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

Thursday, April 16, 2009

Boston Tea Party and 2009 Tea Party

The Boston Tea Party. There is one that happened yesterday, April 15, 2009, and there is one that happened way back when... When colonists threw tea into Boston Harbor in 1773...

That event in 1773 is widely depicted with colonists dressed as Indians who are shown wearing feathers, fringe and face paint. Here's the most famous image, an 1846 lithograph by Nathaniel Currier.


And here's one from a children's picture book, The Boston Tea Party, published in 2001, written by Pamela Duncan Edwards, illustrations by Henry Cole:



In fact, the colonists did not wear feathers
They colored their faces with ash and charcoal 
and draped blankets on their shoulders.* 


Given the multiple misrepresentations of that moment, I wondered if it would be echoed in yesterday's "tea party" events. Watching Jon Stewart's coverage of it, I had my answer (see lower right image):



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

UPDATE, 6:45 PM, April 16, 2009
Jeremy Cote, Phoenix, AZ, posted (to Flickr) "On warpath against more taxes!" In it are two women and two children, wearing tan-colored shirts, feathers in their hair. The children have signs taped to their shirts that say:
"Paleface taxes no good."
"Let little brave keep wampum."

UPDATE, 6:56 PM, April 19, 2009
A few minutes ago, a reader submitted a comment, pointing to a photograph in the NY Times. It accompanies a story titled "Tax Day is Met with Tea Parties." There is no reference in the article to the photograph, which shows a boy in a headdress.


UPDATE, 8:10 AM, December 16, 2014
For writing about how the colonists were dressed, see:


UPDATE, 9:20 AM, December 16, 2014

Here's the cover of The Boston Tea Party, December 1773, "text" by Josephine Pollard, "drawn" by H. W. McVickar (used quotations marks around text/drawn because those are the words on the title page). Published in 1882 by Dodd, Mead & Company, it has been digitized. Don't buy it from Amazon. You can read the entire book, free, online 


Here's a page from inside:



The text on the left page is: "Like sons of the forest, a poor imitation." The phrase "son of the forest" stood out to me because it is the title William Apes's book, published in 1829

And here's McVickar's drawing of "a Chinaman":



Some of McVickar's cartoons appeared in Harpers Magazine. Josephine Pollard wrote many books for children. 

An (Incomplete) List of Illustrators that Got it Wrong with Feathers and Colored Face Paint:

1882: H. W. McVickar got it wrong in The Boston Tea Party, December 1773 (by Josephine Pollard)

2001: Henry Cole got it wrong in Boston Tea Party (by Pamela Duncan Edwards)

2013: Lauren Mortimer got it wrong in What Was the Boston Tea Party? (by Kathleen Krull)

2013: Peter Malone got it wrong in The Boston Tea Party (by Russell Freedman)

Sunday, November 17, 2019

Dear _____: I got your letter about Thanksgiving

Today's blog post has an unusual title. It is my effort to reply, in one response, to the range of queries I get by email. These are emails that give me hope. They embody a growing understanding that Thanksgiving, as observed in the U.S., is fraught with problems.

Those problems range from the stereotyping of Native peoples to the pretense that peoples in conflict had a merry sit-down dinner.

Some emails are from parents who are dismayed when they visit their library and see children's books filled with those stereotypes and pretenses. These parents want their children to learn the truth. So they turn to the library for help.

Some parents tell me that, in a previous year, they had talked with librarians about the problems in the books. These parents felt hopeful that the librarians understood and would provide different kinds of programming and displays this year but that doesn't happen. Others tell me that the librarian interprets their questions as efforts to censor books. Some get lectured about censorship.

The thrust of the emails is this: what can I do?

Those of you who are writing to me have already taken the first step, which is to know there's a problem. Others have to know that, too. In order for changes to happen, more people have to understand what you already know. There is a problem. So, talking with friends and colleagues about it is a second step. Some of you already do that, which is great. Keep talking! And use social media! Though there are valid concerns about the merits of social media, I think it is why so many towns, cities, universities, schools, and states have instituted Indigenous Peoples' Day instead of Columbus Day.

With that in mind, I'm sharing a terrific resource that is available, online, at no cost.

Titled "Origin Narrative: Thanksgiving," it is a free teacher's guide to be used by people who have bought a copy of An Indigenous Peoples' History of the United States for Young People but I think people can use it without the book.

A brief note: In 2014, Dr. Roxanne Dunbar-Ortiz's An Indigenous Peoples' History of the United States was released by Beacon Press. Teachers asked for a version that they could use with teens. Beacon asked if I would do it; I invited my friend and colleague, Dr. Jean Mendoza, to do it with me, and it was released in 2019, with "For Young People" as part of its title.

Here's a screen capture of the lesson plan. To download it, go to Beacon's website where you can see the webpage of it and the link to download a pdf. You can ask your library to get the book, and if you have the option, see if you can schedule one of the library's meeting rooms to have a conversation with others about the holiday.





I welcome other thoughts. What strategies have you used that seemed to help?

****

Ah! Meant to include a bit more. Some people write to me asking for Thanksgiving books that I recommend they use with children. My impulse is to offer some suggestions, but I am also trying to remind them and myself that the question is, in essence, one that centers the holiday itself. It seems to recognize that stereotyped and erroneous storylines are not ok, but it still wants Native peoples at that table.

Instead of providing a list of books that can be used for this week, I am asking that you use books by Native writers, all year long. Don't limit our existence to this holiday.


In the Best Books page here at AICL, you'll find lists that I create, and links to the pages about the Youth Literature Awards, given by the American Indian Library Association. I've also written several articles that are available online. Some are about books I recommend, and some are ones that invite you to think critically about books. Here's the links. They work right now but journals don't keep articles available this way, long term. You might have to ask your librarian for the article if a link no longer works.



Thursday, February 12, 2015

THE TRUE MEANING OF SMEKDAY, by Adam Rex

Note on 2/20/2015: Children's literature scholar Perry Nodelman submitted comments that I am inserting in the body of this post, below the book list. Please read his thoughts on The True Meaning of Smekday. (See review of Smek for President, posted on May 7, 2015.)

__________

In 2007, Disney Hyperion published The True Meaning of Smekday by Adam Rex. Years ago, someone wrote to tell me it has Native content and wondered if I'd read it. I had not, but today I see that it is to be a movie. So.... here's my analysis of the book (note: I'm reading an electronic copy and using the copy/paste function on Kindle for Mac for page numbers I provide). I provide summary of the book in regular font, and use italics used to indicate my thoughts/analysis.

Let's start with the synopsis posted at Amazon:

It all starts with a school essay. When twelve-year-old Gratuity (“Tip”) Tucci is assigned to write five pages on “The True Meaning of Smekday” for the National Time Capsule contest, she’s not sure where to begin. When her mom started telling everyone about the messages aliens were sending through a mole on the back of her neck? Maybe on Christmas Eve, when huge, bizarre spaceships descended on the Earth and the aliens - called Boov - abducted her mother? Or when the Boov declared Earth a colony, renamed it “Smekland” (in honor of glorious Captain Smek), and forced all Americans to relocate to Florida via rocketpod? In any case, Gratuity’s story is much, much bigger than the assignment. It involves her unlikely friendship with a renegade Boov mechanic named J.Lo.; a futile journey south to find Gratuity’s mother at the Happy Mouse Kingdom; a cross-country road trip in a hovercar called Slushious; and an outrageous plan to save the Earth from yet another alien invasion. Fully illustrated with “photos,” drawings, newspaper clippings, and comics sequences, this is a hilarious, perceptive, genre-bending novel about an alien invasion.


As the story told in the school essay begins, it is Moving Day, 2013. We learn (later) that everyone is being relocated to Florida by the Boov (aliens), taken there in Boov rocketpods. People are behaving in crazy ways. Tip (the main character) sees a lady running down the street with a mirror as if she was chasing vampires. Then (p. 4),
I saw a group of white guys dressed as Indians who were setting fires and dropping tea bags down manhole covers.
Debbie's thoughts: I don't get why they're setting fires. Maybe that will make sense as I read further. They're dropping tea bags, too. Definitely a reference to the Boston Tea Party, but why are these white guys doing this? If people are behaving in crazy ways I could see individuals doing odd things, but a group of guys doing the same thing? 

A few paragraphs later, we learn that aliens called Boov arrived on earth on Christmas Day of 2012. By June they have taken over and decided that "the entire human race" would have happier if they were all moved to an "out-of-the-way state where they could keep out of trouble" (p. 6).

Debbie's thoughts: This is definitely a colonization story. It parallels the invasion (yeah, I know some of you don't think it was an invasion) of the Americas and subsequent decisions to remove Native peoples from our homelands to Indian Territory or onto reservations. I wonder if there is an interview of Rex, somewhere, wherein he talks about why he chose colonization of the Americas as the basis for this story?

In The True Meaning of Smekday, the initial place for removal is Florida. Tip decides to drive there instead, taking her cat, Pig, along. Recall from the synopsis that her mom was taken on Christmas Eve, so, Tip is traveling alone.

Tip meets up with a Boov alien named J.Lo who becomes her sidekick. He tells her that they've named the planet Smekland because “Peoples who discover places gets to name it” (p. 28). When Tip tries to tell him it is called Earth, he smiles condescendingly. He also tells her the aliens don't like humans celebrating their holidays, so they (the aliens) replaced them with new ones. Christmas is now Smekday. The alien leader is Captain Smek, who discovered this "New World" (p. 30) for them. Hence, places and holidays are named after him.

Debbie's thoughts: I'm wondering how Rex is going to wrap all this up. He's making intriguing parallels to history.

The letter that Tip is preparing for future readers is supposed to tell them what it was like to live during the invasion. In her account of how the Boov conquered the human race, Tip describes a message from the Boov:
A. The Boov had discovered this planet, so it was of course rightly theirs.
B. It was their Grand Destiny to colonize new worlds, they needed to, so there really wasn't anything they could do about that.
C. They were really sorry for any inconvenience, but were sure humans would assimilate peacefully into Boov society.
Debbie's thoughts: Note the use of "discover" and that discovery means ownership, the use of "Grand Destiny"--which is otherwise Manifest Destiny, and the use of "assimilate" which for Native peoples, took the form of "kill the Indian and save the man." So far in Rex's story, no killing or war or disease either, which is a considerable departure from the parallel he's constructed so far.

When the Boov move into the towns, they praise Captain Smek "for providing so many pretty, empty houses in which to live" (p. 60).

Debbie's thoughts: Use of "empty" echoes a lot of writing and stories that characterize the Americas as empty, virgin, plentiful land that nobody was using. You see that a lot in Wilder's Little House on the Prairie. What makes Rex's book different from Wilder's is that in her book empty land was presented as a fact, while the colonization theme in Rex's book implicitly tells us that this emptyness had prior owners and was being taken.

On TV, Smek calls humans "the Noble Savages of Earth" (p. 63) and shows footage of the Boov making treaties--not with world leaders--but with ordinary people.

Debbie's thoughts: Rex using "Noble Savages" --- readers get that the humans are not really savages, but I wonder if Rex's use of it has enough weight for readers to see the use of "savage" to describe Native peoples, or Iraqi's as savages is also wrong (see my post about American Sniper)? Regarding treaties, this is definitely intriguing! People who know Native history know that there are many "treaties" that were made with people who had no authority to make treaties.  

When Tip and J.Lo get to Florida, they don't see anyone. Tip recalls (p. 92)
"people in concentration camps in World War II, told by Nazi soldiers to take showers, and the showerheads that didn't work, and the poison gas that tumbled slowly through vents until every last one was dead."
Debbie's thoughts: Because this is a humorous story, some of the references to history--like that one--are jarring. If you read only the paragraphs before and after that passage, you won't find the humor that characterizes the tone of the book. 

In Florida, there is a Mouse Kingdom. Tip finds other kids there and learns from them that the Boov decided they wanted Florida for themselves because the aliens found out they like oranges. They chose another state to send humans to: Arizona.

Debbie's thoughts: Again--if you know Native history, you'll recognize that decision, too. The oranges are a parallel for gold or other resources that were/are on Native lands. Learning of the resources prompted the government to take aggressive action against Native peoples. 

Tip and J.Lo head to Arizona. J.Lo is wearing a ghost costume to disguise his alien identity, thereby protecting him from the Gorg, another alien race that wants the earth and seeks to displace the Boov. On the way they pass a sign for Roswell. Tip notes that it is known as a site where a spaceship crashed. J.Lo wants to go to Roswell to see the spaceship, even though Tip tells him people think it isn't true. Then J.Lo tells her that maybe it was a Habadoo ship and moves right to telling her a joke about a Habadoo, a Boov, and a KoshzPoshz. But, Tip's mind drafts off and she doesn't laugh at the joke. J.Lo asks her (p. 204)
"You are not a fan of ethnical jokes, ah? Look, is okay if I tells it, I am one-sixteenth Habadoo--"
Debbie's thoughts: J.Lo thinks that Tip finds the joke inappropriate, but J.Lo thinks it is fine for him to tell it because he is of one of the groups in the joke. This is, of course, the on-going debates about ethnic jokes and who can tell them, but it also strikes me as relevant to this story overall. If Rex was Native, might I be responding differently to the humor and tone he uses?

When they get to Roswell, New Mexico, they meet a group of people. A woman introduces herself as Vicki Lightbody. Tip introduces herself as Grace, and J.Lo as her little brother, JayJay (who, through Tip's quick actions is disguised as a ghost). They head to Grace's apartment, which is across the street from a UFO museum. Others they meet include adults named Kat, Trey, and Beardo.

Tip tells the group she plans on continuing to Arizona. She's seen lots of abandoned cars they could borrow if necessary (theirs was in need of repair). In particular, Tip mentions a turquoise truck someone was driving (p. 228):
"You saw Chief Shouting Bear," said Beardo. "He's a...he's just an eccentric old junkman that lives around these parts. He's kind of a town legend."
"Ha--yeah. The Legend of the Crazy Indian," said Vicki. Then she looked sideways at J.Lo and me and added, "No offense."
"For what?" I asked. "We're not Indians. Or crazy."
I am one-sixteenth Habadoo," said J.Lo.

Debbie's thoughts: First, I don't much like that name, "Chief Shouting Bear." Naming and names are important to people, no matter their heritage, but there's quite a few examples of white writers using Native and Asian names as fodder for jokes. Second, why does Vicki say "no offense" after saying "legend of the crazy Indian"? Did she think Tip is Indian because of her dark skin? Remember--Tip is biracial. Third, J.Lo's response is intriguing. He uses a fraction and a word. The way that sentence is constructed could easily be spoken by someone who is claiming Native identity, not as a way of life, but as a piece of who they are. But why would J.Lo--the alien--say that? What does he know about Native identity and the blood quantum terminology he uses?

The legend they are talking about is this: in 1947, Chief Shouting Bear found a flying saucer. According to the legend, he had been in Roswell in the Air Force during WW2 and was kicked out of the military for believing in UFOs. Now, he keeps that flying saucer in his basement, runs a junkyard, and uses the flying saucer as a way to make some money.

Tip sets off to find Chief Shouting Bear's house because she wants to see the flying saucer. His house is in the midst of a junkyard. When she and J.Lo get there, she is peering over a fence surrounding the junkyard when she hears "That's where the UFO stopped" and looks down "to see a thin, dark man, like a strip of jerky--the Chief" (p. 252). He is wearing a red cap with flaps and a strap (p. 252):
"He otherwise wore the same clothes as anybody else--no buckskin or beads or anything. I'm probably an idiot for even mentioning that."
Debbie's thoughts: I like what Rex did there, acknowledging a stereotypical expectation and pushing back on it. Here's the illustration of the man.

Rex's drawing of "the Chief" in shirt and jeans


Chief Shouting Bear takes Tip and J.Lo to see the spaceship. Tip sees it is made of papier-mache and not really a spaceship but pretends it is, thereby occupying Chief Shouting Bear so that J.Lo can go look for the telecone booth they've been looking for. She snaps a photo of the spaceship, and Chief Shouting Bear looks at her, puzzled that she seems to think it is an authentic spaceship.

While Tip, J.Lo and Chief Shouting Bear are looking at the telecone booth (the Boov are also searching for it), Vicki Lightbody and Kat show up, prompting Chief Shouting Bear to call out (p. 261):
"DON'T STEAL MY LAND, JERKS!" 
and
"YOU PALEFACED DEVILS!" 
Debbie's thoughts: There isn't any context (yet) for the shouting that he does. I've read a lot and don't recall any Native character calling a white person a devil. I've certainly seen white characters use that word to describe Native ones. I'm not sure what to make of Chief Shouting Bear using that word.

As Tip gets get ready to leave, Chief Shouting Bear asks Tip to come back tomorrow with her car so they can trade it for the telecone, but Vicki says that Tip and J.Lo were going to spend the day with her. Chief Shouting Bear says
"LET 'EM COME, INDIAN GIVER! I WON'T KEEP 'EM ALL DAY." 
Debbie's thoughts: Why is he using that phrase, "Indian giver" in his remarks to Vicki? 

Vicki replies, argumentatively, that it is dangerous for them to be around rusty junk. Chief Shouting Bear says that rusty junk will be all that is left soon, and then shouts (p. 262):
"HAWOOOO WOO WOO WOO." 
His dog, Lincoln, sits at his feet and "howled with him." Chief Shouting Bear says "JERKS" to Vicki and Kat, and Vicki tells him he could have a more positive outlook.

Debbie's thoughts: "Howled" bothers me. And the dog howling with him? Also not cool. This is war whooping straight out of Hollywood, and though we might see a dog joining its owner in making noise, this particular person and his dog howling are problematic because of the long history of characterizing Native people as animal-like. It seems to me that Rex takes two steps forward in this book and then one step back. 

The next day, Tip and J.Lo head to Chief Shouting Bear's place. They talk about people who seem to be crazy. Tip says that maybe Chief Shouting Bear wants people to think he is crazy. When they get to his house and are visiting with him, Tip asks about his shouting, saying (p. 273):
"You didn't raise your voice once when it was just the three of us. [...] But then Vicki and Kat show up and you're all 'GO AWAY, TREATY-BREAKER! DON'T...UM...DON'T--"
Chief Shouting Bear cuts her off:
"I never said 'treaty-breaker."
Their conversation continues:
"Yeah, well, that was the basic theme, anyway."
"I only usually shout at the white people," he said. "Tradition. I've got no beef with you."
"I'm half white," I said, folding my arms.
"Hrrm. Which half?"
I blinked. "Uh...dunno. Let's say it's from the waist down."
Chief Shouting Bear nodded. "Deal. I only hate your legs."
Debbie's thoughts: It is Chief Shouting Bear's tradition to shout at white people? That strikes me as inadvertently making light of actual Native traditions, none of which include shouting at white people. Chief Shouting Bear asking Tip "which half" is akin to the things I've heard a lot of Native people say in response to someone who claims they are part Native. It is a cynical response because Native identity doesn't work that way. Nobody is of this or that identity in a partial way. I should probably re-read the parts of Alexie's book to see how he handles that "part time Indian" in the title of his book.  

The two shake hands on that deal (that Chief Shouting Bear only hates Tip's legs). Tip introduces herself using her real name (Gratuity) and Chief Shouting Bear tells her his name: Frank. She is surprised by that name (p. 274):
"Oh," I said. "I thought...I heard..."
"You heard my name was Chief Shouting Bear," he said. "It doesn't matter. You can call me whatever you want, Stupidlegs."

Debbie's thoughts: I love that Rex is giving us a real name: Frank. Having the character introduce himself with that name humanizes him. With it, he seems to be distancing himself from the name that others call him (Chief Shouting Bear). That isn't a name he acknowledges as his own. With his "call me whatever you want" remark, he also seems to be telling us that such names are easily--but not appropriately--used as a means of belittling someone.

J.Lo hands "the Chief" a card that explains he is in costume as a show of solidarity with his Boovish cousins in their fight against the Gorg.

Debbie's thoughts: There aren't quotation marks around the words "the Chief" in the book. I'm using them there and throughout the remainder of my summary, because rather than call him Frank, or Chief Shouting Bear, Rex defaults to "the Chief." Why? I would have loved it if whenever Tip thinks or speaks about him, she uses his name (Frank). Using "the Chief" moves him back out of a real person and to a dehumanized entity. 

The "Chief" read the card aloud in a monotone voice and then hands it back, saying (p. 275):
"Nothing wrong with that," he said. "Hell, I wore a feather headdress for a while in the sixties."
Debbie's thoughts: Here, I infer that Frank is calling the headdress a costume that he wore in the 60s. It makes me wonder what tribe Frank belongs to. If he was of a Plains tribe, he wouldn't call the headdress a costume. 

While "the Chief" looks over Tip's car, the Gorg arrive, hunting for cats (the Gorg are allergic to cats). "The Chief" scoops Pig up and heads to the house, telling Tip and J.Lo to hide under the car while he runs off to hide Pig and the telecon booth. A Gorg finds Tip and J.Lo and asks where the telecon booth is. Tip plays dumb, and the Gorg asks her (p. 278):
"ARE YOU LOUD BEAR CHIEFTAIN?"
When she says "who" he replies:
"CHIEFTAIN LOUD BEAR MAN!"
Debbie's thoughts: More play with Native names. No doubt, readers find that hilarious--but that hilarity is less likely to be shared if it is your people or culture whose names are mocked like that.

The Gorg grills her until Chief Shouting Bear appears, telling it to leave her alone. The Gorg swung one of its arms, striking "the Chief" and knocking him out. Then he tears "the Chief's" house to the ground, looking for the telecon booth. It finds the basement door, enters, and when it reappears, it takes off, into the sky. Chief Shouting Bear is still knocked out. Tip sees he is bleeding. He needs more than she can do for him, so they get him into the car and go to Vicki's apartment which is next to a UFO museum. There, Kat and Trey ease "the Chief" out of the car. He comes, too, but his speech is slurred. Vicki asks if he had been drinking.

Drinking? Is that a realistic response to someone who has a bleeding head wound? 

Tip is furious with that question and glares at Vicki. Beardo tells Vicki that Chief Shouting Bear got hit by one of the Gorg, and she replies (p. 285):
"Don't you look at me like that. I was just asking is all. Indians drink--I saw a special about it."
They carry Chief Shouting Bear into the museum where he asks them for ice and whiskey.

Debbie's thoughts: Indians drink? A special? This idea, affirmed by a special--interesting that Rex brings forth that "drunken Indian" stereotype, but having Chief Shouting Bear ask for ice and whiskey affirms the stereotype. Disappointing. 

Leaving Trey to care for Chief Shouting Bear, Tip and J.Lo head back to the junkyard and figure out that "the Chief" really did have a spaceship, but that he had put papier-mache all over it to conceal it.

Tip and J.Lo resume their trip to Arizona, ending up in Flagstaff, where Tip tries to find her mom at the Bureau of Missing Persons. During this time in Flagstaff, they live in their car on the outskirts of town and use shower and bathrooms on the university campus.  Everyday, Tip goes back to the Bureau to talk to a guy named Mitch to see if they've found her mom. One day nobody is there because everyone is at a meeting where Boov representatives are speaking to people that have gathered on the campus quad. Tip and J.Lo head over there. J.Lo points out Captain Smek. He's one of the Boov reps, and is talking about the Gorg (p. 317):
"They are a horrible sort," Smek was saying, "and will not show the Noble Savages of Smekland the respectfulness that you have enjoyed from to the Boov. The Gorg are known acrosst the galaxy as the Takers, and they canto only take and take and take!"
He continues:
"We knows of the Gorg and Smekland leaders yesterday," said Smek. "The Gorg have probabiles made for you some fancy promises. Do not be believing them! They lie! They will enslave your race, just as to they have done so many others! They will destruct our world!"
The speech ends with:
"In closing," said Captain Smek, "the Boov are beseeching you: do not give up to the Gorg our world because of petty grudgings! Fight with us--" [...] "Fight alongside us," Smek said, "for a brighter, shiny Smekland!"
Then he repeats the speech in Spanish.

Debbie's thoughts: The occupier that has forced all the people to relocate is now telling them that another occupier won't respect or treat them well. 

Tip hears people around her grumbling about what Smek has said. Smek and the other Boov leave the stage, and Mitch, tries to get them to show respect to Smek. But he also then tells Tip that the Boov are on their way out and that they ought to ally themselves with the Gorg. Then he tells her that a Native American gentleman was looking for her at the hospital. She takes off for hospital and when she runs into his room, shouts "Chief!"

Debbie's thoughts: Again, why isn't she calling him Frank? 

Once in his room, "the Chief" tells her (p. 321):
"Mr. Hinkel," said the Chief, jerking his head toward the sleeping man. "He thinks Indians like me ought to live somewhere else. Likes to tell me about it a lot."
Tip replies that maybe he'll be leaving soon, but "the Chief" says he doubts that, because Hinkel was badly beaten by someone who thinks gay people like him ought to live somewhere else.

Debbie's thoughts: I am trying to sort through Rex's decision to make one oppressed people, embodied by Hinkel, be the one that is being racist towards another oppressed people. It is, of course, plausible, but it doesn't sit well with me. 

Tip realizes that "the Chief" had greeted her as Stupidlegs, and had called J.Lo "Boov." She had thought that "the Chief" believed J.Lo was her little brother.  J.Lo tells her that "the Chief" found out the truth when they were trying to hide the telecloner (back in Roswell). Tip is afraid that "the Chief" will tell someone that J.Lo is a Boov, but he shrugs and says (p. 322):
"When you're Indian, you have people tellin' you your whole life 'bout the people who took your land. Can't hate all of 'em, or you'd spend your whole life shouting at everyone."
Debbie's thoughts: With that, "the Chief" is saying that the Boov are just like the white people, but that he can't let hate consume his life. I need to think about that some more.

Tip realizes that his shouting (we also learn that he is 93 years old) was a way to make people think he was crazy so they wouldn't keep looking for the real spaceship.

While "the Chief" is in the hospital recovering, Tip reads to J.Lo. One of the books she reads to him is Huckleberry Finn. 

Debbie's comments: I wonder if, in the back story for this part of the story, Rex noted that Twain used "injun"?

When "the Chief" is better, he is moved to an "old folks' home" where Tip continues to visit him. On one visit, he tells her he had been sent to New Mexico after World War Two and that he had hated it because of where he was sent (p. 325):
"To a training ground in Fort Sumner. Didn't like it there--lot of bad history for my people. You know I grew up near here? On the res."
"Yeah, you said. So you're...Navajo, then?" I'd been learning a bit about the area.
"Prefer the name Dine, but yes."
Debbie's thoughts: So here, finally, we learn his tribe and what their own name for themselves is (Dine). But what is that bad history? Will kids who read the book wonder enough to look it up? And, a note to writers: the spelling we use is rez (with a z) not res. 

Unhappy being at Fort Sumner, "the chief" asked to be transferred, and that is how he ended up at Roswell. There, he learned the city wanted to build a water tower on a parcel of land, so he bought that land, which meant that the city would pay him rent for building the water tower on his land. The UFO crashed into that tower, but on its way down, it also crashed into a scientific balloon (p. 326):
The tower was totaled, and the city abandoned it--they never much liked our arrangement anyway. Somethin' about paying an Indian for land that rubs white folk the wrong way."
Debbie's thoughts: This sounds about right. Far too many people think that the U.S. government "gives" Native people things, not knowing (or disregarding) that these things (education and health care, for example) were negotiated between Native heads of state and U.S. heads of state during treaty or contract negotiations. I'll also take a minute to note that a LOT of people think we don't pay taxes. We do! Thus, I can imagine people not liking their tax dollars going to pay rent to an Indian landowner. 

"The chief" tells Tip that people knew about the balloon crash but the government was being hush-hush about it because it was top-secret. "The chief" tried to tell people he had a flying disk and an alien in his basement but people thought he was nuts. When they finally came to investigate, he was tired of them and played "the crazy Indian bit."

Tip learns that her mother is living near Tucson in a casino. Mitch passes on this info (p. 335):
"She's living in the Papago lands south of Tucson, in the Diamond Sun Casino."
Debbie's thoughts: Oh-oh. Papago? Hmmm... The people who were known by that name have, for a long time now, been known as the Tohono O'Odham. 

Tip learns that the description Mitch has been using in the search for her mom is wrong (p. 336):
"She's thirty," I offered. "Dark hair. Daughter named Gratuity."
"Black," said Mitch.
I coughed. "Black?"
"I'm sorry," said Mitch. Do you prefer African American?"
"Uh, no, I prefer you call her white, actually, because that's what she is."
"The file says she's black."
"Are you really arguing with me about this?"
Mitch looked tired. "I wrote down 'black,'" he said.
"I didn't tell you to write that," I answered, and then I could see the whole thing. "Have you been telling everyone to look for a black woman this whole time?"

Debbie's thoughts: I like seeing that conversation. Biracial kids and their parents are familiar with assumptions like the one Mitch made. Mitch doesn't answer Tip's question. He moves on. 

Mitch looks up the Diamond Sun Casino and finds it is in Daniel Landry's district (p. 337):
"Daniel Landry's district is far south of here," he said, "on some former Indian land."
"Indian land? Like a reservation?"
"That's right."
"Is this Dan guy an Indian?"
"I don't think so, no. I'm pretty sure he's white. He wasn't a governor or anything before, but he's really rich, so I imagine he's a good leader."
"Uh-huh. But he's white," I said "The Indians elected a white guy?"
"Well...I don't know. I imagine all the other people elected him. It's mostly white folks living on the reservation now."
I frowned. "And the Indians are okay with this?"
"What do you mean?" 
"Well...it was a reservation," I said. "It was land we promised to the Native Americans. Forever."
Mitch looked at me like I was speaking in tongues. "But...we needed it," he said.
Debbie's thoughts: Wow. Where to start?! Glad that the issue of land, and land being taken, is raised. But the way that conversation is laid out is a bit problematic. The way it is presented suggests that the reservation land was taken from an unnamed tribe. At one time in history, all of that land was Indian land. Today, a lot of reservations are what we call "checkerboard(s)" due to encroachment on reservation lands. See page 39 of Matthew L.M. Fletcher's article, Reviving Local Tribal Control in Indian Country for an in-depth look.  

As they head south to Tucson, Tip thinks (p. 340):
We all gained Arizona by coming here, but for the people who already lived here, we could only take something away.
Debbie's thoughts: I am glad Tip thinks this; I wonder how much readers of the book sit with that thought? 

Once they get to the casino, Tip and J.Lo go inside a tent where Tip's mom is supposedly leading a meeting. Inside, they see a redheaded man on stage with the microphone (p. 344):
"I have the stage! All I'm saying is, now that we've all had to leave our real homes, we got a chance to get America right! There can be a place for the Saxon Americans, and a place for the coloreds, and a place for--shut up!" 
Debbie's thoughts: His 'shut up' is in response to the boos coming from the audience. His hate-filled words are ones we hear, today, spoken aloud. It is good that he is booed. 

Then, Tip sees her mom take the stage. Her mom says (p. 345):
"I know, I know," she was saying. "You have every right. Just like he has the right, right? You don't have to like what he says, but letting him say it makes us Americans, and treating people the way we'd like to be treated makes us human, doesn't it? That's how I was raised, anyway."
Debbie's thoughts: Tough to read what she says. Yes, of course, we defend freedom of speech, but "makes us Americans" sounds like American exceptionalism, and "makes us human" sounds kind of like the golden rule (turn the other cheek), when I think we have the responsibility to call out hate speech. 

While inviting people in the crowd to speak, she spots Tip. Reunited, the three leave the tent and enter the casino where slot machines were pushed together to make walls for peoples homes. Tip learns that her mom was among political leaders who met with the Gorg to talk about the Gorg's demands. The Gorg plan to rid the planet of the Boov. They'll let humans have Arizona, Nevada, and Utah, but if the humans were found anywhere else, the Gorg would shoot them. Further restrictions include not using air vehicles and they can't have cats.

Debbie's thoughts: Most people may be unfamiliar with the fact that, when reservations were created, many of them were heavily policed. To leave, you had to get permission from the reservation agent. If you left without permission, you were "off the reservation" and could be shot. I wonder if Rex knew that history when he wrote that part of the book? 

Tip's mom introduces her to Daniel Landry. They'd just come from the airport where Landry needed her to translate for the new settlers who are Mexican families.

Debbie's thoughts: I'm curious about the Mexican families. He didn't say Mexican American. Remember--Tip is now in Arizona, down near the border, so maybe they are Mexican families being relocated to Arizona, but I don't recall the relocation plan including people in Mexico. 

Tip and J.Lo learn that the Gorg are taking over. J.Lo tells Tip that the Gorg "will take peoples for slaves and furniture and kill the rest." The Gorg had done this to the Voort.

Debbie's thoughts: Slaves. Hmmm... I wonder if Rex knows that many Native peoples from the eastern tribes were enslaved? Is that information the source of his reference to slavery? Or, is it specific to African peoples and enslavement of them? Is he mixing behaviors of oppressors?

Tip goes to visit Landry in his office. He tells her the Gorg have a lot to offer to humans. Tip mutters "Nothing that wasn't ours already." But Landry tells her the Gorg are driving away the Boov and that the Gorg "are giving back the whole Southwest." He tells her that humans are fighting Boov and Gorg, but the best thing is for everyone to be good and obedient to the Gorg, and that they'll leave soon anyway. He says (p. 374):
"Their whole society is based on paying and feeding old Gorg by making new Gorg and conquering worlds. They have to keep making more and more, sending them out in every direction. They're stretched too thin. Sooner or later they'll have too many Gorg and not enough resources, and the whole operation will implode."
Tip doesn't buy it. Back home in the casino, J.Lo tells her that the Gorg aren't stretched thin, and that because they can do telecloning, they won't run out of resources. The two keep talking and figure out that the Gorg clones are less-stable than the ones from which they were made. When her mom gets home, Tip asks her about the clones sneezing, but her mom doesn't recall any of that. And, her mom tells her that the Gorg are going to give them a cure for cancer, to be presented as a surprise at a big gathering.

There's a knock at the door, and it is "the Chief." Tip introduces him to her mom, saying "His real name is Frank." They invite him to eat dinner with them. After dinner, Tip walks "the Chief" out to his truck, where he tells her that some of his friends and cousins are "comin' down from the res" (p. 380).

Debbie's comments: I don't think 'from the res' is necessary. It is implied. And I'll note again, that it ought to be 'rez' (with a z) rather than res (with an s).

Chief Shouting Bear tells Tip that he is getting people together, people that they can trust. Tip asks (p. 380),
"Do you know some of the Papago Indians around here?"
"Tohono O'Odham," said the Chief. "The Tohono O'Odham Nation. Papago is derogatory. Means 'bean eaters.' And yeah, I know a few."
Debbie's comments: Glad to see that response to Tip's use of Papago! 

When the Gorg take Tip's mom, Tip and J.Lo note that they are sneezing and figure out that the Gorg hunt and kill cats because they are allergic to cats. They come up with a plan to fight the Gorg using that information.

They finally drive the Gorg away, and Tip, J.Lo and her mom head back to the casino. There, they (p. 419):
...find the Chief sitting atop his truck with Lincoln, looking out over the southern horizon at the big red ball that was slowly sailing away.
"Ha!" I heard him shout. "That's what you get, jerks."
Debbie's thoughts: The big red ball is the Gorg. He's shouting at them now, too. In the end, the Native character shouts at Gorgs and White people.

In the closing pages, some time has passed. Tip reports about stories from around the world, about people that had fought against the Gorg. Among them are "the Israelis and Palestinians, who managed to work together, for a change," and, "a group of Lost Boys living under Happy Mouse Kingdom" (p. 421).

Debbie's thoughts: Wondering how Israeli or Palestinian readers read that line, and, wondering how the Lost Boys are dressed... 

Here's what Tip says about "the Chief":
Frank Jose, the Chief, died this past spring. He was ninety-four. He said it was his time and mine had overlapped more.
Debbie's thoughts: Rex dropped Papago in the story early on and came back to it later, correcting its use. I wish he'd done that here, dropping "the Chief" from Tip's way of thinking about him. Nowhere do I see backstory or story itself that says Frank Jose was a leader of the Dine (Navajo) people; hence, calling him "the Chief" is incorrect. As I read this book, there were times when I thought that Rex seems to know so much! He critiques so much, and yet, leaves this and other things intact. Why? His character knows better, doesn't she?

Update: Feb 14

And... the Native character dies?! With that ending, we're definitely in that space where Indians are gone, extinct, etc. In the story, Rex names two different Native Nations, but without an individualized presence, I think they're invisible to the reader. 

(A bit more to say about the end of the story.)

The Gorg are gone, but the Boov remain for a year, relocating people and signing treaties and then they leave, one year later.

Debbie's comments: Relocating people to their original homes? Who are they signing treaties with? They leave? The colonizers leave?! That is definitely a departure from what actually happened with Native peoples. Check out this video that shows you what happened:






~~~~~~~~~~

Some current thoughts. I may add more, later.

As I reflect on Adam Rex's book, I think of it in layers. At the top is the words on the page and the ways Rex succinctly addressed things like names of tribes.  Beneath that top layer is one that constitutes what the characters know, or don't know, about Native peoples, nations, and history. There's so much misinformation out there. Rex bats down a lot but leaves other things as-is.

And beneath that layer is the premise for the story. Invaders come to the earth and start doing to humans the very things that European invaders did to Native peoples. A lot of what happened is not included in the story Rex tells. Warfare, bounties, disease, death... None of that is in Rex's story. All of that was devastating. Rex's story is not. The True Meaning of Smekday is viewed by readers and critics as funny and entertaining. Should it be? Should the colonization of a people--any people--be used as humor? Personally, I can't see similarly horrific historical events being turned into a funny story. Would we do that to the Holocaust? To slavery? But---I wondered---are there such books?

I asked that question on several listservs. Thus far, people are unable to offer a title in which this occurs. On child_lit, Tad Andracki offered some words that I found helpful. There are books for young readers where an individual's suffering due to oppression has moments of humor, but there aren't any where a peoples suffering is treated with humor.

We are, of course, talking about what is/is not appropriate content for a children's book.

One last thought: I think the ethnic joke J.Lo tells has a far broader application than its role within the story. Who can, with humorous tones, tell a story about a peoples suffering? If a Native writer had done this book, might I feel different about the tone?

This is a very long post, and if you've made it all the way here, thank you. I'm walking away from the book for now but will, no doubt, be back with updates and corrections to typos, etc. There's so much more to address than the notes I've shared thus far.

Update

In my request for similar titles, I received the following suggestions. Ones marked with an asterisk are characterized as problematic because they aren't serious enough, rather than ones whose tone is humor.  I'm grateful to all those who suggested titles. Though I haven't read most of these books, synopsis/reviews of them indicate that while some suggestions are about a serious topic, they aren't meant to be funny in tone.

*Boyne, John. The Boy in the Stripped Pajamas

Briggs, Raymond. The Tin-Pot Foreign General and the Old Iron Woman

Briggs, Raymond. When the Wind Blows

Clark, Henry. The Book That Proves Time Travel Happens

Dallas, Sandra. Tallgrass

De Brunhoff, Jean. The Story of Babar

Hardinge, Frances. The Lost Conspiracy

Houston, James D. and Jeanne Wakatsuki Houston. Farewell to Manzanar

Innocenti, Roberto. Rose Blanche

Jinks, Catherine. Pagan's Crusade

Marsden, John. The Rabbits. Illustrated by Shaun Tan.

Oppenheim, Joanne. Dear Miss Breed: True Stories of the Japanese American Incarceration During World War II and a Librarian Who Made a Difference

Spiegelman, Art. Maus

Stewart, Trenton Lee. The Mysterious Benedict Society and the Prisoner's Dilemma. Illustrated by Diane Sudyka

Twain, Mark. Huckleberry Finn and Tom Sawyer

*Wild, Margaret. Let the Celebrations Begin! Illustrated by Julie Vivas

Yansky, Brian. Alien Invasion and Other Inconveniences

*Yolen, Jane. The Devil's Arithmetic


On 2/20/2014, I added Perry Nodelman's insightful comments here, in the body of the post. They were submitted in two parts as indicated:


Thanks, Debbie, for getting me interested in this book, which I hadn’t read before you alerted me to it. For the most part, i enjoyed reading it, and I have lots to say about it––enough to go past the number of characters allowed in a comment, so I’ve divided my response into two comments.

Part 1: I think that Rex does some very clever things in terms of paralleling the alien invasion with what happened between imperialist invaders and Indigenous people in North America and elsewhere. I think, though that Rex's main interest throughout appears to be in exploring the humor of the situation, and while that means there’s often clever and funny satire that emerges from the colonialist parallels, that doesn’t happen consistently. Sometimes the novel is a colonial satire, and sometimes it isn’t.
For instance, it seems that the appearance and character of the alien Gorg has satiric implications: they have the uniformity, the self-centered self-importance, and the obsessive single-mindedness of totalitarian overlords, like Hitler or the British raj or the European settlers of North America. But there is no satiric implication that I can find in the fact that the other aliens, the Boov, have a sizeable number of feet. It’s just a joke, just something that defines them as alien.
Similarly, i think, what happens sometimes resonates in terms of the history of relationships between Indigenous North Americans and European colonists and sometimes it doesn’t. And sometimes, much worse, it resonates in what I see as negative ways that I suspect Rex wasn’t even aware of.
I think that happens, for instance, with the portrayal of Chief Shouting Bear. Aspects of it are cleverly satiric. I like how the Chief slyly manipulates stereotypes of angrily politicized Native Americans in order to keep people from interfering in his life. He creates a safe space for himself by pretending to be something that confirms other people's negative stereotypes and makes those other people want to avoid him. But while the distance between the stereotype and the real, clever, kind man who hides behind it seems to imply the falsity of the stereotype, it also in an odd way also confirms the stereotype: the novel never suggests that there aren’t a lot of angry Native Americans who shout too loudly about their land and their rights, etc. Nor does it suggest that the anger is justified and even necessary, or that is anything but just silly and laughable. Indeed, the novel seems to be sending up the supposed silliness of politicized Native people who want to make others aware of their rights at the same time as it seems to be expressing concern about how powerful outsiders oppress people and deprive them if their rights. The novel is just too interested in making jokes and being funny to be consistent enough to be effective as satire. As a result, it undermines its own satire. 
Part 2: My main concern with the novel, though, is that while it makes significant points about how colonizers oppress others, points that seem modeled on the history of European settlers and Indigenous North Americans, it finally seems to want to dismiss the significance of that history and invite readers of all sorts to believe that the past is the past, what’s over is over, and that since we’re really all alike we should be forgetting our differences (and apparently the history behind those differences) and just treat each other as equals and get along. Gratuity, the protagonist who is telling what happened, implies that sort of tolerance message when she says, “The Boov weren’t anything special. They were just people. They were too smart and too stupid to be anythng else.” And the Chief agrees: “When you’re Indian, you have people telling you your whole life ‘bout the people who took your land. Can’t hate all of ‘em, or you'll spend your whole life shouting at everyone.”

The novel also undermines its colonialist satire by identifying a number of other forms of oppressions of weaker people by more powerful ones: women by men, children by adults, etc. Even Gratuity herself has to acknowledge at one point that maybe she’s too bossy and should stop oppressing others. As a result, the specific history and issues of Native Americans become just one example of a more general attack on mean bullies who take advantage of weaker people; and the solution to that particular situation as well as all other situations and relationships is just being nice to others and treating them all as equals.
To me, that reads like a massive copout, a way of avoiding the important political and historical issues that still control and limit far too many lives. And like, for instance, a lot of multicultural rhetoric, it works to erase the ongoing significance of the specific history of Indigenous peoples—what makes their situation different from those of all the other groups who now live together in countries like the US.
One final point: for someone who spends a lot of time attacking and making fun of imperialists blind to the equal humanity of people they see as different and inferior to themselves, Rex himself, quite unconsciously, I suspect, makes a hugely imperialistic mistake. He asserts that the Boov force all the inhabitants of Earth to move to Florida, and then, changing their minds, to Arizona. But he then says nothing about how the Earthlings from, say, Europe or Africa, are going to manage to get to Florida. And when Gratuity arrives in Arizona, there is no mention of people who speak Swahili or Chinese, no mention of there being disputes involving people from different countries or continents, no mention of orders given in any languages other than English and Spanish. In fact, Rex has simply assumed that the Earth = the USA. All the humans who are not American are simply erased. It’s only in one sentence towards the end that Rex hints that maybe the Boov had rounded up other people in other parts of the world in different detention areas closer to where they live--a weird thing to suddenly tell readers about when we’ve been asked all along to assume that all humanity had ended up in Arizona. This is unconscious American imperialism at its finest, and as a Canadian, I found it exceedingly annoying.
All things considered: I think that The True Meaning of Smekday is often a very funny novel, and often a cleverly satiric one. But while it certainly has the potential to give readers of all ages a lot to think about, I find myself saddened by the ways in which it sets up parallels that allow for shrewd commentary on American Indian history and politics and then squanders the opportunity to pursue that commentary in favor of jokes and a kind of obvious and dangerous message of thoughtless universal equivalence and tolerance. 

Friday, January 15, 2016

Ellen S. Cromwell's TALASI, A STORY OF TENDERNESS AND LOVE

Earlier this month I received a review copy of Talasi, A Story of Tenderness and Love. Written by Ellen S. Cromwell and illustrated by Desiree Sterbini, it purports to be about a Hopi child. The author is not Native.

Here's some of my notes:

Page 6

Talasi is the little girl's name, which, the author tells us "comes from corn tassel flowers that surround her pueblo home in Arizona."

I think readers are meant to think that her name may be a Hopi name. Let's pause, though, and think about that. The word tassel is an English word. The Hopi have their own language, and likely have a word for tassel. Wouldn't the child's name reflect that word rather than the English one?

As regular readers of American Indians in Children's Literature know, my grandfather is Hopi. I've been to Hopi. Homes on the mesas aren't surrounded by corn fields. The mesas are, so maybe that is what the author means, but written as-is, it reminds me more of farms in the midwest where homes are surrounded by corn fields.

Page 7

There's an error about materials used to build homes. The text says that "dwellings" (that word, by the way, sounds like an anthropologist, not a storyteller) are made from "adobe stone and clay." That ought to be "dried bricks and adobe clay" as stated in the "About the Hopis" at the end of the book.

We read that the best part of "multi-level living" is that Talasi can climb up and down a ladder. Sounds odd to me... let's think about a child in the midwest living in a two-story house. Is that child likely to say going up and down the stairs is the best thing about living in that multi-level home? I doubt it. Presenting that activity as a favorite thing for Talasi to do sounds very much like an outsider's imaginings of what life is like for a Hopi child. I suppose it is possible, but, not likely.

Page 10

The illustration shows Talasi and her grandmother, who sits in a rocking chair. The wall behind them has a six-paned glass window... which strikes me as an inconsistency. So does Talasi lying on the floor. It reminds me of a modern day house (again, in the Midwest) more than it does a Hopi home at one of the mesas. It also makes me wonder about the time period for this story.

On that page Talasi's grandmother tells her that she's going to move to a new home and that she'll go to a school to learn things that she (the grandmother) can no longer teach her. This foreshadows what is to come: Talasi's grandmother is going to die and upon her death, Talasi and her mom are going to move away to a city.

Page 14-15

On this page we have a double paged spread showing a city with tall buildings and bright lights. I wonder if it is Phoenix? And again I wonder about the time period for the story.

Page 16

Talasi goes to school but feels out of place. The text says that there are things to play with, but "no Katsina dolls to comfort her." Reading that, I hit the pause button. This, again, feels very much like an outsider voice. A "Katsina doll" isn't a plaything in the way that sentence suggests.

Page 18

Talasi brings a Katsina doll into the classroom. She wants to share it, and a story about it. I find that page especially troubling. It makes me wonder if Cromwell and Sterbini submitted this project to the Hopi Cultural Preservation Office. The acknowledgements page in the front of the book thanks Stewart B. Koyiyumptewa, the archivist at HCPO, for his "generous attention." His name there suggests that he endorsed Cromwell's book, but "generous attention" gives me pause. Given the care with which the HCPO protects Hopi culture from appropriation and misrepresentation, I doubt that HCPO approved what I see on page 18.

That said, the way that Talasi tells that story sounds--again--very much like an adult who is an outsider rather than how a Hopi child would speak.

***

I have too many concerns about the content of Talasi, A Story of Tenderness and Love. If I hear from any of the people in the Acknowledgements, telling me that they do recommend it, I'll be back to say so.

Thursday, April 24, 2008

Presentation of American Indian Library Association Youth Lit Award

If you're attending the American Library Association's Annual Conference this summer (June 26-July) in Anaheim, get a ticket for the American Indian Library Association's Youth Literature Award presentation. It'll be on Monday, June 30, 5:30 to 7:00. Tickets are $25.

Accepting awards there will be:

Joseph Medicine Crow, for Counting Coup: Becoming a Crow Chief on the Reservation and Beyond

Sherman Alexie, for The Absolutely True Diary of a Part-Time Indian

Tim Tingle and Jeanne Rorex Bridge, for Crossing Bok Chitto: A Choctaw Tale of Friendship and Freedom

To order tickets, send a check or money order made out to:

Lisa Mitten
32 Stewart Street
New Britain CT 06053

Tuesday, April 28, 2015

Native American Representation in Children's Literature: Challenging the People of the Past Narrative, by Julie Stivers

Eds Note: Today, AICL is pleased to share a study done by Julie Stivers, a graduate student at UNC-Chapel Hill, School of Library and Information Science. Ms. Stivers shared the poster (below) with me earlier this week. I was reading Ed Valandra's article that day and sent it to her because her study confirms Vine Deloria Jr.'s observations about books published from 1968 to 1975 (Valandra's article is listed below in Additional Resources). Of those four years, Deloria wrote (p. 105-106):
...it seemed as if every book on modern Indians was promptly buried by a book on the "real" Indians of yesteryear. The public overwhelming[ly] turned to Bury My Heart at Wounded Knee and The Memories of Chief Red Fox to avoid the accusations made by modern Indians in The Tortured Americans and Custer Died for Your Sins. The Red Fox book alone sold more copies than the two modern books. 
Valandra continued:
In other words, the non-Indian literary world refused to consider Native peoples in a modern context, thus hindering the accurate depiction of contemporary Native issues.

Ms. Stivers studied children's books published since 2013. Her findings tell us that things haven't changed much. What gets published, matters. The writer's you read, and their viewpoints, matter. Please seek out Native writers! Think about their stories and what they choose to share. It matters. 

Thank you, Ms. Stivers, for giving AICL permission to share your excellent work on this project! 

___________________________



Native American Representation in Children's Literature: 
Challenging the "People of the Past" Narrative
by Julie Stivers

Are you a librarian...a teacher...or a parent?  Let’s think for a moment about the books we own that feature Native American main characters.  What are their settings?  In the past?  Modern day?  If the text does not make this clear—if, for example, there are anthropomorphic animals—what are they wearing?  Baseball caps and modern clothes or ‘leather and feathers’?

It was these questions that drove me to research the time settings of books featuring Native Americans for a Children’s Literature class assignment on content analysis.  Of the many problematic stereotypes in youth literature written about Native Americans, I chose to focus on examining the prevalence of the ‘people of the past’ narrative.  At face value, readers and librarians may think this is a harmless problem—which is, of course—what makes it so dangerous.  However, a predilection for featuring only Native American books that are set in the past puts forth a narrative that Native American people themselves are only of the past, allowing their present lives—and their sovereign rights—to be ignored.  This stereotype is damaging to the sense of self of contemporary Native youth.  A Broken Flute: The Native Experience in Books for Children (Seale & Slapin, 2005) contains “living stories" which shed light on the negative impact stereotypes in literature are having on Native American youth.

This poster displays results from the content analysis of youth fiction books published since 2013 with Native American main characters.  75% of books written by non-Native authors were set before 1900, compared with only 20% written by Native authors.  Increasing the time period granularity makes the results even more striking.  No books by non-Native authors were set after 1950, whereas 75% of books by Native authors were, with 2/3 of books written by Native authors set in present day. 
Which books do we think are being put out by the Big Five publishers?  Overwhelmingly, those set in the past.  So, if we are relying on ‘mainstream’ review sources, ordering platforms, and book fairs, we will get a clearly biased view of Native Americans in our youth literature.  Only by seeking out offerings from independent publishers and learning from sites such as American Indians in Children’s Literature and Oyate can we successfully challenge the ‘people of the past’ narrative by collecting books about—and written by—Native Americans that reflect a wide range of experiences and settings.



Please note that this research makes no claims as to the quality or authenticity of the titles.  The presence of a book in a ‘pre-1900’ category does not preclude it from being an excellent example of literature featuring American Indians, such as How I Became a Ghost by Tim Tingle, praised by both Native reviewers and mainstream critics.  For this sample, however, there was a commonality for all well-reviewed books set in the past—they were all written by American Indian authors.

Additional Resources:

Seale, D. & Slapin, B. (Eds.). (2005).  A broken flute:  The Native experience in books for children.  Berkeley, CA:  Oyate.

Stewart, M.P. (2013).  “Counting Coup” on children’s literature about American Indians:  Louise Erdrich’s historical fiction.  Children’s Literature Association Quarterly, 38(2), 215-235.

Valandra, E.C.  (2005).  The As-Told-To Native [Auto]biography:  Whose voice is speaking? Wicazo Sa Review, 29(2), 103-119.

Boccella Hartle, M. & Shebala, M. (2010).  When your hands are tied.  Documentary film.  http://www.whenyourhandsaretied.org/


Thursday, May 19, 2022

Native Writers Sign Letter Submitted for US House Committee Hearing "Students, Parents & Others Testify on Curriculum Censorship"

An Indigenous Peoples' History of the United States for Young People is among the hundreds of books that have been challenged and banned in schools in the United States. Today (March 19th, 2022), a letter was submitted to the US Congress. I and several Native writers, including Andrea L. Rogers, Traci Sorell, Brian Young, Kevin Maillard, Tim Tingle, Dawn Quigley, Denise K. Lajimodiere, Kim Rogers, and Cynthia Leitich Smith, signed the letter. 

Signed by 1,300 children's and young adult authors, the letter was drafted by Christina Soontornvat. In his opening remarks of the US House Committee hearing on "Students, Parents & Others Testify on Curriculum Censorship," Representative Jamie Raskin read the entire letter. Children's and young adult books expand what is available in curriculum materials and textbooks. Censoring them is a harm to all children. 

I offer a special kú'daa (thank you) to Arigon Starr, for including her tribal nation--Kickapoo Tribe of Oklahoma--in her signature (I highlighted it and did a screen capture): 



Who we are, as citizens of tribal nations, matters and the books we create for young people matter. They provide our children with mirrors of our experiences as Native people, and they provide non-Native children with windows that accurately bring Native life to them in ways that help them understand the entirety of who we are. 

Here is a copy of the letter:

May 17, 2022

We, the undersigned, authors and illustrators of books for children and teens, condemn the efforts by organized groups to purge books from our nation’s schools. Our concern is not for the books themselves, but for the children, families, and communities who are caught in the crosshairs of these campaigns.

This current wave of book suppression follows hard-won gains made by authors whose voices have long been underrepresented in publishing. Just ten years ago, less than seven percent of children’s books featured characters who were Black, Indigenous, or people of color (source: Cooperative Children’s Book Center). Representation is finally increasing thanks to the work of groups like We Need Diverse Books. The current banning efforts are part of a strong and purposeful backlash against books written by BIPOC authors. Books with characters who are LGBTQIA+ have been vehemently targeted and frequently misrepresented.

When books are removed or flagged as inappropriate, it sends the message that the people in them are somehow inappropriate. It is a dehumanizing form of erasure. Every reader deserves to see themselves and their families positively represented in the books in their schools. These books are important for all children. Reading stories that reflect the diversity of our world builds empathy and respect for everyone’s humanity. At a time when our country is experiencing an alarming rise in hate crimes, we should be searching for ways to increase empathy and compassion at every turn.

A particularly insidious feature of the current attacks is the flood of accusations that anyone who seeks to give readers access to diverse books is a “groomer,” “radical,” or “pedophile.” These charges are abhorrent and without merit, and they have been leveled against not only authors, but against teachers and librarians. We strongly condemn this slander against our colleagues and our nation’s educators.

A book may not be for every student, but—as we know from the many letters we receive from young readers—a single book can matter deeply to an individual student. Nearly all campuses have an existing system to handle a parent’s concern with their own child’s reading material. Pro-censorship groups seek to overwhelm these systems by pressuring schools to pull entire lists of books from shelves “for review.” Some extremists have intimidated authors, educators, and school board members online and even threatened them with violence. This has created an atmosphere of fear that has led to “soft censorship” in many districts. Books are quietly removed or never purchased at all. Authors are never invited to speak, for fear of drawing the wrath of
these groups.

Libraries are bastions of the First Amendment. They provide equal access to a wealth of knowledge and ideas for all public school students. When individuals and organizations seek to advance their own political agendas or personal beliefs by censoring books, they infringe upon students’ constitutional rights.

We call upon Congress, statehouses, and school boards to reject the political manipulation of our schools, to uphold the values of freedom and equality promised in the Constitution, and to protect the rights of all young people to access the books they need and deserve.

Signed,

Judy Blume
Lois Lowry
Christina Soontornvat
Ellen Oh
Phil Bildner
Alex London
Dhonielle Clayton
Gordon Korman
Karina Yan Glaser
James Ponti
Minh Lê
Linda Sue Park
Nic Stone
Hena Khan
Katherine Paterson
Sarah Mlynowski
Meg Medina
Gregory Maguire
Stuart Gibbs
Julie Buxbaum
KA Holt
Juana Martinez-Neal
Nikki Grimes
Max Brallier
Samira Ahmed
Jim Averbeck
Louise Hawes
Rose Brock
Mary Brigid Barrett
Kyle Lukoff
Erika T. Wurth
Kate Hart
Andrea L. Rogers
Traci Sorell
Brian Young

Erin Entrada Kelly
Kathi Appelt
LeUyen Pham
Nisha Sharma
Debbie Reese
Kevin Maillard
Rick Riordan
Jacqueline Woodson
Cynthia Leitich Smith
Mo Willems
Jason Reynolds
Jeff Kinney
John Green
Raina Telgemeier
Tiffany D. Jackson
Mayra Cuevas
Rebecca Stead
Molly Idle
Bill Konigsberg
Joy McCullough
Liz Garton Scanlon
Elizabeth Eulberg
Adele Griffin
Laurel Snyder
Susan Campbell Bartoletti
Debbie Ridpath Ohi
Matt de la Peña
Cynthia Levinson
Bethany Hegedus
Elana K. Arnold
Audrey Vernick
Jason June
Tim Tingle
Jo Whittemore
ilene Wong Gregorio

Dawn Quigley
Supriya Kelkar
Jen Calonita
Jasmine Warga
Ronald L Smith
Victoria Aveyard
Rajani LaRocca
Jennifer Ziegler
Nidhi Chanani
Kami Garcia
Jeff Zentner
Gale Galligan
Angie Thomas
Dave Pilkey
Kate DiCamillo
Kwame Alexander
Avi
Jerry Craft
Dan Santat
Hope Larson
Varian Johnson
Romina Garber
Marianna Baer
Padma Venkatraman
Olugbemisola
Rhuday-Perkovich
Julie Murphy
Denise K. Lajimodiere
Laurie Devore
Soman Chainani
Jamie Lee Curtis
Mac Barnett
Megan Frazer Blakemore
Malinda Lo
Alex Segura

Kelly Yang
Naomi Milliner
Tracey Baptiste
Jon Scieszka
Veronica Roth
Shing Yin Khor
Supriya Kelkar
Shaenon K. Garrity
Alex Gino
Malayna Evans
Marie Lu
Laurel Goodluck
Randy Ribay
Courtney Summers
Jennifer Bertman
Libba Bray
Maulik Pancholy
Lin Oliver
Sarah Albee
Anne Wynter
Jessica Patrick
Kayla Cagan
Sara Ryan
Amy Spalding
Jordan Sonnenblick
Alexandria Giardino
Cory Putman Oakes
K-Fai Steele
Amy Novesky
Sayantani DasGupta
Erin Soderberg Downing
Donna Barba Higuera
David Bowles
Sarah Darer Littman
Nate Powell
Heidi E.Y. Stemple
Thyra Heder
Trung Le Nguyen
Mike Curato
Angeline Boulley
Barbara McClintock
Hannah Barnaby
Jeanne Birdsall
Steve Light
Maggie Rudy
Brian Floca
Malinda Lo
Jarrett J. Krosoczka
Sherri L. Smith

Nicole Maggi
Gideon Sterer
Ginger Johnson
Kara Thomas
Debbi Michiko Florence
Maryrose Wood
Kristin Cashore
Carolyn Mackler
Lauren Castillo
Margo Rabb
Beth McMullen
Mary Winn Heider
Natalie Standiford
John Rocco
Judy Blundell/Jude Watson
Brian Selznick
Laura Ruby
Jessica Lee Anderson
Susan Kralovansky
Amitha Jagannath Knight
Jenn Reese
Mariah Fredericks
Oge Mora
Farrah Rochon
Jason Chin
Lisa Fipps
Greg van Eekhout
Catherine Linka
Lisa McMann
David Hyde Costello
Kristin Cast
Janae Marks
Kip Wilson
Meredith Davis
Bethanie Murguia
Aisha Saeed
Cecil Castellucci
Fran Manushkin
Raphael Simon (aka
Pseudonymous Bosch)
Carrie Jones
Pat Miller
Katie Bayerl
Misa Saburi
Matt McMann
Maurene Goo
Brendan Reichs
Kaitlin Ward
Andrew Farago

Chris Grabenstein
Edward Underhill
Tracy López
William Alexander
P. C. Cast
Preeti Chhibber
Gayle Forman
Priyanka Taslim
Lyn Miller-Lachmann
Kate Messner
Robin Stevenson
Stephanie S. Tolan
Margarita Engle
Mike Jung
Casey W. Robinson
Deva Fagan
Adam Gidwitz
Jenna Miller
ER Frank
Natasha Donovan
Heather Murphy Capps
Isi Hendrix
Evan Turk
Jacquetta Nammar Feldman
Megan Reyes
Kim Rogers
Traci Chee
John August
Aron Nels Steinke
Sylvia Liu
Lauren Myracle
MaryBeth Timothy
Emily Skrutskie
Brandy Colbert
Arigon Starr (Kickapoo Tribe of
Oklahoma)
Melissa Stewart
Laura Shovan
Heidi R Kling
Laura Parnum
Susie Ghahremani
Alyson Gerber
Ruth Chan
Tui T. Sutherland
Jimmy Gownley
Andrea Wang
Kiersten White
Tara Dairman
Jen Ferguson

Fran Wilde
Dahlia Adler
Marc Tyler Nobleman
Steve Orlando
Melissa Walker
Mark Oshiro
Joe Cepeda
Trisha Moquino
Lamar Giles
Robert Liu-Trujillo
Mary McCoy
Amanda Foody
Alex R Kahler
Laekan Zea Kemp
Mike Maihack
Samantha Berger
Claribel A. Ortega
Terry Catasús Jennings
Tirzah Price
Lois Sepahban
Maria Gianferrari
Alexis Larkin
Olivia Chadha
Kalena Miller
Leslie Stall Widener
Z Brewer
Shane Pangburn
Pat Zietlow Miller
Violet Lumani
Terry Widener
Rosiee Thor
Pamela Ehrenberg
Sara Ackerman
Lev Rosen
Margaret Stohl
Alysa Wishingrad
Gia Gordon
Liselle Sambury
Tom Angleberger
Eliza Kinkz
M.T. Anderson
e.E. Charlton-Trujillo
Jessica Lewis
Victor Pineiro
Rebecca Balcárcel
Judd Winick
A.S. King
Anne Broyles
Lisa Robinson

Miranda Paul
Baptiste Paul
Kristy Boyce
Payal Doshi
Holly Black
Paul O. Zelinsky
Joseph Bruchac
Caroline Gertler
Alexandra Alessandri
Staci L. Drouillard
Carter Higgins
Kiku Hughes
Lisa Stringfellow
Elaine Vickers
Amy Noelle Parks
Andrea M. Page
Melissa Dassori
Wendy Mass
Sarah Hovorka
Lisa Varchol Perron
Esme Symes-Smith
Precious McKenzie
Greg Neri
Haley Neil
Marie Rutkoski
Ibi Zoboi
Amy Reed
HM Bouwman
Renee Ahdieh
Colleen Paeff
Sarah Kapit
Karuna Riazi
Anne Ursu
Lillie Lainoff
Jake Burt
Tina Connolly
Susan Cooper
Raakhee Mirchandani
Conrad Wesselhoeft
Samantha M Clark
Trisha Speed Shaskan
Amy Tintera
Mónica Mancillas
NoNieqa Ramos
Stephen Shaskan
Nicole D. Collier
Amy Ignatow
Tara Platt
Nina Hamza

Shawn Peters
Emily X.R. Pan
Jessixa Bagley
Lea Foushee
Deborah Heiligman
Betsy Bird
Anne Nesbet
Leslie Connor
Sue Macy
Veera Hiranandani
Miranda Sun
Cece Bell
Stephanie V.W. Lucianovic
Susan Kuklin
Jennifer Wilson
Martha Brockenbrough
Kim Turrisi
S.K. Ali
Patricia Morris Buckley
Elizabeth Blake
Lori R Snyder
Kirsten W. Larson
Jaime Formato
Saira Mir
Thomas Lennon
Judy I. Lin
April Jones Prince
Susan Azim Boyer
Jenny Han
Joana Pastro
Lindsay H. Metcalf
Gloria Amescua
Tamika Burgess
Lindsey Lane
M.O. Yuksel
Ingrid Law
Swati Avasthi
Will Taylor
Elisa Stone Leahy
Darshana Khiani
Abi Cushman
Andrea Menotti
Rochelle Hassan
Catherine Arguelles
Naz Kutub
Kara LaReau
Sarah Park Dahlen
Carol Kim
Nadia Salomon
Amanda Rawson Hill
Justine Pucella Winans
Lori Nichols
Laura Rueckert
Joanna Ho
Caroline Kusin Pritchard
Cylin Busby
Thi Bui
Sarah Street
Innosanto Nagara
Gigi Griffis
Ruta Sepetys
Adam Sass
Jen Wang
M.T. Khan
Katherine Applegate
Sheela Chari
Angela Burke Kunkel
Stephanie Burgis
Loree Griffin Burns
Jarrett Lerner
Jacob Sager Weinstein
Courtney Pippin-Mathur
Eliot Schrefer
Carole Lindstrom
Linda Urban
Jyoti Rajan Gopal
Jessica Young
Claire Bobrow
Andrew Maraniss
Steven Weinberg
Susan Eaddy
Trang Thanh Tran
Ann Braden
Jessica Vitalis
Lesléa Newman
Mika Song
Brendan Kiely
Brian D. Kennedy
Mónica Brown
Sean Petrie
Jo Knowles
Adib Khorram
Robert Broder
Karen Strong
Steve Sheinkin
Kathy Halsey
Breanna J. McDaniel
Kelly Starling Lyons

Sheri Dillard
Varsha Bajaj
Zoraida Córdova
Ryan T Higgins
Tameka Fryer Brown
Matt Tavares
Sarah Ahiers
Jamar Nicholas
Joanne Rossmassler Fritz
Meg Cannistra
Andrea Beatriz Arango
Peggy Thomas
Saraciea J. Fennell
Wendell Minor
Don Tate
Alicia D. Williams
E. Lockhart
Jane Yolen
Christine Heppermann
Anita Kharbanda
Linda Zajac
Brittany J. Thurman
Eric Smith
Charles Beyl
Charnaie Gordon
Renée Watson
Mari Mancusi
Molly B. Burnham
Alan Gratz
Kekla Magoon
Emma Carlson Berne
Gayatri Sethi
Debra Shumaker
Cynthia Platt
Vivian Vande Velde
Lisa Connors
Kate Klise
Reese Eschmann
Elizabeth Falk
Siman Nuurali
Valerie Bolling
Beth Ferry
James Riley
Nancy Ohlin
Jan Carr
Isabella Kung
Andrew Eliopulos
Elizabeth Acevedo
Grace Lin

Ellen Leventhal
Sheba Karim
David Small
Chris Tebbetts
Joyce Wan
Bree Paulsen
Corlette Douglas
Laurie Morrison
Sarah Warren
Abby Cooper
Daphne Kalmar
Sara Zarr
Jeanette Bradley
Javier Gimenez Ratti
Erin Petti
Stephanie Watson
Shadra Strickland
David Arnold
April Daniels
Leda Schubert
Gail Carson Levine
Kass Morgan
Eric Bell
Adam Rex
Julie Falatko
Sandra Nickel
Alliah L. Agostini
Alexandra Villasante
Olivia Abtahi
Rilla Alexander
Jennifer Gennari
Rachael Allen
Brad McLelland
Laura Gehl
Lisa J La Banca Rogers
Chantel Acevedo
Christina Díaz Gonzalez
Jenn Bishop
Laurie Halse Anderson
Crystal Allen
Dara Sharif
Anica Mrose Rissi
Marla Frazee
Matthew J. Kirby
Renee Kurilla
Becky Albertalli
John Claude Bemis
Brenda Seabrooke
Barney Saltzberg

Shanna Miles
Cristina Oxtra
Zoey Abbott
Heather Kamins
Ann Jacobus
Maria Scrivan
Loriel Ryon
Maria José Fitzgerald
Zack Loran Clark
S. Isabelle
Miriam Glassman
Gretchen McNeil
Matt Phelan
Kim Johnson
Jarrett Pumphrey
Kao Kalia Yang
Alechia Dow
Shannon Gibney
Margaret Peterson Haddix
Neal Shusterman
Ismée Williams, MD
Angela Quezada Padron
James Burks
Tanya Lee Stone
Sarah Klise
Laura Sibson
Lynne Kelly
Tamara Ireland Stone
Amber McBride
Ally Malinenko
Tracy Subisak
Deborah Underwood
Robin Yardi
Tashia Hart
Micah Player
Janet Sumner Johnson
Laurie Keller
Kalynn Bayron
Anne Greenwood Brown
Elisa Chavarri
Linsey Miller
Virginia Euwer Wolff
Cathy Ann Johnson-Conforto
Alli Brydon
Gene Barretta
Meg Fleming
Amy Lukavics
Julissa Mora
Kari Lavelle

Jacqueline Woodson
Mia García
Manju B. Howard
J.F. Fox
Tracy Barrett
Leigh Bardugo
Adriana Hernández Bergstrom
Catherine Alene
Maria van Lieshout
Sarah Meade
Janee Trasler
Bridget Hodder
Jenny Whitehead
Sue Fliess
Erzsi Deak
Gilly Segal
Kristen Simmons
Alexandra Monir
Jieting
Janet Fox
Kimberly Latrice Jones
Aminah Mae Safi
Laura H. Beith
Yamile Saied Mendez
Rocky Callen
Elisa Ludwig
Demetra Brodsky
Alison Pearce Stevens
Chrystal D. Giles
Michelle Nott
Amy Young
Michelle Coles
Kathryn Thurman
Josh Allen
E. Katherine Kottaras
Karen Cushman
Lauren Morrill
Marissa Meyer
Holly M McGhee
Laurie Wallmark
Amy Gilez
Kelly McWilliams
Katie McGarry
Abigail Marble
M.K. Farr
Elly Swartz
Margaret Owen
Mike Chen
Nancy Castaldo

Sheila McGraw
Laura Taylor Namey
Christy Mihaly
Tessa Gratton
Huy Voun Lee
Hayley Barrett
Melanie Ellsworth
Nikki Katz
Halli Gomez
Daria Peoples
Kirsten Miller
Kim Ventrella
Pam Munoz Ryan
Emmy Kastner
Jessica Verdi
Stephanie Greene
Kate Berube
John Coy
Rose Garcia Moriarty
Karen Yin
Vera Brosgol
Kim Holt
R.L. Toalson
Teresa Robeson
Sage Blackwood
Gennifer Choldenko
Mylisa Larsen
Priscilla Alpaugh
Amy Huntington
Aditi Khorana
Adrienne Maria Vrettos
David Goodner
Chris Barton
Rebecca Petruck
Rebecca G. Aguilar
TeMika Grooms
Tiffany Gholar
Lissette Norman
Amy Ewing
Kate Barsotti
Shannon Hale
Rachel Gozhansky
Julien Chung
Michelle Cusolito
Margaret Chiu Greanias
Kit Rosewater
Sarah Aronson
Allen R. Wells
Jodi McKay

Ellen Booraem
Christine Evans
Constance Lombardo
Suzanne Morgan Williams
Ann E.. Burg
Joan F. Smith
Anne AC Gaughen
Andrea J. Loney
Mary Bowman-Kruhm
Judith L. Roth
E. B. Goodale
Laurenne sala
Lisa Katzenberger
Sophie Cameron
Jessie Sima
Melanie Conklin
Diana Sudyka
Maxine Kaplan
Gina Rosati
Sarah Tomp
Cátia Chien
Karen Romano Young
Tonya Duncan Ellis
Ashley Hope Pérez
PJ McIlvaine
Tiffany Schmidt
Beth Revis
Marsha Hayles
Allan Wolf
Jewell Parker Rhodes
Fleur Bradley
Karen Jialu Bao
Venessa Vida Kelley
Cinda Williams Chima
Becky Scharnhorst
Jason Gots
Angie Isaacs
Hayley Rocco
Keely Parrack
Mackenzie Joy
Gareth Hinds
Lori Degman
Katie Slivensky
Lindsay Moore
Joanie Stone
Eric Fan
Gracey Zhang
Madelyn Rosenberg
Michael Leali

Charise Mericle Harper
Mary Crockett
Audrey Helen Weber
Pamela S. Turner
Peter Brown
Shirley Ng-Benitez
Elizabeth Shreeve
Hope Lim
Sally J. Pla
Marcie Wessels
Kimberly Gee
Cynthia Harmony
Henry Herz
Jennifer Wolfe/Bosworth
Cynthia Cotten
Alison Goldberg
Aamna Qureshi
Anna Kopp
Rita Williams-Garcia
Elisa A. Bonnin
Brooke Boynton-Hughes
Leslie Bulion
Farrah Penn
Heather Lang
Travis Jonker
Deborah Freedman
Holly Jahangiri
Stef Wade
Diane Magras
Sarah Jung
Caela Carter
Anne Ylvisaker
Nikki Barthelmess
Carson Ellis
Jen White
Dan Richards
Nicola Yoon
Jodi Meadows
Marcie Colleen
Mary Reaves Uhles
Susan Johnston Taylor
Laura Gao
Dori Hillestad Butler
Melanie Sumrow
Carol Joy Munro
Pam Fong
Julia DeVillers
Jolene Gutierrez
Carmen Rodrigues

Darin Shuler
Tanisia Tee Moore
Uma Krishnaswami
Chris Eboch
Arree Chung
Malia Maunakea
Laura Silverman
Richard Michelson
Ellen Hopkins
Robb Pearlman
Andrea Zimmerman
Faith Pray
Kimberly Brubaker Bradley
Jennifer E. Smith
J. Anderson Coats
Elise Gravel
Amanda Hosch
Ransom Riggs
Julia Kuo
Karen S. Chow
Dianne White
Corinna Luyken
Ty Chapman
Christine Taylor-Butler
Divya Srinivasan
A.J. Irving
David Wiesner
Lisa Moore Ramee
Gina Perry
Chuck Gonzales
Kelly DiPucchio
Jonathan Stutzman
bryan collier
Cheryl Keely
Kristin O’Donnell Tubb
Tamara Ellis Smith
Nancy Bo Flood
Dana J. Sullivan
Sharon Darrow
Amber Benson
Erika L. Jones
Chris Baron
Kelly Light
Dana Swift
Jamie Kiffel-Alcheh
Jennifer K Mann
Lynda Mullaly Hunt
Anna Meriano
Juliana Brandt

David Yoon
Corey Ann Haydu
Michelle Houts
Randi Pink
Jess Townes
Nicholas Solis
Kimberly Derting
Caroline Carlson
Ana Siqueira
Wendy Shang
Antwan Eady
Debbie Zapata
Tara Altebrando
Karen Rostoker-Gruber
Elizabeth Lim
Lisa Anchin
Alessandra Narváez Varela
Henry Neff
Megan Hoyt
Jia Liu
Cynthia Reeg
Cherie Colyer
Jessica Spotswood
Ben Clanton
Nina Crews
Aida Salazar
Laura Renauld
Lisa L. Owens
Skylaar Amann
Tracy Nishimura Bishop
Miriam Busch
Mae Respicio
Meera Sriram
Eric Velasqquez
A.M. Wild
Jacqueline Jules
Rachel M. Wilson
Marcy Campbell
Nancy Armo
Jennifer Fosberry
Jessica Pennington
Rosanne Parry
Nanci Turner Steveson
Toni Yuly
Lisa Thiesing
Joya Goffney
Shannon Hitchcock
Donna Gephart
Kendare Blake

Denise Lewis Patrick
Fiona Cook
Erica S. Perl
Sara Raasch
Scott Schumaker
Paige McKenzie
Julia Alvarez
Sana Rafi
Chris Garcia-Halenar
Diana López
Katie Mazeika
Jacqueline West
Helaine Becker
Blythe Russo
Fahmida Azim
Jody Feldman
Monica Wesolowska
Gordon C. James
Tracy Deonn
Mariana Llanos
Megan Whalen Turner
Mark Holtzen
Tatjana Mai-Wyss
Lily Williams
Barb Rosenstock
Janie Bynum
Cathy Camper
Selina Alko
Jamilah Thompkins-Bigelow
Kari Allen
Molly Beth Griffin
Heather Fox
Rita Lorraine Hubbard
Barbara Dee
Anne Hunter
Lola M. Schaefer
Katie Davis
Yuyi Morales
Kristen Schroeder
Carolyn Crimi
Karen Schneemann
Ena Jones
Tara Lazar
Alyson Greene
Saundra Mitchell
Laura Murray
Stan Yan
Freeman Ng
Carmen Oliver

Jess Redman
Nicole Chen
Tahereh Mafi
Dow Phumiruk
Jessica Lanan
Jessica Petersen
L. E. Carmichael
Laura Purdie Salas
Lindsay Currie
Ann Bonwill
Carrie Finison
Mary Lou Peacock
Viviane Elbee
Anna Sortino
Ellen Hagan
Sabina Hahn
Carolyn Marsden
Joanna Cooke
M. K. England
Shannon Messenger
Lisbeth Checo
Curtis Manley
Elizabeth Brown
Carrie Firestone
Victoria Ying
Lucy Morris
Jon-Erik Lappano
Melissa Iwai
Kurtis Scaletta
Sonya Sones
Tricia Elam Walker
Marissa Moss
Korey Watari
Kaija Langley
Sarah Kurpiel
Alyssa Colman
Natasha Anastasia Tarpley
Patricia Wiles
Charles R. Smith Jr.
Mike Wu
Eric Elfman
Shelley Pearsall
Katey Howes
Jacci Turner
Victoria M. Sanchez
Maya Prasad
Benson Shum
Lisze Bechtold
Zara González Hoang

Jess Brallier
Denis Markell
Zetta Elliott
Dinah Johnson
Lenore Appelhans
Pete Hautman
Erika R. Medina
Marti Dumas
Kaz Windness
Meredith Steiner
Laura Freeman
Guadalupe García McCall
Aram Kim
Shelly Anand
Fiona Halliday
Lenny Wen
Margery Cuyler
Rachael Lippincott
Betty C Tang
Anne O’Brien Carelli
Cindy L. Rodriguez
Susan Kusel
Tricia Springstubb
Julie Hampton
Cheryl Willis Hudson
Patricia Toht
Lisa Fields
Gene Luen Yang
Pat Cummings
Anitra Rowe Schulte
Leslie Kimmelman
Tony Piedra
Kathryn Otoshi
Rahele Jomepour Bell
Megan Paasch
Karen Gray Ruelle
Gaby D’Alessandro
Annie Silvestro
Pat Mora
Jasminne Mendez
Megan Bannen
Lauren Abbey Greenberg
Jamie Sumner
Veronica Rossi
Becky Herzog
Peter Pearson
Reggie Brown
Jennie Palmer
Victoria J Coe

She Ganz-Schmitt
Wade Hudson
Lilliam Rivera
Kim Smejkal
Nina Victor Crittenden
Tim McCanna
Joan Broerman
Sarah Plotzker
Kati Gardner
Sarah Henning
Jaime Berry
Lisa Schmid
Susan Muaddi Darraj
Aya Khalil
Lauren Paige Conrad
Anne Key
Zeena M. Pliska
Maleeha Siddiqui
Heather Brockman Lee
Peter Arenstam
Nicole Lesperance
Salima Alikhan
Tammi Sauer
Shirin Shamsi
Norene Paulson
Addie Tsai
Melissa Sarno
Sara K Joiner
Jennifer J. Stewart
Elissa Haden Guest
Cindy Derby
Shawn Harris
Alison Hawkins
Amy Wachspress
Brizida Magro
Sarah Raughley
Sarah & Ian Hoffman
Morgan Matson
Kristen Balouch
Sheetal Sheth
Janice Chiang
Kristy Acevedo
Sara Pennypacker
Julie Hedlund
Lindsay Leslie
Melissa de la Cruz
Nancy Werlin
Bonny Becker
Aimee Lucido

Deborah Halverson
Icy Smith
Haydee Zayas-Ramos
Nazareth Hidalgo Lobo
Esmeralda Santiago
Angelica Shirley Carpenter
Patricia Newman
Paula Yoo
Christina Francine
kevan atteberry
Jean Reagan
Ellen Wittlinger
Laya Steinberg
Francisco Jiménez
Bruce Coville
Theo Baker
Sarah Dessen
Krystal Quiles
Nelly Buchet
Mike Grosso
David Levithan
Julian Winters
Liza Wiemer
Isabelle Adams
Diane Telgen
Ann Brashares
Matthew Gollub
Karen B. Winnick
Kendall Kulper
Jeannine Atkins
Anika Aldamuy Denise
Cecilia Bernard
Alison McGhee
Dianne K. Salerni
Deborah Lakritz
Laura Rivera
Patti Sherlock
Peter Lerangis
Lynn Fulton
Christy Webster
James McGowan
Jon Klassen
Jesse Klausmeier
Genevieve Godbout
Christopher Weyant
Stephen Bramucci
Alison Green Myers
Michal Babay
Chana Stiefel

Anna Shinoda
Matthew Forsythe
Nicole Kronzer
Marc Colagiovanni
Tae Keller
Anika Fajardo
Jennifer Swender
Martha Seif Simpson
Helen Wu
Jandy Nelson
Natalie C. Parker
Candy Wellins
Cory Silverberg
Anna Kang
Timothy Young
Candace Fleming
Darlene Beck Jacobson
Helen Frost
Maria E. Andreu
Kristen Tracy
Kimberly J Sabatini
Wayne Anthony Still
Andrew Smith
Dan Gutman
Megan McCafferty
Arnée Flores
Flora Beach Burlingame
Julie Segal Walters
LL McKinney
R. J. Palacio
Kim Baker
Jasper Sanchez
Jilanne Hoffmann
Marnie Galloway
Pascal Lemaître
David Neilsen
Lian Cho
Lillian Pluta
Honee Jang
Isabel Roxas
Paul Jacobs
Karina Nicole González
Sandy King Carpenter
Tracy Badua
Alexis O’Neill
Jackie Azúa Kramer
J.J. Austrian
Jarrett Dapier
Gita Varadarajan

Meeg Pincus
April Halprin Wayland
Stephen Chbosky
Crystal Maldonado
Carrie Ryan
J. Kasper Kramer
Kay Moore
Gary Nilsen
Sara Levine
Camille Andros
Emily Wibberley
Amina Luqman-Dawson
Stephanie Graegin
Jeffry W. Johnston
Mitali Perkins
Ronique Ellis
Rob Sayegh Jr.
Scott Westerfeld
Jenin Mohammed
Lish McBride
Ellen Mayer
Emily Neilson
Nik Henderson
Rachel Dukes
Robert Paul Jr.
Emily Lloyd-Jones
Rae Carson
Chad W. Beckerman
Denene Millner
Michaela Goade
Susan Kaplan Carlton
Sun Yung Shin
Patricia Hruby Powell
Tara Sim
Barbara CarrollRoberts
Mary Beth Miller
Bennett Madison
Colleen AF Venable
Dave Szalay
Aislinn Brophy
Kim Smith
Kah Yangni
Gabby Zapata
Shelley Couvillion
Junauda Petrus
Gina Bellisario
Katy Rose Pool
Monica Roe
Jamie Krakover

George Ella Lyon
Julie E. Frankel
David Macinnis Gill
Gordon Jack
Paul Fleischman
Bethany C Morrow
Mike Lawrence
Robin Herrera
Shiho Pate
Rori Shay
Alec Longstreth
Mark Siegel
Jef Kaminsky
Phil Falco
Caroline Arnold
Dave Roman
Matt Rockefeller
Patricia McCormick
Archaa Shrivastav
Emi Cohen
Melissa Crowton
Bryan B. Bliss
Alexandra Thompson
Alexis Castellanos
Neo Edmund
Robin Preiss Glasser
Sheryl Murray
Will Hobbs
Jody Casella
Brianna McCarthy
Ken Daley
Rebecca Barnhouse
Andre R. Frattino
Maia Kobabe
David Elliott
Laila Sabreen
Kathleen Ahrens
Landra Jennings
Abby Hanlon
Cozbi A Cabrera
Kianny N. Antigua
Olivia de Castro
Marcia Argueta Mickelson
Josh Funk
Liz Starin
DeAndra Hodge
Nneka Myers
Ted Enik
Ariel Bernstein

Rachel Cohn
Sili Recio
Boya Sun
Gabi Snyder
Pat Redding Scanlon
Naomi Danis
Bruce Hale
James Serafino
Holly Schindler
Rachelle Burk
Court Stevens
Andria Warmflash Rosenbaum
Jacqueline Preiss Weitzman
Lizz Brady
Kell Andrews
Tad Hills
Ari Tison
Sabrina Kleckner
Emma Bland Smith
Danielle Davis
Andie Powers
Mark Rogalski
Leila Sales
Karah Sutton
Darla Okada
Aldo Pourchet
Dian Curtis Regan
Lynn Brunelle
Qin Leng
Isabel Quintero
Jama Kim Rattigan
Keri Claiborne Boyle
Lorien Lawrence
Melanie Crowder
Danica Novgorodoff
Margie Longoria
Lia Brown
Roni Schotter
Leah Henderson
Jacquie Hann
Colter Jackson
Marissa Valdez
Deborah Sosin
Jessie Hartland
Sophie Escabasse
Jane Park
Sue Heavenrich
Raul the Third
Cheryl Blackford

Rhonda McCormack
Cheryl Walsh Bellville
Daphne Benedis-Grab
Sallie G. Randolph
Stacia Deutsch
Lee Wardlaw
Gary D. Schmidt
Savannah Allen
Sherry Shahan
Elizabeth Rose Stanton
Doreen Cronin
Dominique Ramsey
Eva Petersen
Michelle Cuevas
Cordelia Jensen
Megan E. Freeman
Rashmi Bismark
Anuradha D. Rajurkar
Melisa Fernández Nitsche
Dan-ah Kim
Kate Albus
Andrew Sharmat