News: American Indian Library Association announced its 2024 Youth Literature Awards

Good morning, AICL readers! Yesterday (Jan 22, 2024) the American Library Association announced its annual book awards. Below a list of the winners of the American Indian Library Association's Youth Literature Awards, given every two years (even-numbered years). Soon, all these books listed below will have the AIYLA seal on them! The photo below is from the AILA website and shows a selection of the books with their seals. 

You can order seals for your copies, directly from the American Indian Library Association. 

Here is a photo of the AILA Youth Literature Award committee members who were there for the announcements and Cindy Hohl (far right) who is the 2024-2025 president of the American Library Association (thank you to Hannah Buckland for permission to use the photo). Cindy Hohl is a member of the Santee Sioux Nation. Members of the committee this year were Naomi Bishop, Akimel O'odham; Mandi Harris, Cherokee Nation; Tara Kenjockety, Ho-Chunk & Seneca Nations; Kelley Kor, Cherokee Nation; Debbie Reese, Nambe Owingeh; Ophelia Spencer, Dine; Duane Yazzie, Hopi and Navajo; and Allison Waukau, Menominee and Navajo.  The committee was co-chaired by Joy Bridwell, Chippewa Cree Tribe; and Danielle Burbank, Dine.  

PICTURE BOOK AWARD

Forever Cousins written by Laurel Goodluck (Mandan & Hidatsa and Tsimshian), illustrated by Jonathan Nelson (Navajo/Diné) and published by Charlesbridge

A Letter for Bob written by Kim Rogers (Wichita & Affiliated Tribes), illustrated by Jonathan Nelson (Navajo/Diné) and published by Heartdrum, an imprint of HarperCollins Publishers

PICTURE BOOK HONORS

Berry Song written and illustrated by Michaela Goade (Tlingit Nation) and published by Little, Brown and Co., a division of Hachette Book Group, Inc.

Rock Your Mocs by Laurel Goodluck (Mandan & Hidatsa and Tsimshian), illustrated by Madelyn Goodnight (Chickasaw Nation) and published by Heartdrum, an imprint of HarperCollins Publishers.

Remember by Joy Harjo (Mvskoke Nation), illustrated by Michaela Goade (Tlingit Nation) and published by Random House Studio, an imprint of Random House Children’s Books, a division of Penguin Random House

Celebration by Lily Hope (Tlingit), illustrated by Kelsey Mata Foote (Tlingit) and published by Sealaska Heritage Institute (SHI)

Contenders by Traci Sorell (Cherokee Nation), illustrated by Arigon Starr (Kickapoo Tribe) and published by Kokila, an imprint of Penguin Random House

MIDDLE GRADE AWARD

We Still Belong written by Christine Day (Upper Skagit), cover art by Madelyn Goodnight (Chickasaw Nation) and published by Heartdrum, an imprint of HarperCollins Publishers

MIDDLE GRADE HONOR BOOKS

She Persisted: Maria Tallchief by Christine Day (Upper Skagit), illustrated by Alexandra Boiger and Gillian Flint and published by Philomel Books, an imprint of Penguin Random House

She Persisted: Deb Haaland by Laurel Goodluck (Mandan & Hidatsa and Tsimshian), illustrated by Alexandra Boiger and Gillian Flint and published by Philomel Books, an imprint of Penguin Random House.

Eagle Drums written and illustrated by Nasuġraq Rainey Hopson (Iñupiaq) and published by Roaring Brook Press

Jo Jo Makoons: Fancy Pants by Dawn Quigley (Turtle Mountain Band of Ojibwe), illustrated by Tara Audibert (Wolastoqey) and published by Heartdrum, an imprint of HarperCollins Publishers

Jo Jo Makoons: Snow Day by Dawn Quigley (Turtle Mountain Band of Ojibwe), illustrated by Tara Audibert (Wolastoqey) and published by Heartdrum, an imprint of HarperCollins Publishers

Mascot by Traci Sorell (Cherokee Nation) and Charles Waters, jacket illustration by Nicole Neidhardt (Navajo) and published by Charlesbridge

She Persisted: Wilma Mankiller by Traci Sorell (Cherokee Nation), illustrated by Alexandra Boiger and Gillian Flint and published by Philomel Books, an imprint of Penguin Random House

YOUNG ADULT AWARD

Rez Ball by written by Byron Graves (Ojibwe), jacket art by Natasha Donovan (Métis) and published by Heartdrum, an imprint of HarperCollins Publishers.

YOUNG ADULT HONOR BOOKS

Warrior Girl Unearthed by Angeline Boulley (Sault Ste. Marie Tribe of Chippewa Indians), jacket illustrations by Michaela Goade (Tlingit Nation) and published by Henry Holt and Company, a trademark of Macmillan Publishing Group

Funeral Songs for Dying Girls by Cherie Dimaline (Métis) and published Tundra Books, an imprint of Tundra Book Group, a division of Penguin Random House of Canada Limited

Running with Changing Woman by Lorinda Martinez (Diné), cover design by Brittany Gene (Navajo) and published by Salina Bookshelf

Man Made Monsters by Andrea L. Rogers (Cherokee Nation), illustrated by Jeff Edwards (Cherokee Nation) and published by Levine Querido

Heroes of the Water Monster by Brian Young (Navajo Nation), jacket art by Shonto Begay (Diné) and published by Heartdrum, an imprint of HarperCollins Publishers.

AICL's Year In Review for 2023

AICL'S YEAR IN REVIEW: 2023

American Indians in Children's Literature is pleased to share our annual year-end list of books we want you to know about. We'd like multiple copies of them to be in every classroom, school, and public library. (Download AICL's 2023 Year In Review pdf if you wish.)

Our emphasis is books by Native writers and illustrators whose Nations are on the continent we know as North America. Most are ones that came out in 2023. In some way, they've touched our hearts as parents of Native children or as former school teachers who want children to have accurate and honest books about Native peoples. 

For each book, we list the Tribal Nation of the author/illustrator and we encourage you to use that information when reading the book. For example, in the picture book category you'll see A Letter for Bob by Kim Rogers. We encourage you to introduce the book by saying something like:

"This is A Letter for Bob. It is written by Kim Rogers, an enrolled member of the Wichita Affiliated Tribes. The illustrations are by Jonathan Nelson. He's Diné." 

You'll modify that according to the way you're using the book. The main point is that we want you to be tribally specific. That means you specify the author and illustrator's Tribal Nation. If possible, show students the websites of the author/illustrator and of their Tribal Nations. 

Now, it is important to say a few things about claims to Native identity. In October of 2023, Native people in the US and Canada were shocked to learn that an iconic singer, Buffy Sainte-Marie, is not Native. People who follow Native news media know that–in the past few years–there have been several expose’s of individuals who assert a Native identity and use that identity in their professional or academic work. It touches children’s literature, too. In 2023, we withdrew our recommendations of books by Buffy Sainte-Marie, Joseph Bruchac, Marge Bruchac, James Bruchac, and Art Coulson (click on their names for details). One way that investigations of such claims begin is by someone noticing that the ways a person asserts that identity shifts over time in problematic ways. The shift may be in the tribal nation(s) being claimed, or by shifts in language used to make the claim. 

Sometimes, however, a change marks an effort to be more accurate. Using Debbie as an example, she used to say “Nambé Pueblo” but now says “Nambé Owingeh” because “Pueblo” is an externally imposed word, while Nambé and Owingeh are Tewa words (Tewa is the language spoken at Nambé). She also says she is “tribally enrolled” because she meets the requirements at Nambe to be included on the tribal census. Her father and grandmother are enrolled at Nambé. Her mother is from Ohkay Owingeh; her mother’s father is from Hopi. Debbie does not list either one in her email signature line because she grew up at, and is enrolled at, Nambé. In a biographical statement, she might include both because they are part of her life and experiences as a Native woman. She would have a lot more to say about Ohkay Owingeh because she spent a lot of time there as a kid and very little time at Hopi.  

In some cases, the membership or citizenship requirements of a person’s Nation mean that a person’s child cannot be included on a tribal census but they are considered part of the community. We encourage you to read Christine Day’s note in We Still Belong. Her main character cannot be enrolled in the Nation her mother is enrolled in. 

There are hundreds of Tribal Nations, which means there are hundreds of ways in which a person’s nation decides who its citizens are. We are not suggesting that there is a single ‘best’ way of stating a Native identity. Indeed, we learn more about Native identity each year. This year, we learned that some Tribal Nations issue ‘descent’ cards to children of family members who–like the character in Christine Day’s book–can’t be enrolled in their mother’s Nation. Many Nations have moved away from “blood quantum” requirements to lineage. We encourage you to read an interview that NPR did with Elizabeth Rule (she is a citizen of the Chickasaw Nation and her book, Indigenous DC, is on our list this year in the Crossover section).

You will also see “not Native” because there are non-Native writers (like John Coy and Debby Dahl Edwardson who are on last year’s list, or Charles Waters on this year’s) whose writing includes Native content or characters in respectful ways. Several books on this year’s list also are illustrated by non-Native artists.

Before moving on to our list, we want to note that claims – like the one made by Buffy Sainte-Marie – have a harmful impact on Native people who were disconnected or removed from their Native families and communities. Across North America, there are Native people trying to find their way home. It is not an easy process. For many it is full of obstacles put there by agencies that sought to destroy Native Nations. When false claims are called out, people who are trying to find their families and those who are trying to build relationships with their families may feel vulnerable and fearful of being challenged about their search. That vulnerability is an unseen harm done by false claims. 

In our list you will find an author’s Tribal Nation in parenthesis after their name. We use an author’s identity as they name it (and the spellings/capitalizations of their personal names) on their own website (sometimes we write to them to ask for clarification). If they do not have a website, we use what their publisher uses.  We are happy to make edits as needed! Let us know.

Though our list is organized by age/grade levels, we encourage you to use picture books with readers of any age, and we want every teacher and librarian to read all the books. They are far better than the books most people read in their childhood. These will help you understand who Native people really are. We welcome your questions and comments about these introductory paragraphs, or the books we list, below.

And join us in celebrating the growing number of books we list each year!* Many win awards, and the range of what we’re all able to read is outstanding! Across genre, format, and author/illustrator’s Tribal Nations, Native literature is something to pay attention to!

Comics and Graphic Novels 

Cohen, Emily Bowen (Jewish and a member of the Muscogee (Creek) Nation). Two Tribes, illustrated by the author. Heartdrum (2023). US.

Van Camp, Richard (Thlicho Dene), The Spirit of Denendeh, Vol. 2: As I Enfold You in Petals, illustrated by Scott B. Henderson (not Native) and Donovan Yaciuk (not Native). Highwater Press (2022). Canada.

Van Sciver, Noah (not Native), Paul Bunyan: The Invention of an American Legend includes an introduction by Lee Francis (Pueblo of Laguna), stories and art by Marlena Myles (enrolled Spirit Lake Dakota), and a postscript by Deondre Smiles (citizen of the Leech Lake Band of Ojibwe). Toon Graphics (2023). US.

vermette, katherena (Red River Métis),  A Girl Called Echo Omnibus, illustrated by Scott Henderson (not Native) and Donovan Yaciuk (not Native). Highwater Press (2023). Canada.

Board Books 

Taos Pueblo Winter, illustrated by Leonard Archuleta (Taos). Seventh Generation. US. 

Taos Pueblo Spring, illustrated by Frank Rain Leaf (Taos). Seventh Generation. US.

Taos Pueblo Summer, illustrated by Janell Lujan (Taos). Seventh Generation. US.

Taos Pueblo Fall, illustrated by Deanna Autumn Leaf Suazo (Taos). Seventh Generation. US

Picture Books 

Barrett, Elizabeth S. (Red Lake Ojibwe). Mashkiki Road: The Seven Grandfather Teachings, illustrated by Jonathan Thunder (Red Lake Ojibwe). Minnesota Historical Society Press (2022). US.

Bunten, Alexis (Unangan and Yup'ik). What Your Ribbon Skirt Means to Me, illustrated by Nicole Neidhardt (Diné of the Kiiyaa'áanii Clan). Christy Ottaviano Books (2023). US. 

Cooper, Nancy (member of the Chippewas of Rama First Nation), Biindigen! Amik Says Welcome, illustrated by Joshua Mangeshig Pawis-Steckley (Ojibwe, member of Wasauksing First Nation). Owl Kids (2023). Canada.

Dupuis, Jenny Kay (Member of Nipissing First Nation). Heart Berry Bling, illustrated by Eva Campbell (not Native). Highwater Press (2023). Canada.

Goodluck, Laurel (Mandan, Hidatsa, and Tsimshian), Rock Your Mocs! illustrated by Madelyn Goodnight (member of the Chickasaw Nation). Heartdrum (2023). US.

Greendeer, Danielle (Mashpee Wampanoag Tribal Citizen, Hawk Clan), Anthony Perry (citizen of the Chickasaw Nation), and Alexis Bunten (Unangan and Yup'ik). Keepunumuk: Weeachumun's Thanksgiving Story, illustrated by Garry Meeches Sr. (tribe). Charlesbridge (2022). US. 

Harjo, Joy (member of the Mvskoke Nation), Remember. Illustrated by Michaela Goade (enrolled member of the Tlingit and Haida Indian Tribes of Alaska). Random House (2023). US. 

Janicki, Peggy (Nak’azdli Whut’en First Nation). The Secret Pocket, illustrated by Carrielynn Victor (a descendant of Coast Salish ancestors). Orca Book Publishers (2023). Canada.

Lindstrom, Carole (Anishinaabe/Metis and an enrolled member of the Turtle Mountain Band of Ojibwe) Autumn Peltier, Water Warrior. Illustrated by Bridget George (Bear Clan from Kettle and Stony Point First Nation). Roaring Brook Press (2023). US.

Lindstrom, Carole (Anishinaabe/Metis and an enrolled member of the Turtle Mountain Band of Ojibwe.) My Powerful Hair, illustrated by Steph Littlebird (member of Oregon’s Grand Ronde Confederated Tribes). Harry N. Abrams (2023). US.

Newell, Chris (citizen of Passamaquoddy Tribe at Indian Township). If You Lived During the Plimoth Thanksgiving, illustrated by Winona Nelson (member of Leech Lake Band of Minnesota Chippewa). Scholastic (2021), US. 

Rogers, Kim (enrolled member of Wichita and Affiliated Tribes). Just Like Grandma, illustrated by Julie Flett (Cree-Métis). Heartdrum (2023). US. 

Rogers, Kim (enrolled member of Wichita and Affiliated Tribes). A Letter for Bob, illustrated by Jonathan Nelson (Diné). Heartdrum (2023). US.

Sapiel, Minquansis (Passamaquoddy and Penobscot Nation). Little People of the Dawn, illustrated by Minsoss Bobadilla-Sapiel (Passamaquoddy and Penobscot Nation). Black Bears and Blueberries (2023). US.

 

Sorell, Traci (enrolled citizen, Cherokee Nation), Powwow Day, illustrated by Madelyn Goodnight (member of the Chickasaw Nation). Charlesbridge (2022). US.

Sorell, Traci (enrolled citizen, Cherokee Nation), Contenders: Two Native Baseball Players, One World Series, illustrated by Arigon Starr (enrolled member of the Kickapoo Tribe of Oklahoma). Kokila (2023). US.

Early Chapter Books 

Buckley, Patricia Morris (Mohawk). The First Woman Cherokee Chief: Wilma Pearl Mankiller, illustrated by Aphelandra (Filipino and Oneida ancestry). Random House Books for Young Readers (2023). US.

Day, Christine (citizen of the Upper Skagit Indian Tribe). She Persisted: Maria Tallchief, illustrated by Alexandra Boiger (not Native) and Gillian Flint (not Native). Philomel Books (2021). US.

Goodluck, Laurel (Mandan, Hidatsa, and Tsimshian). She Persisted: Deb Haaland, illustrated by Alexandra Boiger (not Native) and Gillian Flint (not Native). Philomel Books (2023). US.

Quigley, Dawn (enrolled citizen of the Turtle Mountain Band of Ojibwe). Jo Jo Makoons: Fancy Pants, illustrated by Tara Audibert (Wolatoqiyik). Heartdrum (2022). US.

Quigley, Dawn (enrolled citizen of the Turtle Mountain Band of Ojibwe). Jo Jo Makoons: Snow Day, illustrated by Tara Audibert (Wolatoqiyik). Heartdrum (2023). US.

Sorell, Traci (citizen, Cherokee Nation). She Persisted: Wilma Mankiller, illustrated by Alexandra Boiger (not Native) and Gillian Flint (not Native). Philomel Books (2022). US.

For Middle Grades 

Anselmo, Anthony (Sault Ste Marie Band of Ojibwe), The Spirit of the North Wind. Black Bears and Blueberries (2023). US.

Coombs, Linda (member of the Wampanoag Tribe of Aquinnah). Colonization and the Wampanoag Story. Crown Books for Young Readers (2023). US.

Day, Christine (Upper Skagit), We Still Belong. Cover art by Madelyn Goodnight (citizen of Chickasaw Nation). Heartdrum (2023). US.

Hobson, Brandon (Cherokee Nation), The Storyteller. Scholastic (2023). US.

Hopson, Nasugraq Rainey (tribally enrolled Inupiat). Eagle Drums. Roaring Brook Press (2023). US.

John-Kehewin, Wanda (Cree), Hopeless in Hope. Portage and Main/Highwater Press (2023). Canada.

Martinez, Lorinda (Lok' aa' Diné'e). Running With Changing Woman. Salina Bookshelf (2023). US.

Waters, Charles (not Native) and Sorell, Traci (Cherokee Nation), Mascot. Charlesbridge (2023). US.

Young, Brian (Diné). Heroes of the Water Monster. Cover art by Shonto Begay (Diné). Heartdrum (2023). US.

For High School

Boulley, Angeline (enrolled member of the Sault Ste. Marie Tribe of Chippewa Indians), Warrior Girl Unearthed. Cover art by Michaela Goade (enrolled member of the Tlingit and Haida Indian Tribes of Alaska). 

Dimaline, Cherie (Metis Nation of Ontario), Funeral Songs for Dying Girls. Tundra Books (2023). Canada.

Graves, Byron (enrolled member of the Red Lake band of Ojibwe), Rez Ball. Cover illustration by Natasha Donovan. Heartdrum (2023). US.

Mosionier, Beatrice (Metis), In Search of April Raintree, 40th Anniversary Edition. Foreword by katherena vermette (Metis); afterword by Raven Sinclair (Cree/Assiniboine/Salteaux, Gordon's First Nation). Portage and Main/Highwater Press (2023). Canada.

Smith, Cynthia Leitich (citizen of the Muscogee Nation). Harvest House. Cover art by Britt Newton (citizen of the Muscogee Nation). Heartdrum (2023). US.

Crossover Books (written for adults; appeal to teens/young adults)

Blackhawk, Ned (Western Shoshone), The Rediscovery of America: Native Peoples and the Unmaking of US History. Yale University Press (2023). US.

Powers, Susan. A Council of Dolls. Harper Collins (2023). US.

Rule, Elizabeth. Indigenous DC: Native Peoples and the Nation's Capital. Georgetown University Press (2023). US.

_____

*AICL differs from review journals like Horn Book or School Library Journal. Publishers send them books. At AICL, some publishers send us books, but for the most part, Debbie and Jean buy books themselves, or check them out from a library. It is just the two of us, talking with each other about books. There are some we haven’t yet read and they will–no doubt–be on next year’s list.

 

Highly Recommended: ROCK YOUR MOCS, written by Laurel Goodluck, illustrated by Madelyn Goodnight

Rock Your Mocs

Written by Laurel Goodluck

Illustrated by Madelyn Goodnight

Published by Heartdrum

Published in 2023

Reviewer: Debbie Reese

Review Status: Highly Recommended

Several years ago on Native social media, I saw people talking about plans to wear their moccasins for "Rock Your Mocs" day. On that day, we took photos of our mocs and shared them joyously in a way that radiated an Indigenous solidarity vibe (I'm borrowing that phrase from page 12 of Cynthia Leitich Smith's new book, Harvest House.) I felt a tremendous lift, scrolling through my timelines and looking at the many different kinds of moccasins people were wearing. If you want to see what I mean, search #RockYourMocs on social media. 

A couple of years ago when I saw that Laurel Goodluck and Madelyn Goodnight were doing a picture book about Rock Your Mocs day, I was absolutely delighted! Turning that day into a picture book is brilliant! It is one way to show readers that Native peoples are people of tribal nations located across the continent, and that our names, languages, histories, stories, songs homes--and clothing--are unique.

Just look at that cover and you'll see another huge plus. Those are Native kids of the present day.  The art is gorgeous, the idea is brilliant and the opportunity to know us for who we are: outstanding! 

When you start reading you'll come across the names of twelve different tribal nations, which means that children of those nations have mirrors that reflect who they are. Books as mirrors is a metaphor put forth by Dr. Rudine Sims Bishop in 1991 (read her article and you'll understand the metaphor). 

Those twelve? Colville, Hidatsa, Hopi-Tewa, Inupiaq, Little Shell Chippewa, Menominee, Navajo, Ojibwe, Osage, Seminole, Tuscarora, and Yurok. 

Goodluck's text is ebullient. Here's a look at the left-side of one page. "Indigenous Nations." "...in cities and towns..." and "We're stylin' today as we Rock Our Mocs!" All of that is terrific. And the decision to put "Rock Our Mocs" in a larger font size than the rest of the text works so well!

Here and there you'll see Native words. On one page, Ajuawak (he's the Ojibwe child) is standing at a chalkboard on which someone has written Ojibwe words for numbers from 1 to 10. I can see a teacher doing that for other Native languages. 

In the final pages -- which I strongly encourage you to read -- you'll find three helpful sections of background. First is a brief history of Rock Your Mocs Day and that it began in 2011 when Jessica "Jaylyn" Atsye of Laguna Pueblo suggested wearing mocs beyond days when we wear them for ceremonies or powwows. Second is information about moccasins, and third is a section titled Indigenous Children. There, you'll learn that Native children may be intertribal, or bi- or tri-cultural. I can use myself as an example. My mom is from Ohkay Owingeh. Her mother was from there and her father was Hopi. My dad is from Nambé Owingeh. His mother was from there and his father was white. In terms of tribal identity, I'm enrolled at Nambé, but I also have Ohkay Owingeh and Hopi relatives. Raised and enrolled at Nambé, my traditional moccasins and clothing are the kind worn at Nambé. 

I adore what I see in Rock Your Mocs and recommend you get copies for your classroom and school library and that you consider getting one for your home library, too. And gift copies to friends! 

"Wilder" podcast from Glynnis MacNicol and Emily Marinoff

Some months ago, I agreed to speak with Glynnis MacNicol about a podcast that she was doing with Emily Marinoff for iHeartPodcasts. She'd read my blog posts about Little House on the Prairie and decided to see if I would be interested in being interviewed for the podcast. I've done a lot of work on that book series and given a few interviews. I said yes and we talked for an hour, maybe more. I don't remember. Anyway, the first episode of the podcast dropped today. I listened to it. My impressions so far are good. MacNicol is trying to figure out her attachment to the books. The first episode is described like this:

Host Glynnis MacNicol has loved Laura Ingalls Wilder and her Little House books since she was a kid. She’s not alone in this, a lot of people have a strong devotion to Laura. Some travel miles to visit her houses and attend pageants dedicated to Laura and her books. But over the years, Laura, her work, and her legacy have become increasingly controversial. How do we reckon with the things we loved as a child? The stuff that made us who we are? Glynnis takes to the road to find out, driving across the midwest to all of Laura’s houses. First stop: Walnut Grove, Minnesota. 

I'm not sure if I'll be able to do a blog post after each one. I have a busy summer ahead of me! I'm definitely going to listen and if I find myself needing to respond, I will. Here's some thoughts about episode one, "Now is Now."

The first part is similar to what I hear when people share their memories of reading the books when they were young. Later though, I hear the questioning. The reckoning. 

That part begins when MacNicol speaks to Keiko Satomi, at approximately the 30 minute mark. Satomi starts by talking about reading the books in 2nd or 3rd grade, captivated by the sensory details and scale that were so different from where she grew up in Japan on a small island surrounded by water. MacNicol knew there was a Japanese fan base for Wilder but thought it was due to the television show. She finds out it goes back further than that, to WWII. Satomi, as an adult, says she realized there was a political dimension to her having read the books as a child. It was, she said, "calculated to bring that literature for a certain purpose, a political reason." That realization gave her mixed feelings about the books. After Hiroshima and Nagasaki, MacNicol says, The Long Winter was one of the first books General Douglas MacArthur selected for translation into Japanese. That really piqued my interest, so I poked around a bit to see what I might learn about that. 

In 2021, Michael B. Pass at the University of Ottawa wrote an article called Red Hair in a Global World: A Japanese History of Anne of Green Gables and Prince Edward Island for the Journal of L.M. Montgomery Studies. In it, Pass writes that the Supreme Commander for the Allied Powers (SCAP) decreed it would license foreign books if they furthered the objectives of the occupation by helping democratize Japanese society. MacArthur's wife, Jean, recommended Wilder's The Long Winter. In 2006, Noriko Suzuki wrote "Japanese Democratization and the Little House Books: The Relation between General Head Quarters and The Long Winter in Japan after World War II in Children's Literature Association Quarterly, Vol 31, #1. Suzuki's article has a lot of fascinating details, and they write that MacArthur "saw the Little House books as an effective educational apparatus for inculcating American democracy in Japanese schoolchildren." They were placed in libraries and schools where they became deeply popular. 

In the podcast, Satomi says she thinks differently now about the books because of the ways that Native peoples are depicted. I'm glad for that because in my experience doing workshops with educators, they don't remember the passages in the series that depict Native peoples as savage or primitive. I hope some will hear what Satomi says and will look again at their embrace of the books. I think MacNicol is doing that with the podcast. I wonder where she'll end up? 

I've written a little about the misrepresentations in The Long Winter and may do more, later.

A quick same-day update: contradictions abound. The translation of The Long Winter was done in 1949. The goal in making it available in Japan was over democracy. Think back to US society at that time. How democratic was it? Was everyone treated the same? Could everyone vote? 

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

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

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

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

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

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

"squaw" -- 20 times

"squaws" -- 18 times

"paleface" -- 13 times

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

"papoose" -- 11 times

"redskins" -- 4 times

"firewater" -- 3 times

"savages" -- 2 times 

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

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

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

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

 

Not Recommended: The Little Indian Runner

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

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

But then...

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

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

The art is a mess. 

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

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

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

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

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

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

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

On page nine, we see:

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

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

The next use is not. 

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

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

"A treaty?" Matt was even more puzzled.

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

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

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

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

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

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

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

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

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

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

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