind. He does, twice, and finds himself drawn to one, which is Roncommock. He scolds Skyco for thinking of the ants as male. All the ants are female. Skyco shifts his pronouns and thinks "she" rather than "he" as they move about. An enemy ant arrives and a battle between the two ant tribes ensues.

In the clean up of the battle, Skyco learns many lessons about how the ant colony is similar to his own village structure. One of the cleaner ants approaches him and tries to identify him, based on his scent. Since he's new to the ant hill, he doesn't have a strong scent. He's afraid the cleaner ant is about to call others to come and drive him out, but realizes he can lift his abdomen and squeeze, emitting a stinky odor. The cleaner ant backs away. Eventually, Skyco and Roncommock return to their own bodies and then to the village.

My comments: 

Here we have another instance in which someone's manner of sitting is carefully described. And again, this manner of sitting conveys respect. I would love to see a source for this! 

I understand the concept of training, of learning by watching others--be they insects or animals--but going into the ants, being an ant... that reminds me more of the Animorphs series than anything else. Perhaps the stinky odor is meant to bring a bit of humor to this story but given that Frick-Ruppert is asking us to think of this as part of a spiritual quest, I find it offensive. Please note that my offense is not that someone farts. I love Everyone Poops by Taro Gomi and have gifted it to children. My offense is that the author--in this imagined sacred space of a Native people--injects this particular kind of humor. 

_________

I finished reading the book and have many passages in chapters marked. I am commenting on the more significant ones, here.

Spirits


The overarching aspect of this book is spirits, the spirit world, communicating with the spirit world, spirit quests, and having a spirit animal or a spirit guide. Indeed, we see that in the subtitle "Spirit Quest."

Throughout the book, Skyco interacts with the spirit world. For each of the interactions, he will end up with an item to wear that will remind him that these creatures are his spirit guides. In chapter two, he was with ants. He can't really have something about ants on his body, so, he'll carry a bit of the sand from an ant pile in his medicine bag. Skyco is bit by a shark. He learns that a shark is one of his guides, so he wears a necklace of shark teeth to remind him of that.

There's a part where Skyco and three other boys in training kills a deer. They eat its organs, thereby "taking on the power of the buck" (p. 215). You've seen that sort of idea, too, right? Indians eat this or that animal, gaining that animal's special qualities.

All this sure as heck dovetails with people think they know about Indians, and it dovetails with tons of stories about Indians and what Indians do, but is it accurate?! And if it is, should it be written about in a book for children--a book written by an outsider to whatever nation the book is about? (My answer: NO.)


The Legend


In one of the chapters, Skyco tells Roncommock about visions he's had. Roncommock can't interpret any of this for him until after Skyco completes the husquenaugh, but as Skyco is telling him about what he saw, Roncommock gets up, walks around, and says to himself "could he be the one?" (p. 200).

We aren't told what "the one" means, but, it sounds like the author is developing this story in a way that Skyco is going to be--as the title suggests--a legend. What Skyco saw in that part of the story is white people who will be coming to their lands. They won't understand boundaries, Roncommock tells Skyco. But, Skyco's training is important. He has spirit guides from the earth (the ant), the water (fish/shark) the sky (falcon) and land (bear).

Towards the end of the story in the husquenaugh, we learn that Skyco will be a shaman and a chief. The others exclaim over that power and standing. The book ends with Skyco emerging from the husquenaugh. There, is, however, a second book in the works.

Closing Remarks: Not recommended!


As I noted in my comments to chapter one, I am concerned with the ways that Frick-Ruppert imagines the Native people in this story. She's relying on very old sources, written by Europeans, whose interpretations of what they saw then, in the 1500s, are--in fact--white Europeans who felt superior to the Indigenous peoples of what came to be known as the United States. There were differences, yes, but notions of superiority are highly subjective. Romanticizing anyone is no good, for anyone, least of all children.

Most Native peoples do not write accounts that delve deeply into our respective spiritual or religious ceremonies. We guard all of that from people who want to appropriate it, or use it in ways that are harmful to us. Did Frick-Ruppert know that? Did her editor know?

Bottom line: I do not recommend Jennifer Frick-Ruppert's The Legend of Skyco: Spirit Quest. 






Sunday, January 05, 2014

Travers (author of Mary Poppins): "I lived with the Indians..."

Eds. Note on Nov 14 2015: If you're here to see revisions to the Bad Tuesday chapter, scroll down!
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With the release of Saving Mr. Banks, my colleagues in children's literature are responding to Disney's presentation of P. L. Travers. In reading Jerry Griswold's '"Saving Mr. Banks" but throwing P.L. Travers Under the Bus,' I read that Travers had spent time on the Navajo reservation during WWII. In his interview of Travers in the Paris Review, I read this:

I lived with the Indians, or rather I lived on the reservations, for two summers during the war. John Collier, who was then the Commissioner of Indian Affairs, was a great friend of mine and he saw that I was very homesick for England but couldn’t go back over those mined waters. And he said, “I’ll tell you what I’ll do for you. I’ll send you to live with the Indians.” “That’s mockery,” I replied. “What good will that do me?” He said, “You’ll see.”

Collier---a name well known to us Pueblo people! Intrigued, I continued to read that interview. In it, she says that she liked the "wide, flounced Spanish skirts with little velvet jackets" that the Navajo women were wearing, and so, they made a skirt and jacket for her. Is there, I wonder, a photo of her in that skirt and jacket? For those of you who aren't familiar with these items, here's a board book with a child in that clothing:



In the interview, Travers also said "The Indians in the Pueblo tribe gave me an Indian name and they said I must never reveal it. Every Indian has a secret name as well as his public name. This moved me very much because I have a strong feeling about names, that names are part of a person, a very private thing to each one." Interesting! I have a Tewa (name of our language) name, but it is not secret. What pueblo, I wonder, did she visit? At the time of her visit, did that pueblo have secret names? 

I've got lots of questions! I'll add them, and answers I find, in the coming hours and days. If you're a scholar of fan of Travers and can send me info about her time with Navajo and Pueblo people, please do! 

Update: Sunday, January 5, 2014, 12:58 PM

Mary Poppins was published in 1934. Her visit to the Navajo Reservation was, I'm guessing, in the early 1940s. In the Paris Review interview, she is described as wearing "silver ethnic" jewelry. In the BBC video The Secret Life of Mary Poppins, there is a clip in which she is interviewed in 1982. I think she is wearing that jewelry in the interview:



That jewelry stood out in her granddaughter's memory. At the 50:00 mark of the documentary, Kitty remembers her grandmother "wearing all this extraordinary silver jewelry." At about that point in the documentary there is a clip of Travers at her typewriter. You can definitely see the jewelry is turquoise and silver. Whether it is Navajo or Pueblo in origin is hard to tell:



In the documentary, I learned that by 1959, Disney had spent 15 years trying to get the rights to make the movie. That means 1945, which fits with when she was in New Mexico and Arizona. Thus far, I haven't seen anything about why she was in the US at that time. Was it to meet with Disney?!

Next on my research exploration: reading Valerie Larson's biography, Mary Poppins, She Wrote: The Life of P.L. Travers. 

Before moving on to do that, I'm inserting a link to a short piece I did on Mary Poppins a couple of years ago: "You Will Not Behave like a Red Indian, Michael!"



Update: Monday, January 6, 2014, at 12:20 PM CST

Yesterday afternoon and evening I read the parts of Larson's biography that are about Travers being in New Mexico. It was not, as I'd surmised, to visit Disney. The following notes are from my reading of Larson's biography (Mary Poppins, She Wrote: The Life of P.L. Travers).

Travers was in the US due to the war.

In 1939, Travers adopted a baby boy named Camillus (in the BBC documentary, there's a lot of attention on the adoption. She didn't adopt his twin; when Camillus learned about his twin, he was 17. Until then, he'd thought he was born to Travers and that his father had died. Learning the truth caused problems between the two.) This was the period during the war in which people were leaving London for safer places.

In 1940, Travers left, too, on a ship that carried 300 children to Canada. She served as escort for some of the children.  Once in Canada, she flew to New York City. She had women friends there: Jessie Orage and Gertrude Hermes. Jessie moved to Santa Fe soon after to be with "a community of Orage and Gurdjieff followers." Prior to her move, she'd been very close to AE (Irish writer George William Russell), who knew John Collier (Larson calls him a 'minister' in Roosevelt's administration. Collier's position was actually Commissioner of Indian Affairs).

In the summer of 1941, Travers spent most of her time in Maine. In January of 1942, Jessie visited her in New York. "Gert" (Gertrude Hermes) and Travers separated that year. In 1943, her Mary Poppins Opens the Door was published and she was feeling very homesick.

Collier suggested she spent a summer or two on an Indian reservation. At first resistant to the idea, Larson writes that Travers (note: the following excerpts are from Chapter 10 in the ebook w/o page numbers):
later felt Collier's offer came as a kind of magic. The next two summers were to be among the great experiences of her life. She moved from the gray reality of New York to the brilliantly colored fantasy of the southwest, just as Poppins moves through a mirage door from her earthly Cherry Tree Lane to her heavenly friends in the sky. Here, Pamela discovered what so many artists and writers had found before and after her: spiritual peace and meaning within a beautiful landscape, brittle, red, gray-green.
Her first visit was in September of 1943, to Santa Fe, where Jessie was living. Though she may have visited the Navajo reservation then, Larson makes no mention of it. That came later, in the summer of 1944, when Travers was in the southwest for five months. Larson writes:

She had accepted John Collier's suggest that she live for some weeks in Window Rock, a tiny Navajo settlement in Arizona, near the New Mexico border. It looked like a train stop at the end of the world. 
And,

Pamela like to say she spent the summer on a reservation, but photographs in her albums show that she and Camillus lived in a western-style building that Pamela indicated in one interview was a boarding house. On the grounds in front, grinning for the camera, Camillus sat perched on the back of Silver, a white horse. 

Larson writes that Travers was driven to the "reservations" (reservation is correct) where she tried to "speak little but hear much." During those storytelling sessions, Larson writes that Travers was "folding herself away so she did not seem to be listening to the Navajos' stories. She wanted to share the dances and songs, share the silence." (Note: I don't know what to make of that... perhaps she was trying to absorb what was happening around her in some metaphysical way.)

She also went to puberty ceremonies for Navajo girls and liked the matriarchal society. Larson writes:

Pamela took notes of the Navajo ways, religion, hierarchy, spiritual leaders: first the Holy Ones who can travel on a sunbeam or the wind, the Changing Woman, the earth mother who teaches people to live in harmony with nature, and her children, the Hero Twins, who keep enemies away. 

She saw relationships between Navajo stories and those of other people around the world. She ate in hogans, and, wrote that Camillus:

"was taken by the hand by grave red men, gravely played with, and, ultimate honor, gravely given an Indian name. Its strange beautiful syllables mean "Son of the Aspen."

Travers was also given a name, but, Larson writes:

Pamela was given a secret Indian name and told "I must never reveal it and I have never told a soul." Her secret name, she said, "bound her to the mothering land," that is the land of the Earth Mother--her own motherland was far away.

Travers also went out to ceremonial dancing that took place at night. She rode blue jeans, boots, and cowboy shirts as she rode a horse in Canyon de Chelly. As noted above, she liked the skirts and jackets Navajo women wore. Larson writes:

From these days she adopted two fashions she wore until old age: tiered floral skirts and Indian jewelry, turquoise and silver, with bracelets stacked up each forearm like gauntlets.

Travers wrote to Jessie that was returning to Santa Fe. On July 19th, Jessie visited her in a Santa Fe hotel and drove her to the writer/artist colony in Taos. In September she helped Travers find a place to live in Santa Fe. In November, Travers returned to New York and in March, moved back to London. Larson refers to the bracelets a few additional times in the remainder of the book.

Next up? Some analysis and hard thinking about the ways that Travers depicted/incorporated Native content in her stories.

Update: Tuesday, January 7, 2014

Before the analysis, I'll take a few minutes to note that the documentary "PL Travers: The Real Mary Poppins" says that Disney was, in fact, in touch with Travers in 1944. At around the 2:00 mark of this segment, you'll hear that Disney began negotiations with her in January. The documentary shows an inter-office communication dated January 24, 1944, with "Mary Poppin Stories" as the subject. There's a second item--a letter to Travers--dated February 1944 at around 2:10 in the documentary. It references Travers plan to visit Arizona and suggests a meeting. If you're interested in Travers and her relationship with Disney as they developed the script and movie, watch the video. It has screen shots of letters she wrote, and audio clips, in which she objected to aspects of the script.

In part 4 of that documentary, one of her friends talks about how Travers studied dance of other cultures because that was a way they told stories. At 4:51, the person who did choreography for the Disney film speculates that her interest in dance is evident in her stories, where dance and flying figures prominently. At 4:51 in the segment, there's a video clip of an Eagle Dance! It is a Pueblo dance, not a Navajo one. The choreographer talks about her lectures and then the segment goes to an audio recording of her from a talk she gave at Smith College in 1966 in which she says:

When I was in Arizona living with the Indians for two summers during the war, they gave me an Indian name and they said 'we give you this so that you will never never tell it to anybody. Anybody can know your other name but this name must never be spoken' and I've never spoke of it from that day to this. There is something very strange and mysterious about ones names. I myself always tremble when people I don't know very well take my Christian name. I tremble inside. I don't like it. 

All through that audio, there are clips of the eagle dance. Are those clips from her own footage? I recognize the Eagle Dance, and I recognize Taos Pueblo, too.

Patricia Feltman, her friend, says that Travers spent two summers with the Navajo Indians, who made the jewelry she wore every day of her life.

That's it for now.... More later.


Update: Wednesday, January 8, 2013, 1:57 PM CST  

Of interest to me is the ways in which Travers wrote about what is generally called "other." This happens in the Bad Tuesday chapter in the first book, published in 1934. It was turned into a Little Golden Book in 1953. Here's screen captures of two pages in the part of the book (I don't have the book myself) in which Mary Poppins and the children go West using the compass. The source for my screen captures is kewzoo's account at flickr.






As yet, I don't have the original book to compare the words in it to the words in the Little Golden Book above. I don't find any of that text in the 2007 Houghton Mifflin Harcourt copy that I'm reading. Those pages in which they travel using the compass were completely rewritten. As she says below in the interview, she kept the plot (of traveling) but apparently changed the people they met to animals. In the revised chapter, when they're in the West, they see dolphins, not Indians. That this is a revised chapter is clearly marked in the Table of Contents:



I turn now, to two of Travers' responses to objections. The first one was published in 1977, and the second one in 1982.

Travers granted an interview to Albert V. Schwartz, who was at the time of the interview, an Assistant Professor of Language Arts at Richmond College in State Island. His account is available in Cultural Conformity in Books for Children, edited by Donnarae MacCann and Gloria Woodard, published by Scarerow Press in 1977

When Schwartz learned that the chapter had been revised, he got in touch with the publisher, Harcourt Brace Jovanovich for details. He learned that the revisions took place in the 1972 paperback, at Travers' request. Schwartz then got in touch with Travers and set up the interview. He told her that the Council on Interracial Books for Children had been receiving complaints about stereotypical presentations of Africans, Chinese, Eskimos, and American Indians. Here's a quote from Schwartz's chapter (p. 135):

Sitting tall and tense, Pamela Travers was aware of every word as she spoke: "Remember Mary Poppins was written a long time ago when racism was not as important. About two years ago, a schoolteacher friend of mine, who is a devotee of Mary Poppins and reads it constantly to her class, told me that when she came to that part it always made her squirm if she had Black children in her class. I decided that if that should happen, if even one Black child were troubled, or even if she were troubled, then I would have to alter it. And so I altered the conversation part of it. I didn't alter the plot of the story. When the next edition, which was the paperback, came out, I also altered one of two things which had nothing to do with 'picaninny' talk at all. 

"Various friends of mine, artists and writers, said to me, 'No, no! What you have written you have written. Stand by it!' But, I thought, no, if the least of these little ones is going to be hurt, I am going to alter it!"

A few paragraphs later is this:

"I am not really convinced that any harm is done," she continued. "I remember when I was first invited to New York by a group of schoolteachers and librarians, amongst whom were many Black teachers. We met at the New York Public Library. I had thought that they expected me to talk to them, but no, on the contrary, they wanted to thank me for writing Mary Poppins because it had been so popular with their classes. Not one of them took the opportunity--if indeed they noticed it--to talk about what you've mentioned in 'Bad Tuesday.'" 

In his 1982 interview with Travers that is in the Paris Review,  interviewers Edwina Burness and Jerry Griswold asked her about the book being removed from children's shelves in San Francisco libraries because of charges that the book is racist and that it has unflattering views of minorities. She said:

The Irish have an expression: “Ah, my grief!” It means “the pity of things.” The objections had been made to the chapter “Bad Tuesday,” where Mary Poppins goes to the four points of the compass. She meets a mandarin in the East, an Indian in the West, an Eskimo in the North, and blacks in the South who speak in a pickaninny language. What I find strange is that, while my critics claim to have children’s best interests in mind, children themselves have never objected to the book. In fact, they love it. That was certainly the case when I was asked to speak to an affectionate crowd of children at a library in Port of Spain in Trinidad. On another occasion, when a white teacher friend of mine explained how she felt uncomfortable reading the pickaninny dialect to her young students, I asked her, “And are the black children affronted?” “Not at all,” she replied, “it appeared they loved it.” Minorities is not a word in my vocabulary. And I wonder, sometimes, how much disservice is done children by some individuals who occasionally offer, with good intentions, to serve as their spokesmen. Nonetheless, I have rewritten the offending chapter, and in the revised edition I have substituted a panda, dolphin, polar bear, and macaw. I have done so not as an apology for anything I have written. The reason is much more simple: I do not wish to see Mary Poppins tucked away in the closet. 
Interesting, isn't it? I'm still reading and thinking and will share more later. If you have other items to point me to, please do! And for those who have already done so, thank you!


Update: Thursday, January 9, 12:58 PM CST

Editors note, Jan 10, 2014, 5:26 PM CST --- the excepts described herein as 'original' are from a 1963 edition published by HBJ, prior to the revisions. From K.T. Horning, I've just learned that there were TWO revisions. In the first one, the human characters remained but the Black dialect was changed to what Travers described as "Proper English." I do not have a copy of "Bad Tuesday" that K.T. Horning referenced (in a comment on Facebook). If you do have that copy, please scan and send to me if you can!

Thanks to librarians, I now have the original chapter. Specifically, thank you, Michelle Willis! Michelle sent me the color scan of the compass and the chapter from which I created the side-by-side excerpts.

First up is the Mary Shepherd's illustration of the compass (illustrations for later versions were changed to match the changes to the text):





At the start of the Bad Tuesday chapter, Michael has gotten up on the wrong side of the bed. He's doing naughty things. Later in the day, Mary Poppins has taken Jane and Michael out for a walk. Mary Poppins sees the compass on the ground and tells Michael to pick it up. He wonders what it is, and she tells him it is for going around the world. Michael is skeptical, so Mary Poppins set out to prove to him that the compass can, indeed, take them around the world.

She begins their trip by saying "North!" The air starts to get very cold and the kids close their eyes. When they open them, they're surrounded by boulders of blue ice. Jane asks what has happened to them. (Below is the complete text from both versions for this section of the book. Blank boxes mean there was no corresponding text in the revision.) Here's an enlargement of the illustration for North:

Enlargement of Eskimo, illustration by Mary Shepherd







Next update? The South!

Update: Thursday, January 9, 2014, 2:25 PM CST

(I apologize for different size of the side-by-side images. I'm entering the text into a table in Word and then doing a screen capture according to the size of the boxes. It is clumsy, but it is the only way I know of for getting the text aligned side-by-side in Blogger.) An enlargement of "South" on the compass is followed by text:

Enlargement of Mary Shepherd's illustration for South








Here's the illustration for East, followed by the text:

Mary Shepherd's illustration of East





That's it for now. My next update will be West. 


Update: Friday, January 10, 2014, 4:12 PM CST

Here's an enlargement of West on the compass:

Mary Shepherd's illustration of West

And here's the side-by-side comparisons of the original and revised versions of the portion of the book about West:









After that they head back home. As the afternoon wore on, Michael got naughtier and naughtier. Mary Poppins sent him to bed. Just as he climbed into bed he saw the compass on the chest of drawers and brought it into bed with him, thinking he would travel the world himself. He says "North, South, Eaast, West!" and then... 




Then he hears Mary Poppins telling him calmly, "All right, all right. I'm not deaf, I'm thankful to say--no need to shout." He realizes the soft thing is his own blanket. Mary Poppins gets him some warm milk. He sips it slowly. The chapter ends with Michael saying "Isn't it a funny thing, Mary Poppins," he said drowsily. "I've been so very naughty and I feel so very good." Mary Poppins replies "Humph!" and then tucks him in and goes off to wash dishes. 

MY INITIAL THOUGHTS 

As the interviews above suggest, Travers made changes, but why? The two interviews differ in her reaction to objections. As far as I've been able to determine, the objections were to her portrayal of Blacks, but if you've seen articles or book chapters that described objections to the other content, do let me know! 

The book was written before her trip to the southwest. It seems to me that if she had understood the significance of names (as she says in the interviews), she would have--on her own--revisited the names she gave to the Indians in the West, and she would have come away (after seeing dances) knowing that her depictions of dance were inappropriate. If she'd have been paying attention to the Navajo people (and Pueblo people, if she did indeed visit a Pueblo) as people rather than people-who-tell-stories-and-make-jewelry-and-dance, she would have--all on her own--rewritten that portion of the chapter. She didn't do that, however, until much later. 

For now, I think I'll let things simmer and then post some analysis and concluding thoughts later. 

In the meantime, submit comments here (or on Facebook). I'd love to hear what you think of all this.