Where do you shelve Native American stories?

The title of this post, "Where do you shelve Native American stories?" is directed primarily at librarians but the information is important to teachers, too, and writers. The stories I have in mind are the ones that are broadly characterized as myths, legends, and folktales. It is a quick and short response to a question about shelving of folk and fairy tales.

Evaluate!

(1)
The book you have in hand may not be a Native American traditional story. Its art might suggest to you that it is. It might have the name of a specific Native Nation in it somewhere. This might be in the title, or in the story, or in an author's note. That doesn't mean it is actually a Native American story. If it is a "based on" story where the author has drawn from several different nations, then, it is not a Native American story. Even though it looks like a traditional Native American story, it is not! It is a fiction, created by the author. 

What to do:

If you keep the book, it ought to be shelved in fiction. If you keep it, consider using it in library programming or in classroom lessons about critical literacy. One non-Native writer who does this is Paul Owen Lewis. Here's a screen cap from his website, about Storm Boy:

The relevant text from that screen cap is this sentence in the second paragraph:

Storm Boy follows the rich mythic traditions of the Haida, Tlingit, and other Native peoples of the Pacific Northwest Coast.

What exactly does "Pacific Northwest Coast" mean? Do you know how many Native Nations there are in that area? Here's a list of the Northwest Regional tribes (from the Bureau of Indian Affairs website). Not all listed below are on the coast. And, this list doesn't include the Haida or Tlingit nations because they're served by the Alaska offices. Then, of course, there's the Haida and Tlingit peoples in Canada. 

Northwest Regional Office: Confederated Tribes of the Grand Ronde Community of Oregon, Klamath Tribes, Makah Tribe of the Makah Indian Reservation, Confederated Tribes of Coos, Lower Umpqua, & Siuslaw Indians, Coquille Tribe of Oregon, Cow Creek Band of Umpqua Indians of Oregon, Confederated Tribes of Siletz Reservation

Coeur d'Alene Tribe BIA Agency: Coeur d'Alene Tribal Council

Colville Agency: Colville Business Council

Flathead Agency: Confederated Salish & Kootenai Tribes, Tribal Council

Fort Hall Agency: Fort Hall Business Council, Northwestern Band of Shoshone Nation

Makah Agency: Makah Indian Tribal Council

Metlakatla Agency: Metlakatla Indian Community

Northern Idaho Agency: Kootenai Tribal Council, Nez Perce Tribal Executive Committee

Olympic Peninsula Agency: Confederated Tribes of the Chehalis Reservation, Cowlitz Indian Tribe, Hoh Tribal Business Committee, Jamestown S'Klallam Tribal Council, Lower Elwha Tribal CouncilQuileute Tribal Council, Shoalwater Bay Tribal Council, Skokomish Tribal Council, Squaxin Island Tribal Council

Puget Sound Agency: Lummi Indian Business Council, Muckleshoot Tribal Council, Nisqually Indian Community Council, Nooksack Indian Tribal CouncilPort Gamble S'Klallam Tribe, Puyallup Tribal Council, Samish Indian Nation, Sauk-Suiattle Tribal Council, Snoqualmie Tribal Organization, Stillaguamish Board of Directors, Suquamish Tribal Council, Swinomish Indian Tribal Community, Tulalip Board of Directors, Upper Skagit Tribal Council

Siletz Agency: Confederated Tribes of Coos, Lower Umpqua and Siuslaw Indians, Confederated Tribes of the Grand Ronde Community of Oregon, Coquille Indian Tribe, Cow Creek Band of Umpqua Tribe of Indians, Confederated Tribes of the Siletz Reservation

Spokane Agency: Kalispel Business Committee, Spokane Business Council

Taholah Agency: Quinault Indian Nation - Business Committee

Umatilla Agency: Confederated Tribes of the Umatilla Indian Reservation

Warm Springs Agency: Burns Paiute Tribe, General Council, Confederated Tribes of the Warm Springs Reservation, Tribal Council 

Yakama Agency: Yakama Nation

That is a lot of different tribal nations, who (of course) speak distinct languages and have distinct creation and traditional stories.  So, again, what are we to make of "Storm Boy follows the rich mythic traditions of the Haida, Tlingit, and other Native peoples of the Pacific Northwest Coast"?

(2)

If you have determined the book you're holding is about a single nation and that the art and words of the story accurately depict that single nation, ask yourself if it involves the creation of some aspect of that nation's way of viewing the world. If you determine it is a creation story, then it should be shelved in the same place that you put Bible stories. Shelving it there is an important signal that these are stories that are sacred--as sacred as Bible stories are to Christians. Generally speaking, people treat Bible stories with a respect that ought to be given to the sacred stories of any peoples' religion.

For further reading:

• The American Indian Library Association's bibliography of articles. 
• Sandra Littletree & Cheryl A. Metoyer (2015) Knowledge Organization from an Indigenous Perspective: The Mashantucket Pequot Thesaurus of American Indian Terminology Project, Cataloging & Classification Quarterly, 53:5-6, 640-657. 

_____
Revised on October 25, 2016, to include the example of Storm Boy, and, to add links to items that can help readers understand the ways that standard cataloging systems marginalize and misrepresent Native knowledge. 

Debbie--have you read... NEVER NEVER by Brianna R. Shrum

Over on Twitter, a colleague asked if I'd read Never Never by Brianna R. Shrum. I haven't, so here it is in the "Debbie--have you read..." series.

Never Never came out last year (2015) from Spencer Hill Press, which is an independent publishing house specializing in science fiction, fantasy, and paranormal romance for young adult readers. That description (from their website) makes me think I ought to go through their catalog. Based on my experience of reading children's books, including science fiction and fantasy, I know that a lot of writers create characters that have Native ancestry and because of this genre (SciFi/Fantasy), the characters have powers of some kind.

Here's the synopsis for Never Never:

James Hook is a child who only wants to grow up. When he meets Peter Pan, a boy who loves to pretend and is intent on never becoming a man, James decides he could try being a child - at least briefly. James joins Peter Pan on a holiday to Neverland, a place of adventure created by children's dreams, but Neverland is not for the faint of heart. Soon James finds himself longing for home, determined that he is destined to be a man. But Peter refuses to take him back, leaving James trapped in a world just beyond the one he loves. A world where children are to never grow up. But grow up he does. And thus begins the epic adventure of a Lost Boy and a Pirate. This story isn't about Peter Pan; it's about the boy whose life he stole. It's about a man in a world that hates men. It's about the feared Captain James Hook and his passionate quest to kill the Pan, an impossible feat in a magical land where everyone loves Peter Pan. Except one.

Here's the last line from the School Library Journal:

Filled with familiar characters such as the Lost Boys, the Darling children, and a bewitching and sensual Tiger Lily, Shrum's retelling is a deeply satisfying dark fantasy that just might change readers' perception of Peter Pan and Neverland itself. 

See that? A "bewitching and sensual Tiger Lily." If I get the book and read it, I'll be back.

Debbie--have you seen... DARK ENERGY by Robison Wells

A reader in Indiana wrote to ask me about Dark Energy by Robison Wells, due out in March, from HarperTeen. Here's a review, from Kirkus:

Wells is back with a new sci-fi adventure that comments on U.S. history. 

Half-Navajo Alice loves living in Florida, where every day is sunny and warm. She’s totally unprepared to follow her white, widowed father to Minnesota’s wind-swept snowfields. But when the first ship from outer space crash-lands, as NASA’s director of special projects, her dad absolutely, positively has to be there—which means Alice has to be there as well. Enrolled in a nearby boarding school with very few other students of color, she watches with fascination as the ship finally opens to reveal aliens that look very much like humans. Encouraged by her father to befriend two of the shipwreck survivors, Alice and her roommates welcome them to school. It all seems relatively easy…until the rest of the fleet arrives and starts to hunt for her new friends. Suddenly, nothing is easy, nothing is the same, and nowhere is safe. Wells displays an awareness of the need for ethnic diversity in books for kids. Alice is conscious of the parallels between the aliens’ landing and the arrival of white people in North America; her boyfriend is an Indian kid who’s grown up in the United States. Alice’s breezy narration and short chapters keep the pages flipping. A one-time resident of the Navajo Reservation, Wells discusses the challenges of writing about the First Nations in an author’s note.

The last line points to one reason I want to read the book. What, I wonder, does Wells discuss? Another is the first line, that this story comments on U.S. history. Hmmm. I'm going to see if I can get an ARC. I'll be back!

Update, March 28, 2016
I reviewed the book on March 27, 2016. In short: not recommended.

Debbie--have you seen... Emily Henry's THE LOVE THAT SPLIT THE WORLD

Due out on January 26 is Emily Henry's The Love that Split the World. As the title of this post indicates, a reader has written to ask me about it. I poked around a bit and found two chapters at the Entertainment Weekly website in November of 2015. Here's one paragraph from chapter two. The main character is a girl named Natalie who will be going to Brown University. She's in her final year of high school:

One excellent thing about being adopted is that you always get to worry you’ll end up accidentally dating someone you share a gene pool with. If I were fully Native American, I wouldn’t have to think about that in a mostly white town like Union, but they tell me my biological father was white, so that complicates things.

In chapter one, she's visited by a figure who asks her to call her Grandmother. This figure has visited her periodically over the last three years. Not a person, mind you, but "an elderly American Indian celestial being:"

There she is, sitting in the rocking chair in the corner, as she has every time she’s visited me since I was a little girl. Her ancient features are shrouded in night, her thick, gray-black hair loose down her shoulders. 

This grandmother figure warns her about things and tells her a creation story. From what I see in those two chapters, this does not look promising. We'll see. It is published by Razorbill (Penguin). If I get it and review it, I'll be back.

Update, March 14: 2016

I did a Storify a few weeks ago that included some comments about Henry's book. I also had a conversation with K. Imani Tennyson of Rich In Color, about her initial review of the book. She wrote On Being An Ally as a follow up to her review and our conversation.

Not Recommended: Nancy Bo Flood's SOLDIER SISTER, FLY HOME

Some months ago, I learned that Lori Piestewa was being written about in a book by Nancy Bo Flood. My immediate reaction was similar to the reaction I had in 1999 when I read Ann Rinaldi's My Heart Is On The Ground. In preparation for her book on Native children at Carlisle Indian Industrial School, Rinaldi visited the cemetery there. She used the name of one of the children buried there as a name for one of her characters. That--and many other things about her book--astonished me. What happened to Native Nations and our children because of those schools is something we have yet to recover from. Rinaldi using the name of one of those children was wrong.

Flood is doing that, too.

Soon after the Iraq War began in 2003, Lori Piestewa was killed in Iraq. Her death was felt by people across Native Nations, who started a movement to rename "Squaw Peak" in her honor. Janet Napolitano (she was the governor of the state of Arizona at that time; the Hopi Nation is in Arizona) supported the move. Though it was a difficult change to make (due to governmental regulations), it did take place. What was once "Squaw" Peak (squaw is a derogatory term) is now Piestewa Peak. Each year, there are gatherings there to remember Lori Piestewa. Her family is at those gatherings, as are many Native people.

Tess--the main character in Flood's Soldier Sister, Fly Home--is Navajo. The story opens on the morning of a "ceremony" for Lori. Tess and her parents will go to it, but her older sister, Gaby won't be there because she is in the service. Tess is angry that her sister enlisted in the first place, but also angry that Gaby can't be at the service. The reason? Gaby and Lori were friends (p. 14):

Lori was the first of my sister's friends to join, the first to finish boot camp, the first deployed to Iraq. "Nothing fancy, nothing dangerous," Lori had emailed. "I'll help with supplies, help the soldiers who do the fighting. They're the real warriors. Before you know it, I'll be back."

It is implied that Lori wrote to Gaby. That passage feels wrong to me, too. Several news articles report that Lori sent an email to her mother. In it, she said "We're going in," and "Take care of the babies. I'll see you when I get back." Whether she used Lori's actual words or ones she made up and attributed to Lori doesn't matter. What matters is that she did it in the first place.

The "ceremony" for Lori that Tess and her parents go to bothers me, too. It is going to be held in a gymnasium in Tuba City. When they get there, Tess sees that there are "three large wide drums clustered together." Three different times during this "ceremony," the drumbeat is described as "boom-BOOM."

In newspaper accounts, I find that there was a memorial service held for her in a gymnasium in Tuba City on April 12, 2003, but I don't find any descriptions of it. What is important, is that it was a memorial. Not a "ceremony." At these kinds of Native gatherings (many are held in gyms, so that is not a problem with Flood's story), there is a drum and honor guard, but no "ceremony" of the kind that is implied. And characterizing the sound of the drum as "boom-BOOM" is, quite frankly, laughable.

On page 14 of Soldier Sister, we read that Tess's mother is going to give Lori's family a Pendleton blanket. Tess remembers her sister in that gym, standing at center circle ready to play basketball (p. 15):

Today Lori's mother stood in that circle, wrapped in a dark-purple blanket. Purple, the color of honor. Fallen Warrior. On each side of her stood two little children, Lori's children. Did they hope Lori would come home and surprise them?

Surprise them?! That part of that passage strikes me as utterly callous and lacking in sensitivity for Lori's children and family.

It is possible that, at the actual service that happened that day (news accounts indicate her family was given Pendleton blankets are other memorials since then), someone gave Lori's family a Pendleton blanket. It may have been one of the Chief Joseph blankets. They're available in purple. Pendleton blankets figure prominently throughout Native nations. I've been given them, and I've given them to others, too.

I doubt, however, that a purple one was chosen because purple signifies honor to Hopi or Navajo people. Purple carries that meaning for others, though. In the US armed services, for example, there's the Purple Heart.

All of what I find in Soldier Sister, Fly Home 

that is specific to Lori Piestewa, is cringe-worthy. 

In the back of the book, Flood writes at length about getting Navajo consultants to read the story to check the accuracy of the Navajo parts of the story and her use of Navajo words, too. There is no mention of having spoken to anyone at Hopi, or anyone in Lori Piestewa's family, about this story.

In her "Acknowledgements and Author's Note," Flood writes that (p. 153):

A percentage of the royalties from the sale of this book will be contributed to the American Indian College Fund to support the education of Lori's two children.

That, too, is unsettling. Using her children to promote this book is utterly lacking in grace. It may sound generous and kind, but the reality is that most authors have day jobs. They can't support themselves otherwise. Various websites indicate that an author may receive 10% (or up to 15%) of the sale of each book. Amazon indicates the hardcover price for this book will be $16.95 (it is due out in August of 2016). If we round that to $17.00 and use the 10% figure, Flood could get $1.70 per book. How much of that $1.70 does she plan to send to the American Indian College Fund? Did she talk with Lori's parents (Lori's children live with them) about this donation?

Update, August 24, 2016: An anonymous commenter wrote to say that in the final copy of the book, Flood revised the Author's Note. It now reads as follows:

The Piestewa family is pleased that a percentage of the book's royalties will support the education of Lori's two children. An additional donation will be made to the American Indian College Fund.

Given that Flood specifically names many Navajo people who helped her with this book, the lack of naming of Hopi people makes me very uneasy. Without their names, it feels very much like Flood is exploiting a family and a people. For that reason alone, I can not recommend this book.

I could continue this review, pointing to problems in the ways Flood depicts Tess as a young woman conflicted over her biracial identity. Doing that would help other writers who are developing biracial characters, but I think I'll save that for a stand-alone post.

Soldier Sister, Fly Home by Nancy Bo Flood, published by Charlesbridge in 2016, is not recommended.

Update: January 26, 2016

There aren't nearly enough Native people in children's and young adult literature. It is a small community, and a good many of us write to each other, sharing news, concerns, etc. As I read Flood's book, I was talking with Joe Bruchac about author notes. What he says below is similar to what I said in my post about beta readers. I'm glad to share his remarks (with his permission) here:

I also am feeling increasingly leery about books which mention the names of people from whatever native nation the non-native person has written a book about as those who provided guidance in some unspecified manner.

For one, not every native person from a particular nation is an expert on that nation's culture, language, and history. I suggest doing what I have tried to do as much as possible, which is to work directly with tribal historians, linguists, and others from that particular nation who are regarded as expert, as elders, and spokespeople and so on-- recognized as such by their own tribal nation. (Such as Wayland Large, the tribal historian of the Shoshone Nation who reviewed my manuscript Sacajawea before it was published.)

I know of a few books in the past that mentioned supposedly American Indian people who were advisors, but were in fact not even Indian. One example is the infamous book brother eagle sister sky.

For another, when there is merely a list of names without any indication of what those people said or did to assist I wonder if there really was any actual significant input from those folks, or just a random conversation now and then.

I may have used this term before when discussing things with you but I find that a great number of books about American Indians by non- Indians tend to engage in what I call "cultural ventriloquism." They create a supposedly native character who is nothing more than a dummy through which the non-native authors voice is spoken. As a result, the worldview and the viewpoint is distinctly not Native American, but a mere pretense.

I first heard "cultural ventriloquism" back in the early 2000s, at a conference in Madison at the Cooperative Children's Book Center. Joe was talking, then, about Ann Rinaldi's My Heart Is On the Ground. 

I am still working on my next post about Flood's book, mulling over what I will emphasize. I've got several thoughts in my head. When that post is ready, I'll provide a link here, to it.

Update, September 1, 2016
I finished my second post on the book. 

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.

Debbie--have you seen... Sally M. Keehn's MOON OF TWO DARK HORSES

A reader wrote to ask me about Sally M. Keehn's Moon of Two Dark Horses. I'm adding it to my "Debbie--have you seen..." series. First published by Philomel in 1995, it is historical fiction about a friendship between Daniel (he's white) and Coshmoo (he's Delaware).

Publisher's Weekly gave it a starred review. In that review I see that Coshmoo is the son of "the Delaware Indian Leader Queen Esther." Queen? I'm also curious about "Coshmoo." I think I need to take a look at this book.

A Comparison: D'Aulaire's ABRAHAM LINCOLN 1939 and 2015

On December 1, 2015, Publisher's Weekly ran an article about Ingri and Edgar Parin d'Aulaire's Abraham Lincoln. For its 75th anniversary, it was reprinted with...

... minor modifications to the original art and text to reflect contemporary views about race politics and to reflect historical accuracy, citing two instances in the book, including one of a Native American cowering behind Lincoln, which they fixed to have him “standing erect.” 

That information was provided to Publisher's Weekly by Rea Berg of Beautiful Feet Books. In the "Note from the Publisher" in the back of the anniversary edition, Berg wrote:

"In this special edition we are pleased to present some minor modifications of the original art and text that more closely align to the spirit of Lincoln, the authors and their heirs, and this publishing house."

In addition to the changes to the Native content, significant changes have been made to the text and illustrations of African Americans. In my post, I am sharing the modifications to the Native content on one page (in an earlier post, I noted depictions of Native content on other pages, but those remain unchanged). As you'll see, I used a yellow highlighter to emphasize changes to the text. I begin with a photo of changes to the illustration on that one page. Later, I'll be back to analyze those changes. The pages in the books are not numbered.

***

This page is about Lincoln being chosen to serve as Captain of the Illinois militia. The year (1832) isn't mentioned in the original or the revision, and neither is Black Hawk's nation (Sac and Fox). You can see that the "peaceful old Indian" is standing more upright in the image on the right than he was in the original (on the left). I don't understand what difference it makes to change his posture. Do you?

ORIGINAL (1939):
His tribe had sold the land to the "paleface," but Black Hawk said: "Man-ee-do, the great spirit, gave us the land, it couldn't be sold."
75th ANNIVERSARY EDITION (2015):
His tribe had sold the land to the settlers, but Black Hawk said, "Man-ee-do, the great spirit, gave us the land, it couldn't be sold."


ORIGINAL (1939):
"Sold is sold," said the people of Illinois, and went to war to chase the Indians out.
75th ANNIVERSARY EDITION (2015):
"Sold is sold," said the people of Illinois, and they prepared for war. 


ORIGINAL (1939):
But his soldiers had never taken orders from any man before, and Captain Abe Lincoln struggled hard to make them obey him. That was all the fighting he had. For Black Hawk and his warriors fled before the soldiers.
75th ANNIVERSARY EDITION (2015):
But his soldiers had never taken orders from any man before, and Captain Abe Lincoln worked hard to keep discipline in camp. Struggling with unruly soldiers and battling hungry mosquitoes was all the fighting he had. For almost as soon as it began, the war was over.


ORIGINAL (1939):
One day a peaceful old Indian came walking into camp.
75th ANNIVERSARY EDITION (2015):
One day a peaceful old Indian with a safe-conduct pass, came walking into camp...


ORIGINAL (1939):
The soldiers were angry and wanted to kill him, but Abe said, "Anyone who touches him must fight me first." Because Abe was the strongest, they had to obey.
Soon after that, Black Hawk was taken prisoner, and the Indian War was over. 
75th ANNIVERSARY EDITION (2015):
...and the soldiers rushed to kill him. But Abe, glaring at his men said, "Anyone who touches him must fight me first." When some of the men called Lincoln a coward, he responded, "Then choose your weapons!" And the men skulked away in the face of Abe's courage.