Showing posts sorted by date for query island of the blue dolphins. Sort by relevance Show all posts
Showing posts sorted by date for query island of the blue dolphins. Sort by relevance Show all posts

Tuesday, March 01, 2016

Dear Scholastic: This Is A Test

I have a lot of thoughts in my head this morning, about yesterday's #StepUpScholastic chat on Twitter, and about the Step Up Scholastic campaign, but I am starting with this:

Stone Fox is in 10 bks/$10 box
Last year, Scholastic, working with WNDB, put together a flyer of books specific to diversity. In theory, terrific marketing! BUT.

When I saw the first page of the flyer, I wasn't happy at all to see Stone Fox on it. That book has stereotyping of Native peoples in it, and as such, is the opposite of what kids need if they're to 1) see mirrors of who they are, or 2) see accurate depictions of those who are unlike themselves. With that book on there, Scholastic and WNDB are marketing a problematic book. Stone Fox is in the 10 BOOKS FOR $10 box on bottom right of the flyer shown here.

Late yesterday, Scholastic announced an expansion of its partnership with We Need Diverse Books. They're going to do eight flyers this year. Will these flyers have Stone Fox? Will they have books by Native writers? [Update on Oct 18, 2023: I no longer recommend Bruchac's books because I no longer view him as being a Native writer. For details, see https://americanindiansinchildrensliterature.blogspot.com/2023/09/is-joseph-bruchac-truly-abenaki.html]. When I looked inside last year's flyer, I saw two books by Joseph Bruchac, but that's not enough.

Last year's partnership, and this expansion of that partnership, are steps in the right direction but if Scholastic is seriously committed to diversity and providing children with books that truly educate--rather than ones that miseducate children about Native peoples--here's what they need to do (saying they in this post but I know Scholastic is reading this, so I could say YOU instead):
  1. Acquire more books by Native writers and put those books in the flyers, all year long, not just in the special flyers about diversity. And on the teacher webpages. And in book fairs. Maximize the distribution, here and around the globe, too. Last night I learned a little about the flyers you publish around the globe. You're exporting stereotypes. That has to stop. 
  2. Seek out books by Native writers--books published by other publishers--and get them into the flyers. Do it now. Today. I understand there's "rights" issues associated with all this but also think that your billion+ revenue could be leveraged somehow to make this happen. Get them in the diversity flyers but in all flyers. Like I said above: all year round. Every grade level. Every month.
  3. Remove books that misrepresent Native peoples from all flyers and from their website, too. There's absolutely no reason to continue to market Island of the Blue Dolphins. Or Hiawatha (the one by Susan Jeffers). Or Touching Spirit Bear. Or Sign of the Beaver. Or The Girl Who Loved Wild Horses. Or Julie of the Wolves. Or Indian in the Cupboard. Those are some of the books you distribute. STOP. And I know there are others, too. 
  4. Take some of that billion dollar revenue and hire people with expertise---not just in kidlit---but in Native Studies, to help you with all these tasks. I'm not asking you to hire me. But I think I can help you find people who would work with you. All this money you're making, right here on what used to be Native lands... come on. Step Up. 

Ebony Elizabeth Thomas has been doing some writing about distinctions between marketing, advocacy, and activism that I find helpful as we all live through these periods of fighting for change in what we get from the publishing industry. The Scholastic flyers are marketing. I think it is marketing borne from activism, but as I noted above, there's a lot more to do with what Scholastic publishes, and what they choose to market.

Some people think I hate Scholastic. Some people think I hate white people. Neither is true. Last night I did a series of tweets about how much I love Shadowshaper and If I Ever Get Out of Here (both published by Scholastic. I wanna see several of the people who made those two books possible, working in-house at Scholastic, getting us more books like that.

I'll be waiting to see the new flyers. Not just the diversity ones. Every single one. They are a way to measure what Scholastic is doing. Doing content analyses of the flyers provide us with a way to test what Scholastic is doing. The flyers, as I view them, are a test that--if passed--could win back the trust they've lost.

__________

My post from last year: Books to get (and avoid) from the WNDB/Scholastic Reading Club Collaboration

Tuesday, January 26, 2016

Dear Scholastic: Given your statement about standards...

January 25, 2016

Richard Robinson, CEO
Scholastic Books

Dear Mr. Robinson,

Those of us who study and share children's literature in classrooms and libraries have been using social media to share our astonishment at each new development with regard to A Birthday Cake for George Washington. We--and you, too, I gather--have watched these conversations take place outside of our relatively small community. That is a plus for us, and should be for you, too.

Personally and professionally, I welcome the critical eyes of those who object to the book.

I assume that your public relations office is keeping track of key developments. For the benefit of my readers, I've put together a brief timeline of the key points. I think the dates are correct. For a more comprehensive timeline, see here.

Wednesday, January 6
Scholastic released A Birthday Cake for George Washington.

On the same day, there was a statement on the Scholastic blog. Written by the book's editor, it explained the thinking that went into the book. The statement referenced discussions that took place in 2015 over A Fine Dessert (not published by Scholastic).

Friday, January 15
Scholastic released an unsigned statement on its blog, acknowledging the discussions online.

Sunday, January 17
Scholastic released an unsigned statement that it was stopping distribution of A Birthday Cake for George Washington. It said "We do not believe this title meets the standards of appropriate presentation of information to younger children..."

Friday, January 22 
The National Coalition on Censorship (NCAC), the PEN American Center, and the American Society of Journalists and Authors issued a statement that cast Scholastic's decision as one of self-censorship.

Monday, January 25
Scholastic issued a statement saying that NCAC and PEN "did not correctly read" their statement about withdrawing the book. The decision, they state, is not due to the controversy over the book, but because "it does not meet the standards which support our publishing mission." It attributed the decision to CEO, Richard Robinson.

The statement also includes this paragraph:
In addition to engaging children with great stories, all of us at Scholastic have an important responsibility to ensure that our history—both the good and the bad--is portrayed accurately in a way children can understand, as we prepare the next generation of young people who are being raised on our books, classroom magazines and curriculum programs widely used in schools and homes.

Speaking as a scholar who studies portrayals of Native peoples in children's and young adult literature, I can say that you publish many books that do not meet the "portrayed accurately in a way children can understand" statement that I assume is part of the "standards" that prompted you to withdraw A Cake for George Washington. 

My question, Mr. Robinson, is this: will you be withdrawing other books, too, for the same reasons?

On Twitter, I asked about a few you have in The Teacher Store pages. I've read and analyzed these ones. I know that they do not accurately portray Native peoples. Other scholars have written about their inaccuracies, too.

  • Hiawatha, illustrated by Susan Jeffers
  • Island of the Blue Dolphins, by Scott O'Dell
  • Touching Spirit Bear, by Ben Mikaelsen
  • Sign of the Beaver, by Elizabeth George Speare
  • The Girl Who Loved Wild Horses, by Paul Goble
  • Julie of the Wolves, by Jean Craighead George 
  • Indian in the Cupboard, by Lynne Reid Banks
  • Stone Fox, by John Reynolds Gardiner


I also asked about your "Thanksgiving Feast Readers Theater Headbands and Play Script." I have no doubt that people mean well when they create and use these kinds of items, but they foster stereotypical thinking and encourage playing Indian in stereotypical ways.

Clearly, those headbands are meant to be used at Thanksgiving. That prompts me to say that I think you're failing to give young children an accurate picture of colonization.

I've seen a lot of smiling Indians in children's books that send the same message that the illustrations of smiling slaves send to readers: it wasn't that bad. Your statement tells me you know it was bad. Indeed, you called it evil, as you should. I agree. Slavery was evil.

The same is true about colonization and the genocidal policies of the early colonists and later, the men embraced as "Founding Fathers." I hope that your statement is an indication that you're convening meetings within the Scholastic offices and you're going to withdraw other books, too.

Is that, in fact, happening?

Sincerely,
Debbie Reese
American Indians in Children's Literature

___________________

Note: I sent a link to this letter to Kyle Good. She is listed as the contact person for the statement, as shown here:

Kyle Good
kgood@scholastic.com
212-343-4563

Monday, November 16, 2015

Dear Katherine Handcock at A MIGHTY GIRL...

November 16, 2015

Katherine Handcock
A Mighty Girl
amightygirl.com

Dear Katherine,

I saw your November 15, 2015 post at A Mighty Girl. Your topic is celebrating Native American Heritage Month. Of course, I applaud A Mighty Girl for lot of reasons, and I am glad to see you contributing a post about Native peoples, but some of the books you chose are pretty awful.

I'll start with Scott O'Dell. Though he meant well and people who decided to give his books medals meant well, too, his books are not accurate. Rather than providing children with worthwhile information about Native peoples, children's misconceptions of who Native people were--and are--are affirmed by the misrepresentations and bias in his books. Please don't recommend Sing Down the Moon or Island of the Blue Dolphins

My guess is, Katherine, that you read those books when you were a child. They resonated with you. That's the case with a lot of people. They read something when they were a child, but upon re-reading it as an adult, they are taken aback by the ways that Native people are depicted. A few weeks ago, CBC Diversity recommended Island of the Blue Dolphins in a post about strong female characters. The pushback from social media was immediate. It came from Native people, and from scholars in children's literature, too. Within hours, CBC Diversity had removed the book from that post.

Julie of the Wolves... oh dear. Wrong in so many ways! Same with Mama Do You Love Me!

I see you also have The Girl Who Loved Wild Horses on that list. It's a fail, too, when looked at critically. Pretty art, some say, and a Caldecott Medal, too, but there's no tribe in that story! It is a made-up story--made up by a well-intentioned British writer/illustrator (Paul Goble). It looks like a Native story, and to most people, it will be assumed to be a Native story, but it isn't. Same with Frog Girl. That is made up, too, by someone (Paul Owen Lewis) who is not Native.

You do have some terrific books listed, including:

  • Buffalo Bird Girl, written and illustrated by S.D. Nelson
  • Crossing Bok Chitto, written by Tim Tingle, illustrated by Jeanne Rorex Bridges
  • Morning Girl, written by Michael Dorris
  • The Birchbark House, written by Louise Erdrich
  • Fatty Legs and A Stranger at Home: by Christy Jordan-Fenton and Margaret Pokiak-Fenton, illustrated by Liz Amini-Holmes
  • House of Purple Cedar, by Tim Tingle
  • Native Women of Courage, by Kelly Fournel
  • SkySisters, written by Jan Bourdeau Waboose, illustrated by Brian Dienes
  • Jingle Dancer, written by Cynthia Leitich Smith, illustrated by Cornelius Van Wright and Ying-Hwa Hu
  • Very Last First Time, written by Jan Andrews, illustrated by Ian Wallace


Anything I didn't list above is something I've not read, or, that I have read but cannot recommend and haven't yet written about in my book chapters, journal articles, or at my blog American Indians in Children's Literature.  I should also note that I'm a Pueblo Indian woman, a former school teacher and professor in American Indian Studies.

A few additional thoughts: because Capaldi's book about Carlos Montezuma was so flawed, I suspect that her book on Zitkala-Sa has similar problems. Same thing with regard to dePaola. His Legend of the Indian Paintbrush has problems, so I suspect that his Legend of the Bluebonnet might have similar problems. And, Katherine, if you're into children's literature, I highly recommend a new blog called Reading While White. Among its writers are librarians at the CCBC (you cited CCBC in your post).

Please reconsider the books you have on your list. Like thousands (millions?) of people, you meant well, but intentions don't matter. The content of a book and what it tells children is what matters most of all. Some of the books you recommended actually work against what I think A Mighty Girl is all about. Affirmation. Some of the books you recommend affirm stereotypes. Can you remove them?

Thanks,
Debbie Reese
American Indians in Children's Literature
http://americanindiansinchildrensliterature.blogspot.com/

Tuesday, October 13, 2015

An Open Letter to People Who Are Not "Fans" of "Call Out Culture" on Social Media

Dear People Who Are Not "Fans of "Call Out Culture" on Social Media,

Today (October 13, 2015), The Guardian ran an article on Meg Rosoff's "row" over her remarks on Edith Campbell's Facebook page. There, Rosoff wrote that there are thousands of books out there where kids can see themselves. In The Guardian, writer James Dawson said that he disagrees with Rosoff's remark that there are thousands of books, saying there are "numerous" books and that they're hard to find. Then, he said this:  


Just in case you didn't realize it, Mr. Dawson and others who aren't fans of "call out culture," you're asking me to shut up with my critiques of the ways that Native peoples are depicted in children's and young adult books. 

Some of you are like Dawson, and think that buying books by diverse writers is enough. You think the mirrors in those books are enough.

But you forget, don't acknowledge, or maybe you don't even know, that the mirrors that Native kids get in classic, popular, and award-winning books aren't those nice shiny things you have in mind.

Far and away, what Native kids get are fun house mirrors* like the ones we see at carnivals, fairs, and theme parks. The ones that take your image and distort it. That make it look funny. Or uber cool. Or scary. Or stupid.

Source: http://www.dianasprinkle.com/2011/12/funhouse/


We have to call out these distortions, and you should, too. Lift books that give kids accurate representations of Native people, but call out the ones that are not ok, too, so that your buds will know those books are not ok. So they won't be put onto those school reading lists.

I'm talking about Ghost Hawk. And Island of the Blue Dolphins. And Little House on the Prairie. And Brother Eagle Sister Sky. And The Education of Little Tree. And Walk On Earth A Stranger. And... I could go on and on and on.

Your silence affirms their existence. Your silence harms what Native kids get, and what non-Native ones "learn" from those distorted images.

Join me. Call out the bad. You're not being a "fan" of call out culture. You're being a person who cares about what kids get in books.

Sincerely,
Debbie Reese
American Indians in Children's Literature

__________
*Update on Friday, Feb 25, 2022: In searching for something else, I came across Dr. Rudine Sims Bishop's use of the phrase "fun house." In Shadow and Substance: Afro-American: Afro American Experience in Contemporary Children's Fiction she wrote that "black children exploring the world of children's books found themselves looking into a kind of distorted fun-house mirror that resisted sending back reflections at all..."  

Monday, May 19, 2014

Dear First Book: Step Up Your Game!

Editor's note, May 22, 2014: In response to concerns I raised about the information on First Book's Native American Heritage Month page, First Book removed the page. I look forward to one with accurate information about Native people. Thanks, First Book!
_____________________________________________

May 19, 2014

Dear First Book,

I've been tweeting at you over the last week or so, especially in the last 24 hours. Some might think I'm being unfair to an organization that is doing good work.

First...

I agree that you are doing some pretty good work. The list of books you have on your "Native Interest" page? For the most part, it is an impressive list. It includes a good many Native authors. That, in and of itself, is unusual. So, I am very glad to see it. It isn't perfect, though, and I'd really like to see some books come off that list, including:

Island of the Blue Dolphins --- Yeah, I know. It won the Newbery and is on umpteen lists of favorite books. It isn't on my list of favorites. Far from it! It has stereotypes, bias, and misinformation. I'm sure Scott O'Dell meant well, but he goofed. Given its ubiquity in American society, I am concerned that teachers, parents, librarians---whomever it is that orders books from your site---will see it and spend their precious dollars on it because they recognize the title. They may have fond memories of it that prompt feelings of nostalgia. But! I think it ought to be set aside in favor of books that do a far better job of providing children--via fiction--information about Native peoples.

Starfish --- I was astounded when I read that new book. The stereotypes and sensationalism in it are evidence, I think, of how powerful stereotypes of Native peoples are within the minds of writers (like Crowley) and editors at big publishers (like Hyperion).

You, First Read, are a non-profit. You're not trying to make money, right? You're trying to give kids good books, and you're especially interested in diversity. Seems logical to me that you'd stay away from books like Island of the Blue Dolphins and Starfish. 

Second...

Your page on Native American Heritage Month needs some work. You link to New Age music. Not cool. You feature Pocahontas: Princess of the New World. She was not a princess! The whole idea of royalty is European. Promoting that book, you promote misinformation! There are far better choices, many of which you actually have on your Native Interest list! Jingle Dancer by Cynthia Leitich Smith, or Kunu's Basket are both excellent.

That page links to New Age music rather than Native music. In a tweet, I suggested you use the Black Lodge Singers instead. Their kid pow wow songs are terrific!

Third...

Your CEO, Kyle Zimmer, gave an interview to NPR this weekend. Zimmer noted that the We Need Diverse Books is the most recent effort to call attention to what some of us call 'the all white world of children's books.'

I wish that Zimmer had named the men and women who created this latest effort. Most of them are people of color. (For the record, I'm not one of the creators of WNDB.)

In an earlier blog post and in a twitter chat with First Book, I advocated for Native writers/illustrators because I think the identity of an author/illustrator makes a difference. It presents a child with a possible-self, which is a phrase used in psychology. It means 'what I imagine as being possible for myself as an adult.' That idea is more commonly known as a role model.

Imagine what a boost it would be for the children of the We Need Diverse Books campaign, if they'd heard the name of their mom or dad on the radio! White kids hear the names of people that look like them all the time. They get that in books, too. All the time. Lot of possible selves.

That is not the case for children of color. You can do that, First Book. You can offer lots and lots of possible selves.

I want First Book to use their power and influence to do precisely that. Feature and promote writers and illustrators who are outside what we call 'the mainstream' or 'the norm.'

As reported on your website, First Book, you are making a difference. Step up your game. You have nothing to lose and the entire country as everything to gain by such a move.

First Book! Step up your game!

Sincerely,

Debbie Reese
American Indians in Children's Literature

Sunday, March 23, 2014

Rush Limbaugh's RUSH REVERE AND THE BRAVE PILGRIMS

Editor's Note, May 14, 2014 8:00 PM: Limbaugh won the Children's Book Council's 2014 Author of the Year Award.

Editor's Note, June 17, 2014, 5:08 AM: Yesterday, Rush Limbaugh made Teaching for Change and its Executive Director, Deborah Menkart, the targets of his venom. In his segment he derides her for not stocking his books. He says he has characters of color in his books that are "heroes." My review (below) illustrates that he created a Native character to fit his agenda. She is not a hero. His use of the word "diversity" is spurious. See Rush Limbaugh Calls Teaching for Change Racist for Promoting Diverse Children's Books


~~~~~

Rush Limbaugh's Rush Revere and the Brave Pilgrims
Review by Debbie Reese, March 23, 2014

Rush Limbaugh's book, Rush Revere and the Brave Pilgrims is a best seller. That status means he is on the Children's Book Council's (CBC) list of contenders for Author of the Year. People in children's literature were shocked when they saw his name on the list. Some suggested that the best selling status was not legitimate. The CBC responded with an open letter explaining why Limbaugh is on the list:
The Author of the Year and Illustrator of the Year finalists are determined solely based on titles’ performances on the bestseller lists – all titles in those categories are listed as a result of this protocol. Some of you have voiced concerns over the selection of finalists from bestseller lists, which you feel are potentially-manipulable indications of the success of a title. We can take this into consideration going forward, but cannot change our procedure for selecting finalists after the fact.  
The CBC letter goes on to say that children will choose the Author of the Year. Voting starts on March 25th. The CBC says that they have procedures in place to eliminate duplicate, fake, and adult votes.

Transcripts on Limbaugh's website state that his company, Two If By Tea, bought many copies of the book and sent them to schools. In this transcript of Limbaugh's conversation with a 10 year old girl from Cynthiana, Kentucky, she thanks him and Two If By Tea for sending books to her school. He asks how many books they got, and she replies "I think we got 60." He goes on to say "We sent like 10,000 or 15,000 books to schools as a charitable donation across the country." At the end of the transcript, he says they donated over 15,000 copies. Presumably, the other authors on the contender list for author of the year do not buy thousands of copies of their own books and donate them to schools.

Sales aside, what does the book actually say (I read an electronic copy of the book and cannot provide page numbers for the excerpts below)?

Limbaugh opens the book with "A Note from the Author" wherein he says that America is exceptional because "it is a land built on true freedom and individual liberty..." and that:
The sad reality is that since the beginning of time, most citizens of the world have not been free. For hundreds and thousands of years, many people in other civilizations and countries were servants to their kings, leaders, and government. It didn't matter how hard these people worked to improve their lives, because their lives were not their own. They often feared for their lives and could not get out from under a ruling class no matter how hard they tried. Many of these people lived and continue to live in extreme poverty, with no clean water, limited food, and none of the luxuries that we often take for granted. Many citizens in the world were punished, sometimes severely, for having their own ideas, beliefs, and hopes for a better future.

The United States of America is unique because it is the exception to all this. Our country is the first country ever to be founded on the principle that all human beings are created as free people. The Founders of this phenomenal country believed all people were born to be free as individuals. 

Nowhere in that note does he reference slavery of American Indians or African Americans in the United States, pre- or post-1777. The word "slave" does appear in his book, though, when his protagonist, "Rush Revere" and two students who time travel with him to 1621 meet Squanto. The two students are a white boy named Tommy and a Native American girl named Freedom.

When Limbaugh's Squanto speaks, he does so with perfect English. Why? Because, Squanto explains, he had been kidnapped and taken to Spain. He says that Bradford's God rescued him from slavery in Spain when Catholic friars helped him escape.

See that? Limbaugh tells us that Spain is one of those places where people could not be free. Slaves in the United States of America? Nope. Not according to Limbaugh. The way that he presents Squanto's enslavement fits with his exceptionalism narrative. How, I wonder, are parents and teachers dealing with that narrative? At Betsy Bird's blog with School Library Journal, Jill Dotter says (in a comment) she is a Libertarian, and that she bought Limbaugh's book for her son. He loves it. She doesn't note any problems with the book. I'll post a question and see what she says.

Squanto continues, saying that he shows his gratitude to Bradford's God by serving his "new friend and holy man, William Bradford." Limbaugh would have us believe that Squanto was loyal to Bradford. The facts are otherwise. Squanto was an opportunist who played one side against the other for his own benefit (see Debo, A History of the Indians of the United States; Jennings, The Founders of America, and Salisbury, Manitou and Providence: Indians and Europeans, 1500-1643.)

In the Prologue, Limbaugh introduces his readers to his buddy, "Rush Revere" who is a history teacher from the twenty-first century at a school where they hire only the "smartest and most educated" teachers. In Limbaugh's world, apparently, it is smart to completely ignore slavery as part of US history.

"Freedom"
Of interest to me is the character, Freedom, in Limbaugh's book. Mr. Revere loves her name. She has long black hair. One day she wears a blue feather, the next day she wears a yellow one. Other students don't like her, but Mr. Revere is intrigued by her. She has dark eyes and a determined stare. She speaks "from somewhere deep within." From her grandfather, she learned how to track animals. She and Mr. Revere's horse, Liberty, can read each other's minds. Liberty can also talk, which I gather from reviews, is what children like about the book. Freedom explains that he must be a spirit animal, that "there is an Indian legend about animals that can talk to humans." She wondered if Mr. Revere was "a great shaman" when she saw Revere and Liberty enter the time travel portal. (Note: Screen capture of Freedom added at 5:30 PM on 3/23/2014. Mr. Revere gazes at her hair, thinking "It was silky smooth, as if she brushed it a thousand times.")

What is behind Limbaugh's creation of a Native American girl named Freedom?

Later in the story, we learn that her mother (we never learn of a specific tribe for Freedom or her mother) named her Freedom because she was born on the fourth of July. Let's think about that for a minute. There are obvious factual errors in the book related to Limbaugh's presentation of slavery. With his character, Freedom, we see how fiction can be manipulated in the service of a particular ideology. Limbaugh is creating a modern day Native girl as someone who holds the same views as he does. Packed into, and around, his Native character are many stereotypes of Native peoples. Does he cast her in that way so that it isn't only White people who view history as he does?

I think so. He casts Squanto and Samoset that way, too.

As noted earlier, Squanto is in Limbaugh's book. So is "Somoset" (usually spelled Samoset). Both speak English. In the note at the end of the book, Limbaugh lists William Bradford, Myles Standish, William Brewster, Squanto, and Samoset (spelled right this time) as brave, courageous, ordinary people who accomplished extraordinary things. Remember how Limbaugh presented Squanto as "serving" Bradford?

Massasoit, who is also part of Limbaugh's story, is not amongst Limbaugh's list of brave and courageous people. Maybe because he spoke "gibberish" instead of English. There's more I could say about Limbaugh's depiction of Massasoit, but I'll set that aside for now. The point is, Limbaugh's book is a factual misrepresentation of history that Limbaugh is donating to schools. How are teachers using it? I think we ought to know.

I will not be surprised if Limbaugh wins the contest when kids vote. They seem to like the horse. Some people seem to think it doesn't matter what kids read, as long as they read. Others, of course, agree with Limbaugh's political views and, no doubt, pass those views on to their children.

As CBC's open letter indicates, they will be revising their criteria. With Limbaugh on the short list for Author of the Year, their credibility is suddenly in question. I had concerns with CBC prior to this when I saw books that stereotype American Indians on CBC Diversity's bookshelf at Goodreads. Amongst those books is Scott O'Dell's Island of the Blue Dolphins, which is one of the best selling children's books of all time. It is fraught with problems in the ways that O'Dell presents his Native character. I asked that it be removed, but that could not be done. As some have said, what I call a stereotype, someone else views as a role model.

Perhaps Limbaugh's book will push CBC to think more critically about the distinctions between quality, viewpoint, and quantity--especially as census data points to the rapid change in majority/minority statistics and the country tries to recognize all of its citizens.

Below are the notes I took as I read Limbaugh's book. I invite your  thoughts on the book, what I said about it, what I left unsaid... Please use the comment option below to submit your thoughts. And--another 'thank you' to K8 for giving me permission in January to post her excerpts/comments about Limbaugh's book.

~~~~~


Detailed notes I took as I read Rush Revere and the Brave Pilgrims; some are not part of the review but could use further study and analysis:

When chapter 1 opens, the principal is telling a classroom of honors history students that their teacher has to take leave. But, he reminds them, their school has the smartest and most educated teachers, and, well, Mr. Revere (remember, in this book, "Mr. Revere" is Rush Limbaugh), the substitute is among the smartest and most educated.

He starts some banter with the students, and notices a girl in the very last row, in the corner:
Her dark hair had a blue feather clipped in it. She wore jeans with a hole in one knee, but I could tell it wasn't a fashion statement. I looked at the seating chart and noticed the girl's name, Freedom. What an unusual name. Personally, I couldn't help but be a fan!
He brings his horse into the classroom. The students gather round, but Freedom hangs back, "unsure of whether she was welcome to join them in their new discovery." Another student, Elizabeth, tells her not to get too close, because the "horse might smell you and run away." Freedom goes back to her desk. Mr. Revere sets up a way for students to watch him and Liberty time travel, and takes off, heading to the portal. Just as he does that, he sees that he was being watched, by Freedom.

Mr. Revere talks with William Bradford and his wife, before they set off from the Netherlands. Revere returns to the present and asks the students what they think of Bradford choosing not to take his little boy on a "death-defying voyage across a tempestuous sea." Freedom, with "dark eyes" and a "determined stare" just like Bradford's, raises her hand and speaks "from somewhere deep within" saying
"I could tell they loved their son, more than anything. They only wanted what was best for him. It took courage for the Pilgrims to leave their homes and travel into the unknown. But it takes more courage to travel into the unknown and leave someone you love behind."


Chapter 3

Freedom and Tommy stay after class (Tommy got in trouble with the principal). Revere thinks Freedom stayed behind because she knows he's doing the time traveling. Liberty (the horse) seems to have disappeared, but Freedom says:
"Liberty, he's still in the room," she calmly said. "I can smell him."
Revere thinks Freedom has a gift. Revere decides to tell Freedom and Tommy that Liberty can make himself invisible, but Freedom says he doesn't disappear, that he just blends into his surroundings. Revere wonders why Freedom could see him, and she says
"I've had lots of practice tracking animals with my grandfather."
Because Liberty can talk, Freedom says:
"he is more than a horse. He must be a spirit animal. There is an Indian legend about animals that can talk to humans."
Revere asks Freedom if she saw he and Liberty jump through the time machine portal earlier that day, and she says:
"Yes, I did. At first I wasn't sure what I saw. As I said, I though Liberty must have been a spirit animal. Maybe you were a great shaman. i did not know. But I'm glad to know the truth."
She leaves, and Tommy and Rush ride Liberty back in time to the Mayflower where they meet Myles Standish. When it is time to leave, Liberty is sleeping. They wake him with an apple and he asks if he missed anything important:
"Nothing too important," I said, still feeding him apples. "But it's time to jump forward to the end of the Mayflower voyage. There's a new land to discover! There are Indians to befriend and a new colony to build. And a celebration to be had called Thanksgiving!
When the ship captain tells them they're going to land at Cape Cod, Tommy wonders if Indians will be in the woods. Myles Standish says:
"Yes, probably Indians," Myles said. "We will do what we must to protect ourselves. We have swords and muskets and cannons if need be."


Chapter 6

Tommy and Revere and Liberty return to the  classroom where Tommy tells the principal all he's learning from Revere. The next day, Tommy and Freedom are waiting for Revere at school:
She was wearing a faded yellow T-shirt and faded jeans. It was hard not look at her black hair. It was silky smooth, as if she brushed it a thousand times. This morning there was a yellow feather clpped in it.
She wants to time travel with them. Revere has winter clothes for her and Tommy because the trip will be to wintertime. Freedom says "I'm a wimp when it comes to the snow." Earlier in the book, Freedom and Liberty started talking to each other without speaking. They can hear each other's thoughts. Tommy asks about it. Revere says:
It's apparent that Freedom has a gift. How long have you been able to communicate with animals?"

"Since I was eight, I think," said Freedom. "My grandfather says that animals can feel what we feel, especially fear. Our emotions are powerful. He trained me to use emotions to speak to the mind of an animal."
Before they leave, Revere tells them it will be cold, and that the Pilgrims were "even attacked by Indians." Freedom replies by talking about the cold, and Tommy says:
"Wait," Tommy said wide-eyed. "Did you say they were attacked by Indians? I thought the Indians were their friends. How many Pilgrims died?"
Rush tells him that none died, and that "friendly Indians" came later. Liberty says he hopes they had friendly horses, too. Elizabeth (another student who happens to be the principal's daughter) shows up. Her and Freedom get into a fight when Elizabeth takes a photo of Freedom dressed as a Pilgrim and says she's going to share it. Elizabeth storms off.

Revere asks Freedom if she can ride a horse. She sprints up to, and jumps up onto Liberty's back. They travel to 1620, Plymouth Plantation. Revere approaches Bradford and Standish, telling them that he and Tommy had been out exploring and
"were fortunate to come across a young Native American girl riding a horse. Strange, I know. But the girl took a liking to us and helped us find our way back to you!"
Bradford tells Revere that Myles and his men had survived an Indian attack, that Mrs. Standish had died, and many others are sick. He also says they found a place to build their town
"When we arrived we found barren cornfields with the land strangely cleared for our homes."
Revere asks if someone once lived there, and Bradford says "Perhaps" but that it has been deserted for years. They talk of building a fort. Revere says he remembers building forts in his living room, using blankets and chairs, and using Nerf guns to keep out his annoying little sisters. Smiling, Standish says those guns probably wouldn't be effective for "savage Indians."

Revere heads off up a hill. Tommy and Freedom approach, on Liberty. Tommy says "We saw Indians!" and Rush asks 'what' and 'where' and 'how many.'

Freedom says there were two scouts, watching, and that they wore heavy pelts and furs and were only curious. They time travel to 1621.

Chapter 7

They arrive in 1621 and see a deer nearby. Tommy asks Freedom if she can talk to it. She stares intently at it, and it approaches then. She walked over to it. All around them are tree stumps. The Pilgrims had cut down trees to make their homes. In the Pilgrim town they meet up with Bradford. Revere introduces Freedom:
"This is Freedom," I said. "We've spent the last couple of months teaching Freedom the English language. She's an exceptional learner."
She replies:
"Thank you," said Freedom slowly. "Please excuse my grammar as I have only just learned to speak your language. I was born on the fourth of July, so my mother felt like it was the perfect name for a special day."
Bradford asks what the significance of that day is, and Freedom realizes the Pilgrims don't know about that day yet. Before Revere or Freedom can come up with an explanation, a bell rings. The bell means Indians. Bradford points to a lone Indian walking towards a brook by the Pilgrim settlement. Bradford tells the men not to shoot:
"Do not fire our muskets! The Indian walks boldly but he does not look hostile. He is only one and we are many. There is no need to fear. God is with us."
The Indian man has black hair and no facial fair, but
the biggest difference was the fact that the Indian was practically naked. A piece of leather covered his waist but his legs and chest were bare.
He approached the group, smiled, saluted, and said "Welcome, Englishmen!" The wind catches his hair. He surveys the group and sees Freedom's hair moving in the wind, too. He stares at her for a minute and then talks to Bradford, saying "Me, Somoset, friend to Englishmen." Bradford asks how he learned English, and he replies
"Me learn English from fishing men who come for cod" 
and then tells them that the harbor is called Patuxet. He says
"Death come to this harbor. Great sickness. Much plague. Many Pokanokets die. No more to live here."
Bradford asks if it was the plague, and Somoset replies
"Yes," said Somoset. "Many, many die. Much sadness. And you. Your people. Much die from cold and sickness. Massasoit knows. Waiting. Watching."
Bradford asks who Massasoit is:
"Massasoit great and powerful leader of this land. He watching you. He knows your people dying. He lives south and west in place called Pokanoket. Two-day journey."
Bradford asks Somoset to let Massasoit know that they (Pilgrims) are his friends. Standish says they have guns, bullets, armor, and cannons, and that they "are here to stay" and hope they can be friends. Samoset says
"Me tell Massasoit. Bring Squanto. He speak better English."

Standish asks who Squanto is, and Samoset says
"Squanto translate for Massasoit. Squanto speak like English man. Help Massasoit and William Bradford together in peace."
Liberty and Revere marvel at what just happened. Liberty wonders about trust, and Revere says Liberty watches too many movies, and that Bradford relied on God's grace to protect them in rough waters and was doing it now, too. Tommy and Freedom offer Somoset a plate of food. Before he takes it,
he reached out to touch the yellow feather in her hair.
She takes it off and offers it to him. He leans toward her and she clips it in his hair. Bradford and Standish wonder if it is safe for him to stay with them overnight. They ask Revere for advice and he tells them that they can't afford to offend Massasoit, and so they agree to let him stay the night. Tommy wonders if Somoset is trustworthy, and Revere tells him that, from everything he'd read, Somoset and Squanto became friends with William, that they realized they could help each other.

Revere, Tommy, Freedom and Liberty are hungry, so time travel to a 50s diner. As they eat, Freedom talks about how hard Pilgrim life was, and Revere tells them that many Pilgrims starved. They return to 1621.

The bell rings and they see five Indians approaching the settlement, led by Somoset, still wearing the yellow father. Squanto steps forward:
"I am Squanto," he said. "I used to live here in Patuxet Harbor. That was many years ago. I've been sent by Massasoit, the sachem and leader of this land. He permits me to come and speak with you. He will come soon. He is eager to meet you."
Bradford asks why his English is so good.
The ease in which Squanto spoke English was unnerving. It didn't seem natural. And yet he was a perfect gentleman as he stood there in his leather loincloth and bare chest.
He doesn't answer, instead talking about sharing of food, and friendship. Somoset gets ready to leave, but before he does, he looks around for Freedom and then gifs her a leather strap with a bear claw attached to it.


Samoset leaves, and Freedom asks Squanto why he and his people left Patuxet Harbor. He replies
"I have heard about the girl they call Freedom," said Squanto. "The girl with midnight hair who speaks perfect English."
She blushes, and, he tells her:
"Seven years ago, I was kidnapped and taken from Patuxet Harbor, never to see my family or loved ones again. I was put on a ship and sailed across the ocean to a new world called Spain. Eventually I sailed to England and learned to speak like you do. Finally I had the chance to travel back to my homeland. I was eager to see my family, my parents and brothers and sisters. But when I returned, there was nothing. Everyone was gone. I soon learned that the plague, a great sickness, had swept over Patuxet Harbor and killed my people."
He pauses, looking into the distance. Freedom and William express condolences. Squanto blinks and a tear rolls down his cheek. He tells them they are kind, and that many of their people died, too, and that the place has "great sorrow" for both Indian and Englishman. But together, he says, they will change that. He will show them how to plant corn.

Revere, Tommy, Freedom, and Liberty travel back to the school where, he thinks, Elizabeth is like Massasoit, that she is "the leader or sachem" of the school, and that students revered or feared her. She watched and waited for signs of weakness in her classmates, or any opportunity to send a message that she was in control of the school. Tommy approaches Revere with a letter that Bradford wanted him to give to Revere. It is an invitation to the "very first Thanksgiving! What an honor!"

Revere, Tommy, Freedom, and Liberty go the the first Thanksgiving. Freedom says "Look at all the Indians." Bradford introduces Revere to "the Indian king, Massasoit" who smiled "and spoke a language that was complete gibberish."

Squanto tells Revere he has a gift for Freedom, and asks permission to give it to her. Revere says it is fine, and that Squanto has been a good friend to Bradford. Bradford says they learned a lot from Squanto, and that
"We believe he's been sent from God as an instrument to help us grow and prosper."

"You are too kind, William," said Squanto. "God, as you say, rescued me from slavery in Spain. The Catholic friars, holy men, helped me escape. They risked their lives to free me so that I could return to my native land. I have much to be grateful for. And I choose to show my gratitude by serving my new friend and holy man, William Bradford."
Later, Revere hears loud shrieks and pounding drums
I turned to see Indians dancing around a fire ring, their faces streaked with paint. Both Indians and Pilgrims smiled as they watched the performing Pokanokets twirl and bend and wave their arms as they sang and chanted to the drums.
They stopped after a while and other Indians whooped and hollered for more. Revere finds Tommy and Freedom. She is wearing a
deerskin dress trimmed with fur and matching moccasins. She also wore a necklace of shimmering shells and two hawklike feathers in her hair.
She tells Revere that Squanto gave her the dress and that
"He said I should be proud of who I am and that I shouldn't care what people think of me. He knows a lot."
The book closes with a note from the author, where Limbaugh writes that Bradford, Standish, Brewster, Squanto, and Samoset were brave and courageous ordinary people who accomplished extraordinary things.




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.