Smith, Cynthia Leitich. 2001. RAIN IS NOT MY INDIAN NAME. New York: HarperCollins Publishers. ISBN 006029504X.
PLOT SUMMARY
After her best friend dies on her 14th birthday, Rain secludes herself from the outside world. For six months Rain avoids dealing with any reminder of Galen and pushes away other friends until her aunt invites her to a Native American youth program. As one of only three Native American teens in her small town, Rain is pulled into the political drama surrounding the multicultural summer camp. Throughout the course of the funding debate, Rain decides to reenter society and begins to overcome her grief to move forward with her life.
CRITICAL ANALYSIS (INCLUDING CULTURAL MARKERS)
Cynthia Leitich Smith draws upon her own experiences as a mixed blood Muscogee Creek member in this poignant book. She includes many cultural markers to enhance Rain’s story and lend an air of authenticity to her work. One of Smith’s main strengths is her gift for characterization. She is able to authentically describe the various Native American characters in her story. Each of the characters is unique. Physical attributes vary from Rain’s wheat colored hair and hazel eyes, to her older brother’s darker complexion. Descriptions of the characters’ clothing are especially refreshing since no one appears in traditional attire. Rain dresses like a typical American teenager wearing jeans and T-shirts. Fynn, her older brother, is often depicted as “corporate,” wearing a Jerry Garcia ties. This contemporary view of Native Americans offers readers a much more accurate image of this cultural group.
The author also makes a point to mention characters’ specific tribal affiliations. On her mother’s side of the family, Rain is a Muscogee Creek-Cherokee. During the political struggle over funding the Native American camp, Rain frequently remembers trips to Oklahoma and the joy of participating in tribal customs. Rain is a member of the Ojibway nation on her father’s side, however she does not know much about their culture. After talking to a fellow camper with Ojibway blood, she wishes she could discover more about that part of her heritage. Through the campers’ discussions, the author allows the reader to glimpse the amazing diversity among the different tribes in our country. A single, “pan-Indian” culture is revealed as inappropriate and inaccurate.
In several instances, Rain is surprised by the local newspaper reporter’s lack of understanding. “The Flash” asks personal questions about spiritual ceremonies for his articles covering the Native American youth program. Rain is shocked by his prodding into “insiders’” private matters. Indirectly, Smith reminds readers that some stories are better left alone. Sacred ceremonies and practices are not meant to be shared with outsiders. Privacy and respect is a part of Native American culture.
Very little Native American language is used, partially due to the contemporary setting. However, Rain’s future niece will be named Aiyana, after her late grandmother. The family feels “forever flowering” is a name that will honor their heritage.
Throughout the story, Rain occasionally comments that she gets tired of people saying she doesn’t look like an Indian or asking if Rain is her Indian name. However, she explains that her mixed heritage is also a blessing. She feels that she is more tolerant of other people’s cultures due to the insensitive comments she has suffered. In this subtle manner, the author shares a message of acceptance.
REVIEW EXCERPTS
School Library Journal writes, “There is a surprising amount of humor in this tender novel. It is one of the best portrayals around of kids whose heritage is mixed but still very important in their lives. As feelings about the public funding of Indian Camp heat up, the emotions and values of the characters remain crystal clear and completely in focus. It's Rain's story and she cannot be reduced to simple labels. A wonderful novel of a present-day teen and her "patchwork tribe."
Publishers Weekly comments, “Some of Smith's devices such as opening each chapter with a snippet from Rain's journal add depth and clarify Rain's relationships for readers, although other elements (the detailing of song lyrics playing in the background, for instance) seem stilted. Even so, readers will feel the affection of Rain's loose-knit family and admire the way that they, like the author with the audience, allow Rain to draw her own conclusions about who she is and what her heritage means to her.”
Reviews accessed at: http://www.amazon.com/gp/product/product-description/0688173977/ref=dp_proddesc_0/002-8536200-8747256?ie=UTF8&n=283155&s=books
CONNECTIONS
Other books portraying contemporary Native American children:
Bruchac, Joseph. THE HEART OF A CHIEF. ISBN 014131236X
Keeshig-Tobias, Lenore. BIRD TALK. Illustrated by Irving Toddy. ISBN 0153021462
Lacapa, Kathleen. LESS THAN HALF, MORE THAN WHOLE. Illustrated by Michael Lacapa. ISBN 0873587340
Sanderson, Esther. TWO PAIRS OF SHOES. Illustrated by David Beyer. ISBN 0921827156
Smith, Cynthia Leitich. INDIAN SHOES. Illustrated by Jim Madsen. ISBN 0060295317
Submitted by Kim
Saturday, July 14, 2007
Review of FIRST STRAWBERRIES
Bruchac, Joseph. 1993. THE FIRST STRAWBERRIES: A CHEROKEE STORY. Illustrated by Anna Vojtech. New York: Dial Books for Young Readers. ISBN 0803713320.
PLOT SUMMARY
In the beginning of the world, the Creator made a man and woman to live together. The husband and wife live happily for many years, until one day the man returns home to find his wife picking flowers instead of preparing his meal. Angry, the man speaks sternly to his wife, who decides to leave. Immediately the husband regrets his harsh words and tries to catch his wife, but she is running too fast. The sun takes pity on the man and decides to grow several tempting fruits to stop the woman. Finally, red, ripe strawberries entice the woman to stop running. After eating some sweet strawberries, the wife picks more for her husband. When he catches up to her, the two forgive each other and enjoy the berries. Strawberries still remind the Cherokee people to always be kind to one another.
CRITICAL ANALYSIS (INCLUDING CULTURAL MARKERS)
Bruchac and Vojtech have created a beautiful retelling of this traditional Cherokee folktale. Both artists employ a variety of cultural markers to authenticate their picture book. This tale of how strawberries came into the world offers a glimpse into the culture of this particular Native American tribe.
Bruchac originally heard this story from a Cherokee elder and appreciated its respectful lesson. As a member of the Abenaki tribe, Bruchac has written many Native American stories for children and young adults. His publishing company in Greenfield, New York specializes in authentic Native American literature. In his author’s note, Bruchac mentions consulting several Cherokee friends to ensure the accuracy of the story and help him “understand the story well enough to tell it.”
Although Bruchac does not use any Cherokee language in the text of the story, there are a few cultural clues that help the reader identify this story as Native American. The author mentions the couple living off the land, but the direct assistance of the sun lets children know that this is a creation folktale. The sun grows four types of fruit, which is a Native American motif. At the conclusion of the tale, the author also states that the Cherokee people of today still remember to be kind when they eat strawberries.
In a picture book, the illustrations play an equal, if not larger, role in storytelling. Vojtech’s vivid watercolor and color pencil illustrations complement and extent the text to create a memorable literary and visual experience. Through the pictures, children can identify this story as a Native American folktale. The husband and wife have authentic facial features and skin tone. Their clothing is an accurate representation of traditional Cherokee attire. Both the man and woman wear their hair long, with the wife’s braided. Even their home, cooking utensils, and surrounding vegetation are well researched. This is not Vojtech’s first experience illustrating a Native American picture book and several consultants were advised during the process.
Teachers and librarians looking for an authentic Cherokee folktale for their collection will be pleased with this choice. Joseph Bruchac is a respected Native American author with an impressive body of work. Readers can be confident that his books are accurate and culturally sensitive.
REVIEW EXCERPTS
Publishers Weekly writes, “Spare text, an uncomplicated story line and gentle illustrations keep this quiet but resonant tale accessible to even the youngest child.”
Kirkus Reviews raves, “Quietly luminous watercolors capture details of dress, dwelling, implements, flora, and fauna against an open landscape of rolling hills. Small touches dramatize the story's moods: a bouquet of brown-eyed Susans flung to the ground in anger; an empty nest in a pine tree as the woman disappears behind the western hills; the glimmer of a single firefly as man and wife are reconciled. Complete harmony of text and pictures: altogether lovely.”
Reviews accessed at:
http://www.amazon.com/First-Strawberries-Picture-Puffin/dp/0140564098
CONNECTIONS
Other books for children written by Joseph Bruchac:
BETWEEN EARTH & SKY: LEGENDS OF NATIVE AMERICAN SACRED PLACES. Illustrated by Thomas Locker. ISBN 0152020624
HOW CHIPMUNK GOT HIS STRIPES. Illustrated by Jose Aruego and Ariane Dewey. ISBN 0142500216
SACAJAWEA. ISBN 0439280680
THE ARROW OVER THE DOOR. Illustrated by James Watling. ISBN 0141305711
THIRTEEN MOONS ON TURTLE’S BACK. Illustrated by Thomas Locker. ISBN 0698115848
Submitted by Kim
PLOT SUMMARY
In the beginning of the world, the Creator made a man and woman to live together. The husband and wife live happily for many years, until one day the man returns home to find his wife picking flowers instead of preparing his meal. Angry, the man speaks sternly to his wife, who decides to leave. Immediately the husband regrets his harsh words and tries to catch his wife, but she is running too fast. The sun takes pity on the man and decides to grow several tempting fruits to stop the woman. Finally, red, ripe strawberries entice the woman to stop running. After eating some sweet strawberries, the wife picks more for her husband. When he catches up to her, the two forgive each other and enjoy the berries. Strawberries still remind the Cherokee people to always be kind to one another.
CRITICAL ANALYSIS (INCLUDING CULTURAL MARKERS)
Bruchac and Vojtech have created a beautiful retelling of this traditional Cherokee folktale. Both artists employ a variety of cultural markers to authenticate their picture book. This tale of how strawberries came into the world offers a glimpse into the culture of this particular Native American tribe.
Bruchac originally heard this story from a Cherokee elder and appreciated its respectful lesson. As a member of the Abenaki tribe, Bruchac has written many Native American stories for children and young adults. His publishing company in Greenfield, New York specializes in authentic Native American literature. In his author’s note, Bruchac mentions consulting several Cherokee friends to ensure the accuracy of the story and help him “understand the story well enough to tell it.”
Although Bruchac does not use any Cherokee language in the text of the story, there are a few cultural clues that help the reader identify this story as Native American. The author mentions the couple living off the land, but the direct assistance of the sun lets children know that this is a creation folktale. The sun grows four types of fruit, which is a Native American motif. At the conclusion of the tale, the author also states that the Cherokee people of today still remember to be kind when they eat strawberries.
In a picture book, the illustrations play an equal, if not larger, role in storytelling. Vojtech’s vivid watercolor and color pencil illustrations complement and extent the text to create a memorable literary and visual experience. Through the pictures, children can identify this story as a Native American folktale. The husband and wife have authentic facial features and skin tone. Their clothing is an accurate representation of traditional Cherokee attire. Both the man and woman wear their hair long, with the wife’s braided. Even their home, cooking utensils, and surrounding vegetation are well researched. This is not Vojtech’s first experience illustrating a Native American picture book and several consultants were advised during the process.
Teachers and librarians looking for an authentic Cherokee folktale for their collection will be pleased with this choice. Joseph Bruchac is a respected Native American author with an impressive body of work. Readers can be confident that his books are accurate and culturally sensitive.
REVIEW EXCERPTS
Publishers Weekly writes, “Spare text, an uncomplicated story line and gentle illustrations keep this quiet but resonant tale accessible to even the youngest child.”
Kirkus Reviews raves, “Quietly luminous watercolors capture details of dress, dwelling, implements, flora, and fauna against an open landscape of rolling hills. Small touches dramatize the story's moods: a bouquet of brown-eyed Susans flung to the ground in anger; an empty nest in a pine tree as the woman disappears behind the western hills; the glimmer of a single firefly as man and wife are reconciled. Complete harmony of text and pictures: altogether lovely.”
Reviews accessed at:
http://www.amazon.com/First-Strawberries-Picture-Puffin/dp/0140564098
CONNECTIONS
Other books for children written by Joseph Bruchac:
BETWEEN EARTH & SKY: LEGENDS OF NATIVE AMERICAN SACRED PLACES. Illustrated by Thomas Locker. ISBN 0152020624
HOW CHIPMUNK GOT HIS STRIPES. Illustrated by Jose Aruego and Ariane Dewey. ISBN 0142500216
SACAJAWEA. ISBN 0439280680
THE ARROW OVER THE DOOR. Illustrated by James Watling. ISBN 0141305711
THIRTEEN MOONS ON TURTLE’S BACK. Illustrated by Thomas Locker. ISBN 0698115848
Submitted by Kim
Review of MAGIC OF SPIDER WOMAN
Duncan, Lois. 1996. THE MAGIC OF SPIDER WOMAN. Illustrated by Shonto Begay. New York: Scholastic Inc. ISBN 0590461559.
PLOT SUMMARY
In this retelling of a traditional Navajo folktale, Lois Duncan and Shonto Begay share the story of Weaving Woman. Once a young shepherd named Wandering Girl asks the Spirit Being to help her stay warm during the winter. Spider Woman takes pity on her and teaches the girl how to weave warm blankets, renaming her Weaving Woman. However, this gift comes with a warning. Weaving Woman must never weave blankets for too long, or something terrible with happen to her. All is well until spring arrives and Weaving Woman wants to create blankets with all the colors of nature. Obsessed with her weaving, her spirit becomes trapped in the blanket. Only Spider Woman can set her free.
CRITICAL ANALYSIS (INCLUDING CULTURAL MARKERS)
Duncan and Begay have crafted a hauntingly beautiful picture book that celebrates the Navajo culture. This retelling captures the essence of the traditional tale of maintaining boundaries in one’s life.
Lois Duncan lives in New Mexico and surrounds herself with Native American culture. She spends a great deal of time researching her stories to maintain their authenticity, including this tale of Spider Woman and the importance of achieving balance in life. The text of this book refers to the elders and their storytelling style.
To immerse readers in the Navajo culture, Duncan uses language to its best advantage. The characters’ names reflect traditional Navajo styles, including how names can change after important events. Boy With a Dream becomes Man Who Is Happy when he marries Weaving Woman. Duncan also refers to the Navajo by the name they call themselves: Dineh, meaning The People. Several characters are named by their position in the tribe. When Weaving Woman becomes ill, a Hand Trembler and Shaman perform healing ceremonies.
The spiritual realm is another prominent cultural marker in Duncan’s story. At the beginning of the folktale, the author mentions how the animals came up from the Third World and asked the Spirit Being to create people to live with them in the Fourth World. Spider Woman is the being that saves Wandering Girl and teaches her to weave for The People. After Weaving Woman’s spirit is trapped in the blanket, she begs Spider Woman to save her. Spider Woman once again takes pity on her and by pulling a thread creates a spirit pathway to release the woman. As the tale ends, Weaving Woman is teaching all the weavers to make spirit trails in their blankets so that pride does not overcome them. Even today, Navajo weavers create pathways in their blankets “so the spirit of the weaver will not be imprisoned by its beauty.”
Shonto Begay is an accomplished and award winning Navajo artist and author. His children’s books are known for being authentic representations of Navajo life. Drawing upon his experiences as the son of a Navajo medicine man and weaver, this picture book’s vivid illustrations accurately depict traditional dress, hair styles, and blanket patterns. Each of the characters has a unique look, but appropriate skin tone and facial features. The landscape, homes, and artifacts of this rural society are also realistically portrayed, giving readers a glimpse of an earlier culture.
Begay’s talented illustrations bring the spiritual world to life in this picture book. The intriguing pictures of the Shaman performing a healing ceremony for Weaving Woman share this mysterious practice with readers. Begay manages to give children information without dishonoring his own culture. Allowing part of each illustration to escape its border also alludes to the end of the story when Spider Woman frees Weaving Woman by pulling a thread out of her blanket to create a spirit pathway, an act still practiced today.
Teachers and librarians looking for high quality children’s picture books that accurately and authentically reflect Native American cultures should consider this work for their collection. Books written and illustrated by “insiders” are rare, especially honored artists like Shonto Begay. The dramatic blend of Navajo folktale and illustrations creates an interesting picture book worthy to share with all children.
REVIEW EXCERPTS
Publishers Weekly writes, “As in Begay's Ma'ii and Cousin Horned Toad, the graceful figures of the characters appear on dappled backgrounds, brightly colored against pastoral Western landscapes during happy times, darker and often spooky as Weaving Woman traps herself. Duncan's tale carries a thoughtful message, grounded in well-chosen details and adeptly relayed through her personable storytelling.”
School Library Journal comments, “The details Duncan adds from the Dineh creation story, as well as the happy ending, make it distinctively Navajo, as do Begay's light-spangled paintings. Significantly, in almost every one, the perfect rectangle of the illustration is broken by an element of the design extending beyond it: a visual reminder of the story's moral. The impact of the heroine's decision to use dyes is somewhat lessened by the brightly patterned clothing she wears throughout. Nevertheless, Begay's dramatic shifts of perspective, his innate sensitivity to the land and people depicted, and the text's powerful message about pride's deadly effects combine in an appealing and meaningful way.”
Reviews accessed at:
http://www.amazon.com/Magic-Spider-Woman-Lois-Duncan/dp/0590461559
CONNECTIONS
Other books for children written or illustrated by Shonto Begay:
Begay, Shonto. MA’II AND COUSIN HORNED TOAD. ISBN 0590612344
Begay, Shonto. NAVAJO: VISIONS AND VOICES ACROSS THE MESA. ISBN 0590461532
Cohen, Caron Lee. THE MUD PONY. Illustrated by Shonto Begay. ISBN 0590415263
Maher, Ramona. ALICE YAZZIE’S YEAR. Illustrated by Shonto Begay. ISBN 1582460809
White Deer of Autumn. THE NATIVE AMERICAN BOOK OF LIFE. Illustrated by Shonto Begay. ISBN 0941831434
Submitted by Kim
PLOT SUMMARY
In this retelling of a traditional Navajo folktale, Lois Duncan and Shonto Begay share the story of Weaving Woman. Once a young shepherd named Wandering Girl asks the Spirit Being to help her stay warm during the winter. Spider Woman takes pity on her and teaches the girl how to weave warm blankets, renaming her Weaving Woman. However, this gift comes with a warning. Weaving Woman must never weave blankets for too long, or something terrible with happen to her. All is well until spring arrives and Weaving Woman wants to create blankets with all the colors of nature. Obsessed with her weaving, her spirit becomes trapped in the blanket. Only Spider Woman can set her free.
CRITICAL ANALYSIS (INCLUDING CULTURAL MARKERS)
Duncan and Begay have crafted a hauntingly beautiful picture book that celebrates the Navajo culture. This retelling captures the essence of the traditional tale of maintaining boundaries in one’s life.
Lois Duncan lives in New Mexico and surrounds herself with Native American culture. She spends a great deal of time researching her stories to maintain their authenticity, including this tale of Spider Woman and the importance of achieving balance in life. The text of this book refers to the elders and their storytelling style.
To immerse readers in the Navajo culture, Duncan uses language to its best advantage. The characters’ names reflect traditional Navajo styles, including how names can change after important events. Boy With a Dream becomes Man Who Is Happy when he marries Weaving Woman. Duncan also refers to the Navajo by the name they call themselves: Dineh, meaning The People. Several characters are named by their position in the tribe. When Weaving Woman becomes ill, a Hand Trembler and Shaman perform healing ceremonies.
The spiritual realm is another prominent cultural marker in Duncan’s story. At the beginning of the folktale, the author mentions how the animals came up from the Third World and asked the Spirit Being to create people to live with them in the Fourth World. Spider Woman is the being that saves Wandering Girl and teaches her to weave for The People. After Weaving Woman’s spirit is trapped in the blanket, she begs Spider Woman to save her. Spider Woman once again takes pity on her and by pulling a thread creates a spirit pathway to release the woman. As the tale ends, Weaving Woman is teaching all the weavers to make spirit trails in their blankets so that pride does not overcome them. Even today, Navajo weavers create pathways in their blankets “so the spirit of the weaver will not be imprisoned by its beauty.”
Shonto Begay is an accomplished and award winning Navajo artist and author. His children’s books are known for being authentic representations of Navajo life. Drawing upon his experiences as the son of a Navajo medicine man and weaver, this picture book’s vivid illustrations accurately depict traditional dress, hair styles, and blanket patterns. Each of the characters has a unique look, but appropriate skin tone and facial features. The landscape, homes, and artifacts of this rural society are also realistically portrayed, giving readers a glimpse of an earlier culture.
Begay’s talented illustrations bring the spiritual world to life in this picture book. The intriguing pictures of the Shaman performing a healing ceremony for Weaving Woman share this mysterious practice with readers. Begay manages to give children information without dishonoring his own culture. Allowing part of each illustration to escape its border also alludes to the end of the story when Spider Woman frees Weaving Woman by pulling a thread out of her blanket to create a spirit pathway, an act still practiced today.
Teachers and librarians looking for high quality children’s picture books that accurately and authentically reflect Native American cultures should consider this work for their collection. Books written and illustrated by “insiders” are rare, especially honored artists like Shonto Begay. The dramatic blend of Navajo folktale and illustrations creates an interesting picture book worthy to share with all children.
REVIEW EXCERPTS
Publishers Weekly writes, “As in Begay's Ma'ii and Cousin Horned Toad, the graceful figures of the characters appear on dappled backgrounds, brightly colored against pastoral Western landscapes during happy times, darker and often spooky as Weaving Woman traps herself. Duncan's tale carries a thoughtful message, grounded in well-chosen details and adeptly relayed through her personable storytelling.”
School Library Journal comments, “The details Duncan adds from the Dineh creation story, as well as the happy ending, make it distinctively Navajo, as do Begay's light-spangled paintings. Significantly, in almost every one, the perfect rectangle of the illustration is broken by an element of the design extending beyond it: a visual reminder of the story's moral. The impact of the heroine's decision to use dyes is somewhat lessened by the brightly patterned clothing she wears throughout. Nevertheless, Begay's dramatic shifts of perspective, his innate sensitivity to the land and people depicted, and the text's powerful message about pride's deadly effects combine in an appealing and meaningful way.”
Reviews accessed at:
http://www.amazon.com/Magic-Spider-Woman-Lois-Duncan/dp/0590461559
CONNECTIONS
Other books for children written or illustrated by Shonto Begay:
Begay, Shonto. MA’II AND COUSIN HORNED TOAD. ISBN 0590612344
Begay, Shonto. NAVAJO: VISIONS AND VOICES ACROSS THE MESA. ISBN 0590461532
Cohen, Caron Lee. THE MUD PONY. Illustrated by Shonto Begay. ISBN 0590415263
Maher, Ramona. ALICE YAZZIE’S YEAR. Illustrated by Shonto Begay. ISBN 1582460809
White Deer of Autumn. THE NATIVE AMERICAN BOOK OF LIFE. Illustrated by Shonto Begay. ISBN 0941831434
Submitted by Kim
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