John Smelcer's STEALING INDIANS a finalist for the PEN Center USA 2017?

To start, a brief Timeline that I'll add to as additional news articles are published. The timeline starts with the PEN Center USA's announcement that John Smelcer's book is a finalist for its award in the young adult category. Several other articles are in-process and will be added when they are published. Beneath the timeline is background, going back to 2008. 

TIMELINE

August 10, 2017
PEN Center USA announced finalists for its 2017 Literary Awards. John Smelcer's Stealing Indians is among the finalists in the young adult category. 

August 11, 11:18 AM, 2017
On social media, people began to talk about his nomination when Marlon James posted the following on Facebook:

If you were at the Wilkes MFA, when I was, then you know full well the living con job that is John Smelcer. This is the man who at our class reading invented a language, claiming that it was an ancient Native American tongue, and he was its last speaker. So a few days ago PEN Center USA (PEN America) nominated his novel "Stealing Indians" in the category of Young Adult. Let's leave the title for another day. This 2016 book has a blurb from Chinua Achebe. Achebe died in 2013. This is the motherfucking fuckery we keep talking about. Why does this alway happen? Why do these people keep making the same stupid mistakes? You werent conned, you were fucking lazy. Seriously, the quotes all over his site from dead people didn't tip you off? The shadiness of his name? You couldn't have done one stinking google search? Nothing? Nothing at all? How can you claim to listen to us, when you keep making the SAME MISTAKES all the time, like the one you made the last 15 times we spoke to you. If this isn't rescinded, I'm done with PEN. Consider my membership over. Real talk.

Kaylie Jones participated in that conversation (more on that below). 

August 11, 12:40 PM, 2017
At its Facebook page, PEN Center USA posted this announcement:

PEN Center USA has become aware of concerns expressed by some within the literary community regarding the nomination of John Smelcer's STEALING INDIANS for the 2017 PEN Center USA Literary Award for YA. Our staff takes these concerns seriously and is investigating them further to determine an appropriate path forward in accordance with our mission to both celebrate literary merit and defend free expression for all.

August 11, 6:25 PM, 2017
Laurie Hertzel of the Star Tribune, published a brief article about the developing story: Marlon James, others join growing backlash against writer claiming American Indian heritage.

August 13, 2:37 PM, 2017
Rosebud Magazine's twitter account posted "Marlon James is wrong. Ahtna is a real language and a real culture. John Smelcer speaks Ahtna, has papers. ANYONE can easily check this out"

Smelcer is an editor at Rosebud Magazine. In his post to Facebook, Marlon did not deny the existence of Ahtna as a language or a culture. His post (see it above) was with respect to Smelcer's claims that he was the last speaker of a language he was presenting at Wilkes. The screen capture below was posted to Smelcer's FB wall at 3:06 PM on August 13:

There was also a second post with a link to an Ahtna 101 video channel, run by "Johnny Savage." Both of those Facebook posts have since been deleted and replaced with this:

August 16, 2017
On her Facebook page, Kaylie Jones posted a statement she provided to PEN USA. It says, in part, 

The James Jones Fellowship submissions are read blind; the judges do not know the identities of the authors who submit. We learned from Smelcer's bio, once the announcement of his win was made, that he was a member of the Alaskan Ahtna Native American tribe. We were, of course, delighted to hear this.

It was not until 2005, when Smelcer was invited to give a reading and participate in the Wilkes University MFA Residency week, that our suspicions about his integrity were brought to the fore. He stated in his bio that he held a PhD from Oxford University. One of our faculty, herself a PhD who had access to an international database of all PhDs granted by universities worldwide, researched his claim and found that Smelcer did not hold a PhD from Oxford. He was immediately dismissed from the Wilkes faculty.

and

In 2015 the James Jones First Novel Fellowship committee voted unanimously to rescind his 2004 Award. We chose not to pursue legal action, as we simply do not possess the funds to do so.

This entire fiasco is a terrible stain on the reputation and integrity of the James Jones First Novel Fellowship, and regardless of the outcome of the PEN Awards controversy, I felt absolutely compelled to take a stand.

August 24, 2017
Writing for The Stranger (a weekly newspaper in Seattle), Rich Smith published Meet John Smelcer: Native American Literature's "Living Con Job." It is a deep dive into many of the claims Smelcer has made. Smith quotes from my posts about Smelcer. I was not interviewed for the article.

August 25, 2017
The Los Angeles Times published Writer's claims to native heritage are questioned after PEN Center USA names his book a finalist, written by Terese Mailhot.

August 29, 2017
On August 28, The Huffington Post published YA Author Accused of Lying About Credentials and his Native Heritage, by Claire Fallon.

Later that same day, Rich Smith at The Stranger wrote about PEN Center USA withdrawing Smelcer's book from consideration for its YA award: John Smelcer's Nomination for a PEN Award Gets Pulled, and More Details about His Past Emerge.

Here's a screen cap I made of PEN's announcement:

August 30, 2017
See Alison Flood article, John Smelcer dropped from YA award amid 'concerns' over integrity, published in The Guardian. 

On its Facebook page, Raven Chronicles writes:

"Raven Chronicles worked with Smelcer in early 90s as our poetry editor for a short time. There became questions about his self-described heritage. These questions and about his adoption still haunt him. The entire matter is sad even given all the awful rationalization posted on his website. In the literary world fakery is only applauded when in a bestseller. Now he is finally getting all the notoriety he has always hungered for."

September 13, 2017
On August 30, Erin Somers, writing for Publishers Marketplace, published "Pen Center USA Withdraws Smelcer's Stealing Indians Amidst Claims of Fraud." It concludes with a statement from LeapfrogPress (Leapfrog published Stealing Indians). I am including the statement below, for those who do not have access to Publishers Marketplace. 

"Leapfrog Press has had no communications from PEN regarding the withdrawal of this nomination, and has no information on the reason for the withdrawal, other than an emphatic statement from PEN that the author's heritage was not in question, and the equally emphatic statement that none of the writers making public accusations are speaking for PEN. Leapfrog has seen no evidence, and no writer or media outlet has been able to provide evidence, to support accusations being made on social and in print. Public charges made, such as that Leapfrog Press was created by this author for his own books, and that the Ahtna language is made-up 'gibberish,' can be debunked so quickly that they call into question all public statements from those individuals. Leapfrog Press does not condone any attack against any writer's ethnicity, or the mocking of Native American languages."

A note from AICL: At some point, Smelcer revised the homepage for his website. Prior to this, it had been a lengthy page of claims Smelcer made about famous people he worked with and edited, and book prizes he was nominated for. That page now consists of a single paragraph that includes none of the previous claims. Several other pages from his site are also gone, including the contact page that had "Johnny Savage" listed as his agent.

****

And below, some background:

January 27, 2008
I posted a brief note about Smelcer's The Trap. Within a few hours I heard from several people that Smelcer is not Native. I had taken him at his word (that he is Native) and was taken aback to learn that his claims of being Ahtna were not accurate. (Since then, I've written about him several times at my site. I've tried to be as clear as possible but the sheer depth and breadth of Smelcer's claims are, indeed, a rabbit hole. I've spent many hours trying to verify what he says about his collaborations with other writers. Here, you'll find a list of the posts that are the product of that research. 

Feb 1, 2008
Roger Sutton, of Horn Book, posted White man speaks about Smelcer. On Oct 2, 2011, "Larry Vienneau" posted a comment, saying "If you are interested in the truth please visit ___ (the link no longer works). Vienneau is an illustrator who has illustrated for Smelcer's books. On October 11, 2011, "blackfeet 1954" submitted a comment about adoption rights. On October 16, 2011, "blackfeet1954" submitted another comment.  

October 17-18, 2008
I was an invited speaker at the "American Indian Identity in Higher Education" Conference held at Michigan State University. Upon arriving and talking with Native professors there, I asked if anyone knew Smelcer. I learned he was already well-known in Native writer networks as making questionable claims about his identity. Some of the talks were taped and are online. In the video of my talk, I recount that 2007 encounter with the book, my calls to the Ahtna tribal office, a phone call from his father, and Smelcer's emails to me. 

July 24, 2009
Diane Chen reviewed Smelcer's The Great Death. In her post, she recounts the background research she did on Smelcer. On October 17 at 1:03 AM and 1:11 PM, "blackfeet 1954" and "Edward Crowchild" submitted nearly identical comments. 

December 4, 2010
Amy Bowlan posted to her blog at School Library Journal, pointing her readers to the American Indian Identity paper I delivered in 2008. Comments submitted on October 7, 2011 by "Crowfeather" (I am fascinated by your ability to self promote, your seeming endless options, and your belief that you speaks for all native peoples and cultures.)and October 21, 2011 by "E. Crowchild" (Ms Reese likes to think she speaks for many natives, but she really speaks for herself.) sound very much like Smelcer's writings on his Ethnicity page at his website ("In no way does Debbie Reese represent or speak for all Native Americans. She’s not even a spokesperson for her own tribe."). 

January 8, 2015
I received an email from Kaylie Jones, daughter of James Jones, for whom a literary award is named. Smelcer had won the James Jones award in 2004 for Trapped. In subsequent phone calls with her, I learned that she wanted to rescind the award and had taken steps to remove his name from the list of people who received the award. Note there is a winner for 2003 and one for 2005. 

Spring, 2016
Native colleagues began talking online about some of Smelcer's poems that were on the Kenyon Review's website. Soon after, the poems were removed. Here's a note from David Lynn, the editor:

June 18, 2016
Therese Mailhot, writing for Indian Country Today, published John Smelcer: Indian by Proxy.

July 24, 2016
AICL's review of Stealing Indians.

August 14, 2017

• For some time now I have been periodically checking to see if Smelcer has removed or acknowledged errors he's made in "Setting the Record Straight" -- a document he maintains at his website. Towards the end of it, he says many things about me that are not true. 

________________________________

Note: Because of the nature of this discussion, AICL will not publish unsigned or anonymous comments. 

Published in 2016: Books by/about Native peoples

We will be updating this page whenever we read something published in 2016.

If you compare what I have here with the CCBC list, you will notice that AICL received some books that CCBC did not, and vice versa. An asterisk indicates a book that appears here and on the CCBC list.

Recommended (N=16)

• Baker, Darryl. (2016) Kamik Joins the Pack. Inhabit Media, Canada.*
• Bruchac, Joseph. (2016) The Hunter's Promise: An Abenaki Tale. Wisdom Tales, US.  Update on Sep 30 2023: I (Debbie Reese) no longer recommend Bruchac's work. For details see Is Joseph Bruchac truly Abenaki?
• Dunn, Anne M. (2016) Fire in the Village. Holy Cow Press, US
• Dupuis, Jenny Kay. (2016) I Am Not A Number. Second Story Press, Canada.*
• Erdrich, Louise. (2016) Makoons. HarperCollins. US*
• Herrington, John B. (2016) Mission to Space. White Dog Press, US
• Highway, Tomson. (2016) Dragonfly Kites. Fifth House, Canada*
• Nelson, Jonathan. (2016) The Wool of Jonesy. Native Realities, US
• Nicholson, Hope (ed.). (2016) Love Beyond Body, Space, and Time, Bedside Press, Canada
• Rendon, Marcie. (2016). "Worry and Wonder" in Sky Blue Water: Great Stories for Young Readers. University of Minnesota Press, US
• Robertson, David. (2016) When We Were Alone, HighWater Press, Canada*
• Smith, Monique Gray. (2016) My Heart Fills with Happiness, Orca Books, Canada*
• Starr, Arigon (ed.). (2016) Tales of the Mighty Code Talkers, Native Realities, US
• Van Camp, Richard. (2016) We Sang You Home, Orca Books, Canada*
• Van Camp, Richard. (2016) The Lesser Blessed (20th Anniversary Edition), Douglas & McIntyre, Canada.
• Van Camp, Richard. (2016) Spirit, South Slave Divisional Education Council, Canada

Not Recommended (N=19)

• Currie, Susan. (2016) The Mask That Sang. Second Story Press, Canada.* 
• Dagg, Carole Estby. (2016). Sweet Home Alaska. Penguin Random House, USA.
• DiPucchio, Kelly and Mary Lundquist. (2016). One Little Two Little Three Little Children. Balzer & Bray/HarperCollins. USA.
• Flood, Nancy Bo. (2016). Soldier Sister, Fly Home. Charlesbridge, USA.* 
• Gemeinhart, Dan. (2016) Some Kind of Courage. Scholastic, USA.
• Grill, William. (2016). The Wolves of Currumpaw. Flying Eye Books, London. 
• Harrison, Margot. (2016). The Killer In Me. Hyperion, USA.
• Hawke, Ethan and Greg Ruth. (2016) Indeh: A Story of the Apache Wars. Hachette, USA.
• Henry, Emily. (2016). The Love That Split the World. Razorbill/Penguin, USA. 
• MacColl, Michaela. (2016). The Lost Ones. Calkins Creek/Highlights, USA.*
• Mann, J. Albert. (2016). Scar: A Revolutionary War Tale. Calkins Creek/Highlights, USA. 
• McGovern, Cammie. (2016). Just My Luck. HarperCollins, USA.
• Mullins, G. W. (2016). Native American Story Books. Light of the Moon, USA
• Preller, James. (2016) The Courage Test. Feiwel and Friends/Macmillan, USA.
• Smelcer, John. (2016). Stealing Indians. Leapfrog Press, USA.* 
• Smith, Lane. (2016). There Is A Tribe of Kids. Roaring Book Press/Macmillan, USA.
• Telgemeier, Raina. (2016) Ghosts. Scholastic, USA. 
• Wells, Robison. (2016). Dark Energy. HarperCollins, USA.
• Wolf, Joan M. (2016) Runs With Courage. Sleeping Bear Press, USA.

Reviewed but not able to put in recommended or not recommended (N=1):

• Alexie, Sherman. (2016). Thunder Boy Jr. Little Brown. US*

Not Yet Reviewed (N=17)

• Akulukjuk, Roselynn. (2016). The Owl and the Lemming. Inhabit Media. Canada
• Bruchac, Joseph. (2016). The Long Run. 7th Generation, US.*
• Bruchac, Joseph. (2016). Brothers of the Buffalo: A Novel of the Red River Way. Fulcrum Publishing, USA. 
• Bruchac, Joseph. (2016). Talking Leaves. Dial Books for Young Readers, US.*
• Crate, Joan. (2016). Black Apple. Simon and Schuster. US
• Daniel, Tony. (2016). The Dragon Hammer. Baen/Simon and Schuster, US.
• Florence, Melanie. (2016). Rez Runaway. Lerner, Canada.
• Flanagan, John. (2016). The Ghostfaces. Penguin, US.*
• Holt, K. A. (2016). Red Moon Rising. Margaret K. McElderry/Simon and Schuster
• Kwaymullina, Ambelin. (2016). The Disappearance of Ember Crow. 
• London, Jonathan. (2016). Bella Bella. West Winds. US.
• Modesto, Michelle. (2016). Revenge of the Wild. HarperCollins, US.
• Peratrovich, Roy A. (2016). Little Whale. University of Alaska Press.
• Petti, Erin. (2016). The Peculiar Haunting of Thelma Bee. Mighty Media Junior Readers.
• Robinson, Gary. (2016). Lands of Our Ancestors. 7th Generation, US.
• Sammurtok, Nadia. (2016). The Caterpillar Woman. Inhabit Media. Canada.
• Smith, Danna. (2016). Arctic White. Holt/Macmillan

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

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. 

John Smelcer's STEALING INDIANS

John Smelcer's Stealing Indians is due out in August of this year (2016) from Leapfrog Press. Having read it, I'll start by saying that I do not recommend it. Neither does Roxanne Dunbar-Ortiz, author of An Indigenous People's History of the U.S. (She has written to him asking that he not use her to promote his book. Details here.)

Scholars who study boarding schools for Native children report that there was a wide range of experiences at the schools. Those who write about it take care in what they say about the schools. Today, they touch our lives, through the stories we hear from our elders, or from our own experiences in them, or from what we lost because of them.

Here's the opening preface to Boarding School Blues: Revisiting American Indian Educational Experiences, published in 2006, edited by Cliffford E. Trafzer, Jean A. Keller, and Lorene Sisquoc (Kindle Locations 30-36):

The American Indian boarding school experience left an indelible mark on the history of the United States and Canada, and only recently have we tried to understand the significance of the schools in the lives of students, teachers, administrators, and Indian communities. Perhaps we have waited so long for this scholarly examination because of the difficulties involved in addressing the dramatic impact of the boarding schools on the lives of so many people. For some American Indian students, the pain they suffered inhibits our intrusion into their lives. For other students, their boarding school days were filled with fond memories, sometimes mixed with melancholy, sometimes with humor. Understanding the many and varied levels of the boarding school experience is a complex business. No single interpretation of this experience exists today or ever will. Native American students and their parents viewed the schools in many different ways. Oral and written accounts by Indian students and non-Indians involved at the schools are extremely diverse. Historian Tsianina Lomawaima recently wrote to the editors that "part of that message, importantly, has been that the schools were not monolithically destructive or successful in their assimilative goals, but the harsh reality is-for some people, they were."

A key point in that excerpt is the diversity of experience. Given their long history and existence today, how could it be otherwise? Some were in Canada, some were in the U.S. There were/are "off reservation" boarding schools, and there were/are day schools on reservations, too. When they were in elementary school, my parents went to the day school on their respective reservations. Then they went to Santa Fe Indian School, where they met in the 1950s. Because of the stories they told me and the reading I've done, I know experiences varied widely by time and place.

Children in the US are not generally taught about the schools. Because some teachers use children's books to bring history into the classroom, it is crucial that the information conveyed in those books be accurate.

As noted above, I cannot recommend Smelcer's Stealing Indians. As my notes show, accuracy is an issue. Another is the lack of specificity of the character's respective nations. As regular readers of AICL know, I think it is important that writers be tribally specific (telling readers a character's tribal nation, within the story or in an Author's Note) because that specificity increases knowledge that can push back on the monolithic or stereotypical imagery that is far too prevalent in today's society.

Here's the synopsis for Stealing Indians:

Four Indian teenagers are kidnapped from different regions, their lives immutably changed by an institution designed to eradicate their identity. And no matter what their home, their stories are representative of every story, every stolen life. So far from home, without family to protect them, only their friendship helps them endure. This is a work of fiction. Every word is true. 

Smelcer's book is set in the 1950s and is located in the United States. Below are my notes and comments (my comments are in italics to distinguish them from description of the book's content) as I read his book:

CHAPTER ONE is about the four teenagers and how they were taken from their homes.

Lucy Secondchief is 13 years old. She's thinking about her father, who's been dead for four years. Specifically, she's thinking about the day of his burial, when some people brought food to their house, but others came to collect old debts. The latter took two rifles, a stack of lumber, the entire sled dog team, and the sled, too. That night, the sky was filled with the northern lights, which Lucy has been taught to fear because they are "a bad omen" and "a malevolent force that comes down to carry people away" (p. 18). Rather than stay inside she walks into a field. The lights drop down and surround her. People in the village watch in disbelief. Dogs howl and cower. Lucy starts to laugh aloud.

Debbie's comments: What is Lucy's tribal affiliation? We aren't told. Because of the northern lights and the sled dog/team, we can assume she's meant to be Alaskan Native, but which one? There are over 200. Amongst them, there are over 20 different languages. And of course, a diversity with regard to how they view the northern lights. Do some think they're a malevolent force? Maybe so, but it isn't likely they all feel that way. Lack of tribal specificity, then, has consequences for additional information we're given.

One day, a "tall-roofed black car" pulled into Lucy's driveway. Two men get out of it, approach Lucy's mother, and hand her a paper. Lucy's mother can't read, but (p. 22):

[S]he knew what the document said. Every Indian parent knew what it said. All across the country, Indian families were given the same piece of paper, which proclaimed the end to families. The paper was the law. It was the government's authority to steal Indian children from their families and send them far from their homes and villages. The law was for the sake of the children, a ticket to a better life free from the burdens of poverty and ignorance. The paper was the law that sent them to Kansas, Oregon, the Dakotas, California, Oklahoma, and Pennsylvania--anywhere far enough away so that they would forget what it means to be Indian. 

The men grab Lucy, drag her to the car, push her into the backseat and close the door. There are no door handles on the inside.

My comments: I've found nothing about tall-roofed black cars that were used to pick up and remove Native children from their homes. As far as I am able to determine (via print/electronic sources or through emails with colleagues in Native studies/law), there was no law like that. The boarding schools were designed to wipe out Native identity in students but there was no law written down on a piece of paper that was handed to families in the 1950s. I have not found evidence of such papers prior to the 1950s either. I did find something specific to removing Native children from their homes without the consent of their parents, guardians or next of kin, dated June 21, 1906, but it is about reform school, not boarding school:

25 USC § 302. Indian Reform School; rules and regulations; consent of parents to placing youth in reform school

The Commissioner of Indian Affairs, under the direction of the Secretary of the Interior, is authorized and directed to select and designate some one of the schools or other institution herein specifically provided for as an “Indian Reform School”, and to make all needful rules and regulations for its conduct, and the placing of Indian youth therein: Provided, That the appropriation for collection and transportation, and so forth, of pupils, and the specific appropriation for such school so selected shall be available for its support and maintenance: Provided further, That the consent of parents, guardians, or next of kin shall not be required to place Indian youth in said school.

Many coercive measures were used to get parents to send their children to the schools. It is possible that two men in Alaska were using a paper like that, but it isn't plausible. It is more dramatic to present these removals with that piece of paper, but that isn't accurate, and is information that would have to be unlearned at some point. There's no reason, in my view, to add to the body of misinformation that already exists. 

Simon Lone Fight is 14 years old. He lives in an "arid desert" (p. 22) of canyons, arroyos, buttes, and mesas. His parents were killed when he was 13. He is passed from "one cramped house of poverty to another" (p. 24). One of those homes is with his grandparents. One day, Simon sees a "black, high-roofed automobile" (p. 25) arriving at their house. Hiding behind the outhouse, Simon watches two white men get out of the car, briefcase in hand, and approach his grandfather. They argue, and then go into the house. Simon, a runner, takes off. That happens three more times that month. One day, his grandparents offer him ice cream if he'll go to town with them and help them sell hay. Instead of going into town, however, they pull off at the train station. Simon thinks they're going to load the hay onto a train. The train arrives, and Simon doesn't hear or see the black car. The two white men grab him. His grandfather watches and tells him "You must go to school. It's the law." He is put on the train.

My comments: There's that "law" again. As noted above, I have found no evidence of a law or piece of paper presented to parents. Use of "one cramped house of poverty to another" sounds like an outsider's observations rather than those of Simon or his relatives, and the way Simon was taken doesn't ring true. 

Noah Boyscout is also 14 years old. He's out hunting in a snowy landscape. Uneasy when he sees something in the distance, "the young Indian" (p. 28) checks to see how many bullets he has. As he heads home he thinks about how, as a "half-breed" he's an outcast and that he feels more at home in the forest with animals than he does with people. His mother isn't Native and doesn't like the stories he tells her of his interactions with animals: a fox lets him pet it, and a baby moose lays its head on his hip and naps, and he speaks raven and grouse. The thing he saw in the distance turns out to be one of several wolves who are pursuing him. He is afraid of them, ponders shooting them, but figures out that they're really after the dead rabbits he has in his pack. He throws the rabbits at them and makes his way on home to their cabin where there's a "tall black car" (p. 33) in the driveway. When he goes inside, a man in a black business suit and hat greets him. His mother starts crying and runs to the bedroom. There are photographs and papers on the table. The man tells Noah he has to go away, to a school for Indian boys and girls. The story jumps to the next character, Elijah.

My comments: I think the snowy landscape and Noah's parka and snowshoes place him in Alaska, but as with Lucy, we aren't given a specific tribe. The use of "the young Indian" tells us he's Native but I find that phrase jarring. It objectifies him and sounds more like an outsider's description than an insider voice. There's that tall black car again and reference to papers, one of which I assume is that "law" that Lucy's and Simon's parents are talking about. The story immediately moves to the next character.

Elijah High Horse is with his cousin, Johnny Big Jim. They're in the woods, camping. With his hunting rifle Elijah shoots at a deer that Johnny can't see. Both are 14. "They were Indians" (p. 35). Time spent in the woods was sacred, "a time to be what their grandfathers had been long ago" (p. 35). The next day they visit their grandfather. Elijah tells him about the deer that Johnny couldn't see, and his grandfather, "an old chief" (p. 37), tells him that when he was a baby being baptized, his nose started bleeding when the holy water touched him. They knew, by that bleeding nose, that Elijah would be a shaman one day, if he was strong enough not to be used up by spirits he would eventually start to see. Later, "the two young Indians" (p. 39) sit by a fire, and Elijah tells Johnny he's also seen a white buffalo.  A week later, Elijah's dad drives him to the train station, hands him a suitcase and a paper bag with fried chicken, a peanut butter & jelly sandwich, and two apples (p. 39):

Johnny was there to say goodbye. He wasn't going. The government had already taken two of his older brothers and a sister. He was allowed to stay. Not all Indian children were taken from their homes. That would have been unnecessary and, practically speaking, impossible. Neither the available room nor the funding would allow it. The government's goal could be achieved by taking only some, similar to the way the government didn't draft every young man from large families into military service during the war against the Nazis and the Japanese, over for only a few years.

Johnny waves goodbye, his father shuffles off, and "The young Indian" (p. 40) got on the train.

My comments: Again, we don't know what Elijah's tribal nation is, but the mention of the white buffalo suggests he's Lakota. That part about his nose bleeding sounds more like a horror movie than anything else. Elijah, in Christian stories, was a prophet. It strikes me as odd that this boy's family would name this infant--who they believe will be a "shaman"--by the name of a prophet whose holy water causes that nosebleed. And that part about Johnny being able to stay strikes me as an inconsistency. Remember--according to this "law," everyone has to go. Here, now, we have a different scenario. Does that "law" delineate exceptions for a 4th child in any given family?

CHAPTER TWO is about the four teens and their experiences on their way to Wellington (fictitious name of the boarding school).

Lucy. After many hours on a narrow, winding highway, the car Lucy is in arrives at a diner where she has french fries, and then a few hours later they arrive at a bus station where she is given a bus ticket. She rubs the red welts on her wrists, but we don't know why those welts are there. She's told that the bus driver will know where she has to get off. She has nothing other than the clothes she is wearing (no jacket). In the morning when she re-boards the bus after a stop, there's a new rider on the bus: Noah.

My comments: In the "Questions for Discussion" at the end of the book, item #4 is about a pair of handcuffs at the museum at Haskell Indian Nations University. I assume the author meant to include a passage about Lucy being handcuffed, hence the red welts, but it isn't there. 


Noah. Noah invites Lucy to sit with him. He offers her an apple. The bus travels hundreds of miles, south. They tell each other about their families. Late that day the driver tells them they have to get on another bus. They can sit and wait for it, but "the Indians" (p. 46) are tired of sitting and walk around the town. A pack of mongrel dogs come out of an abandoned warehouse and run at them. Lucy is afraid but Noah kneels, holds out a hand, and speaks to them. They drop to their bellies and let Noah pet them. After awhile he stands, points to the warehouse, and tells them to go home. The dogs go off, behind the building. "The two young Indians" (p. 47) return to the station, board their next bus and ride all night and much of the next day.

Simon. On the train, Simon heads northeast, knowing it will take two days to get to the town named on his ticket. With no food, he's hungry but "The Indian" (p. 49) goes to the dining car and grabs leftover food from empty tables. The next morning he sees "an Indian boy" (p. 50) has gotten on the train, too. It is Elijah, who leans toward Simon and asks his name.

Elijah. Elijah and Simon start to talk and learn they're going to the same place. Neither remembers the name of the school but talk about the photographs they saw of the iron arched gateway. Simon learns that Elijah had been on the train for a day and a half longer than he had and he's hungry because he's eaten up all the food his dad had given him. Together they go to the dining car, grab some leftovers, eat and that night, play card games. The next morning the train stops in a large city where they learn they will change trains. They have time before the next train arrives so the two set off to look around. Elijah ("the amazed Indian" p. 53) imagines people who work in the offices. Looking at the people milling about reminds him of salmon.

My comments:
Noah's powers are handy but I view them as stereotypical in the one-with-nature-and-animals way that Native peoples are often depicted. But, my guess is that most of the American reading public will think "cool" when they read how he handles those dogs. As you see, I'm noting some of the places where "the Indian" or "the Indians" is used. I think it distances the reader from the characters. Imagine those passages if the author just replaced all of them with "the kid" or "the kids." Recall that Elijah saw a white buffalo, and so I thought he was, perhaps, Lakota. But now he's talking about salmon and being on the train longer than Simon, which suggests he's of one of the tribes on the northwest coast. Which is it? Is Elijah of a Plains tribe? Or a northwest coast tribe? 

Simon and Elijah. 
"The Indians" (p. 53) walk for blocks. "The amazed Indian" (Elijah) imagines all the people in the glassy office buildings they pass by. As they go, people hand them change (money), which they accept, thinking the city people are the friendliest ones in the world. They buy hot dogs and then go down some stairs to an underground train where they encounter four older boys who start to bully them. The oldest asks them if they're Mexicans and if they have any pesos. Elijah says "We're Indian!" One of the boys tries to grab Elijah's backpack. Elijah sees a vague image beside one of the boys. It is a man, holding an empty bottle in one hand and a belt in the other. Elijah tells that boy that he's going to end up like his dad, who drank too much and beat him. The boy is shaken by what Elijah says. Elijah and Simon fight the four boys. Afterwords, Elijah and Simon head back to the station and the chapter ends.

My comments: I can imagine these two boys being struck by what they see in a city, but the way their unfamiliarity is described seems a kind of mockery of their lack of familiarity with a city. And--again, the objectification of them is jarring. 

Chapters 3-13

I provided a close read of chapters one and two, where we meet the characters. There are flaws in the ways these characters are depicted which has bearing on the story. Once they arrive at the school, the four will meet other students. One talks about his journey. It struck me as odd (p. 62): "I was in the bottom of a ship for two days. It was dark and they didn't let us out, neither. It was like we was cows or something. They just herded us in and closed the door." Where, I wonder, did that ship originate?!

On page 69 Elijah sees "English Only" posters on the wall. To my knowledge, there weren't posters like that in the schools in the 1950s. Indeed, significant changes took place from the 1930s through mid 1950s. Under the direction of John Collier (appointed as Commissioner of Indian Affairs in 1933 by President Roosevelt), there was a shift to make the curriculum reflect Native life and instill pride in a Native identity. In My Mother's House by Ann Nolan Clark, illustrated by Velino Herrera, is one of the outcomes of that shift. With various Native illustrators, Clark wrote several books like In My Mother's House between 1940 and 1951. Some of them were published in a Native language. Here's the cover of Little Man's Family, published in 1953. See the words beneath the English title? That is Dine (Navajo). It appears on every page. It seems unlikely then, that there would be "English Only" posters on the walls of the school. 

On page 112 of Stealing Indians, Simon and another boy speak Navajo to each other. Their conversation is overheard and Simon ends up being locked in an old maintenance building. It is a dramatic scene. Simon is led to the back of the poorly lit room where he's handcuffed to a pipe and left to sit on the concrete floor for several days. That scene sounds a lot like what happened in the schools in earlier times. In particular, it reminds me of a scene from a documentary about Carlisle Indian Industrial School. Again, though, it doesn't ring true for the 1950s. There are other plot points that I also find problematic. 

I think I'll stop here, saying again, I do not recommend Stealing Indians. It has problems of stereotyping, lack of tribal specificity, and problems with accuracy with respect to boarding schools of the time period in which the story is set. 

Given the depth and breadth of inaccurate depictions of Native people--past and present--in textbooks, movies, TV shows, and children's books, I firmly believe that the experiences Native people lived through must be presented with integrity and accuracy. Over-dramatizing what happened is a disservice to their experiences. 

__________

For further reading:
Previous posts on John Smelcer
John Smelcer, Indian by Proxy

Update: August 11, 2016
Each year, the James Jones Literary Society selects a recipient for its James Jones First Novel Fellowship Award. In 2004, Smelcer received the award for The Trap. Last year, Kaylie Jones wrote to me about Smelcer. She had questions about him and was glad to find that others did, too. James Jones was her father.

In May of this year, Kaylie Jones said, in email and by phone, that Smelcer's name has been removed from their website. If you visit the list of past recipients, you'll see a gap from 2003 to 2005. I asked her if they were going to issue a statement about it. They were discussing options, but she stated that I can quote her as follows:

"We took him off the website because he's an embarrassment to us." 

"He was fired from Wilkes University MFA program because he flat out lied about having a PhD from Oxford."

"The Norman Mailer quote is absolutely false. All the writers whose quotes he has there are deceased. So how can we prove it? Mailer's biographer J Michael Lennon says it is absolutely false and that I can prove."