More questions about Sherman Alexie's THUNDER BOY JR.

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

~~~~

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

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

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

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

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

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

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

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

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

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

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

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

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

~~~~~

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

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

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

~~~~~

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

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

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

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

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

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

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

Alexie's much-loved humor is front and center of this story. Because Thunder Boy's dad is a big man, his nickname is Big Thunder. The words "Big Thunder" are extra large and bold on the page, inviting readers to boom it out as they read it. That makes it all the more inviting as a read aloud. If his dad is Big Thunder, that means Thunder Boy's nickname is Little Thunder, and that is not ok with Little Thunder:

That nickname makes me sound like a burp or a fart.

Some will love seeing the word fart; others will not. Here's that page. See Thunder Boy's little sister? I look at the illustration of the two kids and my heart goes right to my sister's grandchildren and memories of them playing and dancing together at my niece's wedding last week. I think they'll like this book very much.

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

Jayden and Ellie

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

****

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

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

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

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

What Alexie has given us is a pan Indian story.

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

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

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

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

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

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

In an interview with Brian Lehrer, Alexie said that Thunder Boy doesn't like the name because it was assigned to him, and wasn't a name he had given himself. He wants a name that measures something he has done. Alexie said:

This calls back to ancient tribal traditions of many peoples, Native Americans included, where the transition to adulthood involves getting a new name that measures something that you've done, or is predictive, something that your elders hope you become.

None of that information is inside the book. What he said on Lehrer's show is lacking in specificity, too. In the interview he said "many peoples, Native Americans included" but given the existing ignorance about Native peoples, I think that his interviews and the book would be much improved by an author's note that provides parents, teachers, and librarians with information about naming.

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

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

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

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

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

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

Debbie--have you seen Kelly DiPucchio's ONE LITTLE TWO LITTLE THREE LITTLE CHILDREN?

Some time back, someone (on Twitter, I think) asked me what I think of writers using the "one little, two little, three little Indians" in a new way. I don't recall the conversation itself; I only recall that I was asked about adaptions of that rhyme.

Today, I've got an email from someone asking me if I've seen Kelly DiPucchio's picture book due out on May 3rd 2016 from Balzar + Bray. Now, that first question makes sense! DiPucchio has done that adaptation, and my guess is that the question was from someone who saw the book.

Here's the title of DiPucchio's book, as presented on the cover:

one little

two little

three little

children

My guess is the number words are in italics to set them off, so that they can be read aloud apart from the other words. DiPucchio's book is illustrated by Mary Lundquist. Here's the synopsis:

From bestselling author Kelly DiPucchio, with illustrations by Mary Lundquist, comes a charming new picture book in the vein of Liz Garton Scanlon’s All the World and Susan Meyers’s Everywhere Babies.

One Little Two Little Three Little Children—an exuberant reinvention of the classic children’s rhyme—is pure read-aloud, sing-along joy and an irresistible celebration of all kinds of children and families.

The kids on the cover are of varying skin tones, in modern clothing. Hmmm.... A "reinvention"? Does it succeed?

The Kirkus review says:

Facing this page is a trio of homes: “Snow-cozy, / stick-cozy, / brick-cozy houses,” and herein lies the rub: the igloo and teepee depicted here are juxtaposed with a child making a structure of building blocks, undermining efforts at multicultural inclusion by falsely equating these so-called “snow” and “stick” structures with toys. These depictions also bring to the forefront the text’s similarities to versions of the rhyme referring to “One little, / two little, / three little Indians” that have been roundly critiqued as racist, or, even more egregiously, other versions that use the n-word. The appearance of another teepee on the outskirts of the closing illustration is perplexing—is it a plaything like the soccer goals? Or just a visual balance for the ice cream truck? Or something else?

If it is intended to be "multicultural" I would guess that Native children are included, too, but are they? I think... not. That said, why try to reinvent this particular rhyme?! If I get this book, I'll be back.

Debbie--have you seen SUMMER OF LOST AND FOUND by Rebecca Behrens

A reader sent a DM (direct message on Twitter), today, to ask if I've had a peek at Summer of Lost and Found by Rebecca Behrens. It is due out on May 24, 2016. I haven't seen or heard of it. Thanks, S., for writing to ask me about it!

As I read the synopsis, I sighed. Another story about Roanoke and the lost colonists. I get the fascination with it, but, frankly, would love to see major publishers (like Aladdin) give us books by Native writers!  Whether they set their stories in the past or the present, at least teachers and librarians would be able to use present tense verbs to talk about the author and their nation.

As it is, Summer of Lost and Found looks to be yet another story that presents Native peoples in the past, and a Native spirit or ghost like presence that makes life interesting for present day White characters. No surprise to see it being promoted by the author of Blue Birds.

From the author of When Audrey Met Alice comes a sweeping middle grade novel about a city girl forced to spend her summer in North Carolina, where she becomes involved in a centuries-old mystery, turning her once boring vacation into an adventure she never could have imagined.

Nell Dare expected to spend her summer vacation hanging out with her friends in New York City. That is, until her botanist mom dragged her all the way to Roanoke Island for a research trip. To make matters worse, her father suddenly and mysteriously leaves town, leaving no explanation or clues as to where he went—or why.

While Nell misses the city—and her dad—a ton, it doesn’t take long for her to become enthralled with the mysteries of Roanoke and its lost colony. And when Nell meets Ambrose—an equally curious historical reenactor—they start exploring for clues as to what really happened to the lost colonists. As Nell and Ambrose’s discoveries of tantalizing evidence mount, mysterious things begin to happen—like artifacts disappearing. And someone—or something—is keeping watch over their quest for answers.

Am I unfairly pre-judging this book? Some would say yes. If/when I get it, I'll be back with a review. But seriously... I'm not optimistic. There's plenty going on RIGHT THIS MINUTE that should make life interesting for White characters. That should move them from a place of ignorance about Native peoples, to one where they're motivated to do something about the many injustices that Native peoples face, today. Instead, it seems children's book publishing is... happy to keep giving us long-ago-far-away stories that don't unsettle the injustice of now.

Goodreads "Top 100 Children's Books"

On April 27, 2016, Jessica Donaghy posted The Top 100 Children's Books on Goodreads. To determine which chapter and middle grade books should be "on every kid's shelves" they "looked for the best reviewed books, all with average ratings above a 4.0 (a high bar that cuts out giants like Ramona and Huck Finn)." 

Stereotypical representations: thumbs down

Of course, such lists get circulated on social media.

The Children's Book Council tweeted it, and then John Schu tweeted it, which is how I saw it.

Looking it over, I gotta give it a thumbs down for the Native representations on it. Come on, people! How about, when you look at these kinds of lists, you ask yourself about Native representations on it. We all have to speak up for change to happen!

I'm thrilled to see several authors of color on the list. I see Jackie Woodson's Brown Girl Dreaming. And Kwame Alexander's Crossover, too. And Pam Munoz Ryan's Echo. And several titles by Sharon Draper. And Grace Lin's Where the Mountain Meets the Moon. 

But what about Native writers? None. Louise Erdrich's Birchbark House ought to be on here, don't you think? Nothing on it by the most prolific Native writer either! I mean Joseph Bruchac.

What about Native characters or stories that aren't stereotypical? Again, none. Here's the list of titles. The ones in bold are ones that have stereotypical Native characters. Those two? The grunting and animal-like Indians in Little House on the Prairie and the stereotypical Tiger Lily and playing-Indians of Peter Pan. 

What did and did not got onto this list reflects two things: a visibility problem, and, a refusal to let go of books with stereotypical content. What will you do about that? Who else is missing, I wonder?

Aesop's Fables
Alice's Adventures in Wonderland, by Lewis Carroll
Amulet, by Kazu Kibuishi
Anne of Green Gables, by L.M. Montgomery
The Arabian Nights
Avatar: The Last Airbender, by Gene Luen Yang
Awkward, by Svetlana Chmakova
A Bear Called Paddington, by Michael Bond
The Black Stallion, by Walter Farley
Bone, by Jeff Smith
Book of Three, by Lloyd Alexander
The Borrowers, by Mary Norton
The Boxcar Children (#1), by Gertrude Chandler Warren
Brown Girl Dreaming, by Jacqueline Woodson
Calvin and Hobbes, by Bill Watterson
Chains, by Laurie Halse Anderson
Charlie and the Chocolate Factory, by Road Dahl
Charlotte's Web, by E.B. White
Coraline, by Neil Gaiman
Crossover, by Kwame Alexander
Dealing with Dragons, by Patricia C. Wrede
The Devil's Arithmetic, by Jane Yolen
The Diary of a Young Girl, by Anne Frank
Drama, by Raina Telgemeier
Echo, by Pam Munoz Ryan
El Deafo, by Cece Bell
Fablehaven, by Brandon Mull
The False Prince, by Jennifer A. Nielsen
From the Mixed Up Files of Mrs. Basil E. Frankweiler, by E. L. Konigsburg
The Giver, by Lois Lowry
Gracefully Grayson, by Ami Polonsky
The Graveyard Book, by Neil Gaiman
Grimm's Fairy Tales
A Handful of Stars, by Cynthia Lord
Hans Christian Andersen Fairy Tales
Haroun and the Sea of Stories, by Salman Rushdie
Harry Potter and the Sorcerer's Stone, by J.K. Rowling
The Hobbit, by J. R. Tolkien
Howl's Moving Castle, by Diana Wynne Jones
The Incredible Journey, by Sheila Burnford
Inside Out and Back Again, by Thanhha Lai
Into the Wild (Warriors), by Erin Hunter
The Invention of Hugo Cabret, by Brian Selznick
Just So Stories, by Rudyard Kipling
The Lightning Thief, by Rick Riordan
The Lion, the Witch, and the Wardrobe, by C. S. Lewis
The Lions of Little Rock, by Kristin Levine
Little House on the Prairie, by Laura Ingalls Wilder
The Little Prince, by Antoine de Saint-Exupery
A Little Princess, by Frances Hodgson Burnett
Little Women, by Louisa May Alcott
A Long Walk to Water, by Linda Sue Park
Mary Poppins, by P. L. Travers
Matilda, by Roald Dahl
The Mighty Miss Malone, by Christopher Paul Curtis
The Miraculous Journey of Edward Tulane, by Kate DiCamillo
Mockingbird, by Kathryn Erskine
Mrs. Frisby and the Rats of NIMH, by Robert C. O'Brien
Mrs. Piggle Wiggle, by Betty MacDonald
My Side of the Mountain, by Jean Craighead George
My Sweet Orange Tree, by Jose Mauro de Vasconcelos
The Mysterious Benedict Society, by Trenton Lee Stewart
The Name of this Book is Secret, by Pseudonymous Bosch
The Neverending Story, by Michael Ende
Number the Stars, by Lois Lowry
Old Yeller, by Fred Gipson
The One and Only Ivan, by Katherine Applegate
Out of My Mind, by Sharon M. Draper
Peter and the Starcatchers, by Dave Barry
Peter Pan, by J. M. Barre
The Phantom Tollbooth, by Norton Juster
Pippi Longstocking, by Astrid Lindgren
Princess Academy, by Shannon Hale
The Red Pyramid, by Rick Riordan
The Red Umbrella, by Christina Diaz Gonzales
Redwall, by Brian Jacques
Ranger's Apprentice, by John Flanagan
Sadako and the Thousand Paper Cranes, by Eleanor Coerr
Scary Stories to Tell in the Dark, by Alvin Schwartz
The Secret Garden, by Frances Hodgson Burnett
See You at Harry's, by Jo Knowles
Sideways Stories from Wayside School, by Louis Sachar
The Skin I'm In, by Sharon G. Flake
Smile, by Raina Telgemeier
So Be It, by Sarah Weeks
Stella by Starlight, by Sharon M. Draper
The Story of a Seagull and the Cat Who Taught Her to Fly, by Luis Sepulveda
Tales of a Fourth Grade Nothing, by Judy Blume
The Two Princesses of Bamarre, by Gail Carson Levine
Watership Down, by Richard Adams
The Westing Game, by Ellen Raskin
When You Reach Me, by Rebecca Stead
Where the Mountain Meets the Moon, by Grace Lin
Where the Red Fern Grows, by Wilson Rawls
Where the Sidewalk Ends, by Shel Silverstein
Winnie the Pooh, by A. A. Milne
The Land of Stories and the Wishing Spell, by Chris Colfer
Wolf Brother, by Michelle Paver
Wonder, by R. J. Palacio
A Wrinkle in Time, by Madeleine L'Engle

Theo Tso's CAPTAIN PAIUTE (is awesome!!!)

Among the gems of 2015 is Theo Tso's Captain Paiute: Indigenous Defender of the Southwest.

Captain Paiute is published by Native Realities. As you can see by the cover of this comic, Captain Paiute is a superhero. An Indigenous superhero, that is! A Paiute one. Already we have so much good going on!

Theo Tso is Paiute. He created Captain Paiute because the Native characters he saw in comics were sidekicks, mystics, or shamans who spoke in that ridiculous TV style (like when Tonto tells the Lone Ranger how he found him in the pilot episode: "Me hunt here in canyon often." and "Me help Kimosabe." and "Here hat. Me wash in stream, dry in sun, make whiter." and "Here gun, to kill bad men."and "Kimosabe, me help you fight outlaw.")

To develop Captain Paiute, Tso drew on what he knows, about his own nation. Depictions of Native peoples also figured in his thinking. You can listen to him talk about that in an interview he did with A Tribe Called Geek. Stereotypes of Native people include the monolithic image of Indians as nomadic peoples who live in tipi's. Some nations did--and do--use tipi's, but some--like the Paiute's--were farming communities and had different kinds of homes. Another dimension of that monolithic image of Native peoples is that Native peoples of today are dancers, or artists. Some are, but we are far more than that... as Tso tells us!

By day, Captain Paiute works for his tribe as a water hydrologist. After high school, he went to college where he studied science. It was in his lab that he realized he had powers:

See that beaker with sulfuric acid? It spills on his hand, but his hand heals. He realizes, then, that he has powers. Those powers were given to him when he was a child. Both his parents were killed in a car wreck. He survived. In that moment, he was chosen by Pah, the Paiute Water Spirit, to be the one who would help the Paiute people fight the harm that were going to come.

With his parents gone, he lives with his grandfather. From that grandfather, he learns Paiute history. By reading Captain Paiute, kids can learn that history, too.

On the cover, that is water coming forth from Captain Paiute's hand. To him--but to everyone--water is precious. It should be used carefully. From the interview at A Tribe Called Geek, I gather that the coming stories will be about caring for the environment.

I love what Tso has done with Captain Paiute. 

I highly recommend it! 

Head over to Native Realities and get a 

print copy for $3.00 or a digital copy for 99 cents.    

And check out Tso's Facebook page. He's got a sneak peak at the second issue. See that owl? For Paiute's owls signify death. Owls, then, figure in Captain Paiute's vulnerability.

Update: May 3, 2016
Tso submitted a comment. I'm copying it here, for your convenience:

Thank you for the kind write up! Check out www.warpaintstudios.net for more information and comics and where I'll be at to buy other issues and merchandise!

Why the question "Cultural Appreciation or Appropriation" is the wrong one

This morning I read Monica Edinger's post, titled Cultural Appreciation or Appropriation? about the "Hindu festival of Holi being taken and reconfigured by a company of white Germans into a hipster event in Brooklyn and abroad." 

Reading the links she provided, and thinking about all the examples in which people or characters in books or movies dress up in feathers and fringe, I realized that the question she and many others ask ("is it Cultural Appreciation or Appropriation") can lead us down the wrong path. Here's why.

Dance, for example, as defined by the mainstream (white European or European American) is seen as a cultural expression. The image to the right reflects several different kinds of dance. (The image is from Gender Roles in the Art of Dance.)


For some peoples, dance is religious, not cultural. Some of their festivals are religious in nature. 

If we step away from the phrase "Cultural" and ask if what we're viewing or thinking about doing is religious, might that help people step away from doing things that are, in fact, sacrilegious? 

TARGET by Patrick Jones

Two years ago, I was asked about Target, by Patrick Jones. Published in 2014 by Lerner, I read part of it then, and am returning to it now. 

Target is in the "Alternative" series of books Jones writes. Here's the description, from the publisher's website:

Urban, accessible books spotlight diverse characters struggling with mental and emotional health issues and family hardships in an alternative high school environment in St. Paul, MN.

"Accessible" means high interest, low reading level. Edith Campbell has an overview of the series at her site: The Alternative Series. And, FangirlJeanne has an in-depth review of Bridge at her site (link to review of Bridge added on April 30, 2016). 

A summary of Target

In Target, the "diverse" character is Frankie, a Dakota teen from the "Riverwood Reservation." My guess is it is a pseudonym for the Prairie Island Indian Community, which is Dakota, and has a reservation but it could be one of the other three Dakota communities in Minnesota: Shakopee, Upper Sioux, or Lower Sioux. 

Frankie and his mom have moved from the reservation to St. Paul because Frankie was getting into a lot of trouble.

As Frankie unpacks, one of his prized possessions is a letter, handwritten by "Chief Yellow Lark" that his grandfather framed and gave to him. Another prized possession is his dad's pearl handled revolver. Frankie had been getting into trouble with the "First Nation Mafia" gang on the reservation. The solution was to move to St. Paul to be closer to his dad, Franklin Brave Eagle Smith, who is in prison for things he has done as "one of the First Nation Mafia chiefs." 

In St. Paul, Frankie takes up with two cousins, Jay and Billy Creech. They're in that First Nation Mafia and taking over, because a bunch of the older guys (like Frankie's dad) are in prison. Jay has a First Nation Mafia tattoo. Frankie had one, too, but his mom had it removed before they moved to St. Paul. 

Egged on by Jay and Billy, Frankie hits a Latino kid from another gang, the Twenty-sixers, on the first day of school and gets suspended. To get Frankie away from Jay and Billy, his mom decides to enroll him in Rondo Alternative High School. Hanging out with them anyway, he robs a convenience store and starts selling cigarettes at school.  

At school, he does a report on Paul Newman, and when asked by the teacher what he likes least about Newman, says that it is messed up that Newman played the part of an Indian in Hombre. He and his dad, at various points in the story, talk about what the white man has done to the Indians.

Whenever he visits his dad, he also has to visit Jay and Billy's dad (Frankie's uncle), who is also there in prison, along with three other relatives that Frankie has to visit, too. Jay and Billy live with their mom, who is usually drunk and doesn't supervise the boys. 

At one visit to the prison, Frankie is stunned to see that his dad is missing an eye. It was taken by a member of the Twenty-sixers gang, and his dad wants Frankie to do the same to someone in the gang.

Later he visits his grandfather on the reservation and when he returns, his mom tells him to meet at her office, where a woman says a prayer in Ojibwe to a crowd there. There's a smudging, but Frankie's heart isn't in it.

Frankie is sweet on Sofia, a Latina at school who used to be in the Twenty-sixers. She's out now and doesn't approve of Frankie's involvement with his cousins. Her interest in him encourages him to stay away from them and not join the gang. 

He's especially uncomfortable with his dad's request to revenge him and on a subsequent visit, his dad tells him his failure to act has made all the First Nation Mafia members targets. Later, Frankie learns that the person he's got to kill is Luis, who he's also started hanging out with, along with Sofia. 

Frankie and his mom drive to the reservation because Frankie wants to talk with his grandfather. While there, they talk about the first time Frankie got into trouble and his grandfather had him do a vision quest that didn't work because it wasn't Frankie's choice. 

Back at school, Frankie grows increasingly afraid of the gang fighting. He goes back to the reservation and goes through a purification ceremony and when he gets back to St. Paul, tries to stay away from his cousins, but they won't leave him alone. Leading them to believe he's going to kill Luis, he goes with them to the part of town where the Twenty-sixers hang out, and leaves them there to fend for themselves.

Returning home, Frankie grabs the framed prayer and his father's pearl handled revolver, picks up Luis and Sofia and returns to the reservation where he asks his grandfather to say the prayer aloud. The reading happens as Frankie, his grandfather, Luis, and Sofia stand by a "small, empty grave." Then Frankie drops the revolver and "everything it represented in his family's life" into the hole and kicks dirt over it. 

Returning to St. Paul, he and his mom move to a different apartment. It is farther away from the prison. Puzzled by that distance, his mom tells him (Kindle Location 697):

“A true brave eagle wouldn’t live in a cage. You needed to see his cage,” his mom said.

“You just wanted me to see the prison?” Frankie mumbled, confused.

She was clear-eyed now. “The path you were on, the friends you had, the choices you made,” she said. “We didn’t move here so you could see your father. We moved here so you could see your future, Frankie. And change it.”

That conversation is the end of the story. 

In the author's note, Jones writes that the source of the prayer is Kenneth Cohen's Honoring the Medicine: The Essential Guide to Native American Healing, published in 2003 by Ballantine Books. He thanks Brent Chartier for his expertise on ceremonies, like smudging, that he learned about while working at an American Indian health clinic in Michigan. 


Analysis of the Native content of Target

In the author's note, Jones names Cohen's Honoring the Medicine as the source for the prayer that figures prominently in Frankie's heart. In the story, Jones doesn't tell us anything about "Chief Yellow Lark" or his tribal nation. I looked at Honoring the Medicine and see that Cohen says it was written by a "Leni-Lenape medicine man." Looking around elsewhere, I see "Chief Yellow Lark" identified as Lakota. Or Blackfoot. "Chief Yellow Lark" appears in a lot of new age and holistic healing books and web sites. 

I'll keep looking, but I've yet to find "Chief Yellow Lark" in a reliable Native source. I'm curious why Jones chose Honoring the Medicine as his source for a key plot point in Target. I'm also curious why he chose Brent Chartier as a source on smudging. 

If an outsider to Native peoples is going to write a story with Native characters and content, it is vitally important that the sources be reliable, and that they be Native. I think Jones should have spoken with Dakota people and read materials written by Dakota people. Doing that, he'd know how much he should--or should not say--about ceremonies.

Jones tells us that Frankie's grandfather does ceremonies and wants Frankie to do them, too. I'm pretty sure that a Dakota man wouldn't have framed a prayer written by a Leni-Lenape, or Lakota, or Blackfoot man and give it to his grandson. He'd give him other things, specific to Dakota ways.

In real life, gang activity is a major issue on reservations and in urban areas, as well. 

I understand why Patrick Jones would want to write a high interest/low reading level book for youths caught up in gang activity, but I think Dakota kids, and those from other nations, too, would roll their eyes at Target. 

Non-Native kids might be moved by the "wisdom" of that prayer. Cohen (author of Honoring the Medicine) was, and presumably, so was Jones--but the places I find the prayer itself cast it in a troubling space of romanticization and misrepresentation. 

I cannot recommend Target by Patrick Jones. 

Lois Lenski's INDIAN CAPTIVE

My copy of Lois Lenski's Indian Captive: The Story of Mary Jemison includes an excerpt from Lenski's autobiography. In it, she writes that she was surprised to win the Newbery Medal for Strawberry Girl in 1946, because she thinks Indian Captive is her "major and most scholarly work."

Indian Captive came out in 1941, with this cover (Lenski did the illustrations, too):

Most people are likely familiar with the more recent cover:

As I write, Indian Captive is ranked at #31 on Amazon's list of paperback biographies for children--and it is ranked at #2 on Kindle biographies for children. Here's the summary, from WorldCat:

Fictionalized account of Mary Jemison. She was captured by the Seneca Indians when she was a child and lived with them all her life.

The chances that you read Indian Captive in school are pretty high. These captivity stories--of white girls/women captured by Indians--are very popular. The Newbery Honor adds to its allure. 

There was, in fact, a woman named Mary Jemison. She was born in 1742 or 1743 and died in 1833. Before she died, she worked with James E. Seaver on A Narrative of the Life of Mrs. Mary Jemison, which was published in 1824. 

One thing that struck me right away is Lenski's depiction of Jemison's hair. In the original edition, you see that Lenski depicts Jemison as having blonde hair. That is inaccurate. Jemison's hair was, according to Seaver, "a light chestnut brown." My guess is that Lenski changed it to fit the story she was telling.

Part of that story involved the names she uses for Jemison. In chapter one, there's great fear of an "Injun" attack. Pa doesn't seem afraid. Molly (Lenski used that nickname rather than her given name, Mary) asked Pa why he isn't afraid. He says (p. 8):

“Why should I be afeard?” laughed her father. “There’s nothin’ to be scared of. The Injuns’ll never hurt you, Molly-child! Why, if they ever saw your pretty yaller hair, a-shinin’ in the sun, they’d think ’twas only a corn-stalk in tassel and they’d pass you by for certain!”

Many works depict Native characters who are fascinated by the hair of white characters. Were they? Maybe. I need to look for evidence of Native fascination with the hair and skin of white people. Certainly we find a lot of that sort of thing in writings of White people who describe skin color in derogatory or exotic ways. 

Here's how Lenski depicted the Native women fawning over Molly's hair:

It reminds me of a scene from Game of Thrones (source of photo: http://io9.gizmodo.com/daenerys-whole-storyline-on-game-of-thrones-is-messed-513189766):

Is it fair to compare those two images? Maybe, maybe not. I do think they capture that idea that Whiteness is special. 

After Molly is captured, her captors get her ready to be sold. Lenski describes the Indians looking at her teeth, but... (p. 49-50)

...the thing that pleased them most was Molly’s hair— her pale yellow, shining hair, the color of ripened corn. They took it in their hands; they blew upon it and tried to braid it; they let it rest like corn-silk soft upon their palms. They looked at it as if they had never seen such hair before.

It is possible that Jemison's hair was blonde during her teens and became darker (the light chestnut brown that Seaver described) as she got older, but I think Lenski's choice was deliberate. She needed Molly to have blonde hair because the name Lenski has the Seneca Indians give her, is Corn Tassel. This happens on page 60 when Molly is adopted to fill the place of a Seneca man who was killed the year before:

They touched her white skin, they stared into her blue eyes, they caressed her soft, silky hair. It was her hair that pleased them most. It made them think of blooming corn-stalks, of soft, fresh corn-silk, of pale yellow ripened corn— the dearest things in life. So when they gave her a name, there was only one that they could think of. They called her Corn Tassel that day and for many a long day thereafter.

In fact, the Seneca people who took her in did give her a name, as reported by Seaver, but there's no mention in his book of her hair color or the name, "Corn Tassel." Instead, this is what we read (Seaver, Kindle Locations 394-395):

I was made welcome amongst them as a sister to the two Squaws before mentioned, and was called Dickewamis; which being interpreted, signifies a pretty girl, a handsome girl, or a pleasant, good thing. That is the name by which I have ever since been called by the Indians.

I think Lenski didn't want to call her Dickewamis, or an English translation, either. She chose Corn Tassel instead. I want to think about that choice a bit more. We could say that, by changing the name, she was being dismissive of the Seneca's.   

To her credit, Lenski didn't use "squaw" anywhere in her book. Simply avoiding that derogatory term is not enough, however. As I read Indian Captive, I found that biased, outsider depictions remain intact.

The Seneca man who was killed, Lenski tells us, went to "the Happy Hunting Ground." In a lot of writings by outsiders, that phrase is used to depict a Native heaven. It is used as if all of us, regardless of our very diverse and distinct spiritual or religious practices, go to the "Happy Hunting Ground." As far as I can tell, that phrase came from James Fenimore Cooper. My research into his use of it is ongoing.

In Seaver, there is no mention of being mistreated by the Seneca women who adopted her. Lenski, however, does have her mistreated (hit and kicked) by "Squirrel Woman" who is not only mean, but unattractive. Eventually Molly doesn't cry when Squirrel Woman strikes her. At one point, Molly thinks that, "like an Indian," she is learning to bear pain. That is another stereotype: the stoic, unflinching, noble Indian.   

Another problematic idea that emerges as the story progresses, is that the Seneca's have something to learn from Molly: compassion. Molly and a boy become friends. When he kills a turkey, Molly is unhappy. A Seneca elder tells her (p. 174):

“The Senecas are the richer for having a daughter like you, Corn Tassel,” said the old man. “They have much to learn from the pale-face. Sympathy, love for our brother, is what we all most need. That you can teach us as no one else can, little one. Perhaps that is why the Great Spirit led you to come to us. Perhaps only you, in all the world, could do this for us and that is the reason that you became a captive!”

That passage is deeply unsettling. It lets stand the idea that Native peoples were cruel, aggressive, and warlike, and that the White people who attacked them and encroached on their homelands were the ones who can teach love and sympathy.

There is much more to know about Jemison and her role in Seneca history. As I did the background research to write this review, I began reading Mark Rifkin's study of her/depictions of her in When Did Indians Become Straight?: Kinship, the History of Sexuality, and Native Sovereignty. He writes that in white writings of her, the focus is on her Whiteness and the incredible aspects of her capture and life as a White person living with Indians. It is, he writes, a racialized discussion. Far more important, he argues, is her adoption and what it meant to Native Nations and their sovereignty. Through her adoption, she became Seneca. Through her adoption, she owned Seneca land. I'll be studying Rifkin's chapter on her, and looking for others, too.

For certain, Lenski's Indian Captive is flawed. It relies and draws on stereotypes.

Indian Captive was written 75 years ago. It need not be read today by schoolchildren. Doing so, I think, keeps stereotypical ideas of Native people and history intact. Teachers ought to be challenging those stereotypes and bias, rather than affirming them. If you know of a teacher who is using it to teach children about stereotyping and bias, let me know.

Sources:

Lenski, Lois (2011-12-27). Indian Captive: The Story of Mary Jemison. Open Road Media Teen & Tween. Kindle Edition.

Rifkin, Mark. (2011) When Did Indians Become Straight: Kinship, the History of Sexuality, and Native Sovereignty. Oxford University Press. 

Seaver, James E. (2013-08-08). A Narrative of the Life of Mrs. Mary Jemison: Complete With Original Illustration. James E. Seaver. Kindle Edition. (also available online: http://gutenberg.net.au/ebooks/w00087.html)

Beverly Slapin's review of PRAIRIE DOG SONGS: THE KEY TO SAVING NORTH AMERICA'S GRASSLANDS by Susan L. Roth

Editor's Note: Beverly Slapin submitted this review of Susan L. Roth's Prairie Dog Songs. It may not be used elsewhere without her written permission. All rights reserved. Copyright 2016. Slapin is currently the publisher/editor of De Colores: The Raza Experience in Books for Children.

~~~~~

Roth, Susan L., and Cindy Trumbore, Prairie Dog Song: The Key to Saving North America’s Grasslands, illustrated by Susan L. Roth. Lee & Low, 2016; grades 1-6

Based on the cumulative song, “Green Grass Grows All Around,” each double-page spread in Roth's book includes a verse from the song, a collage, and information that focuses on prairie dogs, environmental destruction of the grassland ecosystem and the return to biodiversity. Younger readers are encouraged to engage with the art and sing along with the lyrics on each page (and music and separate lyrics in the back matter). The text for older readers is more informative.

Roth’s signature illustrations, rendered in paper and fabric collage, will especially appeal to young children. Each page-and-a-half spread reflects the daytime and nighttime skies and clouds in mostly blues and greens, and the earth in mostly browns and greens. As well, the animals—from the littlest prairie dogs to the huge buffalo—hold their places in this delicate ecosystem, and it appears that Roth has carefully placed each blade of grass as well.

According to the publicity sheet:

Prairie Dog Song traces the history of the grasslands from the first settlers who arrived in the 1800s to the scientists working to preserve them. For thousands of years, grasses covered the area of North America, stretching from the south of Canada to the north of Mexico and creating what is still one of our most important and wide-reaching ecosystems. The tiny prairie dog was its caretaker, burrowing into the ground and keeping the soil rich enough to sustain many other species. But what happens when we humans chase away those tiny caretakers?

Unfortunately, this otherwise engaging picture book is fatally flawed, in that there are only four short references—dismissive ones at that—to the Indigenous peoples who, despite the many attempts of the settlers and government forces to dislodge them, continue to return and maintain the land. All of these references appear in the text for older readers; there is nothing in the lyrics or illustrations that refers to Native peoples.

This text is towards the middle of the book (unpaginated):

For thousands of years, prairie dogs lived alongside the Native peoples of the grasslands. Some Native groups survived by gathering plants and hunting the big animals, including bison, that ate the rich grass near prairie dogs’ burrows. Other groups were both hunters and farmers, growing crops such as corn, beans, and squash.

Then, in the 1800s, the United States government began forcing Native peoples from the grasslands so the land could be offered to settlers. The settlers saw fine, fertile areas where they could graze their cattle and horses and grow crops. The covered the land with fields, ranches, houses, and roads that destroyed the prairie dogs’ territory.

Within sixty years of the arrival of farmers and ranchers, most of the prairie dogs were dead. The settlers did not understand the role prairie dogs played in keeping the grasses healthy.... Prairie dogs, the animals that ate them, and the animals that lived with them began to disappear. So did the bison, which were hunted for their skins. (emphasis mine)

There are also two short and strange references in the back matter timeline:

(1) Prehistory: In what is now Janos Biosphere Reserve, in Chihuahua, Mexico, live hunter-gatherers who leave behind petroglyphs and arrowheads. (2) 1689: Military outpost established to protect Janos from Apache raids, although Apache still venture frequently into area. 

This “disappearance” or dismissal of Native peoples in a discussion of the history of the land and a particular ecosystem is nothing less than a justification of colonialism and genocide. None of the major reviewers—Kirkus Reviews, Publishers Weekly and School Library Journa1 gave this book starred reviews—seems to have noticed this, and children will not, either. Unless they are Native children.

So it seems to be fitting to end this review with Indigenous peoples have the last word. The following is part of a statement released by the Assembly of First Nations in Canada:

Indigenous peoples are caretakers of Mother Earth and realize and respect her gifts of water, air and fire. First Nations peoples have a special relationship with the earth and all living things in it. This relationship is based on a profound spiritual connection to Mother Earth that guided indigenous peoples to practice reverence, humility and reciprocity. It is also based on the subsistence needs and values extending back thousands of years. Hunting, gathering, and fishing to secure food includes harvesting food for self, family, the elderly, widows, the community, and for ceremonial purposes. Everything is taken and used with the understanding that we take only what we need, and we must use great care and be aware of how we take and how much of it so that future generations will not be put in peril.

For the earlier grade levels noted, Prairie Dog Song is not recommended; for older students who may be learning how to read critically or for college students taking courses on deconstructing texts in children’s literature, maybe.

—Beverly Slapin

SWEET HOME ALASKA by Carole Estby Dagg

Earlier this year, several people wrote to ask me about Carole Estby Dagg's Sweet Home Alaska, a story set in Alaska, in 1934, about the Matanuska Colony (also called the Palmer Colony). The map to the right shows you where the colony was.

Published by Penguin Random House (one of the Big Five publishers in the U.S.), Dagg's book came out in February of 2016. It is pitched at middle grade children.

Here's the synopsis for Sweet Home Alaska:

This exciting pioneering story, based on actual events, introduces readers to a fascinating chapter in American history, when FDR set up a New Deal colony in Alaska to give loans and land to families struggling during the Great Depression.

Terpsichore can’t wait to follow in Laura Ingalls Wilder’s footsteps . . . now she just has to convince her mom. It’s 1934, and times are tough for their family. To make a fresh start, Terpsichore’s father signs up for President Roosevelt’s Palmer Colony project, uprooting them from Wisconsin to become pioneers in Alaska. Their new home is a bit of a shock—it’s a town still under construction in the middle of the wilderness, where the residents live in tents and share a community outhouse. But Terpsichore’s not about to let first impressions get in the way of this grand adventure. Tackling its many unique challenges with her can-do attitude, she starts making things happen to make Alaska seem more like home. Soon, she and her family are able to start settling in and enjoying their new surroundings—everyone except her mother, that is. So, in order to stay, Terpsichore hatches a plan to convince her that it’s a wonderful—and civilized—place to live . . . a plan that’s going to take all the love, energy, and Farmer Boy expertise Terpsichore can muster.

As the synopsis indicates, the story is based on fact. President Roosevelt did create the Palmer Colony project for people to make a fresh start. The synopsis tells us that Dagg's story an "exciting pioneering" one, but anytime I see "pioneering" in the context of stories like this, I wonder about the people whose lands were being made available to those "pioneers."

In her author's note, Dagg writes (p. 290):

A notable omission in accounts I read of the Palmer Colony was reference to the people who were in Alaska for thousands of years before the colonists: the various Eskimo, Aleut, Athabaskan, and other Indian tribes. Since I married into a part-Native family, I was concerned about this omission, but finally decided not to create contacts with Native peoples if the colonists themselves did not mention them. However, I hope as many readers as possible will visit the Anchorage Museum to learn more about the original colonists of Alaska.

I'm curious about the "part-Native family." Are the people she's referring to as "part-Native" citizens of their tribal nation? Generally used, "part Native" means that someone in your ancestry was, or is, a Native person from a specific tribal nation. Quite often, though, people who use "part-Native" aren't aware that stating a Native identity goes hand-in-hand with being a citizen of that nation. This citizenship is not about being "part" Native. If you're a tribal citizen, you're a tribal citizen, period.

I'm uneasy with the phrase "the original colonists of Alaska." Alaska Natives were not "original colonists." They are the first peoples of that land. Their homelands were colonized--in this case--by the families who were part of this federal project. I anticipate some people will think that I'm being hypercritical in pointing to "original colonists" as problematic, but it is important that we pay attention to words and what they convey. If we were to accept Dagg's description of Aleut, Athabaskan, and other Indian tribes as "original colonists" we start down a slope that says it wasn't their homeland from the start. That it belonged to... nobody, and therefore, any rights they have to that land can be dismissed.

And, Dagg's suggestion that readers visit the Anchorage Museum... It makes me wonder if she had Native readers in mind. She was probably thinking of white kids.

An appropriate aside: Not long ago I read a spot-on comic by Ricardo Caté of Kewa (Santo Domingo) Pueblo. He has been doing Without Reservations for several years. The one I'm thinking of is of a Native kid in a museum asking something like "what kind of a field trip is this?! We have all this stuff at home." Biting, and brilliant, too.

Back to Dagg's book...

Who were the "pioneers" involved with the Palmer Project? People who were living in Michigan, Wisconsin, and Minnesota in 1934. The Palmer Museum has this info:

To be chosen from the states of Michigan, Wisconsin, and Minnesota, only "honest-to-God" farmers, couples between the ages of 25 and 40 with Scandinavian backgrounds would be considered. In exchange for a $3,000, 30-year loan, each family would be given a 40-acre tract of land, a house, a barn, a well, and an out-building. Those families that chose tracts with poor soil conditions and hilly landscape were given 80 acres. In all 203 families were chosen for the colony.

Dagg's character, Trip (short for Terpsichore), and her family are one of those families. When Dagg and her sisters learn about the plan to move there, here's what they say (p. 5)

“I'm not living in an igloo!" That was Cally, shaking her head in horror, which made her ringlets bob. “I’m not eating whale blubber!” That was Polly. Her ringlets bobbed too.

They are, in short, putting forth information they hold about Alaska Native homes and foods, and, they're rejecting it. That passage tells us that, although Dagg chose not to create Native people for her characters to interact with, she didn't leave Native peoples out altogether. She introduced stereotypes, but left them intact. That was an opportunity for her to push back on them, but she didn't. Indeed, if she'd had Native peoples in mind as she developed this book, she could have created Native characters who could, in fact, push back on the information that Cally and Polly have in their heads. What she did do, is have Trip's dad say that they're not going to the Arctic Circle, and that the Matanuska Valley is much like northern Wisconsin. This, I assume, is sufficient to tell the girls that they won't be living in an igloo or eating whale blubber, but it leaves exotic ideas about Alaska Natives intact.

Actually getting to Alaska means getting there by ship. As they're boarding, someone sings a song Trip recognizes, but they change the lyrics (p. 44):

Terpsichore recognized the tune. It was Gene Autry’s version of “Springtime in the Rockies,” but they had changed the words. Terpsichore laughed along with the crowd at the new words: “When it’s springtime in Alaska and it’s ninety-nine below . . . Where the berries grow like pumpkins and a cabbage fills a truck . . . We want to make a new start somewhere without delay. So, here we are, Alaska, AND WE HAVE COME TO STAY!”

Curious about the song, I looked it up and so far didn't find those lyrics. The first line is easy to find but the rest, I think, is Dagg's own writing. Reading the words "we have come to stay" may seem jovial and innocuous to some, but to me, they're pretty aggressive. Music is a big part of Sweet Home Alaska. The family has a tough go of it once they're there, but at the end, they sing "Home Sweet Home." They're there to stay. Again, this may seem innocuous, but ending with that song tells readers that, indeed, they were there "TO STAY."

Though a lot of people are going to love Dagg's book and its echoes of Little House, I think it is worse than Little House because it was written in the last few years. Dagg's editor is Nancy Paulsen. The creation, publication, and marketing of Sweet Home Alaska tells us that writers like Dagg, and editors like Nancy Paulsen, have a long way to go.

I do not recommend Sweet Home Alaska. 

And, I do not recommend The Smell of Other People's Houses, either.

Note (April 18, 2016): Thank you, anon, for letting me know that, partway thru the review, I had spelled the author's name incorrectly (as Dabb instead of Dagg). I've corrected those errors.