Monday, August 05, 2019

Debbie--have you seen Kathleen Arden's SMALL SPACES?

A reader wrote to ask if I've read Kathleen Arden's middle grade book, Small Spaces. It came out on July 9, 2019, as a reprint from Puffin Books. It first came out in 2018 from G. P. Putnam's Sons (an imprint of Penguin Random House).

Here's the description:
After suffering a tragic loss, eleven-year-old Ollie who only finds solace in books discovers a chilling ghost story about a girl named Beth, the two brothers who loved her, and a peculiar deal made with "the smiling man"--a sinister specter who grants your most tightly held wish, but only for the ultimate price.

Captivated by the tale, Ollie begins to wonder if the smiling man might be real when she stumbles upon the graves of the very people she's been reading about on a school trip to a nearby farm. Then, later, when her school bus breaks down on the ride home, the strange bus driver tells Ollie and her classmates: "Best get moving. At nightfall they'll come for the rest of you." Nightfall is, indeed, fast descending when Ollie's previously broken digital wristwatch begins a startling countdown and delivers a terrifying message: RUN.

Only Ollie and two of her classmates heed these warnings. As the trio head out into the woods--bordered by a field of scarecrows that seem to be watching them--the bus driver has just one final piece of advice for Ollie and her friends: "Avoid large places. Keep to small."

And with that, a deliciously creepy and hair-raising adventure begins.

The passage that prompted Sam's (they're the person who wrote to ask me about the book) question is on page 83 when Seth says to Ollie:
"Come on, kid," said Seth. "There's always a ghost story. Look around. How long have people lived on this land? There's us, yeah, but before us, there were those people in that graveyard back there. Fanny Collar--you saw her, right?--on her grave it says that she married the first white child born in Evansburg--why do you think that was even a thing? Because before them, there were the Abenaki, and they had this land and farmed it and died on it and wrote their own ghost stories while people died of plague in the streets of London." 
I'm intrigued by that passage and will order a copy of Small Spaces. 

Saturday, August 03, 2019

Debbie--have you seen SANTA CALLS by William Joyce?

A reader wrote to ask if I've read Santa Calls by William Joyce. I looked it up and here's what I found.

It was first published in 1993 by Harper Collins. In the years since then, Scholastic published it, it was made into a board book, and a Braille edition was published, too. Then in 2017, it was published again by Atheneum Books for Young Readers. There are videos of Joyce talking about this edition. I think his art is fine but the Native content of the story... not fine.

Using Amazon's look inside feature, I see that the main character is an orphan boy named Art Atchinson Aimesworth who lives with an aunt and uncle who run a Wild West Show. Art has a sister named Esther and his best friend is "Spaulding Littlefeets, a young Comanche brave." Here they are:

Let's talk about that illustration and the information we are given. It is good that Spaulding is dressed much like Art. He's wearing braids, which is fine but they are thin as can be. That's odd. What is not good? Spaulding's last name, "Littlefeets," is a mockery of Native naming. And, using "brave" instead of "boy" marks Spaulding as different. Most dictionaries state the the word "brave" is outdated or offensive. It would have been great if--for the 2017 edition--Joyce (the author/illustrator) had replaced brave with boy.

Also not great? Spaulding is wearing a headband. That's odd, too. Here's a look at that, from the next page:

The story is set in 1908, in Abilene Texas. Art receives a box from Santa Claus. Inside is a flying machine that Art, Spaulding, and Art's sister, Esther, put together. The basket they're supposed to ride in is broken, so they use Spaulding's canoe instead. Why did a Comanche have a canoe? Comanches are a Plains nation. I suppose he might have had a canoe, but a horse would have been more accurate. The kids could have figured out something to use instead of a canoe.

That's all I can see online. If I get a copy, I'll be back!

Monday, July 29, 2019

Highly Recommended: THANKU: POEMS OF GRATITUDE, illustrated by Marlena Myles; edited by Miranda Paul

I haven't studied book covers for edited books of poems before. This observation, therefore, might not hold water. Here's the cover for Thanku: Poems of Gratitude. 


As you see, Thanku: Poems of Gratitude is illustrated by Marlena Myles (Myles is Spirit Lake Dakota/Mohegan/Muscokee Creek) and edited by Miranda Paul.

First, what I want you to notice is the order of the names of the people who illustrated and edited the book. Myles's name is shown first. I don't think I've seen that before... and I like it! I might look for information about that arrangement. It is unusual but elevates art and artists. In recent months I've seen many people ask us not to ignore the illustrator's name. There is a lot to notice, and praise, in Thanku! Teachers, especially, will find Miranda Paul's work (as the editor) exceptionally helpful. Unobtrusively on each page, there's a note about the kind of poem each one is, and the back matter includes definitions.

Second, I love seeing the names of all the poets on the cover. And as you might guess, I'm thrilled to see names of Native women there!

Kimberly Blaeser's poem is "Flights." Its format is "concrete (shape)." When I was teaching, kids really liked to study shape poems. The words in her poem are arranged in the shape of a bird in flight, as seen from above (or below). The color palette Myles chose for Blaeser's poem is one of the light pastels of the sky and clouds. Blaeser is an enrolled member of the Minnesota Chippewa Tribe.

Students also like found poems. Carole Lindstrom's poem, "Drops of Gratitude" is a found poem. For it, Myles created a young woman in profile, gazing at three blocks of mostly-blacked-out words. The words that aren't left out are the poem Lindstrom wrote. She is Metis/Ojibwe and is tribally enrolled with the Turtle Mountain Band of Chippewa Indians. I want to know what book she used to create her found poem! I'd love to see teens turn racist content in their textbooks into found poems that embody Indigenous resistance!

The poem from Cynthia Leitich Smith (Muscogee Creek Nation) is "Stories for Dinner." It spans two pages, and in its verses, it spans time. The stories in the chant, free verse poem are about boarding school, war, and the "everyday heroes" who plan for future generations. I especially like Myles art for the second page. The "Water is Life" sign embodies those everyday heroes who are fighting for clean water.

And then, there's Traci Sorell's (Cherokee Nation) cinquain, "College Degree." For it, Myles created what I think is a young Traci in a cap and gown, holding her college degree aloft, smiling broadly.

When I got a review copy of Thanku, I took to Twitter to share my thoughts about it. In my review here, I've noted only four specific poems but there are so many others that I like! And I absolutely love the range of emotion and impact that Myles created for each poem.

In short, I highly recommend Thanku: Poems of Gratitude, due out in September from Millbrook Press. It is #OwnVoices at its very best!


Update: In a comment, Rie asked for more info about what found poems are. There are several ways to do them. The way that Carole chose is to take a page from an existing book, and black out some of the words. The ones that aren't blacked out form the poem. Below is a found poem using a page from Much Ado About Nothing. There's more examples on that page. Take a look:

black out poetry

Friday, July 19, 2019

Highly Recommended: AT THE MOUNTAIN'S BASE by Traci Sorell, illustrated by Weshoyot Alvitre

In February, 2018, Penguin announced it was launching a new imprint, Kokila, that would center "stories from the margins with books that add nuance and depth to the way children and young adults see the world and their place in it." 

On September 17 of this year (2019), Kokila will release At the Mountain's Base by Traci Sorell (she's a citizen of the Cherokee Nation). Illustrated by Weshoyot Alvitre (she's Tongva/Scots-Gaelic), it is an all-to-rare book: it is written and illustrated by Native people, and published by one of the Big Five publishers. Being published by a major publisher means a lot of visibility. The book will be sent to bloggers, copies will be given away at conferences, and review copies will be sent to the major review journals.


On the opening pages, the words and art invite us to come closer and closer with each page turn. It starts with us looking at a mountain, and then a hickory tree, and then a cabin, and then, we look in the window of that cabin and see a person sitting by a wood stove. 

That person is a grandmother, weaving. Her grandchild watches her fingers, weaving the strands of fiber that frame the illustrations up to this point in the story. But, this grandma is worrying, as she weaves. The grandchild is not the only person with the grandmother. Other members of the family are there, too, singing. 

On the wall behind them is a photograph of a woman in uniform that tells us what the worry is over. The song they sing is about the person in that photograph. Turning the page, we see--from above--the cockpit of an airplane. Inside the cockpit is the woman in the photograph. She's a pilot, and as she flies her plane, she prays for peace, because of the people inside that cabin at the base of that mountain. 

If I were to count the words in this book, I think there would be less than 50, but they carry so much power, so much beauty, so much strength! The art is that way, too. The colors and arrangement convey a quiet strength. Together, they are breathtaking!


The first paragraph of the author's note tells us that Sorell's poem is about a fictional Cherokee family but that Native women have served and continue to serve in wars, and that they receive strong support from their families. Note that Sorell (and I, in writing this paragraph) did not specify US wars. Sorell starts by saying that women have served in intertribal conflicts. Those pre-date the US. That's a seemingly small detail but it shifts that "center" from the US and US wars to Native people and the wars that our people have fought over time. 

The second paragraph tell us about a specific woman: Ola Mildred "Millie" Rexroat, who was an Oglala Lakota pilot in World War II. In 2009, she received the Congressional Medal of Honor, and in 2017 (a few months after her death), Ellsworth Air Force Base in South Dakota renamed and dedicated a building in her honor. 


Facing that author's note is the final illustration of the book. From behind, we see that pilot, walking up to the cabin at the mountains base. It is a stunning work of art. 

I highly recommend At the Mountain's Base by Traci Sorell and Weshoyot Alvitre. I hope you'll pre-order it. And thank you, Kokila, for bringing this book into the lives of Native and non-Native children. 

Virginia Mathews (Osage) had a hand in Margaret Wise Brown's THE RUNAWAY BUNNY

I am following up on my post, earlier today, about Virginia Mathews and Margaret Wise Brown. A brief recap: Mathews was an Osage librarian, and a leading advocate for Native peoples. Brown wrote two popular books, Goodnight Moon and The Runaway Bunny. In my previous post, I wondered about how Brown could create stereotypical material, given her friendship with Mathews.

In his biography of Brown, Margaret Wise Brown: Awakened by the Moon, Leonard Marcus wrote that the two women visited museums together, in Paris. Among them was a trip to the Musée de Cluny... (p. 243-244):
... where the author of The Runaway Bunny surveyed the famed Unicorn tapestries, the fifteenth-century allegorical hunting scenes that filled an entire gallery with a picture book writ large. On their way out of the Cluny, Margaret purchased a set of postcards of the tapestries. "Wouldn't it be interesting," she said to her companion, "to make up a new story to go along with the pictures?" [45] She wanted to reorder the scenes, she explained, in such a way that the unicorn might elude his captors. At a nearby stationer that Margaret knew, she bought a parchment album. Returning to her hotel, they began rearranging the cards.
In time they had their story, and after inscribing it on the album's leaves Margaret said that it "would certainly be interesting to have the album bound in red leather." 

The reason I'm honing in on those passages is that, according to Marcus, Virginia Mathews had a significant role in the creation of The Runaway Bunny. I wonder if I can find any books or articles that say more about Mathews and her role in the creation of that book?

Note: the passage above has "[45]" in it, which is a superscript in Marcus's book for a source note that reads "Virginia Mathews, 18 July 1984." It refers to an interview Marcus did of Mathews. Earlier in the notes section, there is a more complete reference to the interview: "Virginia Mathews, interview with author, Hamden, Conn., 18 July 1984."

I also wonder why, in the recent exhibits on children's literature at NYC and Minneapolis, Marcus makes no mention of the influence Mathews and her father had on Margaret Wise Brown.

Virginia Mathews and Margaret Wise Brown

Upon learning about Mac Barnett and Sarah Jacoby's new picture book biography of Margaret Wise Brown, I asked some questions about what should be included in a children's biography. The story and illustrations in two of Brown's books are stereotypical. They are Little Indian (illustrated by Richard Scarry) and David's Little Indian (illustrated by Remy Charlip).

My questions prompted me to take a look at Leonard Marcus's biography of her, Margaret Wise Brown: Awakened By the Moon. I wondered if there's information in it that might help me understand why she'd do such demeaning writing about Native people. Marcus's book was published in 1992 by Beacon Press.

I came across something that surprised me. Margaret Wise Brown and Virginia Mathews were friends.

First, some information about Mathews. She was Osage, and a significant leader in the American Library Association. In recognition of her work, the American Indian Library Association has a scholarship named after her. I received that scholarship when I was in library school. Here's a paragraph about her, from ALA News, on Feb 7, 2012:
In 1971, Virginia Mathews, Lotsee Patterson and Charles Townley formed a Task Force on American Indians within the Social Responsibilities Round Table of the American Library Association. She was a member of the first OLOS Subcommittee on Library Service for American Indian People, which led to the founding of the American Indian Library Association in 1979. She was involved with the Library Project at the National Indian Education Association, which supported three demonstration library projects — Akwesasne Library and Cultural Center, the Rough Rock Demonstration School and the Standing Rock Tribal Library—and all three served as models for the early development of tribal libraries on reservations. She worked tirelessly with the National Council of Library and Information Services to create the first White House Pre-Conference on Indian Library Services in 1978 whose delegates attended the 1979 White House Conference on Libraries and Information Services. She was responsible for inclusion of Title IV for tribal libraries in the Library Services and Construction Act Reauthorization in 1984. This special status and funding for tribal libraries is retained in current Library Services and Technology Act legislation. She was the first American Indian to seek candidacy for the ALA presidency and was a proud member of the Osage Nation.

All of that is about her work in the 1970s and later. Twenty years earlier she was in Europe. On page 242 of Leonard Marcus's biography of Brown, he wrote: 
Margaret generally traveled alone, meeting friends at various points along her itinerary. Among those she had arranged to see in Paris was Virginia Mathews, an American in her twenties whom she had known since the war. Mathews until recently had managed Brentano's children's book department. She was already a great admirer of Margaret's work when they met, and was soon equally impressed by her generosity of spirit. [...] 
She [Margaret] enjoyed her talks with Mathews, taking a particular interest in her family history. (Mathews, in contrast, learned very little about Margaret's family). Virginia's mother had attended Margaret's Swiss boarding school, the Chateau Brillantmont. Her father, a full-blood Osage Indian, was the tribe's historian. In 1945 John Joseph Mathews published a book of Osage nature lore, Talking to the Moon, which Margaret had soon read. Its title alone might well have struck a responsive chord in the writer who later that year would awaken one morning to compose the text of Goodnight Moon. 
I find that interesting for several reasons.

First, some people say that knowing someone who is of a different racial or cultural background than you are can help you recognize stereotypes of those individuals race or culture. Second, some of us say that it is important to read #OwnVoices because that can help you avoid creating stereotypical content in your own writing. Margaret Wise Brown had a friendship with a Native person and read books by Native people--and yet, she created these two books: 

I'm going to see if I can find a copy of John Joseph Mathews's book, Talking to the Moon. Marcus suggests it influenced Brown to write Goodnight Moon. I'll be back!

Saturday, July 13, 2019

Should biographies include an author's stereotypical thinking? Case in point: Barnett and Jacoby's THE IMPORTANT THING ABOUT MARGARET WISE BROWN

In May of 2019, Mac Barnett and Sarah Jacoby's picture book biography of Margaret Wise Brown came out from Balzer + Bray/HarperCollins. Titled The Important Thing About Margaret Wise Brown, it is getting glowing reviews. I haven't seen it yet.

Many people have warm thoughts about Margaret Wise Brown's books. You probably remember Goodnight Moon and The Runaway Bunny. In their book, Barnett and Jacoby tell us that Brown wrote over 100 books.

On page four, they tell us that authors are people who do the things other people do, like falling in love, going to the supermarket, making jokes, and making mistakes. The last line on page four is this:
But which of these things is important? And to whom?
Provocative line, isn't it? It draws from Brown's The Important Book (I think it came out in 1949)When I get Barnett's biography of her, will I see a page about mistakes that Brown made? If yes, what will that page be about? Is it anything to do with the stereotypical content of some of Brown's books?

Here's some examples of that stereotypical content:

In 1954, she wrote a Little Golden Book, titled Little Indian. Richard Scarry did the illustrations. In it, she wrote "The big Indian lived in a big wigwam and the little Indian boy lived in a little wigwam. The big Indian had a big feather in his hair and the little Indian boy had a little feather in his hair."

In 1956, she wrote David's Little Indian. Remy Charlip did the illustrations for it. In it, David finds a real Indian--a little one--in the forest. Here's some words from it: "The boy and his Indian decided to become blood brothers, so they pricked their fingers and let their blood mingle together."

The Kirkus review of David's Little Indian says it is the last book she wrote. She died in 1952. I was, frankly, surprised to see that those two are among the last books she wrote. Her most famous book, Goodnight Moon, came out in 1947. Leonard Marcus wrote a biography of her in 1992. He called it Awakened By the Moon. I wonder if he says anything about those two books? Does Barnett say anything about them? When I get his book, I'll be back.

I titled this post, "Should biographies include an author's stereotypical thinking?" At the moment, I think the answer is yes. What do you think?

Wednesday, June 26, 2019

Recommended: THE GRIZZLY MOTHER and THE SOCKEYE MOTHER written by Hetxw'ms Gyetxw (Brett D. Huson); illustrated by Natasha Donovan

Teachers! Get The Grizzly Mother for your classroom--and ask your librarian to get in on the library shelves, too! Written by Hetxw'ms Gyetxw (Brett D. Huson) and illustrated by Natasha Donovan, it will be released on September 1, 2019 from Highwater Press.

Gyetxw is of the Gitxsan Nation in British Columbia and Donovan is of the Métis Nation of British Columbia. The Grizzly Mother is nonfiction that begins with a section called "Awakening." As you might imagine, the contents of that section are about the grizzly mother and her cubs waking in the springtime. It concludes with "A Final Run" that takes place three years later at a salmon run.

The final page in The Grizzly Mother is about the Gitxsan Nation. I especially like the first sentence. It begins with information about where the Gitxsan Nation is located and also says:
... land that cradles the headwaters of Xsan or "the River of Mist," also known by its colonial name, the Skeena River.
What I mean, of course, is "also known by its colonial name." It provides teachers and parents with the opportunity to teach children that Indigenous peoples were on this land already when Europeans arrived and colonized it. We need that factual information in nonfiction and fiction set in what is currently called North America.

Gyetxw and Donovan worked together on The Sockeye Mother a few years ago. It got starred reviews and high praise from science teachers. See the gold seals on the cover? I anticipate similar praise will be forthcoming for The Grizzly Mother.

Both books include Gitxsan words throughout, and both show the relationship between human beings and animals without romanticizing that relationship or anthropomorphizing the animals.

Over at the Highwater Press web page for the The Sockeye Mother is a video of Gyetxw talking about the Gitxsan words in the book. He says them so that you can learn how to pronounce them when you read the book aloud. The video is also available on Youtube, which means I can insert it here!

I highly recommend The Sockeye Mother and The Grizzly Mother published by Highwater Press. They are pitched at children in grades 5-7 but I think they can be used with younger children. And of course, picture books should be used with people of any age.

Friday, June 21, 2019

Infographic: Diversity in Children's Books 2018

You know that saying: "a picture is worth a thousand words"? We most often associate it with art but it applies to any image. Take a look at the 2018 Diversity Infographic that Dr. Sarah Park Dahlen shared on June 19th, 2019. The infographic displays CCBC's data using the "mirrors" part of the "windows, mirrors, and sliding glass doors" metaphor that Dr. Rudine Sims Bishop developed in 1991:

If you click on the link above you'll go to her page, where you can download the image and use it in your work. I hope you do. This information needs as much visibility as we can give it.

Let's zoom in on the Native kid on the far left:

At the time the infographic was being designed, the Cooperative Children's Book Center (CCBC) had received and categorized 3,134 books. Of those, 23 had sufficient content to be included on CCBC's list of American Indians/First Nations books. But see the kid's frown? See his mirror? See a piece of it at his feet?

The data shown in the infographic is strictly numerical. It does not capture the quality of books. His frown and the broken mirror convey more than a thousand words.

In recent years I've tried to do a careful study of a specific aspect of the data. For 2018 data, I did a close look at the fiction and picture books published in the US. Every year, it is clear that most Native writers are finding that small publishers are interested in their work. For several reasons (none of them good), the major publishers seem not to care about Native #OwnVoices.

Let's zoom in even further on that data and look at quality of picture books.

In 2018, three picture books by Native writers/illustrators were published in the US. All three are from small publishers:

  • Bowwow Powwow by Brenda Child, illustrated by Jonathan Thunder, and translated by Gordon Jourdain, was published by the Minnesota Historical Society. 
  • We Are Grateful: Otsaliheliga by Traci Sorell, illustrated by Frané Lessac (who is not Native), was published by Charlesbridge.
  • First Laugh--Welcome Baby! by Rose Ann Tahe and Nancy Bo Flood (Flood is not Native), illustrated by Jonathan Nelson, was published by Charlesbridge.

My research sample only had one book picture book in it by a non-Native writer:

  • Tomo Explores the World written and illustrated by Trevor Lai, published by Macmillan.

Now, let's do a comparison. The three by Native writers are doing precisely what we want children's books about Native people to do.

  • They are tribally specific. That means that they depict a specific Native nation. Bowwow Powwow is an Ojibwe story; We Are Grateful:Otsaliheliga is a Cherokee book, and First Laugh--Welcome Baby is about a Navajo family. 
  • They include an Indigenous language. 

Tomo Explores the World does none of that. It is stereotypical in words, ideas, and illustrations. Earlier today I made this image to show what I mean:

#OwnVoices is important. As you're out and about in the coming days, ask for books by Native writers--ask for them at your library and local bookstore, too. When you're there, show the librarian or bookseller the infographic. In short: share what you're learning. Help us provide more books by Native writers.

Thursday, June 20, 2019

Mvskoke poet, Joy Harjo, named as U.S. Poet Laureate (And, #BringBackTheGoodLuckCatByJoyHarjo)

The last twenty-four hours of my social media feeds have been wonderful because so many people are sharing the news that Carla Hayden named Joy Harjo as the U.S. Poet Laureate.

Most news headlines say "Native American" but I'm quick to name her nation, as it appears on her website:
Joy Harjo was born in Tulsa, Oklahoma and is a member of the Mvskoke Nation.
I've written about Joy's work several times. I have many of her books and CD's, but, as you might expect, I focus on her children's books. There are two: The Good Luck Cat and For A Girl Becoming. I especially like The Good Luck Cat because it is about a little girl and her cat, and because it is set in the present day. Here's the cover:

And one of the interior pages:

When I tweeted the news yesterday, I also suggested that people make sure they have The Good Luck Cat. I said they would probably have to get a used copy because it is out of print. I subsequently learned that the few used copies are very expensive.

 I know Joy was trying to get it back into print. So how about asking for it to be brought back into print? Will you join me in that?

Thursday, June 13, 2019

Looking back: The American Indian Youth Literature Award

The American Indian Library Association (AILA) was founded in 1979. If you don't know about it, visit our website. There's a lot of resources there!

I don't recall when I first became a member of AILA. It may have been in the 1990s, or early 2000s. One thing for sure: I was on the committee that drafted the criteria for its Youth Literature Award. I've got emails on an old Dell computer that has been in a drawer for years--that still works! It has emails from 1997-2006. Some of the people who are in those early conversations include Naomi Caldwell, Beverly Slapin, Carlene Engstrom, Victor Schill, Loriene Roy, Susie Hustad, Mahaleni Merryman, Stephanie Betancourt, Elayne Walstedter and me. 

I've not been on the committees that have selected books that win the award, choosing to do the in-depth reviews and work I do here on American Indians in Children's Literature. If you've never been on a book award committee, one thing you need to know: you will need to read a lot of books on specific timelines! Back in the 90s, I think, I was on the Lee Bennett Hopkins Poetry Award committee. The boxes of books that arrived at my house, unending! 

I've been looking back at conversations that took place early on, and I'm glad to see that AILA's newsletters have included articles about the award. Here's a brief look back at what AILA did (note: I won't list books that won AIYLA's awards. You can see them by going to the AILA page for the awards.)

The Fall, 2007 association newsletter included an article by Carlene Engstrom that included an image of the first seal. Here's a screen cap:

And here's what it says:
During the 2008 ALA Midwinter meeting in Philadelphia, AILA will announce the 2008 American Indian Youth Literature award winners. The awards will be presented in Anaheim, 2008, during the Annual ALA conference at a gala ticketed event that promises to be memorable. Keep your eyes posted for this event when ALA’s Conference Events come out about information on ordering tickets. 
The award was created as a way to identify and honor the very best writing and illustrations by and about American Indians in the field of children’s literature. It is presented in each of three categories—picture book, middle school, and young adult. 
Naomi Caldwell, chair of the AILA American Indian Youth Literature Award committee, says” We are thrilled to have this opportunity to honor authors and illustrators who best portray American Indian Culture for young readers. The rich literary heritage of this nation includes the oral and printed stories of its indigenous peoples. American Indian literature always has been and continues to be an integral part of our literary tapestry.” 
The first awards were presented during the Joint Conference of Librarians of Color, October 2006. The Picture Book Winner was Beaver Steals Fire by the Confederated Salish and Kootenai Tribes, Middle School Winner went to Birchbark House, by Louise Erdrich, and the Young Adult Winner was Hidden Roots by Joseph Bruchac. 


The Winter 2008 newsletter included Naomi Caldwell's article, "A Short History and Promising Future: AILA Youth Literature Awards." There, she wrote that:
  • The people on the committee that chose the 2006 winners were Naomi Caldwell, Victor Schill, Carlene Engstrom, and Gabrielle Kay. 
  • Each 2006 winner received a $500 monetary award and a plaque with the seal, designed by Corwin Clairmont (note: there's a 1993 article about his work in Tribal College.
  • Funds for the plaques were provided by the Mashantucket Pequot Nation. 
  • The committee in 2008 included Caldwell and these individuals: Carlene Engstrom, D’Arcy McNickle Library, Salish Kootenai College; Gabriella Kaye, Mashantucket Pequot Museum & Research Center; Lisa A. Mitten, Choice Magazine; Sarah Kostelecky, Institute of American Indian Art; Cindy Carrywater, Montana State Library Commission; and Jolena Tillequots, School Library Media Specialist, Yakima Nation.
  • Recipients of the 2008 award received the plaque, the monetary award, and a beaded medallion by Linda King (note: if I find a photo of the beaded medallion I'll add it.)

I love knowing these details! I gotta get some other work done and wanted to share that info before ALA next week. 

Oh! Follow AILA on Facebook. A few minutes ago they posted the new award seals. I'll paste them below. Aren't they gorgeous? And an important note from their FB page: 
If you are going to ALA annual make sure you stop by the ALA store and pick up AILA youth literature award seals for your library. They come in silver and gold and will be $14.50/ 24 pack. Limited quantities available at ALA annual. All proceeds help AILA sustain the awards! Not available online for ordering. Seals are new and were created to celebrate AILA youth literature awards joining the Youth Media Awards in 2020!

Support AILA's work! Buy the seals directly from them.

Thursday, June 06, 2019

Recommended! I CAN MAKE THIS PROMISE by Christine Day

I've read and most definitely recommend I Can Make This Promise by Christine Day. A review is forthcoming. Here's the description:
In her debut middle grade novel—inspired by her family’s history—Christine Day tells the story of a girl who uncovers her family’s secrets—and finds her own Native American identity.
All her life, Edie has known that her mom was adopted by a white couple. So, no matter how curious she might be about her Native American heritage, Edie is sure her family doesn’t have any answers.
Until the day when she and her friends discover a box hidden in the attic—a box full of letters signed “Love, Edith,” and photos of a woman who looks just like her.
Suddenly, Edie has a flurry of new questions about this woman who shares her name. Could she belong to the Native family that Edie never knew about? But if her mom and dad have kept this secret from her all her life, how can she trust them to tell her the truth now?

The cover art by Michaela Goade is stunning!

Day and Goade are Native. The book comes out on October 1st. Order it today!

AICL is pleased to recommend
I Can Make This Promise

Tuesday, May 28, 2019


Book cover for Indigenous Peoples History of the United States

On July 13, 2015, I received an invitation to adapt An Indigenous Peoples History of the United States, for young adults. Written by Roxanne Dunbar-Ortiz, I had already spent time with the book and was intrigued with the idea. Originally published by Beacon in 2014, it is packed with information and spans hundreds of years and thousands of miles.

photograph of Jean Mendoza and Debbie Reese
Was it possible, I wondered, to shape it into something that young adults and classroom teachers could use? I responded to the invitation by saying "only if Jean Mendoza can do it with me."

Their answer was yes, and so, we got to work. A little over four years will have lapsed when the book is released on July 23, 2019. We worked several hours almost every day for three years, taking week-long breaks for holidays or vacation, revising the text.

Jean and I are parents but we've also taught schoolchildren, and we taught in teacher education departments at the University of Illinois and elsewhere. We had children, teens, and teachers in mind every step of the way.

"Shall we do a map, here?" and "Maybe we need to add a definition box, right here..." and "Let's add a provocative question box, here!" are some of the things we'd say to each other as we worked.

In a few weeks we'll have finished copies in hand. I can't wait to see the finished book! Right now, we've both got a bound ARC that doesn't have the index and some final revisions in it.

I think we did some really good work. I know we'll be reading it with fresh eyes and groan about something we said or didn't say--that's the nature of writing--and will be keeping track of such things for (we hope) a second or third printing, or an updated version if the book sells well enough.

I've been using Twitter to share some photos I've taken from inside the ARC:

As of today it has gotten starred reviews from Kirkus and Booklist. That's cool, but we want to hear from readers. We are especially interested in hearing from Native readers (students, parents, teachers, scholars), especially about passages that have errors or other problems. Let us know! We look forward to hearing from you.


Back on July 3 to post reviews! 

On April 22, 2019, the book received a star from Kirkus. Here's an excerpt: 
With an eye to the diversity and number of Indigenous nations in America, the volume untangles the many conquerors and victims of the early colonization era and beyond. From the arrival of the first Europeans through to the 21st century, the work tackles subjects as diverse as the Dakota 38, the Ghost Dance and Wounded Knee, the American Indian Movement’s takeover of Alcatraz, and the Dakota Access Pipeline resistance. 
The June 1 issue of Booklist included a starred review. That review appeared online on July 2nd as Booklist's Review of the month. Here's an excerpt:
There is much to commend here: the lack of sugar-coating, the debunking of origin stories, the linking between ideology and actions, the well-placed connections among events past and present, the quotes from British colonizers and American presidents that leave no doubt as to their violent intentions. Built-in prompts call upon readers to reflect and think critically about their own prior knowledge. Terms like “settler” and “civilization” are called into question. Text is broken up by maps, photographs, images by Native artists, propaganda, and primary-source texts that provide more evidence of the depth to which the U.S. economy was—and still is—rooted in the destruction of Indigenous lives. 
The July issue of School Library Journal (if the review is shared online, I'll be back with a link) includes a starred review, too! An excerpt (from the Barnes and Noble website):
Source notes and a recommended list of fiction and nonfiction titles, picture books, and novels by Indigenous authors are in the back matter. VERDICT Dunbar-Ortiz's narrative history is clear, and the adapters give readers ample evidence and perspective to help them to engage with the text. A highly informative book for libraries serving high school students.
Back on July 21 to add that the Cooperative Children's Book Center at the University of Madison named Indigenous Peoples' History as its Book of the Week on July 8, 2018.

Thursday, May 09, 2019

When Professional Associations (like the International Literacy Assoc) Fail...

Yesterday I saw a tweet about the International Reading Association's blog post, #ILAchat: Why Students Need #OwnVoices Stories. I clicked on it and saw that, in the third paragraph, there was a link to their 2019 ILA Choices reading lists. As an advocate for #OwnVoices, I was excited to see what Native writers they had on their lists. I was naive. As you can see, the title of my blog post has the word "fail" in it. The book lists and the subsequent exchange I had with ILA were disappointing--and infuriating.

There are three booklists on their site:

  • Children's Choices: 2019 Reading List, with about 100 books on it.
  • Teacher's Choices: 2019 Reading List, with about 30 books on it.
  • Young Adults Choices: 2019 Reading List, with about 30 books on it.

I looked at all three. Not a single Native writer. So, I tweeted to them. Here's a compilation of my thread to them:
Hey, @ILAToday... I read your article on the importance of #OwnVoices... And I followed links to your bklists, and I guess #OwnVoices doesn't apply to Native people. Three booklists and zero Native writers?! Why?
Even worse, your booklists include books that misrepresent Native people [actual tweet said writers; I meant people.] On example is LOVE, PENELOPE.  That bk is full of problematic imagery about Native people. My review: Not Recommended: Love, Penelope
Books that misrepresent Native people feed a cycle that works AGAINST Native writers because their stories and characters and content don't match the "Indian" stories/characters/content that White writers have in their books. THIS IS UTTERLY DISGUSTING.
And you, YOU, ILA--an international literacy organization--are supposed to help kids. 
Is it your goal to miseducate kids about who Native people are?
Is your goal to hurt Native kids and their sense of well-being with these problematic representations?

ILA replied (I have screen captures of their tweets if anybody wants to see them). Here's one (see below for the entire thread):

Image of tweet from the International Literacy Association that says books on their lists are selected by readers and not influenced by publishers or by the International Literacy Association.

ILA could have said "You're right. We don't have any Native writers on the lists. We will examine the process by which we put those lists together so that this doesn't happen again."

They didn't do that.

They began a threaded reply to me:
Thanks for your feedback. We have edited the blog post to better reflect how books are selected for inclusion on the #ILAChoices reading lists. 

Their edit (as near I can tell; I don't have the pre-edited post for comparison) was this note, at the bottom of the post:
This blog post was edited on 5/8/2019 to more accurately reflect the process by which books are selected for the Choices reading lists. Publisher participation in the Choices lists, and the titles they choose to submit to the project, are at their discretion and not selected by ILA as could be inferred from the original writing.
Their next tweet in the thread is this:
Project participants read and vote on hundreds of titles that publishers submit across the three Choice projects. Titles selected to the list are determined solely by reader networks and not influenced by ILA or the publisher. 
That edit and that tweet sounded like they feel they are not responsible for books on the list. Doesn't that sound kind of... pathetic? These are their publications. This is their website. But content on it... not their fault if something's not right about them. My reply:
So, ILA, it isn't your fault that these lists are the way they are? Ok. At the very least they should tell ILA how much your association could do to inform membership about Native writers, Native bks, and problematic representations. 
Later I saw that they had continued with their thread:
We encourage contributions to our list by smaller and more diverse publishers and authors with specific language in our Call for Submissions form; however, publisher participation, and the titles they choose to submit to the project, are at their discretion.
It's the same for our conference. Each year, publishers are invited to submit a list of authors they are willing to bring. We seek out additional pitches when necessary to include more diverse and representative authors. 
For example, we sought out @tim_tingle to be featured at #ILA18 and extended invitations to other Native American authors. 
Here is the slate for Author Meetups at #ILA19. [They provided a link; it has one Native writer listed.]
We do the work because we believe it is important. We always encourage authors and publishers to participate across our venues and platforms.
ILA believes that Children have the right to read texts that mirror their experiences and languages, provide windows into the lives of others, and open doors into our diverse world.
And ILA believes that children have the right to choose what they read.
The tweet that says they encourage contributions by smaller and more diverse publishers, is familiar. In 2012, the Children's Book Council launched a diversity initiative and a Goodreads bookshelf that had problematic books on it. Their initiative was going to be launched at the American Library Association's midwinter conference. Naomi Bishop attended their session and wrote up her thoughts. The reason I'm bringing that initiative up here, is because the CBC is involved with ILA's Children's Choices list:
Children's Choices is cosponsored by the Children's Book Council and includes children's recommendations of approximately 100 titles.
There was a lot of discussion about the Council. It is expensive to join and smaller publishers can't afford to be members. I don't recall where any of that ended up. If I recall right, CBC was very resistant to letting smaller publishers--like Lee and Low--put their books on that CBC Diversity Bookshelf. I may write to Jason (at Lee and Low) to ask him about it.

ILA using CBC as they did--as they do, to make books available to kids for this Children's Choice project--means that the kids are getting books from major publishers, some of which have problematic content... like Love, Penelope. 

ILA's response is disappointing.

I wish they had said (as noted above), that they didn't realize their lists had no Native writers on them, and that they would make sure that doesn't happen again. But there's more necessary!

It is good that they invited Tim Tingle last year, and Traci Sorell this year, to their conference but what are they going to do about the fact that they offered a problematic book to children? I'm pretty sure that if Little Black Sambo had been sent to them by the CBC, they would have set it aside. We need that same sort of decision-making with respect to Native images.

Instead of acknowledging any of their responsibility as educators, they are putting forth the "right to read" defense. I agree: children do have that right to read but let's not kid ourselves. Teachers have an educational responsibility. They make decisions on what books to use, all the time. They can't use every book. They make choices. Students in their classrooms have the right to read what they want to, but teachers are also teaching about racism, racist texts, and critical literacy.

I'm incensed that ILA is floating the "right to read" in this particular exchange with me.

And I'm further incensed that they're using Bishop's mirrors and windows metaphor in this exchange with me. Love, Penelope is not a mirror for any Native child. So why invoke her work in this exchange?

There's an ILAChat twitter tonight (May 9). The topic: #OwnVoices. I plan to join in.

ILA failed many times. They failed to notice that a book list on their website did not include Native writers. Then, they failed to acknowledge their own failure in not noticing the lack of Native writers. Then they failed in how they defended the book list. They threw CBC under the bus and they misused freedom to read and Dr. Bishop's metaphor.

Sunday, April 28, 2019

A Chronological Look at Events Launched by Harassment on April 11 at the Children's Book Guild of Washington DC

Note from Debbie: If there are additional items to insert or add, please let me know. If I've made errors in my documentation below, please let me know about that, too. 


Thursday, April 11th, 2019, 12:30 Central Time 

I received a phone call from Carole Lindstrom. She is Ojibwe. I wrote about her picture book, Girls Dance Boys Fiddle in 2014. Carole had just left a luncheon at the Children's Book Guild of Washington, DC. Author Jacqueline Jules had invited her to attend. Carole had been to Guild events before.

At the luncheon, Carole told me, Jules asked her about my work. But it wasn't a straightforward question. The tone in which questions were asked told Carole that Jules did not like my work. Carole told her right away that she considers me a friend but Jules ignored that and continued to press her. Carole told her that within the Native writers community, they value my critiques. Jules persisted. It became increasingly uncomfortable for Carole, so she stood to leave. Jules stood, too, blocking Carole's path to the door, and placed her hands on Carole's arms. Carole asked her to remove her hands. Jules did so, and Carole left the table. Jules followed, and even though Carole asked Jules to leave her alone, Jules followed her out of the private dining room of the restaurant, out of the building, and down the street, calling to her that I am keeping Native writers from telling our stories. Carole ducked behind a city bus, Jules returned to the building, and a few minutes later, Carole sent me a Facebook message asking if she could call me. I said yes, and we talked for several minutes. She reached out to others, too, who offered comfort and solace. What happened to her was not acceptable, at all.

Wednesday, April 17, 2019 (this item added April 28 at 5:55 PM)

Carole wrote to Rhoda Trooboff, 2018-2019 President of the Guild, documenting her experience.

Thursday, April 18, 2019, 9:38 AM (this item added April 28 at 5:55 PM)

Trooboff acknowledged receipt of Carole's letter and that she would be in touch with Carole the following week.

Thursday, April 18, 2019, 1:20 PM (this item added April 28 at 5:55 PM)

Trooboff wrote again to Carole, telling her that she has forwarded her letter to Jules and that a Guild member will be in touch with her. She took these steps (rather than wait, as the morning email had indicated) because she had learned that details about what happened were posted to social media (the post Trooboff is referencing is a private--not public--conversation).

Tuesday, April 23, 2019

Martha Brockenbrough, Julie Foster Hedlund, and Ishta Mercurio posted an Open Letter to the Children's Book Guild. Reading While White hosted the letter. People were asked to cosign it using the comment option or by writing directly to Reading While White.

Thursday, April 25, 2019, 9:00 AM

The editors at Reading While White added a note to the top of the Open Letter, indicating that they would close the comments at 8:00 PM Eastern Time and that the letter would be sent to the Guild the following morning. By 8:00, there were approximately 400 signatures on the letter, including many from Native readers, writers, and librarians. The letter documents

  • What happened at the luncheon
  • That nobody at the luncheon intervened to stop Jules or comfort Carole
  • The inappropriate sharing of Carole's letter about the incident, with Jules

It also states that they believe the Guild owes an apology to Carole and to me. (I agree they owe one to Carole. The harassment did not happen to me; even if I had been there, I'm skeptical of apologies as I said in this thread on Twitter, because I think they too often function to alleviate guilt of the harasser and when extended, shift the weight of the incident to the person who was harmed in the first place. When the incident is one like this, the harm is usually the most recent one inflicted on a Native or person of color. With that as context, an apology without action is meaningless.)

Thursday, April 25, 2019, 4:13 PM

Using their Twitter account (@BookGuildDC), the Guild said:

Screen capture of tweet
The Guild's board met to work on an action plan spurred by events during and following our last meeting. To those of you who have made suggestions on how we can be and do better: thank you. We will continue to work and learn.…

The tweet included a link to Guild Statement Regarding Incident at April 11 Luncheon, at their website. The apology was also posted to their Facebook page at 4:11 PM. I am highlighting a word in the paragraph to compare it with a revised apology issued later:
Guild Statement Regarding Incident at April 11th Luncheon
Screen capture of the
first paragraph of Guild
statement. Click to enlarge. 
The Board and members of The Children's Book Guild of Washington, D.C., apologize for the incident that occurred at our luncheon recently. This interaction and subsequent steps caused a guest pain and seemed to demonstrate racial and cultural insensitivity. Please know that these actions were not intentional and do not reflect the core values of the Guild. We apologize for the additional distress caused when the complaint was shared with the member involved in the incident.

Friday, April 26, 2019

People objected to their use of "seemed" and "not intentional." The Guild subsequently revised the language but did not note their revision. Not noting the revision hides the initial error and, in effect, obscures the fact that they recognize their initial error. The revision was to remove "seemed" and insert "gave the guest reason to believe" (highlight below is mine):
The Board and members of The Children's Book Guild of Washington, D.C., apologize for the incident that occurred at our luncheon recently. This interaction and subsequent steps caused a guest pain and gave the guest reason to believe that the member demonstrated racial and cultural insensitivity. Please know that these actions were not intentional and do not reflect the core values of the Guild. We apologize for the additional distress caused when the complaint was shared with the member involved in the incident.

Sunday, April 28, 2019

The Guild statement was revised again! At present, "gave the guest reason to believe" is gone:
The Board and members of The Children's Book Guild of Washington, D.C., apologize for the incident that occurred at our luncheon recently. It is clear that this interaction and subsequent steps caused a guest pain and demonstrated racial and cultural insensitivity. 
I am glad to see--with this latest revision--this note at the bottom of the page:
*This wording has been revised to reflect the statement originally approved by the Board of the Children's book Guild."
But it raises questions, too. That note suggests that the statement we saw was changed by someone before it was published on the 25th, but, who modified statement that the Board originally approved? And why? If there are more developments on this, I will be back to add them.

The remainder of the Guild's statement includes steps they will take, including "Adopt an anti-harassment policy and take other steps to prevent harassment or intimidation of any form at Guild events."


Before hitting "publish" on this post, I also want to address an apology Jules posted to the Guild's Facebook page with their statement. As noted above, the Guild published their statement on their Facebook page at 4:11 PM on Thursday, April 25th.

On Friday, April 26, at 5:45 PM, this comment appeared in response to my question about their use of "seemed" (on Facebook, when you submit a comment, the comment appears with blue letters to indicate who is posting the comment. Jules comment was posted from The Children's Book Guild of Washington, DC, which suggests she manages their Facebook page. She added her name to the comment, making clear that this particular comment is from her and not the Guild):

The Children's Book Guild of Washington, DC I am very, very sorry. I made a serious lapse in judgment in my conversation at the Children’s Book Guild Meeting on April 11th. I had hoped to discuss two particular books that touched me deeply. It was inappropriate and insensitive of me to ask a Native American guest to interpret or discuss Dr. Reese’s critical analyses of these two books. My intention was to discuss two particular books and not to criticize Dr. Reese. 

When the guest became angry and got up to leave, I saw my mistake and tried to apologize. I followed her outside to apologize further. I honestly thought I was demonstrating how sorry I was. I realize now, much too late, how very differently my attempts to apologize came across. I am mortified that the guest felt harassed, and I am extremely sorry I offended her. I have written to the guest twice to apologize. 

Jacqueline Jules

In her comment, she writes that "it was inappropriate and insensitive" for her to "ask a Native American guest to interpret or discuss Dr. Reese's critical analyses."

When conversations about the incident at the Guild began to take place, I learned from several other Native and Writers of Color that they have been in similar positions at functions. They are pressed to respond to queries about my work. When I saw that, I tweeted a request that people with concerns about my work can talk to me directly about their concerns. That's a sincere request.

Without question, people at writers gatherings can--and should--talk about criticism but the way that it is done is important! Jules wrote that what she did was "inappropriate and insensitive." To me, her words affirm Carole's account of how the questions were asked at the luncheon.

Jules second paragraph says "When the guest became angry" -- but written that way, it obscures the fact that it was her words and actions that caused Carole to respond as she did. She says she's "mortified" that Carole "felt harassed" -- but written that way, Jules hides the fact that Carole was, indeed, harassed. Jules tells us that she's written to Carole "twice to apologize." If the content of the apologies was anything like what she wrote in that second paragraph, those apologies are not sincere.


I'll be adding links to additional responses to the Guild. There's a lot on Twitter that I may add, but will start with these two. If you see others, let me know!

April 26, 2019

An Open Letter to Ms. Trooboff and the Leadership of the Children's Book Guild of Washington, DC by Ishta Mercurio-Wentworth

White People Apologizing by Monica Edinger at educating alice

May 1, 2019

Luncheons Shouldn't Come with a Side of Harassment: An Interview with Author Carole Lindstrom by Lisa Krok at School Library Journal's Teen Librarian Toolbox blog. (Note on May 2, early morning: late yesterday afternoon/early evening, Krok's article was taken down "for review." When the article is restored I will restore the link. For now it goes to a pdf copy of it.) Update, May 2, evening: holding off on that pdf till there is further clarity on why the original post was taken down.)

Thursday, April 25, 2019


A reader asked if I have seen Thomas Jefferson and the Mammoth Hunt. Written by Carrie Clickard, illustrated by Nancy Carpenter, it came out on January 1, 2019 from Simon and Schuster.

This page, with the Indian hiding behind a tree, prompted the question:

Image from inside of book, showing Thomas Jefferson on a horse, an Indian peeking from behind a tree, and an Black woman (likely enslaved), holding a US flag.

As I study the page, I have these thoughts:

See Jefferson holding up the Constitution? With its "We the People" declaration? Some people weren't included in that "We the People" idea. Enslaved people were not included. Neither were Native people (see Rights Matter for details).

My guess is that the Black woman holding the flag was enslaved. And see the Indian hiding behind the tree (when, oh when will writers and illustrators stop with that particular image?!)? Is it misleading to readers to have those two individuals there when they were not included in "We the People"?

The facing page starts with "In the New World, called America" changes were coming. What's wrong with that? To Native people, it wasn't a new world, and it wasn't called America. In the coming pages, will the author/illustrator acknowledge that fact? Or... leave it out?

 "We're still fighting with the British" and "join our brave new nation" are also on that page. What about the peoples of Native Nations that the settlers were fighting?

Those two pages look, sound, and feel a lot like Lin Manuel Miranda's Hamilton. I've ordered the book and will be back with a review.

Friday, April 19, 2019

Reflections on #Arbuthnot19

Note from Debbie on Sunday April 28, 2019: Scroll to the bottom to see links to other reflections on the lecture. If you know of one that isn't there, please let us know. Thanks!

A week ago (Friday April 19) I was in Madison, Wisconsin to give the 2019 May Hill Arbuthnot Lecture. Titled "An Indigenous Critique of Whiteness in Children’s Literature," it was co-sponsored by:
  • the Association for Library Service to Children (ALSC is a division of the American Library Association) 
  • the Cooperative Children’s Book Center (CCBC) 
  • the UW-Madison School of Education
  • the UW-Madison Information School 
  • the Friends of the CCBC 
  • the Ho-Chunk Nation

Wisconsin Public Television (WPT) did a livestream of it that you can watch at their site. Scoot ahead to the 12:35 minute mark. At some point, WPT will make another video of it that will more smoothly incorporate the images that I used during the talk. My remarks will be published in ALSC's journal, Children and Libraries

Debbie Reese
Photo by Durango Mendoza

I give a lot of talks and workshops but preparing for and delivering this one felt different. I've been reflecting on why, and am sharing some thoughts on that, tonight.

The 2019 Arbuthnot lecture began with people of the Ho-Chunk Nation. The University of Wisconsin is on the homelands of the Ho-Chunk Nation. The evening opened with the Wisconsin Dells Singers. Elliott Funmaker took the podium to welcome people to the event, and to tell them that the 2019 Arbuthnot lecture was taking place on their homelands.

Elliot Funmaker
Photo by Durango Mendoza

He also said that he and some of the other people in the Wisconsin Dells Singers are in the Bear Clan. Their role is to provide security. If anyone in the room tried to disrupt the event, he said, the Bear Clan would ask them to leave. His words are significant. He provided some history and conveyed a clear message that Indigenous peoples are here, today, exercising sovereignty on our lands. After their songs, Hinu Helgesen Smith welcomed us.

Hinu Helgesen Smith
Photo by Durango Mendoza

She is the Legislator for District 1 of the Ho-Chunk Nation. She brought a group of Ho-Chunk teens with her to the lecture. The Ho-Chunk presence--from their youth to the Bear Clan to the tribal leadership--made the 2019 Arbuthnot an Indigenous event. I don't think that has happened before at an Arbuthnot.

The Ho-Chunk presence was, for me, a warm embrace as the first Native person selected to give the Arbuthnot lecture. It was a hard lecture for me to prepare for, and to deliver. I could feel the excitement and expectations, several weeks before the lecture date. In the weeks I spent writing and editing my lecture and the slides I used, I had children in mind. Native and non-Native children are harmed by misrepresentations of Indigenous people. They're harmed by the Whiteness that creates stereotypes, and the Whiteness that defends it with little regard for the impact it is having on children. Their well-being matters tremendously. It felt to me that every word had to strike just the right note. I worried that my remarks would fall short of expectations. I told myself "if it is a thud, it will at least have given the DiversityJedi a couple of days of hanging out together in the same city." Small groups of us gather at conferences from time to time but at conferences, we're often pulled in many directions. The gathering in Madison was different. Because it wasn't a conference, Jedi had many opportunities to just be together, quietly or to have conversations about the goings on in our personal lives and professional work. Some flew from California, Massachusetts, Georgia, New York, Pennsylvania and others drove from Ohio, Iowa, Minnesota.

I hope that everyone there felt the significance of the gathering. I'll be thinking about it for some time.


April 18, 2019: Seizing the Narrative by Nina Lindsay at Reading While White.
April 21, 2019: Truth and Love: Dr. Debbie Reese's 2019 Arbuthnot Lecture by OfGlades at Indigo's Bookshelf

Wednesday, April 10, 2019

Hear Debbie's May Hill Arbuthnot Lecture!

Dear Friends of AICL,

Many of you already know that Dr. Debbie Reese, founder of the American Indians in Children's Literature (AICL) blog, was invited to deliver this year's May Hill Arbuthnot Honor Lecture Saturday, April 13 at 7:30 PM in Madison, WI.

The Arbuthnot lecture is sponsored by the Association for Library Service to Children (ALSC) of the American Library Association. This year, support is also provided by the Friends of the CCBC, Inc and the Ho-Chunk Nation.

Debbie is (in my opinion) uniquely deserving of this honor, and you should have heard the roar of approval when it was announced at an ALSC meeting!! (Some of you were there, and contributed to that fantastic roar!) Her influence in the field has been considerable, and more people need to hear her and learn about what she has found in her decades of (sometimes extremely challenging) work with publishers, writers, families, teachers, librarians, and other folks who care about what children read.

The title of Debbie's Lecture is "An Indigenous Critique of Whiteness in Children's Literature."

Tickets to the event are all taken (admission is free). But even if you aren't able to get to Madison, Saturday, there's good news: Wisconsin Public Television will host a live-stream of the lecture (update from Debbie on Wed, April 17: scoot ahead to the 12:35 minute mark if you want to watch the livestream).

I hope lots of people will be able to watch it that way. Spread the word to your friends -- educators, librarians, students, parents, anyone who cares about literature for young people and how Native lives are represented there -- and tell them to tune in Saturday at 7:30 PM (maybe a little earlier just to be sure you're there for the beginning) and hear what Debbie has to say!

Jean Mendoza