Part II --- Neil Gaiman on "a few dead Indians"

On October 8th, ithiliana did a close read of Neil Gaiman's "Blog on a Train" blog post. His post is the one in which he addressed the "few dead Indians" remark he made in 2008 that I wrote about in April of 2010. I'm writing, here, about ithiliana's analysis because I like what she says on her LiveJournal. I read her work when I can. She is, as a dear friend said, hardcore. That friend and myself like hardcore writing. 

In her analysis, Ithiliana made some good points. For one, she notes that his apology is part of a much longer post. As such, she sees his apology as being buried. He could have featured that response as a stand-alone item. She's right. In fact, I would have preferred that Gaiman wrote a stand-alone post.

Ithiliana wrote:

Lots of linguistic scholarship exists on how badly people with greater authority/power do apologies to people who have less authority/power, but I think Gaiman's fauxpology goes even further into bad, considering he's blah blah award winning author. Or maybe, from another perspective, it's a well done manipulation that is designed to highlight his power and authority while "graciously" offering apologies (without ever once saying, I'm sorry, I screwed up) to the little people out there (multiple ones, by the way, as you'll see if you read the link of my snarky summary).

As I wrote my post yesterday (Neil Gaiman on "a few dead Indians"), I went back and forth with myself as I thought about what Gaiman said. He offered an apology. A Miss-Manners-type-person would say I should accept his apology. 

But, I didn't want an apology.

There a lot to gain by reading and studying what ithiliana said. She is taking a certain angle on what Gaiman said. My angle is different.

I wasn't hurt by what he said, and I wasn't offended either. I can't afford the energy it would take to be offended everytime I come across something like "a few dead Indians." Part of what I'm doing with American Indians in Children's Literature is compiling the evidence of just how much this happens. I focus on these occurrences in children's and young adult books (see for example, my analysis of the Elizabeth Bird's Top 100 Children's Novels), but sometimes, I point to other incidences, too, which provide societal context for what occurs in children's books (see my post about a kid playing Indian in a Tommy Hilfiger ad).

The "few dead Indians" situation, in my view, called---not for an apology---but for something else.

What Neil Gaiman says is a big deal because of who he is... An award-winning and best-selling author who has, because of his books for children and adults, become a celebrity. Does who he is, I wondered, make him a person with greater authority and power as compared to me? Does his status make me someone with less authority/power, and therefore, should I be grateful that he paid any attention at all to my post about "a few dead Indians" and his subsequent Tweets to me about it?

Some would say "yes, Debbie, you should be grateful that Neil Gaiman paid any attention to you!"

I disagree because I have some power and authority, too, based on my research and writing and my advocacy for Native peoples. How any of us defines power and authority is relative to where we stand, the perspectives we put forth, and the people who pay attention to what we say. Did he choose to comment on my "few dead Indians" post because someone (his agent, perhaps?) told him that children's book authors, parents, teachers, librarians, professors, editors, and reviewers read my site?

Were his actions motivated by a sincere interest to acknowledge that he screwed up? Or were they motivated by an attempt to maintain a positive profile? Or both? Or, neither?!

Whatever the case may be, one thing is certain. A lot more people in the world now know that a remark like "a few dead Indians" merits attention. I didn't want an apology (yeah, I know, that's starting to sound redundant), but in truth, I wanted more than what Gaiman offered. I thanked him yesterday, not for the apology, but for being willing to publicly share his reaction and thought process. That is important! He wrote:

I was put out of sorts by Deb's initial post (mostly because I was reading it going "but that OBVIOUSLY wasn't what I meant"), and was idiotically grumpy on Twitter, but when I was called on it (by Pam Noles), and finally looked at the actual words recorded, I realised that people were perfectly sensibly taking what I said to indicate... 

He provides an example that other writers could use. First reactions from Sharon Creech, Ben Mikaelsen, Ann Rinaldi, and Anne Rockwell to my critiques of their words and books were like Gaiman's. They were defensive, too. Have they revisited that defensive reaction? Privately, perhaps, but to my knowledge, not publicly, as Gaiman did. His reaction aside, he gave his readers three options as to how his remark might be read. Continuing with what I excerpted above, he wrote:

... that I thought that a) the US was pretty much unpopulated before the arrival of the white colonists in the 17th century, and/or that b) I was being dismissive of the slaughter of Native Americans, or simply that c) Native Americans were somehow inconsequential in the history of the Americas. (None of which was my intention. But intentions only take you so far.)

As I said when I first wrote about his remark, I was pretty sure he knew better, and I think what he said above is evidence of that. He's told us what he thinks and he acknowledges that intent matters little.

I would have liked him to go further than he did. I would have liked him to say "I should have corrected myself right away. I should have said something when the interview was published. But, I didn't." He tells us that he knew it was a stupid thing to say, but that he just moved on. His decision to just move on is important for him and all of us to consider. WHY did he just move on? Did he think nobody would notice? Well, he was right, wasn't he? Nobody noticed for over a year! How many times was that interview read? How many people read it and didn't notice that he said "a few dead Indians"?!

That is the problem. Hundreds (thousands? millions?) of times, those words were read, and nobody pointed them out. What I wanted from Neil Gaiman was for him to say this:

PEOPLE OF THE WORLD WHO READ THAT INTERVIEW AND MY WORDS!!!

WE ALL SCREWED UP!

WHY DIDN'T WE SAY SOMETHING?

DON'T WE CARE?

ARE WE TOO BUSY TO TAKE A MOMENT TO SAY SOMETHING?

IF WE ARE TOO BUSY, DOESN'T THAT MEAN THAT WE'VE CHOSEN NOT TO INTERRUPT A CYCLE OF UNINTENDED WORD-VIOLENCE ON A GROUP OF PEOPLE WHO MANY OF US SAY WE RESPECT, LOVE, ADMIRE AND HONOR?

A GROUP OF PEOPLE WHOSE CHILDREN DON'T SUCCEED IN SCHOOL?

A GROUP OF PEOPLE WHOSE CHILDREN COMMIT SUICIDE WAY TOO OFTEN?

See what I wanted from Neil Gaiman? Due to his status, he is a person of influence. I wanted him to use that influence and that incident in a much larger way than he did. If he did, his words would be a powerful force that would work towards a decrease in the messed-up ways that American Indians and Indigenous peoples are portrayed in children's and young adult books, and in society (like the Hilfiger ad), too.

Can you imagine what the book publishing world would do if his million-plus fans (assuming he said what I suggested above) wrote to, say, HarperCollins, the publisher of Little House on the Prairie (feedback2@harpercollins.com) to say

"this book is messed up. Yeah, some regard it as a classic, but, it misrepresents and miseducates Native and non-Native children about the life of Native and non-Native people living in Indian Territory in the 1800s."

Can you imagine a scenario in which Native parents didn't have to think about keeping their children out of school on the day their teachers plan a Thanksgiving reenactment? Or, when their classmates were going to do a "land run" like the one that took place in Oklahoma? If you pause for just a minute, can you imagine how much of that sort of thing goes on?

With this post, am I alienating Neil Gaiman and his fans and anyone who read his apology and think well of him for offering it? Maybe, but I'm choosing to think that amongst that group of people there are a great many who will read what I've said and be motivated to think even further about the ways American Indians are represented in the books their children read, and, that seeing it for themselves, they'll be motivated to take action.

GONE WITH THE WIND in Martina Boone's COMPULSION

Eds. note: Updated on June 28 2015 with a list of other children's and young adult books that include a reference to Gone With the Wind. 

Back in April of 2015, I learned about Martina Boone's Compulsion: Heirs of Watson Island. Published in 2014 by Simon Pulse (which is part of Simon and Schuster), the protagonist is a teenage girl named Barrie who moves to a plantation in South Carolina to live with her aunt Pru. The setting is present day.

The island where the plantation is located is haunted, and the house is falling apart. Later, we'll read about malicious Cherokee spirits called "yunwi" who are doing things (loosening screws and the like) to the house at night so that the next day, things come apart when touched. Outside in the garden, however, they are helpful. If Pru leaves food out for them, they will tend the garden.

This is my first post about the book. I've not finished reading it yet. My decision to post right now, before I finish it, is deliberate.

The book is set in Charleston. I started reading it Wednesday afternoon. That night, nine African Americans were murdered in Charleston. When I woke up on Thursday, my social media feeds were about the murder of nine people who were killed in a historically black church of deep significance, by a white person who said [Y]ou've raped our women... 

I read the news stories and then, returned to Compulsion. I came to a part that brought me up cold. On page 150, Cassie (one of the main characters), tells Barrie:

...my theater group and I do Gone With the Wind at night, in front of the ruins.

I read that line and paused. I imagine a lot of readers will pause, too, but that a lot more won't. Most will just keep on reading. Far too many people don't see the novel or movie as racist. (The "ruins" are what is left of Cassie's family plantation.)

After I ruminated on that for a while, I read on. I wondered if Boone (the author) would, in some way (through a character or through the narration), critique Cassie or her group for doing that play.

I didn't find anything more about it until I got to page 237. Barrie and Eight (her love interest) are at the play. The play opens with Cassie and two boys coming onto the stage. They're wearing "aristocratic costumes" and are followed by

...a girl dressed as a slave, who balanced glasses and a pitcher of lemonade on a tray.

Barrie and Eight are engrossed by the production (p. 238):

Neither of them moved again until the audience gasped when Rhett Butler came on stage, played by a light-skinned African-American boy.

"Oh, that's brilliant," Barrie whispered. Everyone around her whispered too, but then the magic of the play took hold again.

When the play is over, Eight wonders "if that was nerve or genius." Barrie replies that it is both. End of discussion. I assume they're talking about casting an African American as Rhett. And, I assume that the girl playing "the slave girl" is white.

I have a lot of questions at this point.

Why were they doing that play in the first place? Since the author includes it without comment, is she among the millions who don't see it as problematic? Or, who have nostalgic attachments to it, such that they can't set it aside?

Why "a light-skinned" boy? Why not just say "African American boy"? Was it necessary that he be light skinned? What does it mean to have an African American boy in this racist play? It reminds me of Ann Rinaldi's My Heart Is On the Ground, in which a Native girl happily plays a Pilgrim in a Thanksgiving play.

I assume that we (readers) are supposed to think that Cassie is enlightened for casting a light skinned African American as Rhett. We're supposed to think that there is racial progress in Boone's Charleston. I don't see racial progress at all, but I wonder if Boone imagined me, or any person who casts a critical eye on Gone With the Wind as a reader of her book? As presented, it reminds me of The Help where good white people help black people.

In interviews of her, I've read that Boone's characters are going to change over the three books. Maybe Boone is going to have Barrie and Cassie step away from Gone With the Wind. Maybe they're going to say "it was dumb for us to do that" or something like that. That is what characters do, right? They change over the course of a story.

I want to poke at that idea a bit.

Let's assume that by the end of the trilogy, Barrie or Cassie (or both of them) reject Gone With the Wind. Readers will move with them to that point. It'll be a win for social justice. But who is it a win for?

Some readers will applaud when Barrie or Cassie see the light. But what about black teens who already see that light? They are asked to be patient until Barrie and Cassie see that light. They, who are the target of racist acts today, have to be patient.

I find it deeply disturbing. The instant that the play is mentioned, somebody in the book has to say WTF so that immediately, readers will think differently.

Am I making sense? Do you get what I'm saying? Help me say it better so that writers won't do what Boone has done.

There's so much more to say.

The white man who murdered nine African Americans in Charleston said "you rape our women." Did you know that there are heated discussions within some circles about whether or not Rhett raped Scarlett? In Boone's book, Rhett is African American. My guess? Boone and her editor had no idea that some would read Rhett-as-African-American as a negative rather than the plus they intended it to be.

Once I hit upload on this post, I'll return to Compulsion. I have a lot of notes about the Cherokee witch and the voodoo priest. As a Native reader, I gather I'm supposed to be patient, too, as a white writer speaks to white readers about racism, in the past, and in the present, too.

Update, Sunday June 21, 2015

I finished reading Compulsion. My review, focusing on Native content, is at Martina Boone's Compulsion. 

Update, Sunday, June 28, 2015

Do you remember coming across Gone With The Wind in these books?

Because of Winn Dixie by Kate DiCamillo. In Chapter 15, Opal is at the library to get a book she can read aloud to Gloria Dump. The librarian, Miss Franny, suggests Gone With The Wind, which she says is a "wonderful story about the Civil War." Opal says that war was about slavery, and Miss Franny says "Slavery, yes," and "It was also about states' rights and money" (p. 101). Gloria Dump is African American and tells Opal she's heard of the book. Opal reads it aloud whenever she's visiting Gloria. On page 135 Opal asks Gloria if she wants her to read some more. Gloria says "Yes, indeed." and "I've been looking forward to it all day. Let's see what Miss Scarlett is up to now."

Just as Long as We're Together by Judy Blume. On page 220, Rachel tells Stephanie "If you feel like reading, there's a really good book on my desk. It's called Gone with the Wind.

More Best of Mad Libs by Roger Price and Leonard Stern. On a page about Romantic Movie Blockbusters, is this: "Gone With the Wind, set during the ___ War, is the story of Scarlett O'Hara, a young, ___-willed woman. She uses her feminine ___ to win back her ___, but in the process loses Rhett Butler, the only ___ she ever loved."

Encyclopedia Brown and the Case of the Secret Pitch, by Donald J. Sobol. On page 49, Sally talks about Percy, who is a gentleman, and is taking her to see Gone With the Wind. First published in 1965, by Nelson, the 2002 edition is from Dell Yearling, and the 2007 edition is from Puffin.

Captain Underpants and the Attack of the Talking Toilets by Dav Pilkey. In chapter 20, George (the African American character), says "In the past, literally dozens of epic novels have been written that have changed the course of history: Moby Dick, Gone with the Wind, and of course, Captain Underpants and the Attack of the Talking Toilets!"  (Eds note, 6/30/15: I inserted a screen capture of the page with Gone With the Wind.)

Anastasia at Your Service by Lois Lowry. On page 29, Anastasia is thinking of what she'll talk about the next day, working as a companion to an elderly woman. The text reads (p. 29): "Tonight she would have to think seriously about Conversation Topics. Not politics or religion, she knew. Literature, probably. Tonight she would review in her mind all the books she had ever read. Gone With the Wind was one of her favorites. She could talk to people at the luncheon about Gone With the Wind. Why Scarlett didn't marry Ashley Wilkes. Stuff like that."

Do you know of others?


Update, June 30, 2:00 PM
In the comments below, Deborah Menkart pointed to I Lived on Butterfly Hill by Marjorie Agosin. On page 193, 11 year old Celeste is with her aunt. They watch Gone with the Wind: 'Mesmerized, we curl up on the couch and watch all three hours of Gone with the Wind while our mouths turn blueberry-blue. Then I crawl up the stairs to my room and hope that I have a dream about Rhett Butler as I remind myself that, like Miss Scarlett said, "Tomorrow is another day."' 

Update, June 30, 2:07 PM
On Twitter, MelissaA1763 wrote "The Outsiders. Can't remember the specifics, but Ponyboy and Johnny read it while they're in hiding, and Johnny really likes it."

Update, July 1, 9:43 AM
On Facebook, Benji pointed me to Lowry's Number the Stars. I looked it up. It is on page 27: "Mama had told Annemarie and Ellen the entire story of Gone With the Wind, and the girls thought it much more interesting and romantic than the kind-and-queen tales that Kirsti loved." Annemarie and Ellen are playing with paper dolls. Annemarie is being Scarlett. Ellen is being Melanie. They play at getting ready to go to a ball.

Those Thanksgiving Lesson Plans

Newspapers everywhere carry articles about Thanksgiving and how it is taught in local schools. To protect the students who played roles in the specific article I'm referring to, I will not identify the school or the newspaper in which this particular article appeared.

As said many times on this blog, I respect teachers for the work they do. I do not mean to embarrass or humiliate them for that work, but I do mean to encourage them to think carefully about the ways they teach their students about "The First Thanksgiving" and American Indians.

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(1) A boy is selected to portray "Chief Sun Slayer" for the school's "Thanksgiving feast." He wears a headdress of multicolored paper feathers.

• "Sun Slayer": To me, this is obviously a made-up name intended to convey power, but why would ANYONE want to slay the sun? The headdress of multicolored paper feathers is probably the Plains style, not one that the Powhatan people would have used. Instead of providing students with substantive information, these children's stereotypical views of Indians as monolithic people who all wore Plains style attire, are affirmed.
  

(2) The kids in the class dressed as Indians, and then the girls voted for the boy who would be their chief. The teacher says "That's how it's really done." and "The women choose the chief."

• Later in the article, the teacher notes they have been studying the Powhatan tribe. According to Helen Rountree, a scholar of the Powhatan Indians of Virginia, women do not vote in tribal matters. And, chief's inherited their positions through the mother's line. In some tribal nations, women play an important role in selection of leaders, but not the Powhatans.
  

(3) The children made their costumes out of construction paper, and chose an Indian-style name for themselves. The name they chose is "Powhatan Pee Wees."

• Choosing Indian names is a popular activity, whether it is for a "tribe" or for oneself. People try to be clever in choosing these names. You may want to read "A Brief Digression about Naming" in the review of Ann Rinaldi's book at the Oyate website. Scroll down to get to that part of the review.

(4) This classroom study included information about wampum, which the article says is "a prized string of beads." The kids dressed as Pilgrims make wampum; the Indians make maps, and they trade.

• People commonly think wampum was used as legal tender. According to George R. Hammell of the New York State Museum (excerpts from Encyclopedia of North American Indians, edited by Frederick E. Hoxie, page 662-664),
  

"...wampum's use as legal tender was its least culturally significant fucntion; for them wampum was and still is both the medium and the message of social communications."

Hammel goes on to say:

"The most culturally significant function of wampum among the northeastern woodlands Indians has been its use, in the forms of strings and belts, in rituals of kindship affirmation and rituals of condolence."

(5) This classroom study emphasizes "when the European settlers traded wampum (a prized strong of beads) for land, the American Indians thought the Europeans understood that the land was not theirs alone, but for both peoples to share."

• Native peoples were intellectuals (not naive, simple-minded or primitive savages) who engaged in diplomatic relations with the English and the French. I will see if I can find a book to recommend, one that can be used in elementary school classrooms, that portrays these relationships with honesty to all involved.
  

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This lesson is only one of the many being taught this month. I urge teachers to revisit their Thanksgiving lessons, and change them. Start doing it now, so you'll have a year to work on changing the lessons, lest your students end up in a college class where they read Lies my Teacher Told Me and remember the instruction they had in elementary school. Come to think of it, every teacher should get the book, read it, and use it to create lesson plans for next year.

Not recommended: RUNS WITH COURAGE by Joan M. Wolf

I do not recommend Runs With Courage, published in 2016 by Sleeping Bear Press. Written by Joan M. Wolf, it has several kinds of problems in it.

Wolf created dialog for Lakota characters of 1880 that she thinks reflects how they would talk. I find it awkward. 

In the first pages, for example, characters are using "Great White Father" in an uncritical way. On page 2, Four Winds (the main character) is thinking that white people must be very tall and powerful. After all, 

It was the white's leader, the Great White Father, who had forced us to the Great Sioux Reservation.

She doesn't say that in a frightened way. She is talking with her cousin at the time. She uses the phrase, "Great White Father" in a matter-of-fact way. Because they go on to talk about how brave the whites are--brave like their own warriors--there is a reverent quality to their use of the term. On page 5, a woman uses the phrase, too. At that part of the story, whites have come to their council lodge. The woman is amongst those wondering what is going on. The woman says: 

"Has the Great White Father passed another law?" 

If you study historical documents, you'll see "Great White Father" or the idea it embodies in several places. Thomas Jefferson used the idea that he was a father to Native peoples and our nations. Here it is in 1808 in a letter to "My Children, the Miamis, Poutewatamies, Delawares & Chippaways" 

My Children, this is the last time I shall Speak to you as your Father

And here it is in 1809 in a letter to "My Children Depities of the Cherokees of the Upper & Lower Towns:

I requested my fellow Citizens to permit me to retire, to live with my family, & to chuse another President for themselves, and Father for you.

It is paternalistic. I doubt that, in their daily conversations, Native people anywhere spoke with reverence of "the Great White Father." Why would they? Why would Four Winds speak reverently about the person who is responsible for her peoples removal from their homelands? Later when Four Winds is at the boarding school, other characters use "Great White Father," too, and later still, the one Lakota boy at the school, William, challenges her use of the phrase.   

In her story, Wolf's characters think and speak in English, uses English words in ways that I find grating (p. 8):

We had not collected any for two seasons because we...

In that sentence and elsewhere, Wolf uses "seasons" for years, "moons" for months, and "suns" for days. I know it is meant to insert some sense of authenticity, but it doesn't work. Occasionally, she has her characters using a Lakota word. I find that jarring, too. Instead of "Black Hills", Four Winds thinks and speaks "He Sapa" like this (p. 8):

I felt a pang of sadness to know that Bear did not remember much of He Sapa.

In several places she uses "tiospaye" for family or band, maybe, but it, too, is jarring:

Elders came into the lodge, left, and came back with other members of our tiospaye.

All of that sounds very outsider-y to me. Soon, Four Winds is told she's being sent away to a white man's school for girls. When the wagon arrives to take her away, she looks at the white woman, who is wearing a long black dress (p. 15):

...and a matching headdress that ended in a small piece of ribbon a her chin.

Why did she call that a headdress? That is another instance in which one of Wolf's word choices pulls me out of the story she's trying to tell. Before she gets in the wagon, her mother gives her a "wotawe" -- a pouch to protect her and help her remember to (p. 16)

"... use your lightning helpers for strength and not anger."

After dark, they reach the school where another white woman is. Four Winds notices that she isn't wearing a headdress. Once inside in the dormitory, she sees a cross. This tells me she's at a mission school. The white woman wants her to put on a rough white dress but she doesn't want to. Then, she hears footsteps and voices. Several girls walk into the room. She realizes they are Lakota, like her. One tells her what to do and the story moves on as Four Winds learns how to eat off dishes, get up when bells go off, and eventually how to read. She's given an English name: Sarah. In one of her school books she sees a drawing of a bridge. Someone tells her what it is, and she starts to think of herself as a bridge between her tiospaye and the white people. 

On page 93 she's in a school office and sees a plaque on the wall that reads (p. 93):

KILL THE INDIAN, SAVE THE MAN

Miss Margaret tells her that Colonel Pratt gave it to them. Sarah asks what it means. When Miss Margaret tells her it is about them becoming civilized, Sarah gets angry. She breaks the plaque in half and is beaten by the pastor. 

My thoughts on that? It is a dramatic scene (one of many) that reminds me of Smelcer's Stealing Indians. In his deeply flawed story of boarding schools, he made up things--including signs like that--that aren't factual. As far as I know, there were no plaques like the one Sarah breaks. The idea (kill the Indian and save the man), of course, was a driving force. The phrase and concept are well known. Much is written about it. But a plaque? It might seem a small thing but fictions like that plaque, in my opinion, inadvertently obscure the actual horrors of these schools. They create, in the reader, certain kinds of expectations---and when the real stories are brought forth, they don't measure up to the expectations. Because they don't, they aren't accepted as reality. 

In chapter ten, Four Winds/Sarah, beaten and bruised, runs away from the school. When she gets home, she learns that her family didn't choose to send her. The family needed more rations. If they sent her, they'd get more. Her return means a loss of those rations, again. Though they see her decision to run away as courageous, in the end, she goes back to the school when the pastor shows up. She sees this decision as a sacrifice on her part. 

She returns to the school. Time passes and she decides she wants to be a teacher, for her tiospaye, teaching them to read, write, and speak English. She talks with the pastor, who talks with someone else, and they decide she can do this, as an experiment, to see if the "savages" (the word appears several times in the story) can learn English. In the Epilogue, she's been teaching for several years and wondering about the friends she made at the school. The story ends with her, writing a letter to them.

Again--this feels very outsider-y to me. Earlier I said it reminds me of Smelcer's book. Parts of it remind me, too, of Rinaldi's My Heart Is On The Ground. 

In places, Wolf goes on and on about dancing, and about naming, and about hair in ways that are awkward. All the facts of what the boarding schools were like are in the story, but in ways that yank me out of the story, again and again and again. 

In the end, it was hard to finish reading Wolf's story. It was in the "Debbie--have you seen" series. I'm glad I finally made it to the end, and that I wrote this review. 

I do not recommend Runs With Courage. 

If you're looking for stories set in the boarding schools, you have some great alternatives! I know several, all by Native writers! My Name Is Seepeetza is superior in many ways to Runs With Courage, and so is I Am Not A Number by Jenny Kay Dupuis. 

Reaction to Slapin’s review of Touching Spirit Bear

Beverly Slapin’s review of Touching Spirit Bear (posted here on September 20^th) has generated discussion on a listserv sponsored by the American Library Association and other places as well.

I share some of the discussion and my responses here. I paraphrase a response and use italics to differentiate it from my response.

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It is well written and a great story. Teen boys who are bullies need books like this to learn about the consequences of their behavior and that there are other ways of behaving. Errors regarding Tlingit culture are excusable because the book has so much value for bullies.

Debbie: Is it ok to use and misrepresent one culture (in this case Tlingit) because someone else (bullies who are presumably not Tlingit) stand to gain?

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I will continue recommending the book because it was favorably reviewed and is on so many award lists.

Debbie: How knowledgeable are the people who wrote the reviews? When Ann Rinaldi’s My Heart is on the Ground came out, it was favorably reviewed and it was likely headed for Recommended Books lists. But our critique headed that off, because, I think, people knew that the information in the critique was (and is) irrefutable, and that it was irresponsible to laud the book.

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IT IS FICTION! JUST A STORY! It doesn’t matter if it is accurate or not.

Debbie: If a work of fiction said that 2+2=7, everybody would know it was a mistake. But we, as a society, know so little about American Indians that we don’t know when American Indian cultures are being misrepresented, stereotyped, or otherwise inappropriately used.

American society is so enamored with a narrow, romantic view of who we (remember, I am Nambé Pueblo Indian) are that it is not open to criticism that gets in the way of wholeheartedly endorsing or recommending a book. People who love the book and don’t like Slapin’s review may feel the criticism is an attack on them, on their personal values. Critiques like Slapin’s are not personal attacks, but they can feel that way when the book under critique is well loved.

If there was only one book like Touching Spirit Bear out there, then maybe it wouldn’t matter. But there are more flawed stories about American Indians than there are good ones. All those flawed ones contribute to the misperceptions American have about American Indians.

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I’m out of time and will have to stop here. Your comments in the "Comments" option are welcome.

American Indian Boarding Schools - continued

Native singer/songwriter Arigon Starr heard about the critique of Rinaldi's book and wrote a song about it. To listen to a clip, read the lyrics, and order the CD, go here:
http://www.arigonstarr.com/lyrics_all/wind-up/myheart.html

American Indian Boarding Schools

I think that when most people hear "boarding school," they think of elite private schools, and perhaps they think of Hogwarts (Harry Potter's school).

Many assume, incorrectly, that the boarding schools the US Government set up for American Indians were much like the elite private schools, but that was not the case. The goal of American Indian boarding schools was to "kill the Indian" and "save the man." In Canada, the schools were called "residential schools."

These schools are the subject of many children's books. Unfortunately, they generally provide a white-washed view of the schools. The best example of this is Ann Rinaldi's My Heart is on the Ground: The Diary of Nannie Little Rose, a Sioux Girl. To see an extensive review of the book, go here: http://www.oyate.org/books-to-avoid/myHeart.html.

If you're interested in children's books on this topic, there are a few that I recommend:

Home to Medicine Mountain, by Chiori Santiago (picture book)
As Long as the Rivers Flow, by Larry Loyie (middle grades)
My Name is Seepeetza, by Shirley Sterling (middle grades)
No Parole Today, by Laura Tohe (poetry for high school)

You may also be interested in non-fiction titles more appropriate for adult readers:
Away from Home: American Indian Boarding School Experiences, 1879-2000, by Margaret Archuleta, Brenda Child, and K. Tsianina Lomawaima. Also see Child's book Boarding School Seasons, and Lomawaima's They Called it Prairie Light.

"Happy Hunting Ground"

In the landscape of words and phrases that are somehow associated with American Indians is "Happy Hunting Ground."

I spent a half hour or so, just now, trying to figure out where/when it entered common usage. So far, all I find suggests it dates back to the early 1800s, and that it is a paradise or heaven for American Indians....

Personally, I intensely dislike the phrase. Ann Rinaldi used it in at least one of her books, and I just ran across it in Lois Lenski's Indian Captive: The Story of Mary Jemison, first published in 1941. On page 59, Lenski writes:

After a time their grief subsided and they rejoiced to remember that their brother had gone to the Happy Hunting Grounds above the sky.

I'll spend more time digging on that phrase... Who said it first? Was it an American Indian? What tribe? Why? Skeptic that I am, I'll bet it was a non-Native person... A writer perhaps, or maybe a hobbyist! The hobbyists were (and are) pretty prolific at coming up with "Indian lore."

Update at 8:40 PM: Amazon has a nifty option, that allows you to search the text of a book. On a hunch, I searched James Fenimore Cooper's books and found he used "Happy Hunting Ground" in Pioneers, on page 760. That book came out in 1823. (Last of the Mohicans came out in 1826.) Any librarians reading the blog? If you can find an earlier reference, that'd be terrific!

A reader, Diana, wrote to say she working on a paper and finds the material on the blog useful. I wanted to post links to some of my on-line writing about American Indians in children's books, but can't figure out how to do it. I'll get it figured out eventually, but in the meantime, here's some of the articles:

“Teaching Young Children about Native Americans,” by Debbie Reese, ERIC Digest, EDO-PS-96-3, May 1996.
http://ceep.crc.uiuc.edu/eecearchive/digests/1996/reese96.html

“Fiction Posing as Truth: A Critical Review of Ann Rinaldi’s My Heart is on the Ground: The diary of Nannie Little Rose, a Sioux Girl, by Marlene Atleo, Naomi Caldwell, Barbara Landis, Jean Mendoza, Deborah Miranda, Debbie Reese, LaVera Rose, Beverly Slapin, and Cynthia Smith, in Rethinking Schools Online, Volume 13, No. 4, Summer 1999.
http://www.rethinkingschools.org/archive/13_04/review.shtml

“Authenticity and Sensitivity: Goals for writing and reviewing books with Native American themes,” by Debbie Reese, in School Library Journal.Com, 12-2-1999.
http://www.readwritethink.org/lessons/lesson_view.asp?id=63


“Examining Multicultural Picture Books for the Early Childhood Classroom:
Possibilities and Pitfalls,” by Jean Mendoza and Debbie Reese, in Early Childhoood Research and Practice, Fall 2001, Volume 3, Number 2.
http://ecrp.uiuc.edu/v3n2/mendoza.html

“Native Americans Today,” by Debbie Reese, at ReadWriteThink, on-line lesson plans sponsored by International Reading Association, National Council of Teachers of English.
http://www.readwritethink.org/lessons/lesson_view.asp?id=63

Recommended Children's/YA/Reference/Resource Books

Items selected in the early 2000s by Debbie Reese, Assistant Professor, American Indian Studies, University of Illinois at Urbana-Champaign, and Jean Mendoza, Assistant Professor in Early Childhood Education, Millikin University in Decatur, Illinois (Last Update: Sep 2017. Our views have shifted since the list was created. See recent Best Books.) 

Note: There are three sections here. Scroll down to find each one.  

Section 1: A Sampling of Recommended Children's and Young Adult Books about American Indians

Section 2: Books and Articles about American Indians in Children's Literature

Section 3: Books about American Indian Culture

Section 1: A Sampling of Recommended Children's and Young Adult Books about American Indians 

PIC – Picture book; RF – Realistic Fiction; HF – Historical Fiction; NF – Nonfiction; P – Poetry; TL – Traditional Literature; B – Biography; AB – Autobiography; E – Elem.; M – Middle School; YA – Young Adult

Alexie, Sherman. (1994) Lone Ranger and Tonto Fistfight In Heaven. New York: Harperperennial. (RF - YA)

Alexie, Sherman (2007) The Absolutely True Diary of a Part-Time Indian. NY: Little Brown. (RF-YA)

Allen, Paula Gunn. (2001) As Long As the Rivers Flow: The Stories of Nine Native Americans. New York: Scholastic (B – E/M)

Ancona, George. (1993) Powwow. San Diego, CA: Harcourt Brace Jovanovich. (Photo essay/NF – All ages)

Ancona, George. (1995). Earth Daughter: Alicia of Acoma Pueblo. Macmillan. (Photo essay/NF – All ages)

Andrews, Jan. (1998). Very Last First Time. Aladdin (PIC/RF – All ages).

Archuleta, Margaret L., Brenda J. Child, and K. Tsianina Lomawaima. (2000) Away from Home: American Indian Boarding School Experiences. Phoenix: The Heard Museum. (NF – YA)

Begay, Shonto (1995) Navajo: Visions and Voices Across the Mesa. New York: Scholastic (P – All ages)

Blacksheep, Beverly [illustrator] (2003). Baby Learns About Animals. Flagstaff, AZ : Salina Bookshelf (PIC/Board book for toddlers)

Blacksheep, Beverly [illustrator] (2003). Baby’s First Laugh Flagstaff, AZ : Salina Bookshelf (PIC/Board book for toddlers)

Blacksheep, Beverly [illustrator] (2003). Baby Learns to Count, Flagstaff, AZ : Salina Bookshelf (PIC/Board book for toddlers)

Blacksheep, Beverly [illustrator] (2003). Baby Learns about Colors, Flagstaff, AZ: Salina Bookshelf (PIC/Board book for toddlers)

Braine, Susan. (1995). Drumbeat…Heartbeat: A Celebration of the Powwow. Lerner Pub. (Photo essay/NF – All ages)

Broker, Ignatia. (1983) Night Flying Woman. St. Paul: Minnesota Historical Society. (HF - YA)

Note from Debbie Reese on Sep 30, 2023: I no longer recommend Joseph Bruchac's work. For details, see Is Joseph Bruchac truly Abenaki?

Bruchac, Joseph (2004) Hidden Roots, New York: Scholastic. (RF – M)

Bruchac, Joseph. (1993). Fox Song. Philomel Books (PIC/RF – E/M).

Bruchac, Joseph. (1995). The Story of the Milky Way. Dial Books for Young Readers (PIC/TL – All ages).

Bruchac, Joseph. (1996). Eagle Song. Dial (PIC/RF – E/M).

Bruchac, Joseph. (1998) Arrow Over the Door. New York: Dial. (HF - E/M)

Bruchac, Joseph. (1997) Bowman’s Store. New York: Dial. (Autobiography - M/YA)

Bruchac, Joseph. (1996) Children of the Longhouse. New York: Dial. (HF - E/M)

Bruchac, Joseph. (1998). Heart of a Chief. Dial (RF - M).

Bruchac, Joseph. (2001) Skeleton Man. HarperCollins. (RF – M/YA)

Campbell, Maria. (1973) Halfbreed. Lincoln: University of Nebraska Press (RF - M/YA)

Campbell, Nicola. (2006) Shi-shi-etko, NY: Groundwood. (PIC – All Ages)

Carlson, Lori Marie [ed.] (2005). Moccasin Thunder. NY: Harper Collins. (RF - YA) Short stories by Harjo, Hogan, Alexie, Smith.

Champagne, Duane. (1994) Chronology of Native North American History. Detroit: Gale Research (NF – All ages)

Champagne, Duane. (1994) Native America: Portrait of the Peoples. Detroit: Visible Ink Press. (NF – All ages)

Child, Brenda. (2000). Boarding School Seasons: American Indian Families, 1900-1940. Bison Books Corporation. (NF – All ages)

Children of LaLoche & Friends. (1990). Byron through the Seasons. Fifth House Ltd. (PIC/RF – E/M).

Confederated Salish and Kootenai Tribes, (2005), Lincoln: U of Nebraska Press. (PIC/TL – All ages)

Crum, Robert. (1994). Eagle Drum: On the Powwow Trail with a Young Grass Dancer. Simon & Schuster. (Photo essay/NF – All ages)

De Montano, Marty Kreipe (1998) Coyote in Love with a Star. New York: Abbeville Press. (PIC/TL – All ages)

Deloria, Ella. (1988) Waterlily. Lincoln: University of Nebraska Press. (HF - M/YA).

Deloria, Vine. (1969). Custer Died For Your Sins: An Indian Manifesto. New York: MacMillan. (NF – M/YA)

Dorris, Michael. (1994) Guests. New York: Scholastic (HF - E/M)

Dorris, Michael (1992) Morning Girl. New York: Scholastic (HF - E/M).

Dorris, Michael. (1996). Sees Behind Trees. New York: Scholastic (HF - E/M)

Dorris, Michael. (1998). The Window. Hyperion (RF – M/YA).

Earling, Debra Magpie. (2002). Perma Red. Blue Hen Books. (RF-YA).

Eastman, Charles. (1977) From the Deep Woods to Civilization. University of Nebraska Press. (AB – M/YA)

Eastman, Charles (1993) Indian Boyhood. Alexander, VA: Time Life Books. (AB - M/YA)

Ellis, Clyde. (1996). To Change Them Forever: Indian Education at the Rainy Mountain Boarding School, 1893-1920. University of Oklahoma Press. (NF – M/YA)

Erdrich, Louise. (1999). Grandmother's Pigeon. Hyperion (PIC/RF - E).

Erdrich, Louise. (1999). Birchbark House. New York: Hyperion. (HF - E/M)

Erdrich, Louise. (2005) Game of Silence. New York: HarperCollins (HF – E/M)

Eyvindson, Peter. (1984). Kyle’s Bath. Pemmican Publications (PIC/RF - E).

Eyvindson, Peter. (1988). Chester Bear, Where Are You? Pemmican Publications (PIC/RF - E).

Gravelle, Karen. (1997). Growing Up Where the Partridge Drums Its Wings. Franklin Watts. (Photo essay/NF – All ages)

Francis, Lee. (1996). Native Time: A Historical Time Line of Native America. New York: St. Martin’s Griffin. (NF – All ages)

Geiogamah, Hanay & Darby, Jaye T., (1999). Stories of Our Way: An Anthology of American Indian Plays. Los Angeles: UCLA American Indian Studies Center. (Anthology – YA).

Grace, Catherine O’Neill and Bruchac, Margaret. (2001). National Geographic Society. (NF – All ages)

Hale, Janet Campbell. (1993). Bloodlines. Tucson: University of Arizona Press. (RF - YA).

Hale, Janet Campbell. (1998). The Owl’s Song. University of New Mexico Press (RF - YA).

Harjo, Joy. (1996) Woman Who Fell From the Sky. W. W. Norton & Company (P – YA)

Harjo, Joy. (2000). The Good Luck Cat. (PIC/RF - E/M)

Himango, Deanna. (2002). Boozhoo, Come Play With Us. Cloquet, MN: Fond du Lac Head Start Program (available from www.oyate.org). (NF/PIC - Board book for babies and toddlers)

Howe, LeAnne. (2001). Shell Shaker. Aunt Lute Books. (Fiction – YA)

Howe, LeAnne. (2005). Evidence of Red: Prose and Poems. Salt Publishing. (Poetry – YA)

Hubbard, Jim. (1994) Shooting Back from the Reservation. (Photo essay/NF – All ages)

Hucko, Bruce. (1996) A Rainbow At Night: The World in Words and Pictures. San Francisco: Chronicle Books. (NF – All ages)

Hucko, Bruce. (1996). Where There Is No Name for Art: The Art of Tewa Pueblo Children.Santa Fe, N.M.: School of American Research: Distributed by the University of Washington Press. (NF – All ages)

Hungry Wolf, Beverly. (1980). The Ways of My Grandmothers. New York: Quill. (RF - YA)

Hunter, Sally, M. (1997) Four Seasons of Corn: A Winnebago Tradition. Photographs by Joe Allen. Minneapolis, MN: Lerner Publications Co. (Photo essay/NF – All ages)

Hunter, Sara Hoagland. (1996). The Unbreakable Code. Northland (PIC/RF – E/M).

Hyer, Sally. (1990). One House, One Voice, One Heart: Native American Education at the Santa Fe Indian School. Museum of New Mexico Press. (NF – All ages)

Jaakola, Lyz. (2001). Our Journey. Cloquet, MN: Fond du Lac Head Start Program. (RF/PIC - Board book for babies and toddlers)

Johnson, Diane Hamm. (1997). Daughter of Suqua. Albert Whitman & Co. (RF – E/M).

Keeshig-Tobias, Lenore. (1991). Bird Talk. Sister Vision (PIC/RF – E/M).

Keeshig-Tobias, Lenore. (1997). Emma and the Trees. Sister Vision (PIC/RF – E/M).

King, Sandra. Shannon: An Ojibway Dancer. (1993). Photographs by Catherine Whipple. Minneapolis, MN: Lerner Publications Co. (Photo essay/NF – All ages)

King, Thomas. (1993 ) One Good Story That One. Toronto: HarperPerennial. (RF – YA)

King, Thomas. (1991) Medicine River. NY: Penguin. (RF – YA)

King, Thomas. (1992) A Coyote Columbus Story. Toronto: Douglas McIntyre Ltd. (PIC/TL – M/YA)

King, Thomas. (2000) Truth and Bright Water. Atlantic Monthly Press. (RF – YA)

King, Thomas. (2003). The Truth about Stories. Minneapolis: U of Minn Press. (NF – YA)

Krull, Kathleen. (1995). One Nation, Many Tribes: How Kids Live in Milwaukee’s Indian Community. Lodestar. (Photo essay/NF – All ages)

Kusugak, Michael. (1993). Northern Lights: The Soccer Trails. Annick Press Ltd. (PIC/RF – E/M).

Kusugak, Michael. (1996). My Arctic 1, 2, 3. Annick Press Ltd. (PIC/RF - E).

Lacapa, Michael. (1993). Antelope Woman, An Apache Folktale. (PIC/TL – E/M)

Lacapa, Kathleen & Michael. (1994). Less Than Half, More Than Whole. Northland (PIC/RF – E/M).

LaFlesche, Francis. (1963)The Middle Five: Indian Schoolboys of the Omaha Tribe. Lincoln: U of Neb. Press. (NF - M/YA)

Littlechild, George. (1993) This Land is My Land. Children’s Book Press. (PIC/RF – All ages)

Lomawaima, K. Tsianina (1994). They Called It Prairie Light. University of Nebraska Press (NF – M/YA).

Maher, Ramona. (2003). Alice Yazzie’s Year. Berkeley: Tricycle Press. (PIC/RF – E/MA).

Marra, Ben. (1996) Powwow: Images Along the Red Road. Photographs by Ben Marra. New York: Abrams. (Photo essay/NF – All ages)

McDonald, Megan. (1997). Tundra Mouse. Orchard Books (PIC/RF – E/M).

McMillan, Bruce. (1997). Fort Chipewyan Homecoming: A Journey to Native Canada. Lerner Pub. (Photo essay/NF – All ages)

McNickle, D’Arcy. (1978). Wind from an Enemy Sky. HarperCollins. (RF - YA).

McNickle, D’Arcy. (1978). The Surrounded. University of New Mexico Press. (RF - YA).

McNickle, D’Arcy. (1987). Runner in the Sun. University of New Mexico Press. (HF – M/YA).

Mendoza, Durango (1994) “Summer Water and Shirley” in Judith A. Stanford, Ed. Connections: Reading and Writing in Cultural Contexts., Third Edition. Mountain View, CA: Mayfield Publishing, pp. 184-191. (Anthology – YA)

Messinger, Carla (2007) When the Shadbush Blooms. (PIC/E-M)

Momaday, N. Scott (1974) An Angle of Geese and Other Poems. Boston: Godine (P – YA)

Momaday, N. Scott (1999) Circle of Wonder. Albuquerque: University of New Mexico Press. (PIC/RF – E/M)

Montour, Joel. (1996). Cloudwalker: Contemporary Native American Stories. Fulcrum (RF - M).

Moore, MariJo. (2000). The Cherokee Little People. Barrington, IL: Rigby. (PIC/TL – E/M).

Moore, Marijo. (2000). The Ice Man. Barrington, IL: Rigby. (PIC/TL – E/M).

Moore, MariJo. (2000). First Fire. Barrington, IL: Rigby. (PIC/TL – E/M).

Munsch, Robert. (1989). A Promise Is a Promise. Annick Press Ltd. (PIC/RF – E/M).

National Museum of the American Indian (2007) Do All Indians Live in Tipis? (NF/EL-YA)

Okanagan Tribal Council (1999) How Food Was Given, How Names Were Given, and How Turtle Set the Animals Free. Okanagan Tribal Council. (TL – All Ages)

Orie, Sandra DeCoteau. (1995) Did You Hear Wind Sing Your Name? An Oneida Song of Spring. NY: Walker & Co. (PIC/P – all ages)

Ortiz, Simon. (1988). The People Shall Continue. Children’s Book Press. (PIC/P - all ages)

Parker, Dorothy R. (1996). Phoenix Indian School: The Second Half Century. University of Arizona Press. (NF – YA)

Peters, Russell. (1992) Clambake: A Wampanoag Tradition. Photographs by John Madama. Minneapolis, MN: Lerner Publications Co., 1992. (Photo essay/NF – All ages)

Quoyawayma, Polingaysi. (1964). No Turning Back. A Hopi Indian Woman’s Struggle to Live in Two Worlds. University of New Mexico Press (AB – M/YA).

Red Shirt, Delphine (1998). Bead on an Anthill: A Lakota Childhood Lincoln: U of Nebraska Press. (NF – YA)

Regguinti, Gordon. (1992) The Sacred Harvest: Ojibway Wild Rice Gathering. Photographs by Dale Kakkak. Minneapolis, MN: Lerner Publications Co., (Photo essay/NF – All ages)

Rendon, Marcie. (1996) Powwow Summer: A Family Celebrates the Circle of Life. Photographs by Cheryl Walsh Bellville. Minneapolis, MN: Carolrhoda Books. (Photo essay/NF – All ages)

Rockwood, Joyce. (1976) To Spoil the Sun. New York: Henry Holt (HF - M/YA) [Eds. note on Sep 11, 2017: I need to revisit this book. Views on books like this have shifted since the list was initially created. For the present time, I do not recommend it.]

Roessel, Monty. (1993) Kinaaldá: A Navajo Girl Grows Up. Minneapolis, MN: Lerner Publications Co. (Photo essay/NF – All ages)

Roessel, Monty. (1995) Songs from the Loom: A Navajo Girl Learns to Weave. Minneapolis, MN: Lerner Publications Co. (Photo essay/NF – All ages).

Roessel, Ruth. (1973). Navajo Stories of the Long Walk Period. Tsaile, AZ: Navajo Community College Press. (NF – YA)

Rose, LaVera. (1999) Grandchildren of the Lakota. Photographs by Cheryl Walsh Bellville. Minneapolis, MN: Carolrhoda Books. (Photo essay/NF – All ages)

Ross, Gayle (1995) How Turtle’s Back Was Cracked: A Traditional Cherokee Tale. New York: Dial (PIC/TL – E/M)

Ross, Gayle (1996) The Legend of the Windigo. New York: Dial (PIC/TL – E/M)

Ruoff, A. Lavonne Brown. (1991) Literatures of the American Indian. New York: Chelsea House (NF – All ages)

Sanderson, Esther. (1990). Two Pairs of Shoes. Pemmican Publications (PIC/RF - E).

Savageau, Cheryl. (1996). Muskrat Will Be Swimming. Northland (PIC/RF – E/M).

Scott, Ann Herbert. (1992). On Mother’s Lap. Clarion (PIC/RF - E).

Sekaquaptewa, Eugene. (1994). Coyote and the Winnowing Birds. Clear Light (PIC/TL – All ages).

Skolnick, Sharon. (1997) Where Courage is Like a Wild Horse. Lincoln: University of Nebraska Press. (RF - YA)

Smith, Cynthia. (2000). Jingle Dancer. Morrow Junior (PIC/RF – E/M).

Smith, Cynthia (1999). Rain is Not My Indian Name. New York: HarperCollins (RF - E/M)

Smith, Cynthia (2002). Indian Shoes. New York: HarperCollins (RF-E/M)

Sneve, Virginia Driving Hawk (1995). Completing the Circle. Lincoln: University of Nebraska Press (Autobiography – YA)

Sneve, Virginia Driving Hawk.(1993). The Chichi Hoohoo Bogeyman. University of Nebraska Press (RF – E/M).

Sneve, Virginia Driving Hawk (1993) The Sioux: A First Americans Book. Holiday House. (NF – All ages).

Sneve, Virginia Driving Hawk. (1993). When Thunders Spoke. University of Nebraska Press (F - E/M).

Sneve, Virginia Driving Hawk, (1994). The Nez Perce: A First Americans Book. Holiday House. (NF – All ages).

Sneve, Viriginia Driving Hawk (1994). The Seminoles: A First Americans Book. Holiday House. (NF – All ages).

Sneve, Virginia Driving Hawk. (1995). High Elk’s Treasure. Holiday House (RF – E/M).

Sneve, Virginia Driving Hawk, (1995) The Hopis: A First Americans Book. Holiday House (NF – All ages)

Sneve, Virginia Driving Hawk, (1995) The Iroquois: A First Americans Book. Holiday House (NF – All ages)

Sneve, Virginia Driving Hawk. (1995) The Navajos: A First Americans Book. Holiday House (NF – All ages)

Sneve, Virginia Driving Hawk (1996). The Cherokees: A First Americans Book. Holiday House. (NF – All ages).

Sneve, Virginia Driving Hawk, (1996) The Cheyennes: A First Americans Book. Holiday House. (NF – All ages).

Sneve, Virginia Driving Hawk, (1997), The Apaches: A First Americans Book. Holiday House. (NF – All ages).

Sneve, Virginia Driving Hawk, (2003), Enduring Wisdom: Sayings from Native Americans. Holiday House (NF – All ages).

Steltzer, Ulli. Building an Igloo. New York: Henry Holt, 1995. (Photo essay/NF – All ages).

Sterling, Shirley. (1997). My Name is Seepeetza. Douglas & McIntyre (RF - M).

Stroud, Virginia. (1994). Doesn’t Fall Off His Horse. Dial Books for Young Readers (PIC/TL – All ages).

Students of G.T. Cunningham Elementary School (1996). We Are All Related: A Celebration of Our Cultural Heritage. (NF- all ages)

Swamp, Jake. (1997) Giving Thanks: A Native American Good Morning Message. Lee & Low. (PIC/P - all ages)

Swentzell, Rina. (1992) Children of Clay: A Family of Pueblo Potters, Minneapolis, MN: Lerner Publications Co., 1992. (Photo essay/NF – all ages)

Talashoema, Herschel; Sekaquaptewa, Emory (Ed.); and Pepper, Barbara (Ed.). (1994). Coyote and Little Turtle. Clear Light. (PIC/TL – All ages).

Tapahonso, Luci (1997). Blue Horses Rush In. Tucson: University of Arizona Press. (P/RF – YA)

Tapahonso, Luci. (1999). Songs of Shiprock Fair. Kiva (PIC/P – All ages).

Thompson, Sheila. (1991). Cheryl’s Potlatch. Yinka Dene Language Institute. (Photo essay/NF – All ages)

Turcotte, Mark. (1995). Songs of Our Ancestors. Chicago: Children’s Press (PIC/P – All ages)

Van Camp, Richard. (1998), The Lesser Blessed. Douglas & McIntyre (RF – YA)

Van Camp, Richard; ill. by George Littlechild, (1997). A Man Called Raven. Children’s Book Press. (PIC/RF – E/M)

Van Camp, Richard; ill. by George Littlechild, (1998). What’s the Most Beautiful Thing you Know about Horses. Children’s Book Press. (PIC/RF – E/M)

Van Camp, Richard. (2007) Welcome Song for Baby. (Board book – All ages).

Velarde, Pablita. (1993) Old Father Storyteller. Santa Fe: Clear Light Publishers. (TL - all ages) – includes “Turkey Girl”

Waboose, Jan Bourdeau. (1998). Morning on the Lake. Kids Can Press (PIC/RF – E/M).

Waboose, Jan Bourdeau (2001). Sky Sisters. (PIC/RF – E/M)

Wallis, Velma. (1993) Two Old Women. New York: HarperPerennial (HF - M/YA)

Walking Turtle, Eagle. (1997). Full Moon Stories. Hyperion (TL – All ages).

Wheeler, Bernelda. (1995). Where Did You Get Your Moccasins? Peguis Publications (PIC/RF - E).

Wheeler, Bernelda. (1993). I Can’t Have Bannock but the Beaver Has a Dam. Peguis Publications (PIC/RF - E).

Whitethorne, Baje. (1994). Sunpainters: Eclipse of the Navajo Sun. Northland (PIC/TL – All ages).

Wittstock, Laura Waterman. (1993). Ininatig's Gift of Sugar: Traditional Native 

Sugarmaking. Photographs by Dale Kakkak. Minneapolis, MN: Lerner Publications Co. (Photo essay/NF – All ages)

Wood, Ted. (1992). A Boy Becomes a Man at Wounded Knee. Walker and Company. (Photo essay/NF – All ages)

Yamane, Linda. (1997) Weaving a California Tradition: A Native American Basket Maker.Minneapolis, MN: Lerner Publications. (Photo essay/NF – All ages) Photographs by Dugan Aguilar. 

Section Two: Recommended Resources about Native Americans in Children’s Literature

Atleo, M., Caldwell, N., Landis, B., Mendoza, J., Miranda, D., Reese, D., Rose, L., Slapin, B., Smith, C. (1999). A Critical Review of Ann Rinaldi's My Heart is on the Ground: The Diary of Nannie Little Rose, A Sioux Girl. Oyate. http://oyate.org/books-to-avoid/index.html

Caldwell-Wood, Naomi, and Lisa A. Mitten. (1991) “I” Is Not for Indian: The Portrayal of Native Americans in Books for Young People. http://www.nativeculturelinks.com/ailabib.htm

Internet Public Library: Native American Authors. Provides a list of Native American authors, plus a short biography, a list of published works, and links to relevant sites. http://www.ipl.org/div/natam/

Kuipers, Barbara. (1991) American Indian Reference Books for Children and Young Adults. Englewood: Libraries Unlimited.

McCann, D. (1993). Native Americans in Books for the Young. In V. Harris (Ed.) Teaching Multicultural Literature in Grades K-8. Norwood, MA: Christopher-Gordon Publishers, Inc.

Mendoza, Jean and Reese, Debbie. (2001). Examining Multicultural Picture Books for the Early Childhood Classroom: Possibilities and Pitfalls. Early Childhood Research and Practice 3 (2), On-line: http://ecrp.uiuc.edu/v3n2/mendoza.html

Molin, Paulette. (2005). American Indian Themes in Young Adult Literature. Lanham, MD: Scarecrow Press.

Native American Books. This on-line resource contains critical reviews of children’s books. http://www.kstrom.net/isk/books/bookmenu.html

Reese, Debbie A., & Caldwell-Wood, Naomi. (1997). Native Americans in Children's Literature. In V. J. Harris (Ed.), Using Multiethnic Literature in the K-8 Classroom. Christopher Gordon, Inc.

Reese, Debbie. (2001). Representations of Native American Women and Girls in Children’s Historical Fiction, in Lehr, Susan. (Ed.) Beauty, Brains and Brawn: Construction of Gender in Children’s Literature. Portsmouth: Heinemann.

Reese, Debbie. (1999). Authenticity & Sensitivity: Goals on writing and reviewing books with Native American themes. School Library Journal 45 (11), pp. 36-37. On-line: http://www.schoollibraryjournal.com/article/CA153126.html

Reese, Debbie A. (1998). “Look Mom! It’s George! He’s a TV Indian!” Horn Book Magazine, 74(5), pp. 636-641.

Seale, Doris, and Slapin, Beverly. (2006). A Broken Flute: The Native Experience in Books for Children. AltaMira Press.

Slapin, Beverly, and Seale, Doris. (1998). Through Indian Eyes: The Native Experience in Books for Children. University of California, American Indian Studies Center.

Smith, Cynthia L. Native American Themes in Books for Children and Teens. Start exploring Smith’s site with this page: http://cynthialeitichsmith.com/lit_resources/diversity/native_am/NativeThemes_intro.html

Smithsonian Institution. A Critical Bibliography on North American Indians for K-12. An extensive site, arranged by geographical area. http://www.nmnh.si.edu/anthro/outreach/Indbibl/index.html

Thompson, M.K. (Sept: 2001) “A sea of good intentions: Native Americans in books for children.” The Lion and the Unicorn.

Tyler, Rhonda Harris (Jul/Aug 2000) “Indian in the Cupboard: A Case Study in Perspective” International Journal of Qualitative Studies in Education (QSE), Vol. 13, Issue 4 

Section Three: Recommended Professional Resources. Books and websites listed here can help teachers and librarians locate books, do fact checking, and gain insight and awareness of issues related to Native culture and Native perspectives.

Aperture.(1995) Strong Hearts: Native American Visions and Voices. New York: Aperture.

American Indian Library Association website: http://www.nativeculturelinks.com/aila.html

Berkhofer, Robert E. (1978). The White Man’s Indian. New York: Vintage Books.

Bigelow, Bill. (1998). Rethinking Columbus: The Next 500 Years. Milwaukee: Rethinking Schools.

Cubbins, E.M. (1999) Techniques for Evaluating American Indian Web Sites. An excellent page with substantive information.http://www.u.arizona.edu/~ecubbins/webcrit.html

Davis, Mary B. (1996). Native America in the Twentieth Century: An Encyclopedia. New York: Garland Publishing Inc.

Deloria, Phillip. (1998). Playing Indian. New Haven: Yale University Press.

Hirschfelder, Arlene; Molin, Paulette Fairbanks; & Wakim, Yvonne. (1999). American Indian Stereotypes in the World of Children. Scarecrow Press.

Hoxie, Frederick E. (1996). Encyclopedia of North American Indians. New York: Houghton Mifflin.

Mitten, Lisa. Native American Home Pages. http://www.nativeculturelinks.com/indians.html

Reese, Debbie. (1996) Teaching Young Children about Native Americans. ERIC Digest. Urbana, IL: ERIC Clearinghouse on Elementary and Early Childhood Education. On-line: http://ecap.crc.uiuc.edu/eecearchive/digests/1996/reese96.html

Reese, Debbie. (1997). Thoughts on Not Seeing Oneself. Gender and Culture in Picture Books, School of Communication, Information, and Library Studies, Rutgers University. [on-line publication]

Seale, Doris, B. Slapin, & C. Silverman. (1998) Thanksgiving: A Native Perspective. Berkeley: Oyate.

Smithsonian Institution. Erasing Native American Stereotypes. An essay based on work done by June Sark Heinrich, Council on Books for Interracial Children, 1977 http://anthropology.si.edu/outreach/Indbibl/sterotyp.html

Stedman, Raymond William. (1982). Shadows of the Indian. Norman: University of Oklahoma Press.

Womack, Craig. (1999) Red on Red: Native American Literary Separatism. Minneapolis: U of Minnesota Press.