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Showing posts sorted by relevance for query little house. Sort by date Show all posts

Wednesday, June 05, 2013

Reading: Part One of Susan Cooper's GHOST HAWK

Editor's note, November 3, 2013: Discussion of this book over on the Heavy Medal blog started on October 15th. There, you'll see that some readers have read this post and are waiting for me to provide documentation of errors/inaccuracies in the book. As you read, you'll see where I've inserted updates regarding such inaccuracies. Some of what I object to is not a factual sort of thing. A good bit of what is wrong with Cooper's book has to do with imagining of Native culture, with that imagining rooted in romantic and biased views of Native peoples. These biased views are of several types. Indians as mystical. Indians as animal-like. Indians as stoic. Indians as tragic. Those--and others--are part of this book, which is a white lament of what happened to Native peoples. For me, that lament is first-cousin to those who wish to honor American Indians with things like mascots, or those who love movies like Dances with Wolves. For my additional writings on Ghost Hawk, see:

Friday, June 14, 2013: Susan Cooper on Ghost Hawk: "The only major liberty I've taken is..."
Tuesday, October 15, 2013: Where would we be without whites who like Indians?  

And read Elizabeth Bird's review, too: Review of the Day: Ghost Hawk by Susan Cooper.

Below is my first post on Ghost Hawk, posted on June 5, 2013.

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On Monday, June 3rd, I received (from a colleague) an advanced reader copy of Susan Cooper's Ghost Hawk. My thoughts, as I read, are in italics.

Primarily a writer of fantasy, Cooper has a great deal of stature in children's literature. One of her books won the Newberry Award, and her series is much acclaimed. As such, she's got some built-in credibility for her writing and people will be eager to read Ghost Hawk. The question is, though, does she have the depth of knowledge, or did she do the research necessary, to give readers a book that doesn't lapse into stereotypes? 

We'll see. Below, I am sharing my chapter-by-chapter notes for part one of the book. In some cases, I paused and did some research that I share right away. In some places, you'll see I'm still digging.

Ghost Hawk opens with two epigraphs. The first is from Roger Williams and is dated 1643. Williams tells not to be proudful because "thy brother Indian" was made by the same God that made the English. That Indian, the epigraph says, is just as wise, fair, and strong as the English man. 

The second epigraph is a verse from Woodie Guthrie's song, This Land is Your Land. 

Why, I wonder, did Cooper choose those two? It was, by the way, rather patronizing of Williams to assume that his God made Indians. How does he know it didn't happen the other way around, with the Indians god making the Englishmen?! And what is the rationale for choosing Guthrie? Was Cooper giving readers a heads-up with the Guthrie song, perhaps, that someone (Cooper?) thinks the land doesn't really belong to the Indians? Is she defending her right to own land? In the Author's Note, she writes that "Seven years ago I built a house on Little Hawk's island" where she "listened to the land, and to its past" and decided to write the book. What is the name of the island? Is it one that the Wampanoag people lost to land-hungry Europeans? Is its ownership contested today? 

PART ONE: FREEZING MOON

Chapter 1

Spring or summertime. A man approaches a small bitternut hickory tree and gives it "a respectful greeting and explained what he was about to do" (p. 6). Then, he puts a stone blade in the 'v' of two branches of a young hickory tree and tightly binds the two branches above the blade. Over time, the branches will fuse, enclosing the stone. This is the way that a man makes a tomahawk for his son. This particular blade is precious to the man because it was part of the tomahawk used by his grandfather and father until the handle broke. As he returns to his canoe, he uses his bow and kills three ducks for the feast celebrating the birth of his son. the closing words of the chapter are:
"I was that son. Because Flying Hawk was my father, the name they were giving me was Little Hawk" (p. 6).
My thoughts: I spent a few hours trying to find information about that technique of putting a stone blade in a tree, and so far... nothing about that, specifically. I did find an old text that describes how the branch of a young tree could be bent around a stone blade and then then the branch tied to itself beneath the blade. And, I learned that hickory is a very hard wood and because of that, it is a great for tool handles.

Regarding the names Cooper gave to her characters...  How names are given is important, but rarely portrayed correctly. I don't know who the tribe is yet, so can't say much other than that Cooper's choice of Little Hawk fits within a mainstream expectation of how Native people give names.

Speaking to the tree also fits a mainstream expectation in which Native peoples live within an ethical framework in which they see themselves as part of a web of life rather than having dominion over the earth. While that ethic is valid, there's a tendency for writers to overdo it when they imagine living a life with that ethic as part of ones daily life. It is helpful to think of a character who is a devout Christian. That information could be established up front, and need not be reiterated on page after page.   

Chapter 2

Little Hawk is now eleven years old and his dad takes him out to the site of the hickory tree where he had bound that stone blade on the day of Little Hawk's birth. In the eleven years that passed, the two branches fused and became one, above the blade. Flying Hawk cuts the tree down. Before he does, though, he gives a pinch of tobacco to the tree's spirit, and Little Hawk says "Thank you, my brother" (p. 9). 

My thoughts: This giving of tobacco...  Some tribes use tobacco to make offerings, but would it be done before cutting down a tree? I don't know, but Cooper's use of tobacco and thanking the spirit of the tree definitely fits within a mainstream expectation of what Native people do/did. I initiated some discussion on child_lit about Ghost Hawk. Emails I got from Charlotte, in particular, are helpful in thinking about this aspect of Native spirituality. As I noted above, Native peoples see themselves as part of the world rather than dominant over it. That sensibility pervades life. Cooper, however (and many writers who over-do this spirituality) do it only in response to an act of taking. When they have a character taking something, they pack that taking with this "thank you, my brother" kind of activity and dialog. As Charlotte said, when that happens again and again, it takes on a caricature rather than a view of the world. 

The tomahawk will be made by wintertime, when it will be time for Little Hawk to "be taken deep into the woods, blindfolded, for the three-month test of solitude that would turn me into a man" (p. 9).

My thoughts: Three months? Dead of winter? Eleven years old? I did several searches on various combinations of Wampanoag, manitou, boy, and vision. When I used "Wampanoag vision quest" I found a book by David J. Silverman called Faith and Boundaries: Colonists, Christianity, and Community Among the Wampanoag Indians of Martha's Vineyard, published in 2005. It has information that supports some of what Cooper says. Specifically, boys did vision quests at adolescence, but, I've traced Silverman's sources and am not finding a specific age or duration of this test. I'm also not finding any reference to a blindfold. I've sent emails asking for help on this three-month-test-of-solitude.

Chapter 3

In their longhouse, Little Hawk's mom and sister are getting him ready to head out for that three-month test of solitude, which is also called his "proving time" (p. 10). His sister, Quickbird, is a tomboy. We learn that there are three other boys in the village who will also be sent out on this test. The other three are named Leaping Turtle, White Oak, and Spring Frog. 

My thoughts: Names, again... I wonder (here I am being snarky) why these three boys don't have "little" in their names like Little Hawk does? Does the naming convention Cooper used for Flying/Little Hawk not apply to everyone?   

Little Hawk's mom and sister plan to give him several items to take with him, but Flying Hawk glares at them. He is only supposed to take a boy, an axe, and a knife. With these things, he will "come back a man" (p. 14). 

Little Hawk and his dad go to a sweat lodge where they "sit naked in the hot steam" (p. 15). Sometimes whole families go there to sweat out "the dirt on our bodies" but this time, it is just the men, and they're going to sweat out "the fears in our minds" (p. 15). 

My thoughts: Sweat lodge as family bathing? I don't think I've seen THAT before! But---I'm checking on it.

The day after the sweat, Flying Hawk gives Little Hawk a knife with a metal blade. Such knives are rare. It was made by the white men. The three-month test of solitude starts out with Flying Hawk putting a blindfold on Little Hawk, and then handing him one end of a long deerskin strap. With the leash, Flying Hawk leads him into the forest for a long time (no mention of hours/distance) and then removes the blindfold, hugs him, and takes off. Because some snow has fallen already (it is early winter), they wear snowshoes.

My thoughts: The blindfold part of this whole thing adds to my skepticism of it being something anyone would actually do, especially to an eleven year old boy. Course, I need to do some research to see if I can find anything that supports what Cooper describes.

Alone in the forest, Little Hawk is not afraid. He likes to be alone. He remembers a story about him as a two-year old. He'd wandered off and people had looked for him all day. They found him beneath a maple tree they'd set up to tap its sap. He'd eaten the sap in the birch bark bucket and was waiting, mouth open beneath the tap, for more of the sap. "For some time after that I was called Little Maple, because--they said, making my poor mother cross--I had chosen to be suckled by a tree instead of a woman" (p. 21).

My thoughts: Changing his name, even in jest, as Cooper does here fits within the mainstream notion that Indian names are given based on something near in the proximity of the child. There's lot of crude and insensitive jokes about naming out there. Cooper isn't being insensitive but it is ignorant.

Little Hawk sets out walking. He promptly falls into a tangle of greenbrier vines and hurts his ankle. He makes a shelter beneath the vines and builds a fire. He is hungry, and remembers his grandmother, Suncatcher, teaching him how to dig roots. He thinks he'll dig greenbrier roots but then remembers he's supposed to be fasting. He decides to dig the roots up anyway and save them for later, when he can eat. 

Chapter 4

Little Hawk wakes, thinking of his grandmother. She is a member of the tribal council. She had not been home the day Little Hawk left because she was with his older sister, Southern, at the "women's house" (p. 27) where women go when they're menstruating (on page 12, Cooper called this "moontime bleeding.")

My thoughts: Some tribes use "moon" but "moontime bleeding" is not something I remember reading or hearing about. In my research so far, "moontime bleeding" pulls up New Age items.

Several days pass. Little Hawk gets hungrier and more tired, but he's got to fast until the Great Spirit sends his Manitou to him. One night he wakes in his shelter and finds that it is covered with deep snow. He is cold and scared and starts to cry, but since "a man does not show weakness, ever" (p. 32), he forces himself to howl instead, like a coyote. He falls into a "trance of despair" and in that state, his Manitou comes to him. It is an osprey, or, a fish hawk. It tells him to "stop this" (presumably the despair), and that it will show him his strength. Little Hawk flies into the sky with the osprey. As they fly, the osprey tells him many things "that I may not tell to you." 

My thoughts: I so badly want to quit reading this book. Ah well. This is stoic-Indian for sure. Or, stoic-male! 

Little Hawk wakes up, pushes the snow away, and sees a red-tailed hawk and knows that his Manitou sent that hawk and that he must follow it. It leads him to a pond, and, a deer trail. 

Chapter 5

Little Hawk waits for the deer to come by on the trail. He breaks his fast by chewing on pine bark. He cuts branches to make a bed in a little cave nearby the pond. In the cave he finds a cache of acorns and uses them to sets snares to catch squirrels. He cooks the greenbrier roots and eats them slowly. When he wakes up the next morning, there's a squirrel in his trap. He kills and eats it, working its hide for later use. 

My thoughts: He doesn't do any kind of prayer for the squirrel. In fact, what he does think kind of flies in the face of a reverence for the earth and its creatures: "Perhaps I had caught him with one of his own acorns, but he would save me from starving" (p. 38). 

He sees a lone wolf but manages to scare it away. Little Hawk is getting weaker without foot and then, he sees two deer. He wounds one and spends several hours tracking it. When he finds it, he sees that the lone wolf got to it first and is eating it. He yells at it, it turns on him, and he shoots it. It is wounded and takes off. Little Hawk gives thanks to the Great Spirit, his Manitou, and the spirit of the deer. He breaks the skull open with a rock so he can get the brain, which he'll use to tan the deerskin. He skins the deer, cuts off one of its legs, hauls the brain/skin/leg back to his cave and goes back for more meat.  

That night at his cave, he is "very tired and very dirty" and thinks about the sweat lodge. He cleans up with snow, makes a fire, cooks some meat, and goes to sleep. Over the next few days, he understands that the squirrel and the deer and he himself have a "part in a long harmony of things, a balance" and that is why his people send the boys out on this "solitary voyage of learning" (p. 46).


Chapter 6

One day when he's out, the wolf goes into the cave and eats Little Hawk's deer meat. He and the wolf fight. He kills the wolf but gets a deep gash on his face during the fight. He has to honor the wolf by burying it, which he does. He remembers one of his grandmother's bark remedies for cuts, finds some of it, and uses the squirrel skin and some sinew to make a bandage. He must find more food, too, so makes a hole in the frozen pond below his cave. His first catch is an eel. In pulling it out of the hole, his knife falls into the hole, gone forever. 

A few days later he sees the stars dancing in the sky (something his father showed him) and interprets that as a sign that he should make ready to return home. He imagines his return, and then after awhile, heads home.

Chapter 7

He runs into the center of the village but there is nobody around. He stumbles over a body (covered in snow) and then runs home. Inside, he finds his grandmother. She's weak, and tells him that the white man's sickness has killed everyone. Little Hawk figures out that the sickness was brought into the village by his father, who had traded with a white man for the knife he had given to Little Hawk. His grandmother grows stronger. One day, the flap door opens wide, and Leaping Turtle is there, wondering what has happened.

Chapter 8

Little Hawk, Suncatcher, and Leaping Turtle live together. One day the boys see smoke to the west of them. There's a break in the smoke, followed by a puff of smoke, and then two more breaks/puffs. The people in the village to the west of them are using smoke signals to talk to them. "Three smokes--remember? It's the greeting for anyone who sees it. Three just means 'I am here'" (p. 83). They decide to respond. One puff means danger, two puffs means come, four means I am coming. They choose to send three smokes but get no response. Darkness falls and they return to the house.

My thoughts: Aha! Smoke signals! And these ones even have the code!!!!! You could interpret my use of many exclamation points as me alternately rolling my eyes and laughing aloud at how ridiculous this is. I'll look, though, to see if I can find some old sources that give that code... It will be useful to see what Cooper's source for this is. In the meantime, the National Museum of the American Indian has a book called Do All Indians Live In Tipis. In it, there's a section on smoke signals

Suncatcher thinks the two boys should go to that village without her. She can't make a journey because the cold had "done something bad to her feet" (p. 84).  Little Hawk saw that the skin was very dark and tight.

My thoughts: Apparently, Suncatcher got frostbite before Little Hawk returned to the village. But, several days have passed by this point in the story. Wouldn't they be needing medical care? And, she's the one who knows how to do things... why is she not taking care of her feet?!

Little Hawk and Leaping Turtle decide to make a litter so they can carry her. They also decide to bury the body Little Hawk tripped over, which is that of Suncatchers brother, Morning Star, who was a medicine man. Before they start out for that village, however, three men from there arrive: Hunting Dog, Wolfchaser, and One Who Waits. One Who Waits is the sachem. They've built a new village and someone from Little Hawk's village is at the village, but they won't say who it is. When they all get there, Little Hawk sees that it is his little sister, Quickbird.

Chapter 9

Quickbird recounts the last days in their village. Morning Star told her to go to the other village because "The gods are angry with our people here." Listening to her, Wolfchaser agrees about the gods being angry and thinks they should pray that the anger of the gods is satisfied.

My thoughts: Sounds like Christian theology... a god who punishes his people... 

Suncatcher disagrees with the idea that angry gods would do this. She says the plague is from the white men and that it kills Indians, not white men. Wolfchaser thinks that perhaps the gods aren't angry with the white man. One Who Waits tells them that the white men came on a ship. Little Hawk remembers that he heard the story of this ship. 
"South of here, not far from the Pokanoket village of Sowams, where our great sachem Yellow Feather lived, a trader from across the sea had invited a number of our people aboard his ship and suddenly, for no reason, had killed them all." (p. 94)

My thoughts: Finally! Cooper gives us the name of a tribe! Yellow Feather is Massasoit, but I'll need to do some research to see who that trader was. All this angry-gods stuff also fits within the mainstream expectations of a primitive people. These Indians think they've brought these troubles onto themselves. They're to blame. 

In the weeks and months that follow their move to the new village, they hear a lot about the white men. The people in the village, including Spring Frog (he ended his test at their village rather than his own) work hard to build houses and get winter stores of food ready. Wolfchaser seems to be sweet on Quickbird. As time passes, they get ready for a deer drive. A deer drive is a technique in which deer are herded into an enclosure where they are more easily shot. 

My thoughts: I never heard of a deer drive and will need to look it up. 

As they wait for the drive to start, Little Hawk and Leaping Turtle talk with Wolfchaser. He tells them that his father (One Who Waits) has gone to Sowams because Yellow Feather has called all the sachems together. "Many white men have come in a big boat--not just traders, but whole families. Yellow Feather is not happy; he would like them to go away" (p. 99-101). 

My thoughts: I've pulled up the transcript for "After the Mayflower" from the PBS We Shall Remain series. Its consultants are amongst the top Native and non-Native scholars in the country. Reading the transcript, I learned that there was a plague from 1617 to 1619 but that nobody knows what exactly it was. Historian Neal Salisbury says that sickness was usually interpreted as the invasion of hostile spiritual powers. Not---as Cooper tells us---as gods that are angry. 

Wampanoags were especially devastated by this plague, and the Narragansetts, who did not get that plague, set upon them while they were vulnerable. In 1620, an English ship lands. On it is Miles Standish and many families. They enter Patuxet, an abandoned village that was hit hard by the plague. Colin Calloway says that the English think that God killed its inhabitants to make way for them (the English).  Jill LePore says that Wampanoag's view this ship of people different than others because they've brought families, which means they're not there to make war. Through the winter, Massasoit watches the small group in the village they've called New Plymouth. He thinks they could be allies for them in their struggles against the Narragansetts. 

The group stops talking about the white families when the deer come towards them. They kill 23 deer. The share for their village is 14. Swift Deer, who is in charge of the drive, cuts off the tongue and left hind foot of each deer as an offering. He calls out a prayer of thanks to Mother Earth and the deer spirit. 

My thoughts: So.... what will they do with the other nine deer? And what is this business of cutting off the tongue and the left foot? Why the left foot???!!! Remember what I said earlier about exclamation points...  

When they get back to the village, there's a traditional celebration of the hunt. They sing, dance, and eat. One Who Waits is back from meeting with Yellow Feather, and he seems uneasy. A few days later, One Who Waits is visiting Suncatcher. He tells Suncatcher and Little Hawk that Yellow Feather has decided to offer help and friendship to the white men, "now that our pleas to the spirits have not sent them away." One Who Waits also says that Yellow Feather does not enjoy war, and that the Wampanoag, weakened by the plague, are paying tribute to the Narragansetts. Little Hawk asks what the white man wants, and One Who Waits replies "I think our father Yellow Feather fears that they want the land" (p. 103). 

My thoughts. So, their spirits are again leaving them hanging. Prayers unanswered, the only recourse is to make friends. Again---this praying stuff makes me very skeptical. But the history itself is correct. Massasoit did make that treaty, and the white man did want the land. 

Chapter 10

Springtime brings the fish run when herring, shad, and bass rush from the sea into the rivers to spawn. The villagers head to the streams. They catch so many fish that Quickbird complains that they all smell like fish and she can't wait to get back to the village and the sweat lodge to clean up. 

My thoughts: Again---sweat as a way to get cleaned up? Gotta check on this. I was talking with Jean Mendoza about this, and she asked an obvious question. They were at the river! Why couldn't they get cleaned up there, in all that fresh running water?! 

As they fish, the villagers see One Who Waits and Swift Deer walking from the camp towards the river with a group: "there were some strangers with them: an important-looking warrior wearing an ornate beaded headband with an eagle feather, and three others" (p. 106). Two are white men and one is a five year old boy. They gather round.  "Swift Deer and Wolfchaser came forward to join us; Swift Deer was very wet, and shook himself like a dog" (p. 107).

My thoughts: Oops. That's a bit confusing. Swift Deer was in the river? Or in the camp? I'm thinking he was in the river and that's why he was wet. But... shaking like a dog to rid himself of the water?! COME ON, SUSAN COOPER!!!  

One Who Waits calls out to the villagers "My sons! You remember the one they called Squanto?" (p. 108).  Swift Deer and Wolfchaser greet offer greetings but Little Hawk detects uncertainty in their voices. Squanto is the important man wearing the beaded headband with a feather. One Who Waits goes on to tell them that Yellow Feather wants them to be helpful to the white men because "they are friends of our people. They are in care of Squanto, because he speaks their language" (p. 108). Little Hawk thinks Squanto "clearly knew he was somebody special" (p. 108). Squanto tells them the names of the Englishmen and that he has taught them how to catch eels and how to plant, but wants them to learn how to fish the fish run, so has brought them to watch and learn how to do it. Suncatcher steps forward with bowls of soup for Squanto and the Englishmen, but they decline her offer. Squanto tells them that "The white man is not good at eating our food" (p. 109). 

My thoughts: Was Squanto dressed that way?! And, I wonder if Cooper is going to tell her readers why Squanto knows English? As the historical record shows, he was kidnapped and taken to Europe where he learned to speak English. He eventually made his way back, but his village (Patuxet) was gone. And, he was a troublemaker. 

Wolfchaser demonstrates how they use woven mats to catch the fish. Squanto translates for the Englishmen. The little boy wanders off to Quickbird and two children that are with her. One of them shows him a toy and they start playing. Quickbird watches them and says "Look how different they are!" and "The same, but so different!" (p. 110). 

My thoughts: Nice touch, to demonstrate the humanity in children, regardless of who they are.

Quickbird decides to teach the white boy their names. She takes his hand, points to herself, and says "Quick bird." Turtledove (one of the children) does the same thing, and "with some difficulty" the boy says "Turtle dove" and then "Bird." 

My thoughts: I guess we ought to be, in our minds, thinking that the Wampanoags are speaking in their own language, and as such, it would be hard for the little white boy to enunciate turtledove or quickbird in the Wampanoag language. Without the actual use of those names in the story, that learning-of-names seems a bit odd to me. 

The boy then taps his own chest and says "John." John then looks around and sees Little Hawk and the scar on his face (from the wolf attack). John reaches up to gently touch the scar. He wants to know Little Hawk's name. He listens to it, and then and says "Hawk."

Again---the use of English translations for their names rather than their names makes this learning of names awkward. 

Quickbird has given Turtledove and Little Fox some pellets made from the boiled-down maple sap. Little Hawk gives some to John. John's father comes over, and Little Hawk detects a sour, unwashed smell about him. John points to Little Hawk and says "Hawk," and then Squanto comes over and leads them on their way. The villagers insist on giving them two baskets of fish.

In the sweat lodge where they've gone to get rid of the fish smell, One Who Waits tells Little Hawk, Wolfchaser, and Swift Dear that Squanto knows English "by living in their country. He and some others were carried there in a boat to become slaves, and he was there for some years before a white man from a different tribe brought him back again" (p. 112). When he got back, he found the plague had taken most of his village. He is "useful to Yellow Feather, because without him we could not talk to the white men" (p. 113). 

My thoughts: Good to see that Cooper does tell her readers why Squanto knows English, but I don't know what to make of the white man from "a different tribe." 

The fish they took is to be used as fertilizer for their corn. Swift Deer says that the corn they're going to plant was stolen from the Nausets. Wolfchaser says he'd heard the corn they took was from a village where the Nausets had all died of the plague. One Who Waits tells them its time to leave the sweat lodge so others can use it and get clean, too. 

Chapter 11

The new village grows as more families move to it. Little Hawk is glad of that because it means more children to scare crows, raccoons, woodchucks, and jays away from the fields. The children are taught that they must never kill Brother Crow "because it was his ancestor who brought mankind the corn and bean seeds in the first place, one seed in each of his ears" (p. 116).

My thoughts: Crows have ears? I really don't know much about birds. I need to see what I can find out about Wampanoag traditional stories about crows. 

Little Hawk and Leaping Turtle return to the old village twice. Once to get a birchbark canoe they had made there the year before, and a second time to do Suncatcher's bidding, which was to dig "a memory hole" (p. 117) in honor of the people who died in the village. A memory hole "was a round hole about a foot deep, lined with stones, and now that it was there it would be kept open by generations of people to come. These memory holes were all over our land, on our trails; they were the record of the people who lived before us, and of what happened in their time" (p. 117). 

My thoughts: Memory holes? I gotta look that up! Added to Heavy Medal blog on October 17, 2013; added here on November 3, 2013: Memory holes. I do have an answer on that one. When I called the Mashpee Historic Preservation office in June, I asked specifically about memory holes. The woman I spoke with said it sounded like something from Philbrick’s MAYFLOWER. So, I got a copy and found memory holes on page 105. The woman was rather derisive in referencing Philbrick’s book. I remembered that Indian Country Today (ICT) had run an article about a forum on the book, and that I’d pointed to their article, so I went back into my site to find it. My link doesn’t work right now because ICT is redoing their website and not all of their items are archived/available yet, but I was able to find the article in its entirety at another site. Here’s the link: http://www.firstnations.com/forum/viewtopic.php?t=526 The article does not specifically address memory holes, but I think it is fair to say that the response to the book casts a lot of doubt on Philbrick’s book. I haven’t read it, but from the reviews, it sounds a lot like he did what Cooper tried to do.

Bearclaw, a friend of Swift Deer's, has been keeping watch on a white settlement nearby the Massachusetts tribe. He's on his way to give Yellow Feather a report. The people in the settlement are not doing well and the Massachusetts are using some of them as laborers in exchange for food. One Who Waits asks Bearclaw to give his greetings to Yellow Feather and hopes that he is well, but Bearclaw says that Yellow Feather is not well. 

All year long, the people have been talking about the treaty Yellow Feather made with the English. There is a lot of unrest. Disagreements abound, including ones Squanto incites between Yellow Feather and the English.

My thoughts: I recall that Squanto does this sort of thing... He's definitely an opportunist. 

Leaping Turtle doesn't trust the white people, but Little Hawk has faith in Yellow Feather's wisdom. Winter comes and rumors prompt One Who Waits to call a council meeting. He tells them Yellow Feather had been sick, but was healed by a white man named Winslow. He also tells them about a white man named Standish who invited two Massachusetts warriors named Wituwamet and Pecksuot to eat with him, but that was a ruse. He killed them and three other men. One Who Waits reminds the people that they are aligned with the English, and that the Massachusetts and the Narragansetts have acted aggressively towards the Wampanoag. The English, he reminds them, are their friends, and he also says that the English know that the Wampanoag's are not the same as the Massachusetts and the Narragansetts. Swift Deer asks to speak. Reluctantly, One Who Waits lets him talk, and he tells the people that Standish beheaded Wituwamet and put his head on a pole at Patuxet. The people are upset but One Who Waits tells them that they should not seek war. In the silence, Suncatcher sings a song in which the lines tell Little Hawk to fly in peace. The meeting ends and they all leave.

Chapter Twelve

Leaping Turtle and Little Hawk are chosen to be runners who will carry messages for Yellow Feather. They are now about 17 years old. On the way, they hear the sound of a tree falling, followed by screams. They race to the sounds and find that a white man had cut the tree and it fell on him. 

Another white man is pinned. Little Hawk wants to help get the man out, especially when he realizes that the boy is John, now 10 years old. He raises his tomahawk to cut away at the tree to free the man. At that moment he is shot and killed. 

My thoughts: That is how Little Hawk becomes Ghost Hawk!!! Naming! Again! 

----end of part one---
On to part two, but, based on what I've read so far, I can't recommend Ghost Hawk. 






Thursday, April 10, 2025

Notes about proposed Netflix show, Little House on the Prairie

Some time back I read that Netflix was going to do a reboot of Little House on the Prairie. I groaned. I'm going to use this page to keep track of what I see. 

April 10, 2025:

Most recently I saw this casting call: 



It tells us there's a character named Good Eagle. His mom is named White Sun. She is apparently a citizen of the Osage Nation. His dad is named Mitchell. Mitchell is white and Osage, and he's also a citizen of the Osage Nation. He went to the "Osage Mission" when he was a child. He loves books and speaks English. He built "the most impressive homestead" in a county in Kansas. He wants peace with the settlers. His wife, White Sun, is "more cynical about the white settlers" than her husband is. 

My thoughts: Do they have an Osage consultant working with them? Who chose "Good Eagle" and "White Sun" for those two characters? "Good Eagle" in particular strikes me as odd. Does it suggest there could be a family somewhere that would name their child "Bad Eagle"? Maybe I'm being unnecessarily snarky there, but that's what I feel towards the Little House everythings (books, merchandise, television show...).  As for Mitchell, I guess that's the name he got at the mission school and that's what he's going by now as a successful farmer. That's all from me, for now. 

 

Wednesday, January 24, 2007

The LITTLE HOUSE ON THE PRAIRIE Makeover

According to the January 29, 2007 edition of Newsweek, the acclaimed Little House on the Prairie series is getting a makeover. For the 75th anniversary of the books, illustrations are being replaced with "photos of models as Laura" instead of the illustrations by Garth Williams.

Interesting, and makes me wonder the publishers will do (already did?) with the illustrations of American Indians? There are many. Are they keeping those? Or will they simply replicate them, in photo format? Will they use American Indian models? Will they make changes to the ways the Indians are shown so that they are accurate--more accurate than the illustrations done by William?

Diane Roback of Publisher's Weekly is quoted as saying these changes are occurring to appeal to readers of today who are more likely to pick up and read a book with Dakota Fanning on the cover of Charlotte's Web (she's in the new movie version of Charlotte's Web). This makes me wonder, again, about what the Little House publisher will do with the illustrations of American Indians? Retain the savage imagery that Americans love? I'd guess so, if they are making changes according to what the public will buy.

We will see.

Wednesday, November 12, 2014

Oyate's List of Thanksgiving Books to Avoid

A few years ago, Oyate had a list of books about Thanksgiving that they did not recommend. The list was on their website.

Given the number of books that are published every year about that holiday and the ways that Native peoples continue to be misrepresented in children's books, you would be right to guess that their list is long.

That list is not at their website any longer. In a redesign a few years ago they decided to remove it and their Books to Avoid section. They decided that, although a list might seem efficient, it didn't give people the critical thinking skills they need to develop in order to make decisions on their own. I agree--I'd prefer people develop those skills and apply them their selection/deselection activities.

On the other hand, teachers use lists of good books all the time. Generally speaking, they assume that the person who put that list together has the expertise necessary such that their evaluations can be trusted.

I personally have not read all of these books, but I definitely learned a great deal from Oyate's work. I strongly encourage teachers and librarians to get materials published by Oyate.

My guess is that I'd concur with their decision about each of these books, and I'd also guess that any given book on the list got there because it put forth one or more of what Judy Dow and Beverly Slapin called myths in their Deconstructing the Myths of the First Thanksgiving. If one of these books is on your shelf and you're considering weeding it, I recommend you read it and Dow and Slapin's essay and then make a decision.

I've also shared Oyate's list of recommended books here. And, for more books that accurately portray Native people, see my page of Best Books. (Note: the first sentence of his paragraph was not visible enough. Two people submitted comments asking for recommended books. To help it be more visible, I made it a separate paragraph in bold and added the sentence/link to best books to supplement Oyate's list.)

Dow and Slapin's piece on Thanksgiving myths is also in the outstanding resource A Broken Flute: The Native Experience in Books for Children (published in 2005), as are many (all?) of the in-depth critical reviews that were on Oyate's page of Books to Avoid. Get A Broken Flute, and Through Indian Eyes: The Native Experience in Books for Children (published in 1987 and again in 2006), too. Both are vitally important for all that they contain. (Note: I added this paragraph soon after hitting the upload button on this post, and I added Slapin's name as a co-author. My apologies to her for the initial omission.)

Own your knowledge. Own your decisions.



Oyate's list of NOT RECOMMENDED books about Thanksgiving


Accorsi, William. Friendship's First Thanksgiving. Holiday House, 1992.

Aliki. Corn is Maize: The Gift of the Indians. Harper & Row, 1976.

Anderson, Laurie Halse. Thank You, Sarah: The Woman Who Saved Thanksgiving. Simon & Schuster, 2002.

Ansary, Mir Tamim. Thanksgiving Day. Heinemann, 2002.

Apel, Melanie Ann. The Pilgrims. Kidhaven Press, 2003.

Bartlett, Robert Merrill, The Story of Thanksgiving. HarperCollins, 2001.

Barth, Edna. Turkeys, Pilgrims, and Indian Corn: The Story of Thanksgiving Symbols. Clarion, 1975.

Borden, Louise. Thanksgiving Is... Scholastic, 1997.

Brown, Marc. Arthur's Thanksgiving. Little, Brown. 1983.

Bruchac, Joseph. Squanto's Journey: The Story of the First Thanksgiving. Harcourt, 2000.

Buckley, Susan Washburn. Famous Americans: 15 Easy to Read Biography Mini-Books. Scholastic, 2000.

Bulla, Clyde Robert. Squanto, Friend of the Pilgrims. Scholastic, 1990.

Celsi, Teresa. Squanto and the First Thanksgiving. Steck-Vaughn, 1989.

Clements, Andrew. Look Who's in the Thanksgiving Play! Simon & Shuster, 1999.

Cohen, Barbara. Molly's Pilgrim. Lothrop, Lee & Shepard, 1983.

Conaway, Judith. Happy Thanksgiving! Things to Make and Do. Troll Communications, 1986.

Crane, Carol and Helle Urban. P is for Pilgrim: A Thanksgiving Alphabet. Sleeping Bear Press, 2003.

Dalgliesh, Alice. The Thanksgiving Story. Scholastic, 1954/1982.

Daugherty, James. The Landing of the Pilgrims. Random House, 1987.

Davis, Kenneth C. Don't Know Much About the Pilgrims. HarperCollins, 2002.

DePaola, Tomie. My First Thanksgiving. Putnam, 1992.

Donnelly, Judy. The Pilgrims and Me. Grosset & Dunlap, 2002.

Dubowski, Cathy East. The Story of Squanto, First Friend to the Pilgrims. Dell, 1990.

Fink, Deborah. It's a Family Thanksgiving! A Celebration of an American Tradition for Children and their Families. Harmony Hearth, 2000.

Flindt, Myron. Pilgrims: A Simulation of the First Year at Plymouth Colony. Interact, 1994.

Fritz, Jean. Who's That Stepping on Plymouth Rock? Putnam & Grossett, 1975.

George, Jean Craighead. The First Thanksgiving. Puffin. 1993.

Gibbons, Gail. Thanksgiving Day. Holiday House, 1985.

Gibbons, Gail. Thanksgiving Is... Holiday House, 2004.

Greene, Rhonda Gowler. The Very First Thanksgiving Day. Atheneum, 2002.

Hale, Anna W. The Mayflower People: Triumphs and Tragedies. Harbinger House, 1995.

Hallinan, P. K. Today is Thanksgiving! Ideals Children's Books, 1993.

Harness, Cheryl. Three Young Pilgrims. Aladdin, 1995.

Hayward, Linda. The First Thanksgiving. Random House, 1990.

Hennessy, B. G. One Little, Two Little, Three Little Pilgrims. Viking, 1999.

Jackson, Garnet. The First Thanksgiving. Scholastic, 2000.

Jassem, Kate. Squanto: The Pilgrim Adventure. Troll Communications. 1979.

Kamma, Anne. If You Were At... The First Thanksgiving. Scholastic, 2001.

Kessel, Joyce K. Squanto and the First Thanksgiving. Carolrhoda, 1983.

Kinnealy, Janice. Let's Celebratae Thanksgiving, A Book of Drawing Fun. Watermill, 1988.

Koller, Jackie French. Nickommoh! A Thanksgiving Celebration. Atheneum, 1999.

Marx, David F. Thanksgiving. Children's Press, 2000.

McGovern, Ann. The Pilgrims' First Thanksgiving. Scholastic, 1973.

McMullan, Kate. Fluffy's Thanksgiving. Scholastic, 1997.

Melmed, Laura Krauss. The First Thanksgiving Day: A Counting Story. HarperCollins, 2001.

Metaxas, Eric. Squanto and the First Thanksgiving. Rabbit Ears Books, 1996.

Moncure, Jane Belk. Word Bird's Thanksgiving Words. Child's World, 2002.

Ochoa, Anna. Sticker Stories: The Thanksgiving Play. Grosset & Dunlap, 2002.

Osborne, Mary Pope. Thanksgiving on Thursday. Random House, 2002.

Parker, Margot. What is Thanksgiving Day? Children's Press, 1988.

Peacock, Carol Antoinette. Pilgrim Cat. Whitman, 2004.

Prelutsky, Jack. It's Thanksgiving. Morrow, 1982.

Rader, Laura J. A Child's Story of Thanksgiving. Ideals Children's Books, 1998

Randall, Ronnie. Thanksgiving Fun: Great Things to Make and Do. Kingfisher, 1994.

Raphael, Elaine and Don Bolognese. The Story of the First Thanksgiving. Scholastic, 1991.

Rau, Dana Meachen. Thanksgiving. Children's Press, 2000.

Roberts, Bethany. Thanksgiving Mice! Clarion, 2001.

Rockwell, Anne. Thanksgiving Day. HarperCollins, 1999.

Rogers, Lou. The First Thanksgiving. Modern Curriculum Press. 1962.

Roloff, Nan. The First American Thanksgiving. Current. 1980.

Roop, Connie and Peter. Let's Celebrate Thanksgiving. Millbrook, 1999.

Roop, Connie and Peter. Pilgrim Voices: Our First Year in the New World. Walker, 1995.

Ross, Katherine. Crafts for Thanksgiving. Millbrook, 1995.

Ross, Katherine. The Story of the Pilgrims. Random House, 1995.

Ruelle, Karen Gray. The Thanksgiving Beast Feast. Holiday House, 1999.

San Souci, Robert. N.C. Wyeth's Pilgrims. Chronicle, 1991.

Scarry, Richard. Richard Scarry's The First Thanksgiving of Low Leaf Worm. Little Simon, 2003.

Schultz, Charles M. A Charlie Brown Thanksgiving. Simon & Schuster, 2002.

Sewall, Marcia. People of the Breaking Day. Atheneum, 1990.

Sewall, Marica. The People of Plimoth. Aladdin, 1986.

Sewall, Marcia. Thunder from the Clear Sky. Atheneum, 1995.

Siegel, Beatrice. Fur Traders and Traders: The Indians, the Pilgrims, and the Beaver. Walker, 1981.

Siegel, Beatrice, Indians of the Northeast Woodlands. Walker, 1992.

Silver, Donald M. and Patricia J. Wynne. Easy Make and Learn Projects: The Pilgrims, the Mayflower & More. Scholastic, 2001.

Skarmeas, Nancy J. The Story of Thanksgiving. Ideals Publications, 1999.

Sorenson, Lynda. Holidays: Thanksgiving. Rourke, 1994.

Stamper, Judith Bauer. New Friends in a New Land: A Thanksgiving Story. Steck-Vaughn, 1993.

Stamper, Judith Bauer. Thanksgiving Fun Activity Book. Troll, 1993.

Stanley, Diane. Thanksgiving on Plymouth Plantation. HarperCollins, 2004.

Steigemeyer, Julie. Thanksgiving: A Harvest Celebration. Concordia, 2003.

Tryon, Leslie. Albert's Thanksgiving. Aladdin, 19983.

Umnik, Sharon Dunn (Ed.). 175 Easy-to-Do Thanksgiving Crafts. Boyds Mills Press, 1996.

Waters, Kate. Giving Thanks: The 1621 Harvest Feast. Scholastic, 2001.

Waters, Kate. Samuel Eaton's Day: A Day in the Life of a Pilgrim Boy. Scholastic, 1993.

Waters, Kate. Sarah Morton's Day: A Day in the Life of a Pilgrim Girl. Scholastic, 1989.

Waters, Kate. Tapenum's Day: A Wampanoag Boy in Pilgrim Times. 1996.

Weisgard, Leonard. The Plymouth Thanksgiving. Doubleday, 1967.

Whitehead, Pat. Best Thanksgiving Book, ABC Adventures. Troll Communications, 1985.

Wednesday, March 04, 2009

"Indian Day"

I'm at the Beinecke Rare Book Library at Yale, reading the American Indian Magazine, Vol. IV, No. 2, April-June, 1916, I came across an article about Indian Day. It is on page 189. The magazine was published by the Society of American Indians, which was formed by influential Native people in 1911.

"The First Indian Day"

May 13, American Indian Day. For the first time the race which roamed the western continent before the white man set foot on its shores is being honored with a day which bears that race's name. The event gives occasion for comment as tardy national recognition of a people who have to a large extent proved their worth. But how well and how comprehensively he proved it is a matter about which a great many persons still need enlightenment.

There is yet a widespread tendency to think of the American Indian as he used to be, rather than as he now is. Where is the small boy who does not picture the Indian as a savage in war paint and feathers, ready to sally forth with tomahawk and spear to avenge himself upon his foes? Where is the small girl who does not avoid reading the Indian stories which so delight her brother, and does not feel sorry for other little girls who live on prairies where they are liable to an unexpected visit from the Indians almost any hour of the day or night? Where is the father who does not enjoy getting an Indian costume for his little boy and even take pleasure in helping him put up a wigwam in the back yard? And where is the mother who does not clap her hands over her ears when that same small son and his pals chase one another round the house, "yelling like Indians"?

In the evening perhaps the family go to the nearest motion picture house. The most exciting film is a story of hairbreadth escapes from the Indians. There is usually nothing to indicate when the events are supposed to have taken place, but the impression gained is that they are comparatively recent. The children go home and dream the story over again that night to repeat its details next day at school or elsewhere.

Next week the circus comes to town. Flaring posters show in advance the "Wild West" show which is to be such a prominent part of the program, and describe in graphic terms the side show in which several Indian families are to be on exhibition. Emphasis is laid on the war dance with which those who pay ten cents admission will be regaled.

In the summer there come those happy days when the family go on a picnic to some near-by resort. Among the attractions along the main boulevard there is probably an Indian shop. Here may be purchased little birchbark canoes, moccasins, bows and arrows, and beads of many colors. If the shop is somewhat pretentious is may even offer for sale Navajo blankets and specimens of basketry and pottery. Perhaps these were made by American Indians, but more likely they were not.


Written almost 100 years ago, it could have been written yesterday...

The day to honor Native peoples? That'd be "American Indian Day" celebrated the day after Thanksgiving.

The small boy of today, if asked to draw an Indian, would certainly draw one in paint and feathers.

The small girl takes great delight in reading Little House on the Prairie.

The father getting an Indian costume and wigwam for his son? Hmm... Boy Scouts, maybe? Order of the Arrow?

And the mother who asks her small son and his pals to stop "yelling like Indians"? If you search Google blogs with "wild Indians" you'll find Todd, writing on March 1st, 2009 "...I would not tolerate them acting like a couple of wild Indians..." and Heather, on March 2nd, "I told the boys to settle down and quit acting like wild Indians..." and Raj, on March 3rd, "...Newton and Pye, running around the house like a pair of wild Indians."

The movies? How about Mel Gibson's Apocalypto...

Wild West shows? Not on tour or on stage that I know of in the U.S., but visit Disney Village in Paris and you can see that show this evening, at 6:30 or 9:30! If you want a preview, there's one on Youtube.

As for birchbark canoes, moccasins, bows and arrows, and beads and the like, your local toy store will have what you need...

Clearly, we haven't made much progress in the last 100 years. What are you doing to change that?

Wednesday, February 07, 2018

BIG NEWS: A possible change in name of ALA's Laura Ingalls Wilder Award!

Editors note: If you are not attending ALA's Midwinter Conference, you can submit a comment directly to ALSC regarding the proposed change to the Laura Ingalls Wilder Award name at the ALSC blog. If you are attending, you can go to the meeting on Saturday (Feb 10). I welcome your comments here, as well, but urge you to submit comments directly to ALSC. 


______________

Earlier today, there was some big news!

Way back in 1954, the Association for Library Service to Children (ALSC) established the Laura Ingalls Wilder Award. It is given annually to an author or illustrator in the US whose books have made a "substantial and lasting contribution to literature for children."

On Saturday, Feb 10 at the American Library Association's 2018 Midwinter Conference, ALSC will begin a discussion about changing the name of the award.



As I look at the logo for the conference, the line "The conversation starts here..." takes on new meaning!

In Nina Lindsay's (she is current president of ALSC) memo about the discussion, she included information that brought ALSC to this point. Here's some lines from her memo:
Today, this award elevates a legacy that is not consistent with values of diversity and inclusion--something we did not fully understand as a profession when we created the award.
A member wrote to me: “the Wilder is a monument that says something about our profession's history, but every year it is given out it also says something about our present.” 

My work has shown me that critical reflection on Wilder and her books is--for some people--uncomfortable. It is hard to look carefully--and acknowledge--that Wilder's depictions of African Americans and Native people, are flawed and racist.

Some will argue that at the time she wrote the books, things like blackface and stereotyping weren't seen as wrong. But, of course, African Americans and Native peoples knew them to be wrong. Here's some examples from the books:

In Little House in the Big Woods (1932), Pa tells Laura and Mary about his childhood in New York, where he'd pretend he was "a mighty hunger, stalking the wild animals and the Indians" (p. 53).

In Farmer Boy (1933), Almanzo and and Alice play "wild Indian" (p. 277).

In Little House on the Prairie (1935), the phrase "the only good Indian is a dead Indian" appears three times. I've written a lot about that book. The memo about the change points to one of my articles. They are depicted in menacing ways:




In On the Banks of Plum Creek (1937), Mary tells Laura to put on her sunbonnet because if she doesn't "You'll be brown as an Indian, and what will the town girls think of us?" (p. 143).

In By the Shores of Silver Creek (1939), Ma recalls her fear of being scalped by "the savages" who had come into their house on the prairie (p. 100).

In The Long Winter (1940) when Pa mentions an Indian who told him that "heap bad snow come" (p. 61), Ma asks him what Indian, and she "looked as if she were smelling the smell of an Indian" (p. 64).

In Little Town on the Prairie (1941), Pa does blackface.  The newly released Kindle copies of the series changed the illustrations from black and white into color:


In These Happy Golden Years (1943), Uncle Tom tells about when he was on his way to the Black Hills, looking for gold, and had to go into a "strange depression" that, a prospector told him, the Indians called "the Bad Lands." The depression is a "heathenish" place with skulls and bones. Of it, Tom says "I think that when God made he world He threw all the leftover waste into that hole" (p. 106). When Laura and Almanzo are leaving, Grace runs out with Laura's sunbonnet, saying "Remember, Laura, Ma says if you don't keep your sunbonnet on, you'll be brown as an Indian!" (p. 284).

I was--and am--deeply moved by this news from ALSC! Here's their immediate plan:

In order to further move forward with a deliberate and open examination of our awards program, we suggest, at minimum, both of the following:  
1. Establish a task force to explore the ALSC awards program within the context of our core values and the Diversity & Inclusion goal of our strategic plan, beginning with whether to rename the Wilder Award. The task force should deliver recommendations regarding the Wilder in time for any changes to the 2019 award, soliciting feedback from members and other stakeholders, and consulting with the EDI within ALSC Implementation Task Force, ALSC Fiscal Officer, ALA Awards Committee, and other critical stakeholders upfront. Additionally, the task force may be charged with additional direction formed from the Board’s discussion.  
2. Immediately update the “About the Laura Ingalls Wilder Award” webpage with more informed background on Wilder and her legacy, and a statement about ALSC’s values and current actions in regard to the award. A proposed rewrite will be shared with the Board for discussion, and if the Board approves could be uploaded immediately, in time for the 2018 YMA announcements. A rewrite would additionally reaffirm the honor bestowed upon Wilder Award recipients, whose life work contributes essentially to ALSC’s vision of engaging communities to build healthy, successful, futures for all children.
I am a member of ALSC and will find out how I can contribute to the Task Force. I am also going to see how Native patrons of libraries across the country might be able to submit comments to the Task Force.

For me--as a Native parent, educator, and scholar--this has been a momentous day.

Update, 6:45 PM
Nina Lindsay submitted a comment below, which I am pasting here for your convenience. Above, I referenced the announcement and memo. The proper name is Document 29.
Debbie, thank you for sharing this. As the current ALSC President chairing this discussion, I'd invite everyone to visit http://connect.ala.org/node/272554 to find our board agenda and documents; this discussion is title "ALSC Awards Program in Context of Strategic Plan" and is Document 29. 



Saturday, February 14, 2015

Stereotypes in Wilder's THE LONG WINTER

Earlier today, I saw a post on Facebook in which a person said, of Wilder's The Long Winter, "this is the only book that can put what's happening in Boston in perspective. It could be worse, wicked worse."

The woman who wrote that post must think she's being clever, comparing the blizzard in Boston to the one in The Long Winter. 

If you care about accuracy in how Native peoples are depicted, or if you care about how derogatory depictions of Native people impact the growing minds of Native and non-Native children, then I think we'd agree that it is long past time to set aside that series.

Because of their status and 
place of nostalgia in the minds 
of so many Americans, 
few books for children are as wicked 
as those in the Little House on the Prairie series.


Ah---you say, 'there were Indians in The Long Winter?'

Yes. The chapter called "Indian Warning" has a "very old Indian" in it. Here's from page 61:
"Heap big snow come," this Indian said.
As he gestures, the blanket he is wearing slides off his shoulder and his "naked brown arm" came out. He continues:
"Heap big snow, big wind," he said.
Pa asks him how long, and of course he says "Many moons" and holds up four, and then three fingers that mean seven months of blizzards.
"You white men," he said. "I tell-um you."
On page 186, the wind grows louder and louder. It reminds Laura of the "Indian war whoops" when Indians were doing "war dances" by the Verdigris River when she was younger.

See what I mean? Stereotypes. Set it aside.

Update, Feb 17, 2015:

Anonymous submitted a comment indicating I was engaging in ageism by focusing on the "old Indian." My point in quoting those words is not about age. My point is that he is nameless and tribeless, and speaks using "many moons" and "heap big" and "tell-um" --- all of which are examples of speech patterns non-Native people attribute to Native people. You see those phrases a lot, regardless of location and, often, time period. As a literary device, it works for those who don't know better or who haven't paused to think about the sheer diversity that existed/exists across the Native peoples of this continent.


Update, Feb 18, 2015:

Notes on Indian-hating-Ma didn't make it into the initial post, so I'm adding them here.

On page 64, Pa is talking about how he feels the need to hurry to get their house ready for winter, especially given the information he got from "that Indian...":
He stopped.
"What Indian?" Ma asked him. She looked as if she were smelling the smell of an Indian whenever she said the word. Ma despised Indians. She was afraid of them, too.
"There's some good Indians," Pa always insisted. Now he added, "And they know some things that we don't. I'll tell you all about it at supper, Caroline."
Debbie's comments: Elsewhere, I've written about the effect of those words on a 3rd or 4th grade Native child (the age at which the books are read or read aloud in class). Imagine the sneer on Ma's face. Imagine the face of that Native child. Imagine the face of the non-Native child, just taking in that hate. As for good Indians, who might they be, in this particular story? The one who helped Pa. Just like in Little House on the Prairie. The bad ones there were the ones who were gathering and didn't want the Ingalls family on land that was meant for Native people. My guess? Pa and Ma would say that bad Indians in The Long Winter are those who object to having their lands declared surplus by the federal government and then sold to family's like the Ingalls family. 

Wednesday, April 10, 2013

Dorothy Kunhardt and Garth Williams' ROGER MOUSE'S WISH

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Editor's Update, 6:30 PM on April 10, 2013: Mary sent me text and scans of three pages of Roger Mouse's Wish. I've inserted that material. Thanks, Mary!

________________________________

Earlier today (April 10, 2013), reader Mary C. wrote to tell me about Roger Mouse's Wish. It is a Tiny Golden Book. I'm going to add these tiny books to my "find out more..." list! I'm pretty sure that I've seen them. Tiny is right... they measure 3 inches by 2 inches.

According to James Fox at the Simmons blog, all the books were written by Dorothy Kunhardt and illustrated by Garth Williams, and published around 1948. Here's the back and front cover for Roger Mouse's Wish:




Due to limits on how much of a text someone can use without getting permission of the publisher, I'm telling you what the book is about (based on what Mary sent me) and including a few excerpts. There are three characters: Roger Mouse, Mr. Mouse (his father) and Mrs. Mouse (his mother).

One day, Roger Mouse asks his mother for a blanket. He spreads it on a card table in their living room. He crawls under the card table and then hears his mother tell his father that she remembers how much fun she had playing house. Roger replies:

I'm not playing house," said Roger's voice. "I'm an Indian. This is my tepee."

The next day is Roger's birthday. There's a birthday cake for him. Mr. Mouse tells him to make a wish, and Mrs. Mouse tells him not to tell anyone what he wished for because it might not come true. Roger makes his wish and blows out the candles, and Mr. Mouse tells him there's a present for him "in front of his tepee." Here's that page:



The present, he exclaims is an "Indian suit!" He's quite happy and tries it on:


Wearing his Indian suit, he asks his father if he can tell his wish. His dad thinks it won't hurt, so he does:


As you can see, his wish was for an Indian suit.

That was a popular wish around that time...

Leo Politi, author of the flawed, award winning Song of the Swallows also wanted an Indian suit. He got one, too, as described in his 1951 book, Little Leo: 



Lot of playing Indian going around then... and years before then... and sadly, in the years since then, too!

Kunhardt is the author of Pat the Bunny and a gross book called Brave Mr. Buckingham, in which a guy dresses up like an Indian, and page by page, loses body parts until all that's left is his head. In a headdress. Williams did the illustrations for a whole slew of books including the Indians in Little House on the Prairie. 

I've looked and looked but can't find any illustrations of the inside of Roger Mouse's Wish. If you have a copy, please let me know! I'd like to know more about the story and see more of the illustrations. Thanks!

A great big thanks, Mary, for letting me know about the book, and then for taking time to type out the text and scan those pages! By the way, Mary wrote to me in response to an update to my post about the stereotypes in Little Golden Books. If you want to see them, here's the link: Stereotypes in Little Golden Books.

Thursday, October 07, 2021

NOT RECOMMENDED: Alan Gratz's BAN THIS BOOK



On November 3, 2019, Mike M. submitted this comment to AICL's post about Lois Lenski's Indian Captive
I've come to Dr. Reese's review of Indian Captive because of its appearance in Alan Gratz's 2017 novel Ban this Book. Gratz's story is about a schoolgirl standing up against book-banning in her grade-school library. At one point the avid young reader is suspended and grounded with nothing to read except Indian Captive. There is no commentary about the merits of the book, but it is mentioned several times, giving it a prominence above many of the books named in the story -- enough to send me to investigate. I can see no particular reason why this book was chosen for its role in the story (unless it's a very subtle indication that some books are not as good as others -- but it's quite a stretch to find that interpretation), other than mere carelessness by the author, indifference to the reasons a book may be offensive, or lack of awareness of the harm that books can perpetuate -- a naive belief in the magical goodness of every written word. It seems odd considering the theme of the story. Also odd given another theme of the story: good intentions that lead to bad consequences. As adults, we can understand the complexity of the real world, and the value of ambiguity in literature, but seeing that the issues raised by this one book's inclusion is not developed at all, and this in a novel for children, I can only see it as a flaw in an otherwise worthwhile book.
Gratz's Ban This Book came out in 2017. Published by Starscape (an imprint of Tom Doherty Associates with is part of Macmillan), the cover showed a school locker piled high with books. That same year, it was released as an ebook. The cover for the e-book showed three kids on the cover. More on that, later.

Here's the publisher's description of the book:
In Ban This Book by Alan Gratz, a fourth grader fights back when From the Mixed-Up Files of Mrs. Basil E. Frankweiler by E. L. Konigsburg is challenged by a well-meaning parent and taken off the shelves of her school library. Amy Anne is shy and soft-spoken, but don’t mess with her when it comes to her favorite book in the whole world. Amy Anne and her lieutenants wage a battle for the books that will make you laugh and pump your fists as they start a secret banned books locker library, make up ridiculous reasons to ban every single book in the library to make a point, and take a stand against censorship.
The story opens with Amy Anne and her friend, Rebecca, arriving at school. Amy Anne wants to go to the library to check out her favorite book (again) From the Mixed-up Files of Mrs. Basil E. Frankweiler. When she gets to the library shelf where her favorite book should be, it is not there. She sees the librarian, Mrs. Jones, enter the row. She describes her as being "a big white lady" (p. 12).

That detail, that Mrs. Jones is white, gave me pause. I paged back (in my electronic copy of the book) to see if Gratz had identified Amy or Rebecca in similar ways. On page 9, I saw that Rebecca's last name is Zimmerman and her parents are lawyers. When I paged back to the cover, I saw that the child featured prominently on the cover is African American. That is probably meant to be Amy Anne. 

On page 16 we read: 
I like a lot of other books too, especially Island of the Blue Dolphins, Hatchet, My Side of the Mountain, Hattie Big Sky, The Sign of the Beaver, and Julie of the Wolves. Basically any story where the main character gets to live alone. Indian Captive is pretty great too, even though Mary Jemison has to live in an Indian village. But I would rather live with Indian kidnappers than live with my two stupid younger sisters.
As you might imagine, I was taken aback by her list of favorites. They are full of stereotypes. And, they are old. Island of the Blue Dolphins came out in 1960, Sign of the Beaver in 1983, Julie of the Wolves in 1972, and Indian Captive in 1941. 

The other three favorites have a word or two about Native peoples. 

In Hatchet the main character, alone in the forest after a plane crash, imagines monsters he's read about, including Big Foot. He's talking about Sasquatch, a figure who has been misrepresented over and over in children's books! Sasquatch is not a monster. In chapter two of Charlene Willing McManus's Indian No More, the main character (Regina) is on the Grand Ronde Indian Reservation in Oregon. When Regina was little, she was afraid to play in the woods. Her dad told her that "Old Sasquatch won't bother you. First, he's shy. Second, he's over six feet tall and smells like a wet dog. And third, well, if he does bother you, you must've been misbehaving." In My Side of the Mountain the main character, Sam, imagines "feathers in an Indian quiver," thinks that "Indian bread" is flat and hard, and when looking at aspen and birch trees, sees that they are "bent like Indian bows." The main character in Hattie Big Sky moves from Iowa to work her uncles homestead in Montana. Several times, there are references to "free" land, but no mention of how or why that land is available in the first place. Hattie must know something about Native people, because when a character's face is covered in soot when a barn burns down, she imagines that he has warpaint on his face. 

I wonder how these seven books shape what Amy Anne knows about Native people?!    

There is no reason for any of these books to be named as favorites in 2017, by any reader. And yet, there they are. Why these ones, I'd like to ask Gratz. His book is well regarded by people who fight censorship, but in that fight, did he have to throw Native readers under the bus?  

There's more.

As the book description noted, Amy Anne and others get organized and start filling out the library's Request for Reconsideration forms that people submit when they believe a book is inappropriate in some way. The goal is to make up reasons to ban every book in the library. On page 212, Janna (a student) has "every one of the Little House on the Prairie books in her arms. She starts to fill out the form and pauses. Janna says this to Amy Anne: 
"But what do I say? There's nothing bad about Little House on the Prairie."
And here's what follows:
She was right. But no--that was true about all the books. I had to think like Mrs. Spencer. 
"They get malaria in that one," I said. "That's scary, right? And the settlers think it's because they ate bad watermelon! But that's not how you get malaria. That's deliberately misleading. That could make a kid think you get malaria from watermelons!"
Nothing bad in Little House on the Prairie?! It, too, is old, and full of dehumanizing stereotypes of Native peoples.  

Remember--Ban This Book--came out in 2017. What's up with the books Mrs. Jones is offering to students? Does she have no money to update the collection, adding books that would in some way, be mirrors for the Amy Anne's who are in that school, and, windows for them, too, so they could get better information about Native peoples? Does Mrs. Jones not know about the hashtag, #OwnVoices? It took off in 2015. 

My questions are really for Alan Gratz. He wrote a book about an important topic. But on the way, he just dumped stereotypes all over Native kids and non-Native kids, too. 

Did his editor notice this problem? Did any of the people who gave it positive reviews notice it? Or, any of the people on state award committees that gave it an award? I guess I know the answer. If anyone had any concerns, they probably stayed quiet. The book is about banning books, after all. 

If Amy Anne's favorites included books that have won a Coretta Scott King Book award, I wouldn't be writing this post. If one of her favorites included a book that won an award from the American Indian Library Association, I'd be giving Gratz's book a "recommended" label instead of its "not recommended" one!

But, here we are. Bummer. 

Sunday, April 18, 2010

Portrayals of American Indians in SLJ's 2010 "Top 100 Children's Novels" - compiled by Elizabeth Bird - PART ONE

In his July/August 2009 editorial in Horn Book Magazine, Roger Sutton poses a question about eligibility for the Coretta Scott King Award. I was looking at Horn Book's articles online, trying to find Neil Gaiman's speech (the one he gave when he won the 2009 Newbery). I was doing that because I'd just read an interview with Gaiman, in which he said something that surprised me, and I wondered if he repeated it in his Newbery speech. He did not.  Here's what he said in the interview:
"The great thing about having an English cemetery is I could go back a very, very, very long way. And in America, you go back 250 years (in a cemetery), and then suddenly you’ve got a few dead Indians, and then you don’t have anybody at all, unless you decide to set it up in Maine or somewhere and sneak in some Vikings.”

I blogged that remark and provided some context for how I interpret it, too. [Update, April 18, 9:00 PM---Mr. Gaiman responded, clarifying his remarks, so please do go read what he said.] I'm reading his words after having spent the better part of the previous 24 hours studying (again) the ways that American Indians appear in Elizabeth Bird's Top 100 Children's Novels. I conclude that the ignorance on display in the Top 100 novels is alive and well---frighteningly so---in Mr. Gaiman. While he exhibits ignorance about American Indians in that remark, his book (at #80 on the list)  does not actually have anything to do with American Indians. Neither does L. Frank Baum's The Wonderful Wizard of Oz, published in 1900. It is #40 on the list. Baum, however, was outright racist in the editorials he wrote for the Aberdeen Saturday Pioneer. Here's an excerpt from the editorial dated December 20, 1890:
"The Whites, by law of conquest, by justice of civilization, are masters of the American continent, and the best safety of the frontier settlements will be secured by the total annihilation of the few remaining Indians. Why not annihilation? Their glory has fled, their spirit broken, their manhood effaced; better that they die than live the miserable wretches that they are. History would forget these latter despicable beings, and speak, in later ages of the gory of these Grand Kings of forest and plain that Cooper loved to heroism."
Turning, now, from ignorance and racism of authors, to portrayals of American Indians in Elizabeth Bird's Top 100 Children's Novels. Here's my list (see notes at bottom):

#99 - The Indian in the Cupboard, by Lynne Reid Banks, published in 1980
#94 - Swallows and Amazons, by Arthur Ransome, published in 1930
#90 - Sarah, Plain and Tall, by Patricia MacLachlan, published in 1985
#87 - The View from Saturday, by E. L. Konigsburg, published in 1996
#85 - On the Banks of Plum Creek, by Laura Ingalls Wilder, published in 1937
#78 - Johnny Tremain, by Esther Forbes, published in 1943
#68 - Walk Two Moons, by Sharon Creech, published in 1994
#63 - Gone Away Lake, by Elizabeth Enrich, published in 1957
#61 - Stargirl, by Jerry Spinelli, published in 2000
#59 - Inkheart, by Cornelia Funke, published in 2003
#50 - Island of the Blue Dolphins, by Scott O'Dell, published in 1960
#46 - Where the Red Fern Grows, by Wilson Rawls, published in 1961
#42 - Little House on the Prairie, by Laura Ingalls Wilder, published in 1935
#41 - The Witch of Blackbird Pond, by Elizabeth George Speare, published in 1958
#34 - The Watsons Go to Birmingham, by Christopher Paul Curtis, published in 1995
#31 - Half Magic, by Edward Eager, published in 1954
#25 - Little Women, by Louisa May Alcott, published in 1868/1869
#24 - Harry Potter and the Deathly Hallows, by J.K. Rowling, published in 2007
#23 - Little House in the Big Woods, by Laura Ingalls Wilder, published in 1932
#17 - Maniac Magee, by Jerry Spinelli, published in 1990
#16 - Harriet the Spy, by Louise Fitzhugh, published in 1964
#13 - Bridge to Terabithia, by Katherine Paterson, published in 1977
#1 - Charlotte's Web, by E. B. White, published in 1952

If I studied the Library of Congress info for these books, I think only one---Julie of the Wolves---would be categorized in some way as having to do with Native people. None of the authors above is known to be an American Indian, with the possible exception of Wilson Rawls. He said his mother was part Cherokee. He does not assert that identity for himself.

In a video interview, Elizabeth Bird talked about the lack of diversity on her list. There, she talks about how she developed the list. It was a tremendous amount of work, and I'm grateful to her for doing it. Her list provides us with a snapshot that is worth mulling over, for lots of reasons. My particular lens, of course, is American Indians. At 2:48, Elizabeth notes that the list lacks diversity.



It lacks diversity, I agree. Sherman Alexie, Joseph Bruchac, Louise Erdrich, Cynthia Leitich Smith, Richard Van Camp---none of the more successful Native writers are on the list. But overall, it does not lack for portrayals of American Indians.

I say that in jest, of course, because most of those portrayals are in some way, stereotypical or biased. If you are a librarian, and you use this list to build your collection, you will not be providing your readers with a single worthy image of American Indians. A few of them are innocuous---like the Indian blanket in Charlotte's Web---but most are problematic. From "Honest Injun" to sitting "Indian style" to hunting Indians, there's a lot to say.

In the coming days I will work with my notes and develop some observations, but I am pasting the notes below and invite your thoughts. (I apologize in advance for inconsistencies in style and format of presentation. Some of what you'll find was posted before to American Indians in Children's Literature.) If you use some of this info for something you write, please cite this blog as the source of your information.

---------------------



DEBBIE REESE'S NOTES ON PORTRAYALS OF 
AMERICAN INDIANS IN ELIZABETH BIRDS 
TOP 100 CHLDREN'S NOVELS

Number 99 is The Indian in the Cupboard by Lynne Reid Banks, published in 1980. See Feb 10, 2010.

Number 94 is Swallows and Amazons by Arthur Ransom, published in 1930.
  • On page 16, Roger is "keeping a sharp lookout lest he should be shot by a savage with a poisoned arrow from behind a tree."
  • On page 137, the children come across what they call a "Red Indian wigwam" from which emerges "a very friendly savage".  Ransom's use of "Red Indian" was (is?) common in the United Kingdom.
  • On page 231, Nancy shouts "Honest Injun" .
  • On page 267, Nancy writes that John had "come at risk of his life to warn you that savage natives were planning an attack on your houseboat."
I think I'll have to find some time to study Swallows and Amazons.... 

Number 93 is Caddie Woodlawn by Carol Ryrie Brink, published in 1935. I wrote about it on Feb 10, 2010


Number 90 is Sarah, Plain and Tall by Patricia MacLachlan, published in 1985. On page 17 is "Indian paintbrush".

Number 87 is The View from Saturday by E. L. Konigsburg, published in 1996. Early in the book, there is a discussion of what constitutes diversity. Mrs. Olinski tells Mr. Rohmer that the Academic Bowl team includes "a Jew, a half-Jew, a WASP, and an Indian." (p. 22). Mr. Rohmer tells her the first three don't count, and that the proper term for the Indian is "Native American".  (The Indian on the team is East Indian.) 

Number 85 is On the Banks of Plum Creek, by Laura Ingalls Wilder.  The word "Indian" appears 12 times in the book, most of them about their time in Indian Territory. 
  • On page 143, Mary tells Laura to keep her sunbonnet on or "You'll be as brown as an Indian, and what will the town girls think of us?"
  • On page 218, Laura says "I wish I was an Indian and never had to wear clothes!" Course, Ma chides her for saying that, especially for saying it "on Sunday!"
I've written a lot about Wilder's books (see set of links at the bottom of this page), specifically, Little House on the Prairie, which I expect will be in the top tier of Elizabeth's survey. 

Number 78 is Johnny Tremain, written by Esther Forbes, published in 1943.  I'm going to have to reread that one...  I pulled it up on Google books and it looks like Forbes may have done a reasonable job describing the way the colonists dressed for the Boston Tea Party on December 16, 1773. The popular perception in America (thanks to a lithograph titled "The Destruction of Tea at Boston Harbor" done in 1846, 73 years after the event took place) is that the colonists dressed in fringe, face paint and feathered headdresses, but they did not do that. Here's what Forbes wrote in Johnny Tremain about the colonists getting ready (p. 140):
...they started to assume their disguises, smootch their faces with soot, paint them with red paint, pull on nightcaps, old frocks, torn jackets, blankets with holes cut for their arms...
See? No fringed buckskin. On page 141, Forbes writes that Johnny "had a fine mop of feathers standing upright in the old knitted cap he would wear on his head..."

I have notes on this somewhere....  I don't recall red paint and feather caps, but the rest of what Forbes writes matches what I recall. I'm mostly glad to see the accuracy of her description of the disguises, but disappointed when I get to page 143:
"Quick!" he [Rab] said, and smootched his face with soot, drew a red line across his mouth running from ear to ear. Johnny saw Rab's eyes through the mask of soot. They were glowing with that dark excitement he had seen but twice before. His lips were parted. His teeth looked sharp and white as an animals.
The character, Rab, in his painted face, becomes animal like. That is a familiar frame: Indian people and animals, very much alike. And of course, it is wrong.

In her discussion of Johnny Tremain, Bird includes a clip from the 1957 Disney film of the movie. In the clip, the colonists, some in fringed clothes, some in knit caps with feathers stuck into them, some with headbands and feathers, and some with painted faces, sing "Sons of Liberty."

Number 73 is My Side of the Mountain, by Jean Craighead George, published in 1959. The word "Indian" appears on six different pages.
  • On page 22, Sam writes that he read that river birch "has combustible oil in it that the Indians used to start fires."
  • On page 31, he remembers that Indians made dugout canoes with fire.
  • On page 43, he refers to feathers in an Indian quiver.
  • On page 65, Sam has pancakes that are flat and hard, which he imagines Indian bread is like. 
  • On page 108 is a reference to "playing cowboys and Indians."
  • On page 141, it is springtime, but aspens and birch trees "were still bent like Indian bows."

Number 66 is Walk Two Moons, by Sharon Creech. On February 5, 2007, I published Beverly Slapin's review of the book here. In a nutshell? Not recommended! [Note, April 16, 2010: Also see my review essay, "Thoughts on Sharon Creech's Walk Two Moons", published on Feb. 25, 2010.]

Number 63 is Gone Away Lake written by Elizabeth Enrich in 1957. I did a search of content (used Google Books) and found four uses of "Indian" in the book.
  • Page 141: "Now and then (unnecessarily since they never looked back), he would freeze and stand still as an Indian in the shadows."
  • Page 198: "She just sat there, Baby-Belle did, with her arms folded on her chest staring at Mrs. Brace-Gideon severely, like an Indian chief or a judge or somebody like that."
  • Page 217: "the pale little crowds of Indian pipes and the orange jack-o'-lantern mushrooms that pushed up the needles."
  • Page 756: "in the distance, by the river's edge, a tiny Indian campfire burned with the colors of an opal."

In Gone Away Lake, one of the characters is named Minnehaha, which is from Longfellow. I don't know why she's named that. It is commonly regarded as an "Indian" name, but it is not. We can thank (or blame) Longfellow for so much of the mistaken information that circulates!

Number 61 is Stargirl by Jerry Spinelli, published in 2000.   On page 10, Spinelli writes that Stargirl wears outrageous clothes to school. Among them is "An Indian buckskin." 

Number 59 is Inkheart by Cornelia Funke, published in 2003.   On page 206, Flatnose tells Basta that it will be hard to find Meggie, Mo, Elinor, and Dustfinger's trail in the dark. Flatnose replies "Exactly!" and "We're not bloody native trackers, are we?" 

Number 50 is Island of the Blue Dolphins by Scott O'Dell, published in 1960.  I have not yet read this...  And that is a huge problem, given its status... 

Number 46 is Where the Red Fern Grows by Wilson Rawls, published in 1961.  

  • On page 10, "The land we lived on was Cherokee land, allotted to my mother because of the Cherokee blood that flowed in her veins." 
  • Page 43, "I reached way back in Arkansas somewhere. By the time my fist had traveled all the way down to the Cherokee Strip, there was a lot of power behind it.
  • On page 143, where Rubin says "A long time ago some Indians lived here and farmed these fields."
  • On page 254, Billy recalls that he "had heard the old Indian legend about the red fern. How a little Indian boy and girl were lost in a blizzard and had frozen to death. In the spring, when they were found, a beautiful red fern had grown up between their two bodies. The story went on to say that only an angel could plant the seeds of a red fern, and that they never died; where one grew, that spot was sacred."
According to Bird, much of the book is based on Rawls childhood in Scraper, Oklahoma where he lived until he was 15 or 16. Given his birthyear (1913), he was in Oklahoma from 1913 to 1928 or 1929. Scraper is in Cherokee County, Oklahoma, and is near Tahlequah, which is where the Cherokee Nation's offices are located. I was surprised, on reading Scholastic's guide for the book, to learn that Rawls's mother, Winnie Hatfield Rawls, was part Cherokee. The guide says (page 6):
"...she had been given some land in Oklahoma by the federal government. (The United States gave land to some Native Americans who had been displaced from their original land.)"
Gave?! Gave?!   Nope. The guide is referring to the process by which the United States government forcibly moved several Indian Nations from their homelands TO what came to be called Indian Territory, and then, took that land from them, too, through acts passed by Congress that were designed to break up their identity as Native Nations and allot them parcels of land.


But going back to the book itself, Rawls, who (if the guide is correct) was part Cherokee. It seems to me he was not at all familiar with that identity. He has the character, Rubin, saying "A long time ago some Indians lived here...." Was Billy part Cherokee? Maybe he was hiding that identity. Maybe Rawls and his family hid that identity. The violence inflicted on Native people during that time prompted many to hide it...  I'm curious about the legend, too. I wonder if that is a story from the Cherokees oral tradition? And I wonder why, when Billy went to Tahlequah to get the puppies, he doesn't mention any Cherokees there?



Number 42 is Little House on the Prairie by Laura Ingalls Wilder. Published in 1935, I've had a lot to say on American Indians in Children's Literature about the book. Scroll down to the bottom and see the set of links, or, look over in the sidebars...


Number 41 is The Witch of Blackbird Pond by Elizabeth George Speare, published in 1958. Given its setting (1687, in Connecticut), there are references to fights with Indians, fights with Indians and wolves, and Indian attacks (see pages 40, 51, 59, 145, 187, 191, and 192).


Number 34 is The Watsons Go to Birmingham-1963 by Christopher Paul Curtis.
  • Page 50: "...looked like we were in the Wild West and I was a wagon train and Byron was the Indians circling, waiting to attack
  • Page 88: "This looked like the Indians circling the wagons again, but this time it was Byron who had to be the white people!"

Number 31 is Half Magic by Edward Eager, published in 1954. On page 45, the children are approached by a "ragged Arab" to whom Martha says "How!" Mark hisses to her, under his breath "What do you think he is, an Indian?"


Number 25 is Little Women by Louisa May Alcott, published in 1868 and 1869.
  • On page 201, "Laurie opened the parlor door and popped his head in very quietly. He might just as well have turned a somersault and uttered an Indian war whoop, for his face was so full of suppressed excitement and his voice so treacherously joyful that everyone jumped up..."
  • On page 245, "It was a pictorial sheet, and Jo examined the work of art nearest her, idly wondering what unfortuitous concatenation of circumstances needed the melodramatic illustration of an Indian in full war costume, tumbling over a precipice with a wolf at his throat, while two infuriated young gentlemen..."
Number 24 is Harry Potter and the Deathly Hallows, published in 2007.  Reading it aloud with my daughter when it came out, we surprised when we got to page 216. At that point in the book, Harry is looking at a photograph of Albus Dumbledore's family. We were surprised to read:
"The mother, Kendra, had jet-black hair pulled into a high bun. Her face had a carved quality about it. Harry thought of photos of Native Americans he'd seen as he studied her dark eyes, high cheekbones, and straight nose, formally composed above a high-necked silk gown."


Number 23 is Little House in the Big Woods by Laura Ingalls Wilder, published in 1932. I wrote about this on March 19, 2010, quoting the passage from the book where Pa, as a kid, played that he was hunting Indians. Here's the specific passage (from page 53), but do go read my entire entry on that day.
"I began to play I was a mighty hunter, stalking the wild animals and the Indians. I played I was fighting the Indians, until all woods seemed full of wild men, and then all at once I heard the birds twittering 'good night.' 

Number 20 is The Lightning Thief, by Rick Riordan, published in 2005.
  • On page 171: "It was one of those weird roadside curio shops that sell lawn flamingos and wooden Indians and cement grizzly bears and stuff like that.

Number 17 is Maniac Magee by Jerry Spinelli, published in 1990.
  • On page 80, a kid sits "Indian-style" and, 
  • On page 150, John tells Maniac what he imagines: "the blacks sweeping across Hector one steaming summer night; torches, chains, blades, guns, war cries; marauding, looking, overrunning the West End; climbing in through smashed windows, doors, looking for whites, bloodthirsty for whites, like Indians in the old days, Indians on a raid... That's what they are, Giant John nodded thoughtfully, "today's Indians."
Number 16 is Harriet the Spy by Louise Fitzhugh, published in 1964.
  • On page 4, Harriet and Sport talk about what they will be when they grow up. Writing about character names and professions in her notebook, she says "You've got to have a doctor, a lawyer---" and then, Sport interrupts, saying "And an Indian chief."
  • On page 96, Ole Golly blushes when Mr. Waldenstein calls her attractive. The text reads "The crimson zoomed up Ole Golly's face again, making her look exactly like a hawk-nosed Indian. Big Chief Golly, Harriet thought, what is happening to you?"
Number 13 is Bridge to Terabithia by Katherine Paterson, published in 1977. This is from page 128:
After lunch, they trotted through the drizzle to the Smithsonian to see the dinosaurs and the Indians. There they came upon a display case holding a miniature scene of Indians disguised in buffalo skins scaring a herd of buffalo into stampeding over a cliff to their death with more Indians waiting below to butcher and skin them. It was a three-dimensional nightmare version of some of his own drawings.


Number 1 is Charlotte's Web by E. B. White, published in 1952. The word "Indian" appears twice, both times in reference to a blanket that Lurvy won.