Culture 4: Native American Literature – Gayle Ross

BIBLIOGRAPHIC DATA:

Ross, Gayle. 1996. THE LEGEND OF THE WINDIGO: A TALE FROM NATIVE NORTH AMERICA. Paintings by Murv Jacob. New York: Dial Books for Young Readers. ISBN 0803718985

PLOT SUMMARY:

In an ancient village deep in the forests of the North Woodlands, fear spread as people began mysteriously disappearing. The people realized that a Windigo, a giant creature made of stones that hypnotizes people with his eyes and eats them, had moved into the woods around their village. The people did not want to leave the land they loved, so they began to seek the guidance of the “spirit protectors of their land.” The elders of the village used hot stones to create purifying steam as they prayed and sang, and a young boy discovered that one of the stones cracked and broke open from the heat of the fire. This gave him the idea to set a trap for the Windigo to destroy him with fire. The plan worked, but as the stone creature was burning and breaking, he exclaimed that he would haunt the land forever and continue eating the people for many more generations. The Windigo kept his promise by transforming into mosquitoes that eat the people of the land one tiny bite at a time.

CRITICAL ANALYSIS:

This story takes place “long ago, deep in the forests of the North Woodlands.” The eerie plot and fast action will easily grab young readers’ attention, and children will remember the frightening Windigo the next time they are sitting around a campfire or hiking through the woods. The clever plan to get rid of the Windigo will resonate with children, and the surprising conclusion that takes place after the Windigo has burned will certainly engage children and appeal to their imaginations.

Ross’s word choice attempts to set the mood of the story as a Native American tale. For example, Ross uses words and phrases such as “warrior,” “elders,” and “ceremony” to give the reader a clearer understanding of the context of the story. Ross also mentions using buffalo hides to cover the frame of the sweat lodge, lighting a sacred fire, and seeking “the help and guidance of the spirit protectors of their land.” While it is not clear which specific culture the tale is referring to, the clues Ross gives lead the reader to understand that this is a type of Native American tale.

While this story does not explicitly state which specific Native American culture it comes from, an author’s note at the end of the book does explain the author’s reasons for creating the story and offers some cultural insights into “Native American” stories in general. When discussing the roots of this story, Ross states, “Though it is based on several stories told by tribes in the north, from the Tlingit of Northwest Canada to the Cree of the Eastern Woodlands, this version is essentially my own creation.” Furthermore, she adds, “There is really no such thing as a ‘Native American’ story. The stories, like the people, belong to many tribes, many nations.” Ross also acknowledges some of the traditional stories that helped her create THE LEGEND OF THE WINDIGO. Also included in the author’s note is an explanation of why the sweat lodge ceremony in the story is vaguely described. Ross explains that because the ceremonies vary from tribe to tribe and “because many traditional peoples are very protective of their own rituals, the ceremony depicted here does not represent the specific spiritual tradition of any one tribe.”

Murv Jacob’s paintings are incredible and add to the richness of the story. The dark, earthy colors, bright contrasts, and tiny details combine to create gorgeous and fascinating artwork that tells the story of the Windigo in a spellbinding way. The skin tones and hair colors depicted in Jacob’s paintings seem as authentic as possible for the type of paintings he created for the story. The paintings show the men, women, and children of the village dressed in traditional clothing that one might associate with an ancient Native American tribe. Again, because the tale does not represent one specific culture, it is difficult to determine the cultural accuracy of details such as clothing and homes. The Windigo is portrayed as a strange creature with dark, flowing hair, black holes for eyes, a skull and bones necklace, and small colorful dots all over his body. Children will certainly enjoy seeing the paintings of the scary creature.

The engaging plot and scary undertones of THE LEGEND OF THE WINDIGO make it an appealing story that children will probably enjoy. The beautiful paintings also add to the story and will captivate children’s attention. While the story is at least based in part on some traditional Native American stories, the cultural authenticity of the story is difficult to pinpoint because of the generalities used throughout the story. The author does address reasons for the tale not depicting one specific culture in the author’s note at the back of the book, and it would be important to share this note with children to help them understand the generalities used throughout the story.

REVIEW EXCERPTS:

From HORN BOOK (March 1997):
“The author and illustrator of How Turtle's Back Was Cracked (Dial) and How Rabbit Tricked Otter (Harper) retell a pourquoi story about the origin of mosquitoes. The acrylic paintings match the text's description of the fearsome Windigo and also aptly capture the story's humorous conclusion. The lengthy author's note at the back provides a wealth of information.”

From KIRKUS REVIEW (1996):”Ross demonstrates her colorful storytelling in a suspenseful tale about the Windigo, a giant stone creature who is "taller than the tallest tree," can "change his shape at will," and "feeds on the people." When people begin to disappear, the Windigo is near. A young boy inspires the people to outwit the flesh-eating Windigo and reclaim their land; this gripping tale captures the imagination from the outset and quickly moves to a dramatic and surprising conclusion that is similar to that of The Windigo's Return (p. 1057) by Douglas Wood. Jacob conjures up appropriately spooky images rendered in deep-toned acrylics. Swirling skies and verdant forests dance around the people in a primitivist style, perfectly partnered with the pace and voice of the storyteller.”

CONNECTIONS:

Definitely read the author’s note at the end of the story with children and discuss Ross’s reasons for creating her own version of the tale as well as her reasons for not focusing on a specific culture. It might be important to help young children understand that there are many different Native American cultures and that they are not all the same.

Young children might enjoy drawing their own versions of the Windigo. Remind them that the Windigo is believed to be able to change his shape at will, and encourage them to be creative with how they depict the Windigo.

In her author’s note, Ross mentions AMERICAN INDIAN MYTHS AND LEGENDS edited by Richard Erdoes and Alfonso Ortiz and FAVORITE FOLKTALES FROM AROUND THE WORLD edited by Jane Yolen. Encourage students to check these books out and read more about the Windigo and the legend of how mosquitoes came to be.

Culture 4: Native American Literature - Cynthia Leitich Smith

BIBLIOGRAPHIC DATA:

Smith, Cynthia Leitich. 2000. JINGLE DANCER. Ill. by Cornelius Van Wright and Ying-Hwa Hu. New York: Morrow Junior Books. ISBN 0688162428

PLOT SUMMARY:

Young Jenna daydreams of one day dancing with jingles on her dress at powwow like her Grandma Wolfe. When Jenna tells Grandma Wolfe that she wants to jingle dance, Grandma Wolfe tells her that she can dance without the jingles since there is not enough to time to order jingles before the upcoming powwow. Determined to make her dress “sing,” Jenna sets off to find her four rows of jingles. As Jenna visits several women in her family, she borrows just enough jingles from each woman so that their dresses would not lose their voices by giving up some of the jingles. After helping Grandma Wolfe sew the jingles onto her dress and practicing her “bounce-steps,” Jenna is finally able to jingle dance at the powwow for all of the women who helped give her dress its voice.

CRITICAL ANALYSIS:

JINGLE DANCER takes place in modern times in Oklahoma. An extensive author’s note gives readers significant background information for the story and reveals many important cultural markers for the story. For example, the author’s note reveals that Jenna is a member of the Muscogee (Creek) Nation and is also of Ojibway (Chippewa/Anishinabe) descent. Jenna’s cultural heritage shapes the plot of the story as she sets out to find jingles to add to her dress to make it “sing” for the upcoming powwow. The author’s note also reveals the use of the number four in JINGLE DANCER (four rows of jingles, four women donating jingles, four directions of Jenna’s travel) and significance of the number four among many Native people (“the four directions, four seasons, four stages of life, and four colors of man”).

The characters are warm and inviting, and they give readers a good look at Jenna’s sense of family and community. Every home Jenna visits as she sets off to collect jingles introduces another female friend or family member. The compassion and friendliness shown to Jenna by these women gives readers a sense of community, and Jenna completes the circle of community by dancing her jingle dance for all of the women who helped her dress “sing.” Young readers will see themselves in Jenna as she works to make her dream come true, and they will also learn about Jenna’s culture through her actions in the story. Food is also a significant cultural marker for the characters in the story as “fry bread” and “Indian tacos” are mentioned.

Cynthia Leitich Smith uses beautiful, poetic language to tell Jenna’s tale, giving the story a folktale feel. For example, Smith states, “Every Grandma bounce-step brought clattering tinks as light blurred silver against jingles of tin.” Smith’s distinctive word choice and poetic language bring the story to life and enrich the unique feel of the story. Smith also imitates sounds frequently throughout the story, such as the “tink, tink, tink, tink” of the jingles and the “brum, brum, brum, brum” of the powwow drum, accentuating important sounds for Jenna’s cultural tradition.

The warm and realistic illustrations match the language of the story and give readers a lovely look at Jenna’s culture. The depictions of the traditional dresses and shoes are beautiful, and the balance of modern clothing, such as Jenna’s jeans and Cousin Elizabeth’s business suit, solidifies readers’ understanding of Jenna’s contemporary American Indian lifestyle. Furthermore, illustrations of modern homes with televisions will show young readers how much they have in common with Jenna. Wright and Hu do an excellent job of carefully illustrating skin tones and hair colors to maintain cultural accuracy.

JINGLE DANCER is a fantastic story to share with children, and it is steeped in rich cultural details that make it a superb multicultural selection. A small glossary at the back of the book will also help clarify the meanings of some of the words used throughout the story.

REVIEW EXCERPTS:

From BOOKLIST (May 2000):
”This contemporary Native American tale highlights the importance of family and community through a young girl's dream of joining the dancers at the next powwow. Jenna is a girl of Muscogee (Creek) and Ojibway (Chippewa/Anishinabe) descent… The way Jenna gathers her jingles (borrowing enough to make a row, but not so many that the lender's dress will "lose its voice"), and her promise to dance for the women who cannot dance for themselves illustrate the importance of family and community ties. The colorful, well-executed watercolor illustrations lend warmth to the story. A note explaining Jenna's heritage and a brief glossary are appended.”

From SCHOOL LIBRARY JOURNAL (July 2000):
“Seeing Jenna as both a modern girl in the suburban homes of her intertribal community and as one of many traditionally costumed participants at the powwow will give some readers a new view of a contemporary Native American way of life. An author's note and glossary tell more about the Muscogee (Creek) Nation, the Ojibway origins of jingle dancing, and the significance of the number four in Native American tradition. This picture book will not only satisfy a need for materials on Native American customs, but will also be a welcome addition to stories about traditions passed down by the women of a culture.”

CONNECTIONS:

After reading JINGLE DANCER, be sure to share the author’s note at the end with children. Cynthia Leitich Smith gives a multitude of cultural facts in the author’s note, and sharing this information with children can be a fun and educational way to learn about another culture.

In JINGLE DANCER, jingle dancing at the powwow is a family tradition for Jenna. Encourage students to think about and possibly discuss some of their own family traditions.

Visit Cynthia Leitich Smith’s website at http://www.cynthialeitichsmith.com/.

Students might be interested in learning more about jingle dances. Assist them with researching more about this fascinating cultural tradition. If someone in the community has first-hand experience with this tradition, invite him or her to the school to share his or her story.

Culture 4: Native American Literature - Joseph Bruchac

BIBLIOGRAPHIC DATA:

Bruchac, Joseph. 2001. SKELETON MAN. New York: HarperCollins. ISBN 0060290765

PLOT SUMMARY:

When sixth grader Molly realizes that her parents have mysteriously disappeared, she is desperate to find out what happened to them. Molly’s desperation intensifies when Social Services turn her over to the care of a frightening stranger who claims to be Molly’s long lost uncle. Locked alone in a room in her supposed uncle’s house each night, Molly finds herself trapped in a nightmare that she is not sure she can escape. However, Molly finds the answers she is looking for as well as a way out of her frightening situation by trusting her dreams and remembering lessons from old Mohawk stories her parents used to tell her.

CRITICAL ANALYSIS:

The characters of the story are intriguing and give the reader insight into the Mohawk culture. Molly and her parents belong to the Mohawk culture, and their characters portray contemporary American Indians living in modern times but still honoring their heritage and traditional culture. Molly is a sixth grade girl who is known as melodramatic to some, but she is also smart and courageous, making her a good heroine and role model for girls everywhere. Molly seems very real to the reader, and Bruchac does a good job of enabling the reader to visualize her by clearly describing her physical attributes. For example, Molly considers her “thick eyebrows” and “ink-black hair” in the story. Bruchac ties these physical descriptions into the cultural accuracy of the story, such as when Molly thinks about the “brown tone” of her dad’s skin. Furthermore, in her dreams, Molly is often dressed more traditionally in deerskin dress, moccasins, and a braided rawhide bracelet believed to help children wake safely from their dreams. In contrast to Molly’s realness, Molly’s uncle seems unreal, like a ghost or a monster to Molly, and he portrays many similarities to the “Skeleton Man” in the story Molly remembers her father telling her.

At the beginning of the story, Bruchac acknowledges the “tradition bearers” and “traditional American Indian stories,” informing the reader of the cultural foundation of the story. Traditional Mohawk tales and customs play a significant role in the story, especially the tale of the “Skeleton Man.” In this story, a greedy and lazy uncle does not want to go out to find his own food, so he ends up eating his own flesh and the flesh of his relatives as well. When a young girl discovers this, she relies on a rabbit to save her from the “Skeleton Man” and return her family back to their normal selves. This tale directly parallels Molly’s plight in her uncle’s house, and Molly’s dreams and memories of this tale end up saving her. Molly learns to trust her dreams and realizes that her instincts are correct about her imposter uncle. Just as in the tale of the “Skeleton Man,” a rabbit serves as Molly’s guide, and she ultimately escapes from her uncle’s house and finds out that her imposter uncle is holding her parents captive as well. Molly’s connection with the rabbit is significant to the story and highlights the importance of the Mohawk tale to the story. Bruchac also mentions a “Lonesome Song” that Molly’s mother taught her to sing when she feels alone and needs a friend, further solidifying Molly’s relationship with her parents and culture.

SKELETON MAN takes place during modern times in a country setting. The majority of the action of the story takes place in Molly’s uncle’s scary house and the woods surrounding the house. The frightening setting closely matches the startling plot, and readers will find themselves on the edge of their seats as they read through Molly’s scary ordeal. All in all, SKELETON MAN is an eerie, creepy tale that provides insight into some details of the Mohawk culture and will certainly engage middle school aged students and up.

REVIEW EXCERPTS:

From BOOKLIST (September 2001):
“Although it's steeped in Mohawk lore and tradition, Bruchac's story is contemporary both in its setting and its celebration of the enduring strength and courage of Native American women.”

From PUBLISHERS WEEKLY (September 2003):
“Drawing on traditions of Native American stories, Bruchac writes of a girl whose parents mysteriously disappear and a "great-uncle" who shows up to claim her, with "spine-tingling effects. The mix of traditional and contemporary cultural references adds to the haunting appeal, and the quick pace and suspense will likely hold the interest of young readers."

From SCHOOL LIBRARY JOURNAL (August 2001):
“Bruchac weaves an incredibly scary story of a girl whose warm, contented family is suddenly torn apart. Molly's knowledge of and immersion in her Mohawk heritage is something she takes for granted, as are the wisdom and strength that come from understanding the traditional tales and listening to one's dreams…The suspense draws readers in and keeps them engaged. In the classic horror tradition, Bruchac offers a timely tale that will make hearts beat and brows sweat, and it has the bonus of a resourceful heroine to put the world right again.”

CONNECTIONS:

If students enjoy THE SKELETON MAN, encourage them to check out the sequel novel, THE RETURN OF SKELETON MAN by Joseph Bruchac.

Invite students to visit Joseph Bruchac’s website at http://www.josephbruchac.com/. Students might enjoy the biographical information as well as listening to the poems and songs available on his website.

Discuss with students what they would have done in Molly's situation. Ask students to contemplate how Molly's cultural heritage helped her in the story.