Showing posts sorted by date for query sherman alexie. Sort by relevance Show all posts
Showing posts sorted by date for query sherman alexie. Sort by relevance Show all posts

Thursday, February 23, 2017

A Close Look at CCBC's 2016 Data on Books By/About American Indians/First Nations

Eds. note: See AICL's list for 2016

On February 15, 2017, Cooperative Children's Book Center (CCBC) at the University of Wisconsin released its statistics on the numbers of children's books by/about American Indians/First Nations and People of Color during the year 2016. 

This is vitally important work that CCBC has been doing for many years. Two important things to know about these statistics (I am not critical of CCBC at all in noting these two things; doing some of this work myself, I know how very hard it is to do, to get books, and then to categorize/analyze them).

The data is based on books that are sent to them. Small publishers generally cannot afford to send books out to review journals, bloggers, or centers like CCBC. That means books by small publishers who do great books by/about Native peoples may not be included in the data. It also means, however, that books by small publishers (or self published books) who do stereotypical books by Native people may not be included.

The data is statistical. It is a count. It is not about the quality of the books on the list. To see what they recommend, see CCBC Choices. 

CCBC sent me the log of Native books for their 2016 counts. For the last few years I have been taking a close look at their log, focusing on fiction (as tagged by CCBC; books tagged as picture books are not included in this list) published by US publishers. Here's what I see. 

Note! 
Books in blue font are ones I recommend. 
Books in red font are ones I do not recommend.
Books in bold are from "Big Five" publishers.
Book in plain, black font are ones I have not read, with one exception (I have mixed feelings about Alexie's book.)

Fiction, US Publishers (books in bold are by one of the Big Five publishers)

Here's the list of fiction written by Native people (N = 4):
  • Bruchac, Joseph. The Long Run. 7th Generation
  • Bruchac, Joseph. Talking Leaves. Dial/Penguin
  • Erdrich, Louise. Makoons. HarperCollins
  • Smelcer, John. Stealing Indians. Leapfrog Press (Note: Smelcer's claim to Native identity is contested)

Now here's the books on the CCBC list, by writers who are not Native (N = 17):
  • Abbott, E. F. Mary Jemison: Native American Captive. Feiwel and Friends/Macmillan
  • Carson, Rae. Like a River Glorious. Greenwillow/HarperCollins
  • Flanagan, John. Brotherband: The Ghostface. Penguin
  • Flood, Nancy Bo. Soldier Sister Fly Home. Charlesbridge
  • Heacox, Kim. Jimmy Bluefeather. Alaska Northwest Books
  • Hitchcock, Bonnie Sue. The Smell of Other People's Houses. Wendy Lamb/Penguin
  • Inglis, Lucy. Crow Mountain. Scholastic
  • Harrison, Margot. The Killer in Me. Hyperion/Hachette Book Group
  • Lewis, Ali. Timber Creek Station. Carolrhoda Lab
  • MacColl, Michaela. The Lost Ones. Calkins/Highlights
  • Mann, J. Albert. Scar: A Revolutionary War Tale. Calkins/Highlights
  • Massena, Ed. Wandmaker. Scholastic
  • Oppel, Kenneth. Every Hidden Thing. Simon and Schuster
  • Patel, Sonia. Rani Patel in Full Effect. Cinco Puntos Press
  • Reeve, Kirk. Sun Father Corn Mother. Sun Stone Press  
  • Stokes, Jonathan. Addison Cooke and the Treasure of the Incas. Philomel/Penguin
  • Velasquez, Crystal. Circle of Lies (Hunters of Chaos, Bk 2). Aladdin/Simon and Schuster


Who publishes what?
In 2016, the Big Five published two Native writers (Bruchac and Erdrich). Of those two, I've read and recommend Makoons. Bruchac's book is out for review.

In 2016, the Big Five published eight non-Native writers (Abbott, Carson, Flanagan, Hitchcock, Harrison, Oppel, Stokes, and Velasquez). Of those eight, I've read and do not recommend Carson, Hitchcock, and Harrison (not all reviews are online yet). I also do not recommend some of the non-Native books from small publishers: Flood, MacColl, Mann, Massena (not all reviews are online yet).


A comparison between 2015 and 2016

---------------------------------------------------2015--------------2016-------
Books by Native writers............................3......................4............              
Books by Non-Native writers....................7.....................17...........


From US publishers, there were 10 in 2015. For 2016, it is 21. That is a huge change, but it is due to non-Native writers. Of the 17, I've read eight and found all of them lacking in some way. What will I find if I read the other nine? Based on experience, I'm not optimistic. Ernie Cox, at Reading While White, reviewed Abbott's book about Mary Jemison. I trust his review. I think it would end up on my not recommended list.

There's more to do, in terms of analyzing CCBC's data. That's what I've got, for now.

___________________________________

Update, Feb 23 2017, 10:20 AM -- back to list titles in fiction/Canada, and picture books in US and Canada. 

Fiction, Canadian Publishers. (Note: none in either category are by Big Five publishers.)

Native Writers (N = 2):
  • Currie, Susan. The Mask That Sang. Second Story Press
  • McLay, R. K. The Rahtrum Chronicles. Fifth House


Non-Native Writers (N = 4)

  • Bass, Karen. The Hill. Pajama Press
  • Koner, Miriam. Yellow Dog. Red Deer Press
  • Ouriou, Susan. Nathan. Red Deer Press
  • Richardson, Eve. Saving Stevie. Red Deer Press


It is interesting that there are not any books from the Big Five. The Big Five are in Canada, too, with "Canada" tagged on.

For example, Robbie Robertson's Testimony is published by Knopf Canada, which is part of Penguin Random House Canada. It is non-fiction, by the way, and it isn't meant for children. It came out in 2016. My guess is that it wasn't sent to CCBC. Robertson is Native. Another example is Joseph Boyden's Three Day Road. It is published by Penguin Canada. It came out in 2008, in the adult market, but is assigned to high school students. Boyden is not Native.

___________________________________

Picture books, US Publishers:

Native writers (N = 2):

  • Alexie, Sherman; illustrated by Yuji Morales. Thunder Boy Jr. Little Brown
  • Connally, Judy Shi, and Lawana Tomlinson Dansby; illustrated by Norma Howard. My Choctaw Roots. Choctaw Print Services.


Non-Native writers (N = 3)

  • Burton, Jeffrey; illustrated by Sanja Rescek. The Itsy Bitsy Pilgrim. Little Simon
  • Lai, Trevor. Tomo Explores the World. 
  • Marshall, Linda Elovitz; illustrated by Elisa Chavarri. Rainbow Weaver = Tejedora del acoiris. Children's Book Press/Lee & Low.

___________________________________

Picture books, Canadian Publishers (none in either category are by Big Five publishers)

Native writers (N = 9)
  • Avingaq, Susan and Maren Vsetula; illustated by Charlene Chua. Fishing with Grandma. Inhabit Media
  • Baker, Darryl; illustrated by Qin Leng. Kamik Joins the Pack. Inhabit Media
  • Dupuis, Jenny Kay (and Kathy Kacer); illustrated by Gillian Newland. I Am Not A Number. Second Story Press
  • Highway, Tomson; illustrated by Julie Flett. Dragonfly Kites/Pimithaagansa. Fifth House
  • Kalluk, Celina; illustrated by Alexandria Neonakis. Sweetest Kulu. Inhabit Media
  • Mike, Nadia; illustrated by Charlene Chua. Leah's Mustache Party. Inhabit Media.
  • Robertson, David Alexander; illustrated by Julie Flett. When We Were Alone. Highwater Press
  • Smith, Monique Gray; illustrated by Julie Flett. My Heart Fills With Happiness. Orca
  • Van Camp, Richard; illustrated by Julie Flett. We Sang You Home. Orca.

Non-Native writers (N = 1)
  • Currie, Robin; illustrated by Phyllis Saroff. Tuktuk: Tundra Tale. Arbordale



Tuesday, December 13, 2016

Not recommended: INDEH: A STORY OF THE APACHE WARS by Ethan Hawke and Greg Ruth

Eds. note on Dec 16, 2016: Please scroll down to see Greg Ruth's response to my review. In turn, I responded to him.
______________________________

I've received several questions about Indeh: A Story of the Apache Wars by Ethan Hawke and Greg Ruth.

Published by Hachette Book Group in 2016, this graphic novel wasn't published for, or marketed to, children or young adults. That said, we know that teens read a lot of things that wasn't necessarily meant for them. There are awards, too (like the American Library Association's Alex Award) for books regarded as "crossover" ones--which cross over from the adult to the teen market.

Teachers and librarians are asking if Indeh can be used in high school classrooms. Short answer? No.

Generally, reviews on American Indians in Children's Literature are specific to accuracy of content which, in my view, makes them suitable for teachers to use when they develop lessons or select books to read aloud in their classrooms.

The questions I'm getting suggest that teachers wonder if there's enough accuracy in Indeh to use it to teach about the Apache wars. It may also be coming from teachers who know that graphic novels are a hit with teens and that Indeh may work well with teens who are reluctant readers.

Again--my answer is no. It isn't accurate (more on that, later). There's another interesting factor to consider.

Hawke's Use of Geronimo's Words


As I started reading Indeh, I pulled out the resources I use when doing book reviews. I had Indeh in one window (I use a Kindle app on my computer) and in another window, I had a copy of Geronimo's Story of His Life which was "taken down and edited by S. M. Barrett." He was the Superintendent of Education in Lawton, Oklahoma and the contents of this book were told to him by Geronimo. The first pages in it are devoted to copies of letters that went back and forth between several people involved in authorizing Geronimo to tell his story. It was published in 1906 by Duffield & Company in New York.

Right away, I hit the pause button in my reading. Here's a screen cap comparing the opening lines of Hawke's book (on top), and Barrett's (on the bottom):





This paraphrasing happens in several places in the book. (Note: In response to those who asked to see the other examples, I've added three, at the bottom of the post.) In the afterword, Hawke tells us that Once They Moved Like the Wind by David Roberts inspired him to write Indeh. Though Hawke includes Barrett's book in the "for further reading" section, I think he should have written about Barrett's book in that afterword because of passages like that shown above. This happens later, too. A big deal? Or not?

I'm noting it because--in the afterword--Hawke talks about appropriation (p. 228):
The Apache Wars are a vital part of our American history that needs to be told in a way that honestly appreciates and integrates, rather than appropriates, Native American history.
Hawke's use of the word is odd. What does he mean? I could say that, in using Barrett like he did, he's appropriating Geronimo's words. Is that a form of appropriation?

That said, my primary concern is with the accuracy. First, let's look at what Hawke sets out to do with Indeh.

Hawke's Intent


In his Afterword, Hawke recounts a story from his childhood. His parents had divorced, and his dad took him on a camping trip. They were somewhere near the Arizona/New Mexico border when (p. 227):
An old man waved us down from the center of the two-lane road--the only living thing as far as my eyes could see. I heard him say in an unfamiliar cadence, "You are not supposed to be here."
The old man told them they're lucky it was him that found them (he looked directly at 8-year-old Hawke when he said that, and that old man's eyes stayed with Hawke). Hawke's dad turned the car around. Hawke asked his dad what happened.
My father explained what an Indian reservation was, what an Apache was, how we really shouldn't have been there at all, and how lucky he was not to have gotten his ass kicked.
Hawke asked what the old man meant about them being lucky he's the one who had found them.
My father told me, "Many of the Indians are very angry. And they damn well should be." 
Hawke asks if they're mad at him (he doesn't tell us if his dad responded to that question). From then on, he started buying and reading books about Geronimo, Cochise, Victorio, and Lozen. From those books, he says he saw that
...the cowboy movies I'd always loved took on a different hue. They were full of lies. Those gunfights weren't cool, heroic frays--they were slaughters.
All that made me pause. Hawke was born in 1970. So, he was out there on that two-lane road in 1978. My guess is that they were on either the Fort Apache Reservation, or, on the San Carlos Reservation. Though the reservations are under the jurisdiction of their respective governments, they aren't closed to others. There are times when we close off the roads to outsiders, but that doesn't sound like what happened to Hawke. Who was that old guy?! The "should not have been there" portion of Hawke's story sounds... dramatic. I'm not saying it didn't happen; I'm just wondering who the old guy was. Part of me thinks Hawke and his dad got punked! On the other hand, it is possible that the man was home after having spent time with the Native activists doing activist work at Alcatraz in 1969, at the Bureau of Indian Affairs offices in Washington DC in 1972, or Wounded Knee in 1973.

Anyway, Hawke goes on to talk about his adulthood... working in Alaska with Native actors, and watching Smoke Signals and Powwow Highway, and reading one of Sherman Alexie's books. Hawke writes that (p. 228):
The story [of the Apache wars] needs to be told again and again until the names of Geronimo and Cochise are as familiar to young American ears as Washington and Lincoln.
Can I do a "well, actually" here? I think Geronimo IS one of names Americans -- young and old -- are familiar with. Do you remember that "Geronimo" was the code name the US military used for Bin Laden? Do your kids yell "Geronimo!" when they are doing something they think is courageous?

He, I think, is far more visible than Hawke suggests.

I did a search in WorldCat, using Geronimo, and found 26,964 items in the nonfiction category, which is a lot more than the 9,028 items for Sitting Bull and the 4,669 items for Crazy Horse.  (Note: There are 413,469 items for Washington, and 80,501 items for Lincoln.) In its We Shall Remain series (consisting of 5 episodes), PBS did an entire segment on Geronimo. There are more movies with or about Geronimo than any other Native person. I think he's the most well-known Native person.

Hawke's afterword suggests that his goal, with Indeh, is to tell a story that counters the biased stories and movies he saw as a child. Does he succeed?

Short answer: No. In plain text below are summaries from Indeh. My comments are in italics.

Hawke Makes Serious Errors


Part One of Hawke's book is called "A Blessing and a Curse." The story opens with Cochise recounting the Apache creation story to his son, Naiches and to Goyahkla (who will later be known by the name, Geronimo), both of whom are young boys. The blessing and curse is Cochise's power to see the future. Cochise tells the boys that their lives will be hard... and then there's an abrupt shift forward in time, to Goyahkla, seventeen years later. He sits in the midst of a massacre. While he and most of the other men were away, trading, Mexican soldiers attacked their camp. Amongst the dead are Goyahkla's mother, his wife (Alope), and their three children. Naiches--who is narrating the story--tells him they can't stay to bury the dead, but Goyahkla doesn't listen to Naiches.

Debbie's comments: Hawke's telling suggests that Naiches is in charge. Barrett says that it is Mangus-Colorado who was in charge and that it was he who said that they had to leave the dead on the field, unburied. Roberts (Hawke's primary source) says it was Mangas. The date of that massacre, Roberts writes, was March 5, 1851.

In his grief, he remembers when he went to Alope's father to ask if he could marry her. Alope's father asked him for "one hundred ponies" (p. 11). One hundred ponies sounds cool, but I think the "one hundred" is Hawk's flourish. Historians note that Alope's father asked for ponies, but nobody says "one hundred". A small point of inaccuracy? No. When there's such a body of misinformation about someone, it does nobody any good to add to that body of misinformation.

Goyahkla carries Alope's body to their wickiup (in Indeh, the word Hawke uses is "wikiup" which is incorrect). He remembers telling his son a story, and carries his son's body to the wickiup. He remembers his daughter's first menstrual period, and carries her body to the wickiup, too. He lights the wickiup on fire.

Debbie's comments: That is not accurate. They left the bodies and returned to their settlement. There, Goyahkla burned their tipi and all their belongings. That is when he "vowed vengeance upon the Mexican troopers who had wronged me" (Barrett, p. 76).  

Then, Hawke tells us, an eagle appears on top of the wickiup. It tells him that bullets will never hurt him.

Debbie's comments: That did not happen at their camp. It happened later, elsewhere. 

Naiches and others are on horses, waiting. Goyahkla approaches them, the burning wickiup behind him. His words to them hint at the vengeance he will seek. He tells them he will visit other Apache tribes to ask them to join him in avenging their families. He carries out the visits and gathers others who will fight with them. Naiches hopes that the upcoming battle will give Goyahkla peace.

Debbie's comments: That decision to strike back was made--not by Goyahkla--but by Mangus-Colorado. Goyahkla was appointed to go to the other Apaches and ask them to join them in this battle against Mexico.

In the next panels, Goyahkla leads the others in an attack on a Mexican town. There is one small box of text: "There would be no peace" (p. 34-35) that captures what Naiches thinks their future will be. In the foreground is a young girl falling over, with a spear that has been thrust through her chest. On all fours, a few feet away, is a little boy, with a spear in his back. Naiches looks on Goyahkla and thinks his face tells of a new time for the Apaches. In Goyahkla's face there is no pity as he kills the people of the Mexican village. There are no tears, or regret, or joy. In one panel, a sign reads (p. 38-39):
CABALLERAS
APACHE
HOMBRES 5 pesos
MUJERES 3 pesos
NINOS 1 peso

Debbie's comments: That horrific scene is not accurate. I'll say more about that shortly. Regarding the sign, I think "caballeras" is meant to mean warrior. The figures on the sign aren't accurate. Roberts (Hawke's main source) says that the bounty on Apache scalps was 200 pesos for a man, and 150 for a woman or child. Because the sign is an illustration, perhaps the error is Ruth's, not Hawke's. 

On Dec 14, 2016, David Bowles, author of the Garza Twins series (The Smoking Mirror is a Pure Belpre Honor Book) wrote to tell me that "caballeras" is a spelling error. It should be "cabelleras" which means scalps. His note gives me an opportunity to say a bit more about scalping. Though it is widely seen as something that Native people did, bounties were financed by governments. In her book, Angie Debo writes that, in 1835, the Mexican state of Sonora passed a law that offered 100 pesos for every scalp of an Apache warrior. In 1880, Mexican soldiers attacked an Apache camp, and took scalps of 62 men, and sixteen women and children. The city of Chihuahua welcomed them them back. Cost to the government was $50,000. The soldiers brought with them 68 women and children who were subsequently sold into slavery. 
  
The sign is thrust into the chest of a man, lying prone, presumably killed by Goyahkla. Beside his body, Goyahkla is scalping a woman who cries out (p. 38-39):

 "Por favor. Dios me libre!" 

Debbie's comments: Hawke's depiction of this battle, overall, raises many questions. Barrett, Debo, and Roberts (Hawke's primary source) do not write about it the way Hawke does. They write that the attack was against Mexican soldiers (two companies of cavalry and one of infantry)--outside of a Mexican city called Arispe (or Arizpe). 

There was no attack of the kind that Hawke depicts. Rather than bring "honesty" (he used that word in his Afterword) to this story, Hawke has created violent, brutal, misinformation that he is, in effect, adding to that already huge body of misinformation about Geronimo and the Apaches! At that point in Indeh, I am able to say that teachers cannot---indeed, teachers must not---use this book in a classroom to teach history of the Apache people. 

As Naiches watches Goyahkla in the village, he learns what Goyahkla's new name will be: Geronimo. In the village is a banner that reads "LA FIESTA DE SAN JERONIMO." As Goyahkla moves through the village violently killing Mexicans (he beheads one), some Mexicans call out to San Jeronimo. One of the Apache's calls out to Goyahkla "Santo Geronimo" - and, Hawke tells us, that is how Goyahkla came to be known as Geronimo.

Debbie's comments: In a footnote, Barrett writes that the Mexicans at the battle called him Geronimo but does not offer an explanation. In her book, Debo writes that the Mexicans in that battle may have been trying to say his given name (Goyahkla) and that it came out sounding as if they were saying "Geronimo" or that they were calling out to St. Jerome.   

My primary concern is about accuracy. 

There's some small problems with inaccurate information in Part I of Hawke's graphic novel. Of utmost significance, however, is his misrepresentation of the fight that took place after his family was murdered by Mexican soldiers. Hawke's depiction is inaccurate, and it flies in the face of what I understand of Hawke's goal. It seems to me he wanted to correct the narrative of Apache's as blood thirsty savages (my words, not his), but he does the opposite. He affirms existing stereotypes and misinformation, and adds to the image of Geronimo as a savage. The information he passes along is not in his primary source, or in those that are more widely read (some are on his list of further readings). Why did Hawke do this?! 

Bottom line? 
I do not recommend Indeh 
for use in classrooms. 

A colleague, Dr. Laura Jimenez, reviewed Indeh, too. She studies graphic novels. See her review

Sources I used include:

  • Barrett, S. M. (1906). Geronimo's Story of His Life. New York: Duffield & Co.
  • Debo, Angie. (1976). Geronimo: The Man, His Time, His Place. University of Oklahoma Press.
  • Roberts, David. (1994). Once They Moved Like the Wind: Cochise, Geronimo, and the Apache Wars. New York: Simon & Schuster.
  • Utley, Robert M. (2012). Geronimo. New Haven: Yale University Press. 



Update, Dec 13 2016, late afternoon:

A couple of people have written to ask me about other examples of the paraphrasing. Some wonder if Hawke has plagiarized Barrett. Here's three other passages from my notes (sometimes I make tables as I read through texts):










Update: Friday, December 16, 2016

On the Amazon page for Indeh, I posted a brief review and a link to this page. There, I said this:

Hawke meant well. He had a memorable childhood experience that launched him into reading all he could about the Apaches. He tried to make a film about them but ended up doing this graphic novel, instead. Though it is not marketed to teens, teachers wonder if they can use it in their classrooms.
In short? No. In an especially violent series, Hawke and Ruth depict Geronimo and Apaches in a town, impaling women and children on spears, and beheading a man. Another woman is scalped.
None of that is true.
That particular attack was actually one in which the Apaches sought a battle with Mexican infantry who had entered an Apache camp and murdered Geronimo's mother, wife, and two children. Much of America thinks the Apaches were mindless, blood-thirsty murderers. Hawke contributes to that narrative. There are other errors, too. As such, it cannot be used to teach about the Apache people.
A full review here: [...]


Greg Ruth, one of the authors of Indeh responded to my review on Amazon. Here's a screen capture of his remarks:

I think Ruth is defending the book, overall. I am focused on the attack that took place after the Mexican soldiers entered an Apache camp and killed women and children there, including Geronimo's mother, wife, and children. Here's quotes from three sources, one of which Hawke names as his primary source.

Barrett, S. M. (1906). Geronimo's Story of His Life: Taken Down and Edited by S. M. Barrett. New York: Duffield and Company.
When we were almost at Arispe we camped, and eight men rode out from the city to parley with us. These we captured, killed, and scalped. This was to draw the troops from the city, and the next day they came. The skirmishing lasted all day without a general engagement, but just at night we captured their supply train, so we had plenty of provisions and some more guns.
That night we posted sentinels and did not move our camp, but rested quietly all night, for we expected heavy work the next day. Early the next morning the warriors were assembled to pray--not for help, but that they might have health and avoid ambush or deceptions by the enemy.
As we had anticipated, about ten o'clock in the morning the whole Mexican force came out. There were two companies of cavalry and two of infantry. I recognized the cavalry as the soldiers who had killed my people at Kaskiyeh. This I told to the chieftains, and they said that I might direct the battle.
I was no chief and never had been, but because I had been more deeply wronged than others, this honor was conferred upon me, and I resolved to prove worthy of the trust. I arranged the Indians in a hollow circle near the river, and the Mexicans drew their infantry up in two lines, with the cavalry in reserve. We were in timber, and they advanced until within about four hundred yards, when they halted and opened fire. Soon I led a charge against them, at the same time sending some braves to attack their rear. In all the battle I thought of my murdered mother, wife, and babies--of my father's grave and my vow of vengeance, and I fought with fury. Many fell by my hand, and constantly I led the advance. My braves were killed. The battle lasted about two hours.

Debo, Angie. Geronimo: The Man, His Time, His Place (The Civilization of the American Indian Series) (Kindle Locations 685-688). University of Oklahoma Press. Kindle Edition.
They went south through Sonora, following hidden ways along river courses and through mountains, to Arispe. (They seemed to know that the military force that had ravaged their camp was stationed there.) Troops from the city came out to meet them, and there was some skirmishing. The following day the whole Mexican force—two companies of cavalry and two of infantry—came out to attack. A pitched battle followed, a departure from the usual Apache ambush from a hidden position. Geronimo, because he had suffered so much from these same soldiers, was allowed to direct the fighting. (This is his story, and it may well be true.) He arranged his warriors in a crescent in the timber near the river, and the Mexican infantry advanced towards them and opened fire. Geronimo led a charge against them, at the same time extending his crescent to outflank and encircle them and attack from the rear. (At least, that seems to be his meaning.) The battle lasted about two hours, the Apaches fighting with bows and arrows and in close quarters with their spears. Many of them were killed, but when the fight ended they were in complete possession of a field strewn with Mexican dead. It was here, according to tradition, that Goyahkla received the name Geronimo.


Roberts, David. ONCE THEY MOVED LIKE THE WIND: COCHISE, GERONIMO, (Kindle Locations 1674-1692). Simon & Schuster. Kindle Edition.
Near Arizpe, one of the few important towns in northern Sonora, the party camped. Eight Mexicans rode out from town to parley: the Apaches seized and killed them on the spot. “This was to draw the troops from the city,” recalled Geronimo, “and the next day they came.” An all-day skirmish was inconclusive, but the Indians managed to capture the Mexican supply train, greatly augmenting their store of guns and ammunition. 
The pitched battle— a rarity for Apaches— took place the following day: some two hundred Chiricahuas against one hundred Mexican soldiers representing two companies of cavalry and two of infantry. “I recognized the cavalry as the soldiers who had killed my people at (Janos],” insisted Geronimo. Since he had never seen the soldiers who perpetrated the massacre of his family, this claim may seem dubious. Yet keen-eyed survivors could have described the attackers to Geronimo in such detail that he could recognize their horses and uniforms when he saw them. 
Because of the magnitude of his personal loss, Geronimo was allowed to direct the battle against the Mexican soldiers. He arranged the Apaches in a hollow circle among trees beside a river. The Mexicans advanced to within four hundred yards, cavalry ranged behind infantry. Armed with the vision that bullets could not kill him, Geronimo led a charge. “In all the battle I thought of my murdered mother, wife, and babies— of… my vow of vengeance, and I fought with fury. Many fell by my hand.” 
The battle lasted two hours. At its climax, Geronimo stood at the Apache vanguard, in a clearing with only three other warriors. They had no rifles; they had shot all their arrows and used up their spears killing Mexicans: “We had only our hands and knives with which to fight.” Suddenly a new contingent of Mexicans arrived, guns blazing. Two of Geronimo’s comrades fell; Geronimo and the other ran toward the Apache line. In step beside him, the other Apache was cut down by a Mexican sword. Reaching the line of warriors, Geronimo seized a spear and whirled. The Mexican pursuing him fired and missed, just as Geronimo’s spear pierced his body. In an instant Geronimo seized the dead soldier’s sword and used it to hold off the Mexican who had killed his companion. The two grappled and fell to the earth; Geronimo raised his knife and struck home. Then he leapt to his feet, waving the dead soldier’s sword in defiance, looking for more Mexicans to kill. The remainder had fled.

Below are two pages that show how Hawke and Ruth depict it. Clearly, they set the attack in a town. See the children impaled with spears?


Here's another page Hawke and Ruth did, depicting that attack:


I stand by my critique that Hawke and Ruth misrepresented what happened.





Sunday, May 15, 2016

Towards a Common Understanding of Native Peoples in the U.S. (or, Why Alexie's THUNDER BOY JR. Needs a Note to Readers)

Editors Note on Feb 25, 2018: Please see my apology about promoting Alexie's work. --Debbie

~~~~


Last evening (May 14th, 2016), I did a search on Twitter to see what people were saying about Sherman Alexie's appearances at Book Expo and BookCon. He had some terrific things to say, like this (quoting a tweet from the Publishers Weekly account):
Sherman Alexie won't sell movie rights to his books b/c he doesn't want his books whitewashed and non-Native actors #thebookcon.
In scrolling through the tweets, I also saw one from a person who read Thunder Boy Jr. to kids in storytime, and then had the kids pick new names. That was--and is--a primary concern for me. Last year, a cousin's little boy brought home a worksheet where he had to pick a Native American name. Here's a photo of the worksheet:



It is hard to read. Here's what it says:
What name would you choose if you were a Native American? Although Native Americans gave their children names just as your parents did for you, they were very different. They also may have many names throughout their life. The elders named the children and adults within the tribe. Some came as dreams or visions from the elder which was a sign for naming the person. Others go along with the personality or characteristic of that person. A Native American name may tell about what the person does well or wants to do, something that may have happened on the day of that person's birth, or something else that has specific meaning relating to that person. Sometimes Native Americans didn't like their names because they may have been degrading. For example: Would you like to be called Talks Too Much, Buffalo Woman, Lonely One, Lazy Elk, or No Particular Tribe? Since animals were a large part of their religious world, they were often used when naming a person. For example: Running Deer, Brave Hawk, Thunder Bird, Quiet caterpillar, Wild Cat, Sly Fox or Swimming Dolphin. Part of the nature were common too since Native Americans worshipped their land. For example: Strong Wind, Running Thunder, Lightning Bolt, Shining Sun or Happy Weather. Once the elder named the child or adult, they have a ceremonial feast and that elder and newly named person formed a bond. Now it is your turn! A Native name can say quite a lot about you! Give it a try!
Think of an animal or part of nature
Think of a characteristic about yourself
Put them together!
Write your name and a description of why you chose your name on the template. In the box, draw a picture of yourself as a Native American. Below there is a circle. Here you will create a symbol for your name. Since they didn't have an alphabet or written language they often used symbols to write their names. Make it simple! Too much detail would take too much time to write your name over and over again!
I uttered one "oh my gosh" after another as I read that worksheet (where did the author find those names, and why is "Buffalo Woman" seen as degrading?!), but let's stick with my concern: the monolithic or pan-Indian character of that worksheet. There are over 500 federally recognized nations in the United States. Amongst them is tremendous diversity of language, ceremony, and yes, naming.

None of the major review journals noted problems with the pan-Indian character of Alexie's picture book. Did others, I wondered? I went over to Goodreads to see. On April 14th, 2016, Jillian Heise, who (at the time) was teaching Native children, wrote:
I see my students on these pages, most especially my favorite, with the male grass dancer regalia, and wish there were more chances for them to see themselves, and others to see them, in the pages of picture books.
I appreciate the book, and feel it is important, but wonder if it may somewhat confuse those who haven't been taught about cultural naming traditions. Might they read this and see it as a silly thing instead of the deeper meaning usually given to it? Because of that, I wish there had been an end note to add some more perspective within the larger conversation.
Kudos to Jillian! She's got the context to understand why the lack of specificity in the book is a concern.

In emails with Roger Sutton a couple of days ago, we briefly touched on my review of Alexie's book. He said "how we respect insiders and outsiders at the same time" is "a big question." I think we all want to get to a place in children's literature, textbooks, movies, etc. where we're all represented, accurately, and where students and consumers don't need help understanding the cultural, religious, history, etc. of the story or information being conveyed. In many places, for example, I've applauded Daniel Jose Older's video asking writers not to use italics for non-English words. He's pushing the status quo in terrific ways. Given the shifting demographics in the United States, that place (where things aren't so darn white) is going to come, eventually. We're getting there.

In the meantime, for some peoples and some topics, readers are going to need some help, within the pages of the book. Thunder Boy Jr. is a perfect example of the need for that help. I bought three copies of the 100,000 that were printed. One of them is mine, one is for Jayden (my sister's grandson), and the third copy is for his class. It is a class of Pueblo Indian children who probably have gone through their naming ceremony. We (I'm Pueblo, too) have specific ways in which we receive our names. My parents named me Debbie when I was born. A few weeks later, I received a Pueblo name. I'm not going to provide details about that because ceremonies are not something we disclose. There are reasons for that, including the fact that our religious ceremonies (naming is part of that) were outlawed by the US government. Another is that people who are searching for identity and meaning in their lives gravitate to Native peoples and "go Native" in superficial ways that are harmful to Native peoples. The children in that classroom, secure in who they are (like Jillian's students), will likely enjoy the story.

As I've noted, 100,000 copies of the book were published. I'm hoping that Little, Brown (the publisher) will include a Note in the next batch, providing a "do not use this book as an activity for which kids pick a Native American name," an explanation for why that is not a respectful activity, and a bit of information about Native naming. If you've got a copy, or if you get one of the 100,000 copies, I hope the information I share here is helpful.

I'll start with some tweets I sent out this morning:
Inevitable: Tweet from someone who read Alexie's Thunder Boy Jr. to kids and then did activity where kids picked their Indian names.
Fact: Imagine being a Native kid in that class, who already has a name, given to them in ceremony, being asked to make up a new one.
Question: Would it help adult readers NOT do that activity if there was a note inside the book about Native peoples and naming?
A truth: A white teacher asking a Native kid to choose a new name harkens back to boarding schools where teachers asked Native kids to point to a blackboard to choose a new name. 
That last tweet is a reference to Luther Standing Bear and what he wrote in his My Indian Boyhood. He was Lakota. In the foreward to the 2006 edition of My Indian Boyhood (first published in 1931), Delphine Red Shirt (she's Oglala Sioux) wrote that:
Lakota children are named at birth by their parents or by close relatives. Standing Bear's brothers' names, Sorrel Horse and Never Defeated, signified brave deeds that their father had been known for: he once had a sorrel horse shot out from under him, and he displayed heroic characteristics in battle, causing the people to remember him as never having been defeated. As Standing Bear later recalled, "In the names of his sons, the history of [my father] is kept fresh." Standing Bear's father was a leader who killed many to protect his people. Thus, like his brothers, Ota K'te (Plenty Kill) was also given a name that held significance.
Ota K'te kept his boyhood name until it changed to Mato Najin, or "Standing Bear," later in his life, according to Lakota custom. In the old tradition, he would have earned a new name through a heroic or brave deed, but by the time he reached an age when he could prove himself worthy, the Lakota people had been confined to the Pine Ridge Reservation. He took his father's name, Standing Bear, and at Carlisle Indian Industrial School in Carlisle, Pennsylvania, he took the name Luther.
In his My People the Sioux (first published in 1928), Standing Bear writes that when he got to Carlisle, an interpreter came to the room where they were and said to them (p. 138):
'Do you see all these marks on the blackboard? Well, each word is a white man's name. They are going to give each of you one of these names by which you will hereafter be known.' None of the names were read or explained to us, so of course we did not know the sound or meaning of any of them.
The teacher had a long pointed stick in her hand, and the interpreter told the boy in the front seat to come up. The teacher handed the stick to him, and the interpreter then told him to pick out any name he wanted. The boy had gone up with his blanket on. When the long stick was handed to him, he turned to us as much as to say, 'Shall I--or will you help me--to take one of these names? Is it right for me to take a white man's name?' He did not know what to do for a time, not uttering a single word--but he acted a lot and was doing a lot of thinking.
Finally he pointed out one of the names written on the blackboard. Then the teacher took a piece of white tape and wrote the name on it. Then she cut off a length of the tape and sewed it on the back of the boy's shirt. Then that name was erased from the board. 
This went on for all the kids. In class when the teacher called the roll and the person whose name she called didn't stand, she'd look at the tape and make that child stand up and say 'Present.' That is how they learned what their new names sounded like, and that they should respond to the name when it was said.

All of that information is specific to Luther Standing Bear and Lakotas.

I understand that Alexie, in his classroom visits, is telling kids that the boy in the story is Spokane. Speaking as a teacher, I would love to see that in the book, and information about the ways that Spokane's name their children. At some point in the future, my hope is that the diversity within Native America will be common knowledge, and such notes won't be necessary. We aren't there, yet, and while I don't want Native writers to feel a responsibility to explain things to non-Native readers, I think it is, for now, necessary that their books include helpful notes.

Providing that information in a Note to Readers respects the writer's way of telling a story as they choose to tell it, and respects the outsiders need for more information with which to understand that story. It is one answer to Roger Sutton's question about how we can respect insiders and outsiders at the same time.

Update, May 15, 3:05 PM: I'll be back to add information about naming when I come across it. See:
  • Carter Revard's Traditional Osage Naming Ceremonies in Swann and Krupat's Recovering the Word: Essays on Native American Literature (1987, University of California Press).
  • Anton Treuer's "What are naming ceremonies?" (especially the part about Ojibwe naming) in Everything You Wanted to Know about Indians But Were Afraid to Ask (2012, Borealis Books).


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Previous posts on Thunder Boy Jr.

Friday, May 13, 2016

More questions about Sherman Alexie's THUNDER BOY JR.

Editors Note on Feb 25, 2018: Please see my apology about promoting Alexie's work. --Debbie

~~~~

As I continue thinking about Sherman Alexie's Thunder Boy Jr., I wonder about the responsibility of the editorial team. Back when A Fine Dessert was published, some people pointed out that the editorial team has responsibilities, too, for the book. Some argued that, in the end, the author and illustrator have final responsibility because their names are on the book. Others countered that they don't have as much authority as one might think. 

This post is some of my thoughts on the role of the editor.

Alexie writes primarily for adults. His name, books, and then his films (Smoke Signals and The Business of Fancydancing) were well known in Native circles. When he wrote The Absolutely True Diary of a Part Time Indian he became widely known in children's and young adult literature. In one interview, he said that Diary sold over a million copies. He heard from a lot of readers about how much that book mattered to them, and so, he wanted to do something similar for younger readers. Hence: Thunder Boy Jr.

The first print run for Thunder Boy Jr. is 100,000 copies, which is rare for a picture book. The publisher is Little, Brown Books for Young Readers (they also published Diary). Their decision to print 100,000 copies tells us they expect the book to do well. Its status this morning as "#1 Best Seller" in the Children's Native American Books category at Amazon tells us they were right. 

As I noted yesterday, Alexie is making a lot of appearances. I assume the publisher is paying for all of that. 

Alexie's editor, Alvina Ling, is fully aware of the intense discussions in children's literature regarding the topic of diversity, racism, stereotyping, bias... all of that. She's steeped in the world of children's literature. I think--and I could be wrong--but I think Alvina knows that we're pushing very hard against monolithic images of Native peoples. 

Alexie may not know. When he talks about children's books, his go-to title is The Snowy Day by Ezra Jack Keats. That's a really old book. I've never seen Alexie speak or write about a children or young adult book about Native peoples written by a Native writer, so I wonder if he's aware of that particular body of literature? 

In The Absolutely True Diary of a Part Time Indian, we know which tribal nation his characters are from. Why is that information missing from Thunder Boy Jr.

Did he think it was too much information to include Thunder Boy's tribal affiliation in the story, somehow? 

Was he unable to figure out a way to do it without yanking readers out of the story? 

If he was writing with a Native reader in mind, did he think that specificity was unimportant?

If Alexie and his editor talked through all of that, I again end up at the place I was yesterday: an author's note would have been the place to address all of this.

It is possible that Alexie didn't know about author's notes in children's literature, but his author knows all about them and why they're important. Is the lack of one ultimately her error?

~~~~~

There is another framework to situate Alexie's book and choices within... There's a contentious conversation taking place amongst Native people, regarding enrollment or citizenship within a federally recognized tribe. Or--rather--the disenrollment of people who were formerly enrolled in those nations. Some weeks ago there was a hashtag campaign objecting to the disenrollments. You can read about it at Indian Country Today's article, 'Stop Disenrollment' Posts Get More than 100K Views.

Read, too, their story on Alexie's views on disenrollment: Sherman Alexie Gives Disenrollment the Bird. Is the lack of specificity his way of embracing kids whose families are being disenrolled?

No doubt, I'll be back with additional posts on Alexie's book. No book exists in a vacuum. It is in the world, being read by people who are also in the world.

~~~~~

See my first post on his book How to Read Sherman Alexie's Thunder Boy Jr.? uploaded on May 12, 2016. 

Thursday, May 12, 2016

How to Read Sherman Alexie's THUNDER BOY JR.?

Editors Note on Feb 25, 2018: Please see my apology about promoting Alexie's work and the articles in the Timeline about Alexie's sexual harassment.--Debbie


~~~~


Back in February, I pre-ordered a copy of Sherman Alexie's picture book, Thunder Boy Jr. It arrived on Tuesday (May 10, 2016). The illustrations are by Yuyi Morales.

Alexie is doing a significant promotional campaign for the book. He was on The Daily Show two nights ago. Forbes had a story about the book. So did Bustle, Entertainment Weekly... you can do a search and find many others.

That's cool. I am happy that a Native writer is getting that level of exposure. In some of these stories, Alexie speaks about invisibility, representation, and similar issues of concern to Native people. Bringing these topics to a broader audience is very important. Because he is much loved by the American public, Alexie is a person who can influence how someone thinks about an issue.

In a nutshell, Thunder Boy Jr. is about a little boy whose father, Thunder Boy, named him Thunder Boy Jr. at birth.  But, Thunder Boy Jr. wants his own name and identity. This is definitely a universal theme. Lot of kids and adults wish they had a different name.

Alexie's much-loved humor is front and center of this story. Because Thunder Boy's dad is a big man, his nickname is Big Thunder. The words "Big Thunder" are extra large and bold on the page, inviting readers to boom it out as they read it. That makes it all the more inviting as a read aloud. If his dad is Big Thunder, that means Thunder Boy's nickname is Little Thunder, and that is not ok with Little Thunder:
That nickname makes me sound like a burp or a fart.
Some will love seeing the word fart; others will not. Here's that page. See Thunder Boy's little sister? I look at the illustration of the two kids and my heart goes right to my sister's grandchildren and memories of them playing and dancing together at my niece's wedding last week. I think they'll like this book very much.



Here's Jayden and Ellie on the dance floor. When her sandal slipped off, she sat down right there on the floor. He kneeled beside her and tried to get it back on, but those straps slide all over and he couldn't figure it out. It was endearing to see them together trying to puzzle through it. He'd look at her other shoe to see if he could see how to make it all right again. I stopped filming when he started looking around for help, and of course, I helped her so they could pick up where they'd left off.

Jayden and Ellie

In Thunder Boy Jr. we see a warm and loving Native family. I like that, a lot. I see that warmth in Jayden and Ellie's relationship with each other and their parents, grandparents, and great grandparents.

****

Moving back to Alexie's book: Thunder Boy Jr. tells us that his name is not a normal name. His mother, whose name is Agnes, and his sister, whose name is Lilian, have normal names. He hates his name. He wants a name that sounds like him, that celebrates something cool that he has done. He climbed a tall mountain, so maybe his name could be Touch the Clouds. He loves playing in the dirt, so maybe his name could be Mud In His Ears, and so on.

That's where the story, for me, goes into a place that makes me wonder how to read it. Let me explain.

If I read it as a Native kid whose community, friends, and family engage in banter about naming and give each other nicknames, cool. It is delightful.

And if I imagine it being read by a reader who likes and respects Native peoples, I can see why they would like it, too. For that reader, though... 

What Alexie has given us is a pan Indian story.

By not being tribally specific, his story obscures the diversity that Native writers, scholars, activists, parents, teachers, librarians, lawyers... have been bringing forth forever. We aren't monolithic. We're very different in our histories, religions, material cultures, and yes, the ways that we give names. Moving into that name play collapses significant distinctions across our nations.

I noted above that I got the book on May 10th. Do you know what was going on then?

We were in the midst of a horrible "TrumpIndianNames" hashtag. Last week, Donald Trump took a swipe at Elizabeth Warren's claims to Native identity (her claim is a problem, too, that I've written about elsewhere). The response to him was the TrumpIndianNames hashtag where Democrats, progressives, independents--a wide swath of people, in other words--had a grand time coming up with "Indian names" for Trump. All of that, however, was at our expense. People thought they were very clever. Native people, on the other hand, were quick to object to Native ways of naming being used in this way.

So, that is the context from which I read Thunder Boy Jr. If I stand within a Native community, the book is delightful. If I stand outside of it, in a well-meaning but ignorant mainstream US society, the book takes on a different cast.

Is that fair to Alexie or to his book? I'm thinking about that question and don't have an answer. I know for sure that if a white writer had done a book that played with Native names, I'd be very critical. Indeed, I was very critical when Jon Scieszka did it in Me Oh Maya and I was very critical when Russell Hoban did it in Soonchild.

Is it ok for Alexie to do it because he is Native? Does the book represent inside-humor that marks it as ok? I don't know.

In an interview with Brian Lehrer, Alexie said that Thunder Boy doesn't like the name because it was assigned to him, and wasn't a name he had given himself. He wants a name that measures something he has done. Alexie said:
This calls back to ancient tribal traditions of many peoples, Native Americans included, where the transition to adulthood involves getting a new name that measures something that you've done, or is predictive, something that your elders hope you become.
None of that information is inside the book. What he said on Lehrer's show is lacking in specificity, too. In the interview he said "many peoples, Native Americans included" but given the existing ignorance about Native peoples, I think that his interviews and the book would be much improved by an author's note that provides parents, teachers, and librarians with information about naming.

Last thing I want to note is the page where Thunder Boy says that he loves powwow dancing and that he is a grass dancer. I love the illustration, from above, of him dancing.



But the drums in the top right? From what I know about powwow drums, that's not quite accurate. Usually, there's a single drum with several drummers, and the drum is on a stand. It doesn't sit on the ground or floor.

In sum? A mixed review. That's where I am right now. I really do think that my concerns with the pan Indian character of Thunder Boy Jr. could be addressed with an author's note. Perhaps there will be one in the next printing.

_______________
Note (May 12, 12:30 PM): Please see the comments below for further discussion of the book, naming, and audience, and the comments on the Facebook post, too.

Note (May 13, 2016): See my second post, More Questions about Sherman Alexie's Thunder Boy Jr. 

Note (May 15, 2016): See my third post, Toward a Common Understanding of Native Peoples in the U.S. (or, Why Alexie's Thunder Boy Jr. Needs a Note to Readers)

Wednesday, March 23, 2016

Eric Jennings, Sherman Alexie, and Damaging Perceptions about Alcohol Use Amongst Native Peoples

Editors Note on Feb 25, 2018: Please see my apology about promoting Alexie's work. 

This post is about one of the ways that Alexie's words harm readers--Native and not. Words shape expectations of what Native writing should be. Alexie is affirming stereotypical ideas.  --Debbie


~~~~


Yesterday on Twitter, Annie Pho tweeted this image:




The words in the image she tweeted are a 2016 article by Eric Jennings, titled "The librarian stereotype: How librarians are damaging their image and profession." People on twitter were, appropriately, angry that Jennings used that excerpt in the way that he did. Here's the words Jennings used (shown in the image above):
When I was at the 2009 Association of College and Research Libraries conference, I saw Sherman Alexie speak, and one of the things that stuck with me is that there's always some truth to a stereotype. He was talking specifically about how the stereotype for many Native Americans is that they are alcoholics. And, in fact, most of his family members are alcoholics. He even went on record as saying that the whole race is filled with alcoholics and that pretending that alcoholism is a stereotype among Native Americans is a form of denial (Alexie, 2009).
I took a look at the source for Jennings's quote. It is a video. I watched it. Alexie did, in fact, say what Jennings says he did. 

Was it wise for Jennings to use that excerpt in his article about stereotypes of librarians? I think not. Here's why.

Most people know what a stereotype of a librarian looks like. They know it is a stereotype, because they know a librarian in real life who is nothing like that stereotype. 

Most people, however, do not know a Native person. So, there's no way for them--in the course of their everyday life--to know that most of us are not, in fact, alcoholics.


Let's think about that a minute.
Alexie said it is a stereotype that Native people are alcoholics. 
The truth? Alcoholism is a widespread disease. 

Alcoholism is a social disease. It does not exist in higher incidences amongst Native communities. Alexie tells us about his specific family. What he says is not true for every Native family. It is not true for my own family. I'm not saying "Not us" out of a holier-than-thou space.

A research study released earlier this year says it isn't true for most Native people in the US either. Holding that view, however, has costs to Native people. The news report about the article included this:
"Of course, debunking a stereotype doesn’t mean that alcohol problems don’t exist," Cunningham said. "All major U.S. racial and ethnic groups face problems due to alcohol abuse, and alcohol use within those groups can vary with geographic location, age and gender.
"But falsely stereotyping a group regarding alcohol can have its own unique consequences. For example, some employers might be reluctant to hire individuals from a group that has been stereotyped regarding alcohol. Patients from such a group, possibly wanting to avoid embarrassment, may be reluctant to discuss alcohol-related problems with their doctors."
And here's another paragraph:
"Negative stereotyping of groups of people who have less access to health care creates even more health disparities," Muramoto said. "Based on a false negative stereotype, some health care providers may inaccurately attribute a presenting health problem to alcohol use and fail to appropriately diagnose and treat the problem."
Several years ago, a dear elder in my tribal nation dealt with that very thing. He wasn't well. He had tests done. Based on those test results, his doctors assumed he was alcoholic, and that alcohol abuse was the cause of what they saw in tests. He told them he didn't drink, but, they didn't believe him. Now, he's finally been diagnosed with a fatal disease, unrelated to alcohol. He was telling the truth, but, the doctors did not believe him. Just writing those words brings tears to my eyes. 

What Alexie says, matters. Words shape what people think and what people do. Words shaped those doctors who didn't believe this elder. 

In a recent article in Booklist, Cynthia Leitich Smith wrote this:
I’ve had allied non-Indian librarians tell me, one way or another, that they’re committed to telling stories about “real Indians” and go on to clarify that they mean alcoholics living in reservation communities. As if, say, my tribal town and urban characters were somehow less “real.” 
I cringed reading Cynthia's words because what she's encountering--like the elder did--is a belief in a stereotype. Those doctors and these librarians think it is real. Others think it is, too. I'm seeing it in books by non-Native writers, a lot. Writers seem to have an idea that, if they're writing a story about Native people or our communities, they better make sure to have an alcoholic in it. 

Writers who do that are damaging us, and they're damaging non-Native readers, too. They are taking a social illness and making it a NATIVE social illness. My guess is that they have read Alexie's The Absolutely True Diary of a Part Time Indian. That story has alcoholism in it. Because he's got it in his book, I think writers are thinking that they should make sure to include it in their stories, too.

Writers: Don't do that.

Editors: Don't let your writers do that.

Book reviewers and bloggers: Your reviews/posts influence purchasing decisions. Pay attention. See what I see, which is the overrepresentation of alcoholism as a part of Native life. 

Everyone: Read the study. See for yourself. 

See the news article:
Study Debunks Notions about Native Americans, Alcohol


Read the study: 
Alcohol use among Native Americans compared to whites: Examining the veracity of the 'Native American elevated alcohol consumption' belief

And--read widely. Alexie is one writer. There are others. Don't let him and the stories he tells be the "single story" you know about Native peoples. You can start with Gansworth, Leitich Smith, Edwardson, Erdrich, Tingle, Van Camp, and Taylor

Sunday, February 07, 2016

Bonnie-Sue Hitchcock's THE SMELL OF OTHER PEOPLE'S HOUSES

When I learned that Bonnie-Sue Hitchcock's The Smell of Other People's Houses has Native characters in it, the title took on a dark connotation. Central to European and US racism towards Native peoples was their characterization of Native peoples as primitive, dirty, and in need of "civilizing."  Thanks to a friend who was at the American Library Association's Midwinter meeting last month, I was able to read an advance reader's copy of it.

Most of Hitchcock's story takes place in Fairbanks in 1970. Here's the synopsis:

In Alaska, 1970, being a teenager here isn’t like being a teenager anywhere else. This deeply moving and authentic debut is for fans of Rainbow Rowell, Louise Erdrich, Sherman Alexie, and Benjamin Alire Saenz. Intertwining stories of love, tragedy, wild luck, and salvation on the edge of America’s Last Frontier introduce a writer of rare talent.
Ruth has a secret that she can’t hide forever. Dora wonders if she can ever truly escape where she comes from, even when good luck strikes. Alyce is trying to reconcile her desire to dance, with the life she’s always known on her family’s fishing boat. Hank and his brothers decide it’s safer to run away than to stay home—until one of them ends up in terrible danger.
Four very different lives are about to become entangled. This unforgettable book is about people who try to save each other—and how sometimes, when they least expect it, they succeed. 

The story is told in alternating chapters, by Ruth, Dora, Alyce, and Hank. This review is primarily about Dora.

The book starts out with Ruth. Her little sister is named Lily. They live with their grandmother. I believe they are white. Nothing in the story tells me they are not white. As the story begins, Ruth and her friend Selma, and Lily and her friend Bunny (Lily and Bunny are 11 years old) are about to sit down to eat together. Bunny gets to talking about the fish camp her family goes to. Lily asks Gran why they don't have a fish camp, and gran says "because we aren't native."

To that, Bunny says (on page 17 of the ARC):
"I'm not native, I'm Athabascan." 
Clearly, she objects to being called native. Ruth and Selma laugh at her. Lily (Ruth's little sister) responds:
"What's so funny? She is Athabascan," says Lily. "Natives are the people like Dora's mom, the ones who hang out all day at the bar--they're too drunk to even bother fishing."
Remember--Lily is eleven years old, but she apparently holds some rather stereotypical ideas about Native people. Maybe because she's eleven, we're meant to excuse her remark.

Later on that page we learn a little more, from Ruth:
Fish camps are pretty much handed down from family to family, but maybe Gran shouldn't have lumped all Alaska Natives together. It didn't seem to make Bunny very happy. Especially because Bunny and Dumpling actually have the nicest parents in Birch Park. 
Are there tensions in Alaska between different Alaska Native groups that would cause Bunny to be upset that gran would use "native" to describe her and her family? Are her objections specific to the alcoholism of Dora's mother? Are we to understand that "natives" in Alaska are more likely to be alcoholic than Athabascans? From Dora, we learn that most people in Fairbanks "lump all native people together" and that she (Dora) is Eskimo or Inupiat, while Dumpling is Athabascan, or Indian (p. 27-28).

As the synopsis indicates, Dora is one of the main characters in the story. Her escape is from her own home. Her dad, we read, drinks, too. But there's more: her dad sexually abuses her, and her mother knows about it. Near the end of the story, he beats up her mother and threatens to shoot Dora. By then, Dora has been living next door with Bunny and Dumpling's family for awhile.

When Dora wins some money, her mother pesters her for it so she can buy more beer. When her dad gets out of jail for shooting up the bar, he wants her money, too.

There are characters in the story that might be Eskimo or Inupiat (not sure what Dora's preferred term is). George, the old guy who works at Goodwill, knew Dora's great grandparents, but I can't tell if he's Eskimo/Inupiat or not. Nick, the bartender with nice teeth might be, too. Dora's mom dated him for awhile. If these two men are Eskimo/Inupiat, that would be cool, because they're likeable. But--we don't know.

And then there's Dora's mom's friends, Paula and Annette. Paula has a beaded wallet, so maybe she's Eskimo/Inupiat. The three woman are loud and drink together, a lot. Paula seems nice enough but the vibe I get of them is not good. In that scene in which Dora's father threatens to shoot her, Paula and Annette came running out of the house, abandoning Dora's mom.

The contrast between the Bunny and Dumpling's Athabascan family and Dora's Eskimo or Inupiat family, is striking. In the Athabascan home, Dora feels safe and cared for. Dumpling's family may be shown that way so that we'd have more than one image of Native peoples, but I wish that we were given more information about Dora's parents so that we might understand them as more than the stereotypical drunken and violent Indians. Why do they throw pictures across the room, cracking the glass and putting them back on the wall, with that cracked glass? What is the backstory on them? Without it, I think this story confirms troubling stereotypes. I'm also unsettled by the sexual abuse. Sexual abuse of Native women is rampant, and while there's no doubt that incest is part of that, I wish that wasn't part of Dora's story.

I'd also like to know more about Indigenous peoples of Alaska. Hitchcock gestures to complexities in terms used but I'm reading and re-reading those passages trying to make sense of it. Due out in 2016 from Random House, I'm marking this as not recommended.

Update, Feb 9 2016:

My social media feeds yesterday carried news about a research study comparing alcohol use across Native and White populations:

The researchers analyzed data from a survey of more than 4,000 Native Americans and 170,000 whites between 2009 and 2013. Called the National Survey on Drug Use and Health, the survey was administered by the U.S. Substance Abuse and Mental Health Services Administration. The UA study also used another nationally representative survey, the Behavioral Risk Factor Surveillance System administered by the U.S. Centers for Disease Control and Prevention, to measure how often Native Americans and whites engaged in excessive drinking in the past month. Again, findings for the two groups were comparable.
About 17 percent of both Native Americans and whites were found to be binge drinkers, and about 8 percent of both groups were heavy drinkers. Binge drinking was defined as five or more drinks on one to four days in the past month. Heavy drinking was five or more drinks on five or more days in the past month. Sixty percent of Native Americans reported no alcohol use in the past month, compared to 43 percent of whites.
“Of course, debunking a stereotype doesn’t mean that alcohol problems don’t exist,” Dr. Cunningham said. “All major U.S. racial and ethnic groups face problems due to alcohol abuse, and alcohol use within those groups can vary with geographic location, age and gender.
“But falsely stereotyping a group regarding alcohol can have its own unique consequences. For example, some employers might be reluctant to hire individuals from a group that has been stereotyped regarding alcohol. Patients from such a group, possibly wanting to avoid embarrassment, may be reluctant to discuss alcohol-related problems with their doctors,” he said.


I think it was being shared in Native networks because we are keenly aware of the stereotype which is, I believe, reflected in Hitchcock's story.