A. Bibliography
Alexie, S., & Forney,
E. (2007). THE ABSOLUTELY TRUE DIARY OF A PART-TIME INDIAN. New York Little:
Brown & Company. ISBN 978-0316013697
B. Plot
Summary
Arnold Spirit, a
14-year-old Spokane Indian who goes by the name of Junior, leaves the
impoverished Wellpinit reservation in order to acquire a good education and
play basketball at Reardan, a rich, all-white and racist school located 22
miles away from the rez. By doing so, his long-time friendship with Rowdy is
shaken and he is considered a traitor by the majority in the reservation. His
troubles do not end there as Junior is also mistreated at Reardan. Through his
cartoons, Junior tries to balance both worlds: the Native American world and
the white world.
C. Critical Analysis
The Absolutely True Diary of a Part-Time Indian is a
semi-autobiographical literary piece that leaves readers wanting more. Arnold
Spirit, a young teenage Spokane Indian who is best known as Junior, is
authentically and realistically portrayed. He is a funny, loveable and
memorable character who narrates his distinct cultural experiences with humor
and frankness. Because Junior is a nerdy misfit with certain health issues who
is often bullied, readers cannot help but root for this fearless and endearing
underdog. Using a first person point of view, Junior’s voice accurately
reflects the portrayal of a teenager, which instantly draws young adults in.
Junior’s interactions with white people and other Native Americans range from
friendly to harsh. With the exemption of those who mistreat Junior, such as,
the extremely racist White characters in Reardan and the unfriendly Native
Americans, the majority of the characters are likable and their diverse
opinions are consistent with those held during the 1980s in Wellpinit,
Washington.
This book is rich in
cultural details regarding the Spokane Indian culture. Junior mentions the
Indian Health Service, the casinos in the reservation, and the Unofficial and
Unwritten Spokane Indian Rules of Fisticuffs. In addition to this, Junior
brings out the injustices that many Spokane Indians endure such as, the
impoverished conditions in the reservation, the old and outdated textbooks used
in their classes, and the unequal number of funerals attributed to alcohol when
compared to the white people in Reardan. The story also accurately depicts the
custom of the powwow celebration in the Spokane reservation in that it includes
singing, dancing, and storytelling. Moreover, Junior mentions the stereotypical
views some people have toward Native Americans such as, that Native Americans
feel half the pain of whites. Junior brings to light other non-tolerant views
toward Native Americans like the fact that Mr. P. was told to kill the Native
American culture and that some white people in Montana living in a reservation
wanted to secede from the reservation.
The illustrations are
simple pencil sketches. They are entertaining and enhance the story. The diary
lookalike sketches seem like they were really drawn by Junior. Some
illustrations are unpolished scribbles and cartoons that seem to have been
drawn on scratch paper and later taped in the diary; while other illustrations
are more focused portraits with details that respect the individual being
drawn. The illustrations make the story come alive and provide readers with
unique insight into Junior’s mind.
D. Review Excerpts
Kirkus Reviews: “Alexie nimbly blends
sharp wit with unapologetic emotion . . . Junior’s keen cartoons sprinkle the
pages as his fluid narration deftly mingles raw feeling with funny, sardonic
insight.”
Booklist: “Alexie’s humor and
prose are easygoing and well suited to his young audience.”
E. Connections
You
might like these books by Sherman Alexie:
TEN LITTLE INDIANS. ISBN 978-0802141170
WAR DANCES. ISBN
978-0802144898
THUNDER BOY JR. ISBN
978-0316013727
A.
Bibliography
Bruchac,
J., & Locker, T. (1996). BETWEEN EARTH & SKY: LEGENDS OF NATIVE
AMERICAN SACRED PLACES. New York: Voyager Books. ISBN 978-0152020620
B. Plot
Summary
In this book, Joseph
Bruchac, an Abenaki Indian, narrates ten legends of Native American sacred
places of the following tribes: Wampanoag, Seneca, Navajo, Cherokee, Papago,
Hopewell, Cheyenne, Hopi, Walapai, and Abenaki. To help readers, there is an
“About this Book” section, a map of the U.S. with geographical markers
indicating the location of the original Native nations, and a pronunciation
guide.
C. Critical Analysis
The
two main characters in this story are Little Turtle and his uncle Old Bear, two
Delaware Indians who discuss the legends of other Native American tribes. The
other characters in this book are mentioned briefly in the legend they are
depicted. However, the legends and the characters in the legend do reflect the
distinct cultural experiences of the specific Native nation highlighted. As for
the setting in the book, the setting changes for each legend because each
legend is set in a different geographical location with differing environments.
The illustration that goes with the legend is consistent with the setting of
the geographical region where the Native American tribe is located.The book is
rich in cultural details and are consistent with the ten specific cultures
mentioned in the book: Wampanoag, Seneca, Navajo, Cherokee, Papago, Hopewell,
Cheyenne, Hopi, Walapai, and Abenaki. Each legend is unique and accurately
represents the sacred places of the ten Native American tribes in the book.
The
illustrations of the landscapes are captivating and are extremely detailed that
they resemble photographs taken by a professional photographer. Thomas Locker’s
perfect blend of watercolors make the paintings so realistic that readers feel
like they are actually at the sacred places. The U.S. map illustration is also
helpful in that it accurately locates the Native American tribes as well as the
ten sacred places mentioned in the book.
D. Review Excerpts
School Library Journal: “Bruchac writes in language that is dignified
and almost poetic in its simplicity.”
Booklist: “Offers readers new
perspectives on the natural world and an excellent curricular connection. A
solid addition for school and public libraries.”
E. Connections
Check
out these other books by Joseph Bruchac:
THE
EARTH UNDER SKY BEAR’S FEET. ISBN 978-0698116474
CRAZY
HORSE’S VISION. ISBN 978-1584302827
THIRTEEN
MOONS ON TURTLE’S BACK: A NATIVE AMERICAN YEAR OF MOONS. ISBN 978-0698115842
A. Bibliography
Sneve, V. D. H., & Beier, E. (2019). THE CHRISTMAS COAT:
MEMORIES OF MY SIOUX CHILDHOOD. South Dakota Historical Society Press. ISBN
978-0823421343
B. Plot
Summary
Virginia's coat is too small and hardly protects her from the
frigid South Dakota winter. As Christmas approaches, all the children on the
Sioux reservation look forward to receiving boxes full of clothing sent by
congregations in the East. Virginia spots a beautiful gray fur coat but holds
back tears as it is claimed by one of her classmates. Later, Virginia can't
believe what Mama brings home. Based on an event from the author's childhood,
this picture book captures the true spirit of Christmas.
C. Critical Analysis
The Christmas Coat:
Memories of My Sioux Childhood is a beautiful and heartfelt memoir of a
Christmas memory. Based on Virginia Driving Hawk Sneve’s childhood growing up
on the Rosebud Sioux Reservation in South Dakota, the story is authentic and
rich in detail of the Sioux tribe. Characters’ last names such as ‘Buffalo,’
‘High Bear,’ and ‘Driving Hawk’ are representative of the Native American
culture. Reference to foods during the Christmas Eve meal such as corn soup,
fry bread, and wojape, a chokecherry pudding, provide cultural markers for the
story as well.
Virginia and her family live on the reservation and only have
clothes that are donated in ‘Theast,’ which means ‘the east,’ boxes. Her family
along with all of the other families on the reservation wait twice a year for
these boxes to be delivered to the village. When the boxes arrive, Virginia’s
family lets others in the village pick first, saying, “the others need it more
than we do.” Virginia wishes for a new winter coat, “one that wasn’t tight
across her chest and that was long enough.” Virginia’s father is the Episcopal
priest in their village. Christmas activities mentioned are a combination of
Sioux and western culture. In the Christmas Eve play, the three wise men dawn
Sioux headdresses. The author states, “they wore headdresses that only the wise
leaders and elders of the tribe could wear.”
Ellen Beier’s watercolor illustrations provide wonderful
details. Characters’ faces are full of expression and emotion. Hair and skin
tones are representative of the Sioux people. Clothing is accurate for the time
period. The harshness of the winter wind, and the warm, festive Christmas Eve
play are both beautifully illustrated.
D. Review Excerpts
Horn Book Guide: With its
authentic portrait of a Sioux childhood and Christmas traditions (captured in
watercolor and gouache illustrations) and its eventual happy ending, this is a
quiet but affecting picture book.
Kirkus Reviews: This
straightforward, heartfelt reminiscence recalls a Christmas season from the
author's childhood on the Rosebud Sioux Reservation in South Dakota, a time
when she needed a new winter coat and her younger brother needed snow boots.
E. Connections
Check
out these other books:
DePaola, T. THE LEGEND OF THE POINSETTIA. ISBN 978-0329750954.
Warren, A. PIONEER GIRL: A TRUE STORY OF GROWING UP ON THE
PRAIRIE. ISBN 978-0803225268.
Williams, V. B. A CHAIR
FOR MY MOTHER. ISBN 978-0688009144.
A. Bibliography
Erdrich, L. (1999). THE BIRCHBARK HOUSE. New York: Hyperion.
ISBN: 0786822414
B. Plot
Summary
Louise Erdrich’s The Birchbark House is a tale of love,
loss, and growing up, for Omakayas, a 19th century Objibwa, or Anishinabe girl,
living near Lake Superior. It is also a recounting of the ways of the
Anishinabeg at the dawn of Western expansion. The adventures of Omakyas, her
family and her people will delight middle school age readers who will identify
with Omakayas and her family.
C. Critical Analysis
Erdrich’s The Birchbark
House is a beautiful weaving of the literary and the historical, following
the life of 7-year-old Omakayas in the year 1847. Omakayas lives a life
familiar to many children. She has an older sister whom she envies for her
beauty and grace, a younger brother whom she despises for his selfishness and
greed, and a baby brother whom she adores for his sweetness and innocence. Her
mother is firm, yet loving. Her grandmother, or nokomis, is kind and wise. Her
father is often away on business, trapping to provide skins for the White
traders. She dislikes certain chores, particularly the scraping of hides to
make leather, and looking after her brothers. These connections make Omakayas
relatable to 21st century children.
The Birchbark House also evokes the
theme of the circle or cycle, common to many Native Americans. The chapters are
grouped into books, each named for one of the Anishinabe seasons. The family
travels from their winter quarters where they ice fish and survive the harsh
winter, to the sap harvest when the maple trees thaw, to the rice harvesting
grounds, and to the birchbark house where they hunt, gather berries, prepare
hides, and prepare foods for winter storage. The story spans a year in
Omakaya’s life, beginning and ending at the birchbark house that her family
builds anew each spring; and though the clan has suffered loss, there is also
joy, the return of one lost, and the renewal of the spring season.
Ojibwa, or Anishinabe words are placed throughout the story,
both with English translations and with contextual clues. An author’s note
explains the Ojibwa language, and a glossary and pronunciation guide follows
the story. Some words, such as the greeting, ahneen, are used often enough to
remember. Other words and phrases will have the reader flipping frequently to
the glossary.
Small pencil drawings by the author dot the story, adding
interest, illuminating Omakayas’ encounters with bears, her parents’ makazins,
members of her family and more. The drawings are crisp and clean with just
enough detail. The faces are varied but distinctly Native in shape and
coloring. The depiction of clothing, tools, and living quarters is reflective
of the narrative's description.
An interesting facet of The Birchbark House is its varied
perspective on Western expansion. Though the story is told via the young Ojibwa
girl, it is clear that her family is not completely opposed to the Whites, or
chimookoman. Omakayas’ father is part White. He regularly trades with the
Whites and takes pride in his prowess at chess, the White man's game. The
clan’s Old Tallow has a disdain for the Whites, yet she too has adapted
somewhat to the White ways, living as Omakayas’ family, in a cabin during the
winter. Mother sews metal thimbles to her daughter’s dress; father buys calico,
velvet and beads from the fur traders. They harbor no ill will against the
missionaries, and note that they were helpful in caring for Ojibwa with
smallpox. At the same time, they note the European Americans' insatiable hunger
for land and the eventual conflict that will arise from the incessant push
Westward. This multifaceted view adds to the richness and realism of the book.
D. Review Excerpts
Publishers Weekly: “Into her lyrical
narrative, Erdrich weaves numerous Ojibwa words, effectively placing them in
context to convey their meanings. Readers will want to follow this family for
many seasons to come.”
School Library Journal: “While this
title will not appeal to fans of fast-paced action, readers who enjoy a variety
of deftly drawn characters, relationships that ring true, and fascinating
details about the daily life of the Ojibwa will be attracted to this endearing
and irrepressible girl.”
E. Connections
If
you enjoyed this book, check out the other books in this series by Edrich:
THE
GAME OF SILENCE. ISBN: 978-0756970253
THE
PORCUPINE YEAR. ISBN: 978-0060297879
CHICKADEE.
ISBN: 978-0060577902
MAKOONS.
ISBN: 978-0060577933
