Back to HAIL

Honoring Alaska's Indigenous Literature

Student Book Reviews: CCS620

The following book reviews are being submitted as part of the CCS 620 Critiquing Indigenous Literature for Alaska’s Children taught in the Fall 2004 by Esther Ilutsik.

The following reviews were written by students and are a reflection of their own analysis of the books. They do not necessarily represent the views of the University of Alaska Fairbanks or the Alaska Native Knowledge Network.

Most of the books reviewed by the students were recommended with an exception of a few. Those books will be noted with an NR.

Book Reviews by Kathy Abalama:

Sap’akigka by Alice N. Fitka
Egg Hunting by Marie Wassillie, Christine Kern & Margaret Beaver
The Hungry Giant of the Tundra by Teri Sloat
Kitaq by Margaret Nicolai
Berry Magic by Teri Sloat

Book Reviews by Linda Green:

Caribou Girl by Clair Rudolf Murphy
Anna’s Athabascan Summer by Arnold Greise
Frozen Stiff by Sherry Shaka
Toughboy and Sister by Kirkpatrick Hill
Goodbye My Island by Jean Rogers

Book Reviews by Bernice B. Tetpon:

A Sled Dog for Moshi by Jeanne Bashy
Andy: An Alaska Tale by Susan Welsh-Smith
Neeluk: An Eskimo Boy in the Days of Whaling Ships by Frances Kittredge
Tupaq the Dreamer by Kerry Hannah Boom NR
Kumak’s Fish by Michael Bania NR

Book Reviews by Alexander Ketzler:

First Medicine Man by Arthur Wright
The First Christmas Tree by Chief Peter John
Making My Own Trail by Howard Luke
The Girl Who Swam With The Fish by Michelle Renny
The Legacy of the Chief by Ronald N Simpson

Books Reviews by Katy Spandler:

The Red Cedar of Afognak: A Driftwood Journey by Alisha S. Drabeck and Karen R. Adams
Initiations by Virginia Frances Schwartz NR
Lucy the Giant by Sherri L. Smith NR
The Winter Walk by Loretta Outwater Cox
Unseen Companion by Densie Gooliner Orenstein NR

Book Reviews by Cate Koskey:

Favorite Eskimo Tales Retold by Ethel Ross Oliver
Svugam Unginghaatangi II St. Lawrence Island Legends II by Grace Slwooko
Arctic Memories by Normer Ekoomiak
A Kayak Full of Ghosts retold by Lawrence Millman NR
More Tales from Igloo as told by Agnue Nanogak

Reviews By Kathy Abalama

Sap’akigka
Written by Alice N. Fitka
Illustrated by Rosalie Lincoln, Greg Lincoln, and Agnes Kairaiuak
Published by Lower Kuskokwim School District
ISBN 1-55036-504-5

Summary: A little girl asks her uncle if he would still love her regardless of what she may do.

1. Is there ridicule in the book that may cause embarrassment for the Native American reader?
There is no ridicule in the book that may cause embarrassment for the Yup’ik Eskimo or Native American reader.

2. Are the characters depicted as horrifying or abusers of animals or humans?
No, the characters are not depicted as horrifying or abusers of any living animal or humans.

3. Are the pictures of faces, clothing and housing stereotypical of Natives in general?
No, the pictures of faces and clothing are not stereotypical of Eskimos in general. Each character’s face has its own unique feature. The qaspeqs used by the characters are simple with no designs, a style that is acceptable for the Yup’ik Eskimo.

4. If it tells a story that comes from my people, does it use language that does not change the context or the meaning? In other words, does the author know exactly that what he is saying is accurate information?
The author, a Yup’ik Eskimo from the Kuskokwim area knows exactly what she is saying is accurate information. This book is about a girl who was named after a deceased loved one, in this case, after the uncle’s mother.

5. Does it treat Native life as though it were simply a normal part of human existence? Does the writing have warmth and humor, and without any particular attempt to “sound” Native? Are there any particular values that the book brings about?
Yes, the book treats the Yup’ik Eskimo life as though it were a normal part of human existence, with the addition of the importance of naming children after a deceased one in the Yup’ik Eskimo culture. The value of naming children has always created a special bond among the Yup’ik Eskimo, and it is believed that the power of naming is very great.

6. Is the information accurate on the life and language on the people, with accurate phonetic spellings?
Yes, the information is accurate on the life and language of the Yup’ik Eskimo, with accurate phonetic spellings.

7. If it is a history book, does it tell how it really was for the People without any lies?
It is not a history book, but it tells an accurate example of how Yup’ik Eskimo, in this case, an uncle and aunt treat and love their niece named after their mother.

8. If written by a non-Native, does it mention in the preface that the author talked with any members of the People he was writing about to get the facts straight?
This book was written and illustrated by Yup’ik Eskimos who are knowledgeable about the culture.

9. Are Elders valued and respected in the book?
There are no Elders in the book, but in the back, there is an acknowledgement about how Yup’ik Elders of Alaska believe that the power of naming is very great.

10. Does the book respect the culture of the people it is written about?
Yes, the book is written in good taste and respects one of the many traditional values of the Yup’ik Eskimo. I would recommend the book to anyone that would like to read about one aspect of naming in the Yup’ik culture.

- back to top -

Egg Hunting
Written by Marie Wassillie, Christina Kern, and Margaret Beaver
Illustrated by Joy Shantz
Published by Lower Kuskokwim School District
ISBN 1-55036-503-7

Summary: A girl goes egg hunting with her parents, and tells the story using numbers.

1. Is there ridicule in the book that may cause embarrassment for the Native American reader?
There is no ridicule in the book that may cause embarrassment for Yup’ik Eskimos or other Native American readers.

2. Are the characters depicted as horrifying or abusers of animals or humans?
The three characters in the book are not depicted as horrifying or abusers of animals or humans. There is one page where the father shot three times, and four birds fell, however, this type of subsistence hunting is normal for Yup’ik Eskimos.

3. Are the pictures of faces, clothing and housing stereotypical of Natives in general?
The pictures of faces are somewhat stereotypical of Yup’ik Eskimos in general, but the clothing used by the characters is the norm for this type of subsistence activity.

4. If it tells a story that comes from my people, does it use language that does not change the context or the meaning? In other words, does the author know exactly that what he is saying is accurate information?
The authors know exactly what they are saying, and do not change the meaning of the story. The illustrations, with the exception of the last page, and the text are accurate for an egg hunting trip.

5. Does it treat Native life as though it were simply a normal part of human existence? Does the writing have warmth and humor, and without any particular attempt to “sound” Native? Are there any particular values that the book brings about?
Yes, the book treats the egg hunting activity that Yup’ik Eskimos participate in as though it were a normal part of their culture. There is no particular attempt to sound Native, as the Yup’ik women write about an egg hunting story using numbers in a realistic sense. The value of traveling together as a family for subsistence is brought out indirectly as the smiling faces depict in the illustrations.

6. Is the information accurate on the life and language on the people, with accurate phonetic spellings?
The information on the text is accurate for an egg hunting trip, however, on the last page where the illustration shows ten big buckets of different eggs and their location inside the boat is totally inaccurate. There is an unwritten rule that when people go egg hunting, they take all the eggs except one, and, they never take more than two buckets, so the amount of eggs found is exaggerated. In addition, in real life the bucket (s) are placed toward the back of the boat where the waves are felt the least, not in the front where the eggs can break due to bow moving up and down.

7. If it is a history book, does it tell how it really was for the People without any lies?
This is not a history book.

8. If written by a non-Native, does it mention in the preface that the author talked with any members of the People he was writing about to get the facts straight?
This book was written by Yup’ik Eskimos who most likely have went on egg hunting trips before, and have experience of what it is like.

9. Are Elders valued and respected in the book?
There are no Elders in the book.

10. Does the book respect the culture of the people it is written about?
Yes, the book is tastefully written about an egg hunting trip, an activity that is practiced yearly and is a part of the Yup’ik Eskimo culture.

- back to top -

The Hungry Giant of the Tundra
Retold by Teri Sloat; Illustrated by Robert and Teri Sloat
Published by Dutton Children’s Books: New York
ISBN 0-525-45126-9

Summary: The hungry giant is tricked out of his delightful supper.

1. Is there ridicule in the book that may cause embarrassment for the Native American reader?
In this retelling of a Yup’ik story, there is no ridicule in the book that may cause embarrassment for the Yup’ik Eskimo, or any Native American reader.

2. Are the characters depicted as horrifying or abusers of animals or humans?
No, the children in the book are not horrifying, or abusers of animals or humans. There is a crane in the book that is depicted as helpful to the children as they were running away from the hungry giant.

3. Are the pictures of faces, clothing and housing stereotypical of Natives in general?
Yes, the faces of the Yup’ik children are stereotypical of Natives in general. Each character’s emotions look identical, depending on the situation of the moment. However, the girl’s qaspeqs have different colorful designs, which is the norm. The boy’s qaspeqs are plain and have no trimming, which is also the norm for boy’s style.

4. If it tells a story that comes from my people, does it use language that does not change the context or the meaning? In other words, does the author know exactly that what he is saying is accurate information?
The author mentioned that this is a Yup’ik version of several throughout Alaska and Canada. This version was from Olinka Michael, a master storyteller in the village of Kwethluk, AK. Olinka’s daughter, Lillian Michael, wrote it down in Yup’ik, and the author retold it in English for a wider audience.

5. Does it treat Native life as though it were simply a normal part of human existence? Does the writing have warmth and humor, and without any particular attempt to “sound” Native? Are there any particular values that the book brings about?
The author, Teri Sloat, did a good job of retelling this Yup’ik folklore in English. She did not attempt to “sound” Yup’ik as the story flowed through the plot, problem, and resolution. In addition to entertainment, the consequence of breaking a code of behavior, in this case, not listening to parents, was brought out in the story in a way that is easily comprehended by young readers, and could learn a lesson from (minus the hungry giant), but in other situations that could be avoided had they listened to their parent’s warnings.

6. Is the information accurate on the life and language on the people, with accurate phonetic spellings?
There is only one Yup’ik name, A-ka-gua-gan-kak, that is phonetically misspelled. It should be spelled A-ka-gua-gaan-kaaq, as it is traditionally pronounced. The retelling of the Yup’ik version of this story is accurate.

7. If it is a history book, does it tell how it really was for the People without any lies?
It is not a history book, but a retelling of a Yup’ik folktale, and does not contain any lies of this particular version.

8. If written by a non-Native, does it mention in the preface that the author talked with any members of the People he was writing about to get the facts straight?
As mentioned earlier, the author stated that this is a Yup’ik version of several throughout Alaska and Canada. Although this version was from Olinka Michael who is now deceased, Olinka’s daughter, Lillian Michael, wrote it down in Yup’ik, and the author retold it in English. Teri Sloat did not mention in the preface that she obtained permission from Lillian Michael to write the story, although she did mention that she had worked with Lillian in Bethel, Alaska.

9. Are Elders valued and respected in the book?
There are no Elders mentioned in the book.

10. Does the book respect the culture of the people it is written about?
Yes, I believe the book respects the Yup’ik culture where the story was taken from.

- back to top -

Kitaq by Margaret Nicolai; Paintings by David Rubin
Published by Alaska Northwest Books
ISBN 0-88240-504-7; Juvenile Fiction

Summary: Kitaq, a five-year-old Yup’ik boy, goes on his first ice fishing trip with his grandfather.

1. Is there ridicule in the book that may cause embarrassment for the Native American reader?
There is no ridicule in the book that may cause embarrassment for Yup’ik readers.

2. Are the characters depicted as horrifying or abusers of animals or humans?
No, the characters in the book are not depicted as horrifying or abusers of animals or humans.

3. Are the pictures of faces, clothing and housing stereotypical of Natives in general?
The detailed illustrations, done in oil on canvas, are not stereotypical of Natives in general. Each character’s face is unique, and almost lifelike. Although the parka design looks stereotypical of Eskimos in general, the type of parka used during ice fishing trips accurately represents the parkas used for being in the frigid outdoors: straightforward, not fancy, and without trimmings. The qaspeq used by the mother is also illustrated in good taste, where the simple trimmings are representative of Yup’ik women qaspaks from the Kuskokwim area.

4. If it tells a story that comes from my people, does it use language that does not change the context or the meaning? In other words, does the author know exactly that what he is saying is accurate information?
The author mentioned in the back of the book that this fictional story was written to preserve stories that her Yup’ik husband from Kwethluk, Alaska, has shared as he was growing up in the village, which is the setting for the story. The story of Kitaq going on his first ice fishing trip, and the feelings that came about as he caught his first fish as well as the grandfather’s memories of his first catch, caught when he was a boy, was brought out in a way that many Yup’ik people can relate to when they take their first catch, whatever it may be. The author, who also has Yup’ik heritage, built this story on one of the cultural traditions that still exist today.

5. Does it treat Native life as though it were simply a normal part of human existence? Does the writing have warmth and humor, and without any particular attempt to “sound” Native? Are there any particular values that the book brings about?
Yes, the book accurately treats Yup’ik life as though it were a normal part of human existence where the characters are depicted as caring and loving people. In our Yup’ik culture, family is very important, where elders are respected for their wisdom and experience, and children are treasured and indulged. In this book, the value of family and the importance of each family member, young or old, are brought out in a warm, positive manner.

6. Is the information accurate on the life and language on the people, with accurate phonetic spellings?
The information is accurate on the life and language of the Yup’ik people in the book; however, there are some terms that are inaccurately phonetically spelled. I believe the boy’s name should be Kit’aq, and not Kitaq, because it is very common for a person who has a name with a stop consonant to place a stress after the letter. Another example is “Apa”, which should be spelled “Ap’a”, because of the stop consonant. “Aliimatik” should be “aliimatek”. “Apa’urluk” should be “Apa’urluq”, as the ending of “Apa’urluk” means two, not one. “Atmuk” should be “atmak”. A nice feature of the book is the Yup’ik glossary in the back of the book where definitions are given as well as how to pronounce them.

7. If it is a history book, does it tell how it really was for the People without any lies?
This is not a history book, but it gives a realistic account of Kitaq’s family living in a village before electricity, telephones and television arrived.

8. If written by a non-Native, does it mention in the preface that the author talked with any members of the People he was writing about to get the facts straight?
As mentioned earlier, the author is of Yup’ik descent, but has a full Yup’ik husband from Kwethluk. Margaret Nicolai did not mention talking with any members of Yup’ik people from Kwethluk other than hearing stories of her husband’s experiences.

9. Are Elders valued and respected in the book?
Yes, very much so.

10. Does the book respect the culture of the people it is written about?
Yes, the book is written in a way that respects our Yup’ik culture, and the roots of her husband’s culture. I would recommend this book to anyone that is interested in how Kuskokwim village life was like in the 1950’s and 1960’s, and the importance placed on first catches.

- back to top -

Berry Magic by Teri Sloat and Betty Huffman
Published by Alaska Northwest Books

1. Is there ridicule in the book that may cause embarrassment for the Native American reader?
There is no ridicule written in the text that may cause embarrassment for Yup’ik Eskimos. However, the book mentions of old women frowning and complaining of the dry, tasteless crowberries that grew around the village. In our Yup’ik culture, one of the values is to have a non-complaining spirit, especially about what is in our environment that we have no control human control of, such as the abundance, or lack of what grows.

It is possible that the author unintentionally illustrated the characters to appear plump, and as large people with large hands. Yup’ik people, especially the women, are small in stature, but in this book, they appear grossly large and fat. “Long ago”, people were not plump as depicted in this book.

In the book, the women’s hair is not braided, as was the usual custom “long ago”. Rather, their hair is in a ponytail, or in a bun while the main character’s hair is braided only on the front. “Long ago” as the book mentions, women kept their hair braided or in a knot and almost always used a pelatuuk for fear of losing a strand of hair that a shaman can find and place some kind of a spell using that strand of hair. According to a local elder, pelatuuks did not come into our area until the 1930’s when Ungauluk opened a store in this area.

2. Are the characters depicted as horrifying or abusers of animals or humans?
No, the characters are not depicted as abusers of animals or humans in this book. In fact, there is a picture of the girl petting a squirrel, although in real life, it is impossible as squirrels are wild in our area.

There is also a picture of two mice pushing the sewing bag as the girl took it down from a table or shelf. It is impossible for mice to be helping in this manner. Also, the mice in the book are as big as rats.

3. Are the pictures of faces, clothing and housing stereotypical of Natives in general?
Yes, the faces look identical, with slits for eyes on the characters as well as the dolls. The qaspeqs and the fur parkas look stereotypical and do not represent the uniqueness of Yup’ik designs from this area. The designs on the parkas are too large and unsymmetrical with no distinguishable design, and the alngaqs on the girl’s parka are not representative of the Yup’ik culture. There are two rows of two alngaq’s shown on the parka. In real life, there are two rows of three alngaq’s on the front and back of parkas, not counting the ones on the sleeves and elsewhere on the parka.

The mukluks shown do not have the usual trimmings. It appears that the illustrator’s sense of awareness that our Yup’ik culture has its unique style in parkas and qaspeqs was not taken into account as she illustrated the story, although she spent many years teaching in this district in rural villages starting in the BIA days.

The picture of the moon is much too large for this part of the world.

4. If it tells a story that comes from my people, does it use language that does not change the context or the meaning? In other words, does the author know exactly that what he is saying is accurate information?
In this book that is that was written with a respected Yup’ik Eskimo elder, the language used partly represents the Yup’ik Eskimos. More information is needed on what specifically the “fall feast” was. There are more reasons why women pick berries, but the way the book was written seemed to suggest that the fall feast was the main purpose for the women to be picking berries.

5. Does it treat Native life as though it were simply a normal part of human existence? Does the writing have warmth and humor, and without any particular attempt to “sound” Native? Are there any particular values that the book brings about?
While the illustrations shows the characters as valuing good relationships and working together, the way the women sounded when they spoke was not fluent in English because their speech were written in an over-simplified style. “These berries are so dry.” “These berries have no taste.” “These berries are not even worth picking!”

6. Is the information accurate on the life and language on the people, with accurate phonetic spellings?
The information on the life of the people in this quliraq, or folk tale, is written in an entertaining yet meaningful way. However, the name of the main character, Anana, is written inaccurately in modern Yup’ik phonetic spelling. The root word for feces is “ana”, and the way Anana is spelled would seem to suggest to a fluent Yup’ik reader and writer that it is a bad name. It should be spelled An’ana, which I believe the authors intended, because it is a common female name.

7. If it is a history book, does it tell how it really was for the People without any lies?
This book is not a history book, but it is a wonderful creation story of how the sweetest, juiciest berries came to grow on the tundra.

8. If written by a non-Native, does it mention in the preface that the author talked with any members of the People he was writing about to get the facts straight?
This book was co-authored by a respected Yup’ik Eskimo, and it mentions on the back of the book that this is a retelling of a very old story.

9. Are Elders valued and respected in the book?
This book mainly tells a story of a young girl who developed a plan to change the frown of the old women into smiles that involved a bit of magic. Not all old women are complainers, so this book only represents a small number of old women.

10. Does the book respect the culture of the people it is written about?
The authors of this book could have mentioned specifically what part of Alaska this story is about, so to omit information that the characters are Yup’ik Eskimos was a big mistake, rather than making it seem that the characters are of a generic Alaskan culture, if there ever is one. The illustrations are not specifically representative of the Yup’ik culture.

- back to top -

Reviews by Linda Green

Caribou Girl
By Clair Rudolf Murphy

The author has written severy award-winning books, She is a teacher consultant with the Alaska State Writing Consortium, she conducts writing workshops wil students and teachers and lives in Fairbanks, with her husband and two children.

Illustrated by Linda Russell forward by Jana Harcharek
Published by Robert Rinehart Publishers, Boulder Colorado 1998

Linda Russell is an artist who lives in North Pole, Alaska. Her wildlife art has been shown in numberous exhibitions including the Anchorage Audobon Art Exhibition of Alaska Wildlife and the Wildlife and Western Exhibit in Minnesota. Her five part Native Alaskan Mythology print series was shown on the Alaska TV Artist Series on Alaska's Best online Internet magazine.

Forward comment by Jana Harcharek. Caribou Girl's story helps generate a renewed sense of trust in our traditional ways. Her journey also demonstrates my people's connection to the land, the very essence of our lives. Caribou Girl must rely on her instincts and inbred values to make decisions that will affect everyone in her world. These decisions are as difficult to make today as they must have been in earlier times. Many of my Inupiaq people believed and some still do today in Moon Man (Tatqiq) who controlled the game animals. Not as well know as the goddess Pakimna, Mistress of the Caribou. We also believed that long ago animals and humans could go back and for the between the two worlds and that shamans like Pakimna not only helped heal people, but served as contact with the animal and spirit worlds. Shamans could be male or female, though female shamans were less common that male ones. Today my people still use and study our Native language and have renewed their interest in our legends, beliefs, dancing and traditional arts. Long ago our people lived in caribou skin tents (itchalik) while following the caribou. Today most Inupiat live in permanent villages and towns. However we continue to support our subsistence culture by fishing and hunting, especially the caribou that still roam over northern Alaska

1. Does Native terms for people of certain areas fit all?
I am not sure, but the comments by Jana Harcharek, for verifiying the cultural aspects of the story, and James Nageak for reviewing the story would tell me that terms are used correctly.

2. How are the pictures illustrated?
All the pictures seemed to reach out at the reader.

3. Language Usage?
All of the language used in this book was O.K. For example the author talks about the animals, and the beliefs of the shaman. It was all positive and I feel reviewed by Inupiaq people.

4. Name Usage: Do Native names sound quite different from the normal?
Yes, but again the reviewers are Inupiaq.

5. Is all the clothing the same?
All the clothing in the pictures are made of skin, and animal furs.

6. Look for respect toward animals, land, and other people.
Respect is given to all. One of the author's on research says, "Inuit believe that the earth does not belong to them, but rather that they belong to the earth. Every object, tool, and piece of clothing was created for their survival. Traditionally the inuit honored the animal spirits that they hunted.. Hunters wore carved amulets to give them special powers. Children wer often named after deceased relatives whose qualities they shared."

7. Is the continuity of the culture represented with values, morals, and an outgrowth of the past, connected to the future?
Again because of the Inupiaq reviewers, I believe so.

8. Are ceremonies described properly?
Same answer as #7

9. Does the writer show any understanding of the relationship between material and non material aspects of life?
Comments on research done before writing the book are in Author's and Illustrator's Note . We have researched the nomadic lifestyle and myths of the northern Inuit, and the migration patterns of the caribou to create this fisctionl story of long ago. Inuit occupy a larger region of the earth than any other ethnic group. The various Inuit tribes share a common cultural and biological makeup, speak related languages and share similar stories. In traditional times they followed the caribou, which provided for many of their needs.10. Does white authority figures know better than the Native people themselves what is good for them?
No white figures are included in the story. Its told by a non native but has respect for the Native perspectives .

- back to top -

Anna's Athabaskan Summer
Author - Arnold Griese
Illustrated by Charles Ragins

Arnold Griese has been involved with Athabascan people since 1951 when he began his teaching career in Tanana Alaska. He taught for five years and later joined the faculty at the University of Alaska, Fairbanks, where he now lives.

Charles Ragins was born and raised in Alaska. His first experience as an art teacher in the village of Tanana. In preparation for this book , he spent time with an Athabascan family at their fish camp near Nulato. He now resides in Fairbanks.

The book was published by Caroline House Boyds Mills Press, Inc. in 1995.
It would be recommended for grades P-3.

Summary: A young Athabascan girl and her family make the annual return to their fish camp where they prepare for the long winter ahead.

11. Does Native terms for people of certain areas fit all?
No Native terms were used in this book. Except the word "athabaskan", isn't the correct spelling "athabascan". I think this book was printed before the athabascan dictionary came out.

12. How are the pictures illustrated?
On the first page of the book it says, the illustrations are done in watercolors. I thought all of the pictures of the landscape were well done. The people had slanted eyes in all of the pictures. Some of them looked more like Asians than athabascans.

13. Language Usage?
All of the language used in this book was O.K. For example the author talks about the beautiful summers, the animals, the beliefs of Grandmother, and basically living in camp. It was all positive.

14. Name Usage: Do Native names sound quite different from the normal?
None of the characters in this book had native names.

15. Is all the clothing the same?
All the clothing in the pictures are normal children and adult clothing. No native garments are included.

16. Look for respect toward animals, land, and other people.
Respect is given to all. Whenever Grandmother speaks there is a lesson in what she says. i.e. "Our people say that Raven made the world." And Anna's mother answers Anna's question about killing the fish. She says "Our people believe living things die gladly for us. But we must show respect by killing only what we need and by returning to the river fish bones and other things we cannot eat."

17. Is the continuity of the culture represented with values, morals, and an outgrowth of the past, connected to the future?
Yes the family is all inclusive of mother, father, grandmother and children. Lessons and morals are included in parents and grandparents speaking to the children.

18. Are ceremonies described properly?
There are no ceremonies described in the story.

19. Does the writer show any understanding of the relationship between material and non material aspects of life?
Yes, some people would look at camp life as not standard living, because there is no running water, or electricity. The author does not write or depict any of the camp style living in a bad way. He makes it seem happy, and hard working

20. Dose white authority figures know better than the Native people themselves what is good for them?
No white figures are included in the story. Its told by a non native but has respect for the Native perspectives .

- back to top -

Frozen Stiff
By Shery Shahan

As a part of her research for this book the author spent a week camping on the shores of Russell Fjord Wilderness Area and paddled a kayak to Hubbard Glacier. Like the hero's in her story, she battled renegage icebergs and suffered snow blindness.

Jacket issustration 1998 by Wayne McLoughlin

1. Does Native terms for people of certain area fit all?
Terms such as "Tlinget Indians" and "Natives" refer to the local people.

2. Howa re the pictures illustrated?
The jacket illustration is of icebergs and two kayaker's

3. Language Usage:
Only two or three times in this book the characters refer to "Natives of the area…"

4. Name Usage: Native names sound quite different from the normal?
No native names were used.

5. Is all the clothing the same?
No illustrations except for the cover.

6. Look for respect toward animals land, other people.
The characters talk about the local animals in different areas throughout the book, and yes, whatever was said repect toward the animals and land came through very strongly. The same is for people, whether it was parents, siblings, or "local Natives", repect was used.

7. Is the continuity of the culture represented with values, morals, and an outgrowth of the past, connected to the future?
At the end of the book the characters meet a man who lives in the wilderness, with his Native wife. The ending brings a lot of events throughout the story, together. References are made about the traditional ways, subsistance living, and spiritual beliefs, and they are very well written.

8. Are ceremonies described properly?
No Native ceremonies are written about in this book.

9. Does the writer show any understanding of the relationship between material and non material aspects of life?
Yes, again at the end of the book. The two characters are young teenagers, and after meeting the man who lived in the wilderness and his Native wife, values in life are strongly written about.

10. Do white authority figures know better than the Native people themselves what is good for them/
No.

- back to top -

Toughboy and Sister
By Kirkpatrick Hill
Published 1990, by Margaret K. McElderry Books in New York.
Jacket Illustration by Eileen McKeating

Kirkpatrick Hill was raised in Fairbanks, Alaska. Snow lives in Ruby, Alaska, and currently teaches in the neighboring town of Galena. She graduated from Syracuse University with majors in English and Education for the past 20 years she has been an elementary school teacher. Spending most of her time in multi-grade classrooms, or one-room schoolhouses in the Alaskan "bush".

21. Does Native terms for people of certain area fit all?
Because I was raised in Galena Alaska I am familiar with terms used in the area. All the Native terms used were appropriate.

22. Howa re the pictures illustrated?
The only illustrations are on the front and back cover. Which also reminded me of the area around home. The river, the children's faces, the log cabin.

23. Language Usage:
Use of language was very well dong

24. Name Usage: Native names sound quite different from the normal?
There were a few terms in the book, such as "clabas", which is an Indian knife, and "kiyoga" which is half-dried fish. The words are spelled the way they sound, I don't think it’s the correct native spelling.

25. Is all the clothing the same?
The only illustration on the front cover is good. It gives you a comfortable idea about normal dress in villages (not all skins and furs)

26. Look for respect toward animals, land, other people.
The language used in the book when referring to respect of animals, land and people was well done i.e."Natasha was known to all to be a medicine woman".

27. Is the continuity of the culture represented with values, morals, and an outgrowth of the past, connected to the future?
The story is about 2 young children ages 9 and 11 who live in a camp along the Yukon river alone one summer. The courage, dignity, and survival skills the two young children learned from their parents.

28. Are ceremonies described properly?
The author writes about a "village funeral" (the books starts out with the mother dying). Even that is true. She (the mother had flown to Tanana hospital to have a baby, but mother and baby die, and the funeral proceedings start) describes very well what happens in a village during a funeral. The perspective is from the children's view, and its good.

29. Does the writer show any understanding of the relationship between material and non material aspects of life?
Yes, all references to spiritual beliefs and material, and non-material aspects of life are again well written in the book.

30. Do white authority figures know better than the Native people themselves what is good for them/
No, references were made throughout the book to Grandpa's, grandmas, auntie's and uncles, and they are all respectful.

- back to top -

Goodbye, My Island
By Jean Rogers

31. Does Native terms for people of certain area fit all?
Page 7 Vicky (non-Native teenage friend) says "Its just silly, were all Eskimos and where we come from doesn't matter".
I thought King Islanders were a special group.

32. Howa re the pictures illustrated?
Pictures are not illustrated well. There are pictures of puffins or pelicans which are not from the northern area. All the people look the same, cute, round faced, but they reminded me of Hawaiians or something. Also pictures of the Native people of the area crab fishing (Are there crabs in the North?)

33. Language Usage:
Again the phrase, "all Eskimo's are the same" is not right.

34. Name Usage: Native names sound quite different from the normal?
Names of the Elders referred to are only Native names such as "Ooloranna,", and one of the students name is "Wooko"/. Ooloranna is spoken of with respect through out the book. The same goes with other elders referred to.

35. Is all the clothing the same?
Yes, all the clothing illustrated is the same.

36. Look for respect toward animals, land, other people.
The story is told by a Native teenager (maybe 13 years) and she gives much respect to her culture, and her people. Not much is talked about animals. But she makes the reader feel good about how she loves her life and that people see it differently but she loves her ways.

37. Is the continuity of the culture represented with values, morals, and an outgrowth of the past, connected to the future?
I think so, again because the story is from the perspective of a young native person from the area. She is the connection to the future, and things she learns from her parents and grandparents will always be done.

38. Are ceremonies described properly?
There are no ceremonies talked about in the book. The reference to Thanksgiving and Christmas are made, but they were fun things only.

39. Does the writer show any understanding of the relationship between material and non material aspects of life?
Because the story is from the young persons perspective it gives you a warm feeling because she feels so strongly about her people and her island.

40. Do white authority figures know better than the Native people themselves what is good for them/
No, they are mostly a "sideline", and some things they do are referred to as "funny way" by the children.

- back to top -

Reviews by Bernice B. Tetpon

ILLUSTRATIONS: Children from birth to three-year-old recognize specific books by their cover; label objects in books; and comment on characters in books. Five-year-olds increasingly begin to look at pictures page-by-page as if reading silently before they begin to “read to” another aloud. Some children attend to pictures as the source of the text (1998, National Research Council, Preventing Reading Difficulties in Young Children).

VOCABULARY: Well-written and engaging texts that include words that children can decipher give them the chance to apply emerging skills with ease and accuracy, thereby teaching themselves new words through their relation to known words (1998, National Research Council, Preventing Reading Difficulties in Young Children).

CONTENT: During book sharing with an adult, children progress from just focusing on the names of objects in the pictures to asking questions of the content in the text. Throughout the preschool period and well into adulthood individuals learn the pragmatics of their language, that is, how to use language appropriately and effectively in a social context (1998, National Research Council, Preventing Reading Difficulties in Young Children).

I developed this checklist based on the “Unlearning” Indian Stereotype: Council on Interracial books for Children, 1841 Broadway, New York, NY 10023 and Through Indian Eyes: The Native Experience in Books for Children. I have also included some of my own questions.

- back to top -

ILLUSTRATIONS: Children from birth to three-year-old recognize specific books by their cover; label objects in books; and comment on characters in books. Five-year-olds increasingly begin to look at pictures page-by-page as if reading silently before they begin to “read to” another aloud. Some children attend to pictures as the source of the text (1998, National Research Council, Preventing Reading Difficulties in Young Children).

VOCABULARY: Well-written and engaging texts that include words that children can decipher give them the chance to apply emerging skills with ease and accuracy, thereby teaching themselves new words through their relation to known words (1998, National Research Council, Preventing Reading Difficulties in Young Children).

CONTENT: During book sharing with an adult, children progress from just focusing on the names of objects in the pictures to asking questions of the content in the text. Throughout the preschool period and well into adulthood individuals learn the pragmatics of their language, that is, how to use language appropriately and effectively in a social context (1998, National Research Council, Preventing Reading Difficulties in Young Children).

I developed this checklist based on the “Unlearning” Indian Stereotype: Council on Interracial books for Children, 1841 Broadway, New York, NY 10023 and Through Indian Eyes: The Native Experience in Books for Children. I have also included some of my own questions.

- back to top -

ILLUSTRATIONS: Children from birth to three-year-old recognize specific books by their cover; label objects in books; and comment on characters in books. Five-year-olds increasingly begin to look at pictures page-by-page as if reading silently before they begin to “read to” another aloud. Some children attend to pictures as the source of the text (1998, National Research Council, Preventing Reading Difficulties in Young Children).

VOCABULARY: Well-written and engaging texts that include words that children can decipher give them the chance to apply emerging skills with ease and accuracy, thereby teaching themselves new words through their relation to known words (1998, National Research Council, Preventing Reading Difficulties in Young Children).

CONTENT: During book sharing with an adult, children progress from just focusing on the names of objects in the pictures to asking questions of the content in the text. Throughout the preschool period and well into adulthood individuals learn the pragmatics of their language, that is, how to use language appropriately and effectively in a social context (1998, National Research Council, Preventing Reading Difficulties in Young Children).

I developed this checklist based on the “Unlearning” Indian Stereotype: Council on Interracial books for Children, 1841 Broadway, New York, NY 10023 and Through Indian Eyes: The Native Experience in Books for Children. I have also included some of my own questions.

- back to top -

.ILLUSTRATIONS: Children from birth to three-year-old recognize specific books by their cover; label objects in books; and comment on characters in books. Five-year-olds increasingly begin to look at pictures page-by-page as if reading silently before they begin to “read to” another aloud. Some children attend to pictures as the source of the text (1998, National Research Council, Preventing Reading Difficulties in Young Children).

VOCABULARY: Well-written and engaging texts that include words that children can decipher give them the chance to apply emerging skills with ease and accuracy, thereby teaching themselves new words through their relation to known words (1998, National Research Council, Preventing Reading Difficulties in Young Children).

CONTENT: During book sharing with an adult, children progress from just focusing on the names of objects in the pictures to asking questions of the content in the text. Throughout the preschool period and well into adulthood individuals learn the pragmatics of their language, that is, how to use language appropriately and effectively in a social context (1998, National Research Council, Preventing Reading Difficulties in Young Children).

I developed this checklist based on the “Unlearning” Indian Stereotype: Council on Interracial books for Children, 1841 Broadway, New York, NY 10023 and Through Indian Eyes: The Native Experience in Books for Children. I have also included some of my own questions.

- back to top -

ILLUSTRATIONS: Children from birth to three-year-old recognize specific books by their cover; label objects in books; and comment on characters in books. Five-year-olds increasingly begin to look at pictures page-by-page as if reading silently before they begin to “read to” another aloud. Some children attend to pictures as the source of the text (1998, National Research Council, Preventing Reading Difficulties in Young Children).

VOCABULARY: Well-written and engaging texts that include words that children can decipher give them the chance to apply emerging skills with ease and accuracy, thereby teaching themselves new words through their relation to known words (1998, National Research Council, Preventing Reading Difficulties in Young Children).

CONTENT: During book sharing with an adult, children progress from just focusing on the names of objects in the pictures to asking questions of the content in the text. Throughout the preschool period and well into adulthood individuals learn the pragmatics of their language, that is, how to use language appropriately and effectively in a social context (1998, National Research Council, Preventing Reading Difficulties in Young Children).

I developed this checklist based on the “Unlearning” Indian Stereotype: Council on Interracial books for Children, 1841 Broadway, New York, NY 10023 and Through Indian Eyes: The Native Experience in Books for Children. I have also included some of my own questions.

- back to top -

Reviews by Alexander Ketzler

First Medicine Man
Arthur Wright
O.W. Frost, Publisher
Anchorage, Alaska 1977
Age range of readers: From the ages of three and up, but some stories may not be suitable until and older age.

Is this story fiction or a non-fiction story?
The stories were written around 1925 to 1925 while the author was working as an Episcopal priest at Tanana Crossing (Tannacross), Alaska. The stories are based on Athabaskan legends, so this Western society and it people would probably view this as fiction. But, the Indigenous peoples of the Interior of Alaska would consider these stories to be a part of our history in the time line of our creation stories.

Is this story based upon cultural, and/or Indigenous knowledge(s)?
Yes they are, the stories are somewhat different from our stories of the Traveling Man. In his case as he came from below Tanana, Alaska they have there own twists and takes on the story that differ from ours. However, the story line and the characters that he writes about parallel our creation story of the Traveling man.

Is this story an infringement on cultural intellectual knowledge(s)?
In this case I would say that it is not, and then again it is. These stories were written over seventy-five years ago as a supplement to the Episcopal Church issues of the Churchman. They were compiled at the request of his sons that these be put into a book format and published in a book form. The person that they employed for this task was Joan E. Wies, and after the stories were compiled they were sent to a publisher in Anchorage by the of O. W. Frost. The publisher took it upon himself to secure the copyright to the book. When the first publication sold out the sons then requested a second edition only to discover that they could not because it would be a copyright infringement to the copyright holder.

Who is the author?
The author of the story comes from somewhere around Kokrines, or Louden Alaska. He was born at Tanana, Alaska at Our Lady of Our Savior Mission. He was then raised and educated by an Episcopal Priest by the name of Prevost, and got a formal education in the U.S.. Upon his return he helped write the Denatla, and the Culic for the church and began traveling the Interior. He finally settled in Tanancross and then retired in 1935 in Nenana, Alaska.

What is the author’s background, i.e.: reliability, credibility?
From what I have already mentioned I feel that he was well qualified and justified in writing The First Medicine Man as he wrote these stories well before the complicated issues of copyright and patent laws have surfaced, or come to light. I am sure this is an issue that his sons and heirs wish that they had been appraised of.

What are the character(s), theme(s), and plot(s) of the story?
The characters themes and plots of the story presented in this book reach to the farthest reaches of time and history that relates in detail the origins of our historical presence on this planet. The themes and plots with their characters that includes of course men and women, and also the vast diverse array of animals that are components of our human psyche.

What is the purpose of the story?
This answer can be found in the preface of the book, to cite it verbatim would be the right thing to do, but for the wrong purpose. I do not want to empower or enrich the copyright holder. The forward in the book states: “This is the tale of Yobaghu-Talyonunh as it is told during the long winter nights when the old men of the village feel disposed to entertain. The tale is hardly known nowadays by the youth of the tribes, who do not have much interest in it. But it is a story that has been handed down by word of mouth from generation to generation, told by the elders with the object of passing on to their successors the customs of the tribes and to explain many things-the natures of the different animals, how the canoe is made, the snowshoe fashioned; why silver-tip is dreaded, the wolverine outlawed. While the tale is not the same among all the tribes, it is told of the same hero among all the Indians of Alaska.
Yobaghu-Talyonunh was the first medicine man, and a good one. All that he did was in the welfare of man. With a few exceptions, he subdued all creatures to his will and those exceptions would have been overcome but for some trickery or conspiracy of the elements. Much of what follows is strange and cannot be explained, but what has been possible to piece together is given here. Arthur R. Wright”

Are the characters in the story real people?
Yes, I personally believe that they are.

Are the illustrations/photographs accurate and/or appropriate?
Yeas they are! They are illustrated by a well know Alaskan artist by the name of Bill Engles who had married a local Minto woman by the name of Betty Titus. Bill is a very well respected artist with many paintings in museums and local banks, and in local millionaire’s homes.

Are there stereotypical and demeaning portrayals in the story?
No!

What was the overall feeling of this book? Did you like/dislike this story?
I feel that this book was well written, and the story line of The First Medicine Man is somewhat like the classics of Greek mythology. There are parables and life observations of both animals and humans that make up the components of their psyche.

How did this story make you feel?
I was somewhat surprised that some one from so long ago would take the time to sit down and write about Athabaskan legends. I was impressed at the quality of the work as he encompassed all of the major figures in the creation story that basically fits the story of our story The Traveling Man.

Was the story respectful of its subjects?
Yes the stories are very respectful.

Was the language, vocabulary, used correctly?
Yes, and one can tell that there is a hint of a village vernacular in his writings.

What was the message to the readers?
To tell the younger generations the creation stories at that time were beginning to disappear by the cessation of storytellers to the younger generations, and to perpetuate and encourage people to carry on the tradition of oral story telling.

- back to top -

The First Christmas Tree
Ts’eba Tthadala
The young Spruce Tree
An aboriginal Athabaskan Christmas story
By Chief Peter John of Minto
Told in the Lower Tanana Athabaskan
Alaska Native Language Center
1991

Is this a fiction or a non-fiction story?
As Peter John states in the preface of the book, he said, “People should know that the Natives had Christmas three or four thousand years ago.” As I have stated in previous reviews this story is considered to be true by the Athabaskan’s of the Lower Tanana River. However, people outside of our culture may not consider this non-fiction story.

Is the story based upon cultural, and/or Indigenous knowledge(s)?
Yes the story is based on cultural and Indigenous knowledge’s. The story I have been told ranged from Chena, Alaska, downriver to the old village of Cos’chaget above Tanana. It is important to note that the story has subtle changes in each community that this story has been related.

Is this story an infringement on cultural intellectual knowledge(s)?
In this case I would say that it is not. First, Peter John has secured copyright on this story. Second, the story that came from Minto is different from the version that is told in Nenana. Thirdly, the people of Minto, Alaska have not voiced disapproval against Peter John telling the story to the Alaska Native Language Center, and the Cultural Heritage and Education Institute.

Who is the author?
The author is Peter John of Minto, Alaska; he had settled in Minto in the 1920’s after marring a woman from Cos’chaget, before that he was raised in Saint Marks Mission.

What is the author’s background, i.e.: reliability, credibility?
It is said that his family originally came from somewhere around Circle, Alaska. After living in Minto for a considerable length of time he began speaking for the Minto people and they liked the way he talked for them, so they made him their chief.

What are the character(s), theme(s), and plot(s) of the story?
The main character is of the Stickman, how the stickman came to a couples place because it was starving and took Caribou meat from their cache. Then the man caught the Stickman taking food and stopped the Stickman by grabbing it around the waist. Although they could not understand each other the man promised not to harm the Stickman, and gave him Caribou meat because he could tell it was starving. They befriended each other and the Stickman stayed with the couple and helped pack Caribou meat when it regained his strength. When it came time for the Stickman to leave he took the man that had helped him and showed him a young spruce tree. The Stickman instructed the man to return to it in the fall time, and he said, “When I have died, then this spruce will wither up and die.” The stickman then left the couple; in the next winter the man returned to the spruce tree to find it all decorated with beads, and dentalium shells. This went on for a couple of winters until the man came to the tree and found that it had died, and so he knew that the Stickman had also died. Because of the Stickman’s gifts of beads and shells, the man became a very wealthy chief.

What is the purpose of the story?
The story has a parable to treat spruce trees with respect because they will be good to you. When one is out hunting or camping in the woods and they gather spruce boughs to sleep on, if one picks the best and softest boughs it will bring you luck.

Are the characters in the story real people?
To us they are historical figures, and to this very recent day they are some in the area who have even claimed to see a Stickman. But, this story would probably be alluded to fiction or lore by those of this dominant society.

Are the illustrations/photographs accurate and/or appropriate?
Yes, there is only one illustration on the front of the cover of the book. It is as drawing of a young spruce tree all decorated with beads and shells.

Are there stereotypical and demeaning portrayals in the story?
I am happy to say no, there is not!

What was your overall feeling of this book? Did you like/dislike the book?
My overall feeling is that I liked the book. It was interesting to me of the differences in the rendition of their (Minto) version of the story.

How did the story make you feel?
I liked the fact that a person from a village can write about stories and publish them, and retain the copyrights to the story without it creating friction within the community.

Was the story respectful of its subjects?
Yes, the story is very respectful of its subjects.

Was the language, vocabulary, used correctly?
For the most part yes, however there is in this book a translation into the Lower Tanana dialect that is written in linguistic script that was confusing to me when I tried to read it. The linguistic script at the bottom of each sentence did not match the sentence structure in the English language. They did not match it verbatim as we speak in what is called post-operative speech, much like the Russian language.

What was the message to the readers?
Be good to others, man, Stickmen, animals, and the spruce trees and in the future you will be rewarded
- back to top -

My Own Trail
Howard Luke
Alaska Native Knowledge Network
Edited by Jan Steinbright Jackson
1998

Is this a fiction or non-fiction story?
This is a non-fiction story of the recounting of the life and times of the author Howard Luke.

Is this story based upon cultural, and/or Indigenous knowledge(s)?
Yes, it is a story that is based on cultural and Indigenous knowledge’s, and in my opinion there could have been no better author to write about this story as this is basically an autobiography of Howard’s life in his own words.

Is the story an infringement on cultural intellectual knowledge(s)?
I personally feel that the story does not. Howard Luke is telling the story of his life and life’s events and I believe that he is entitled to do so.

What is the author’s background, i.e.: reliability, credibility?
Howard Luke was born at Linder Lakes, in the early years of his life he lost his father; it was soon after the death of his father his family moved to his mother’s home village of Chena, Alaska. Howard then learned about the area of Chena and the inhabitants both Indigenous and immigrants. He has lived there at the old village site for the remainder of his life. Unfortunately, he is the last sole remaining Indigenous inhabitant. He has in the mean time created a culture camp at his home site that is used by the University of Alaska, and various education departments throughout the United States.

What are the character(s), theme(s), and plot(s) of the story?
The book is dedicated to his mother Susie Silas, and stepfather John Silas. He talks of his early years when they hunted and trapped in the outlying Chena area, and the hardships that they all endured. He talks of the early years spent at Fairbanks, Alaska and learning how to work for wages at various places around the town.

What is the purpose of the story?
I personally believe that this book is Howard Luke’s attempt to document the knowledge that he holds, and also is trying to pass on his information on his family’s genealogy as he has a big extended family. He is generously giving them his story and information. As a strange coincidence as I was writing this paper, Anthony Brown who is the great-great-grandson of Howard’s grandmother who for the first time saw pictures of his family, and I have given him my copy of Howard’s book.

Are the characters in the story real people?
I have not come across a fictional character while I was reading the book. In another coincidence this summer while I was cutting fish at camp a woman got out of a car and said “does anyone here know me?” I said “well, who are you?” She said, “I am Mabel Andrews!” I told her that I have heard of her and her family and that I knew her family was from Chena, and related to me by my step-great-grandfather. She went on to say that she read Howard’s book and was suppressed that he had written about her. She had a small criticism about the book and I said to her, “Now, now, Mabel he can say and write about whatever he wants, and when we sit down to write ours, we will do the same thing.”

Are the illustrations/photographs accurate and/or appropriate?
Yes, they were! And I might add that the photographs and illustrations gave a lot of merit to the book as he has photographs that span over a hundred year span.

Are there any stereotypical and demeaning portrayals in the story?
There is only one instance where that is the case, and he carefully alludes to it to himself, when he was talking of his drinking days.

What was your overall feeling of the book? Did you like/dislike the book?
I very much enjoyed the book and my only regret is that I felt it was too short. Howard has a wealth of information and stories, and perhaps in the future he will write more.

How did the story make you feel?
The story has given me a sense of history and a feeling of belonging. There were a lot of areas that he could expound on and elaborate more. However, I do see him every once in a while, and I always try and talk to him and ask him questions.

Was the story respectful of its subjects?
Yes, for the most part he was very respectful of his subjects in the book, save for himself in certain places, pages 83-87.

Was the language, vocabulary, used correctly?
Yes, they were all used correctly and there was also a hint of village vernacular throughout the book that really encapsulated Howard’s style.

What was the message to the readers?
The message that I got out of the book was that everyone is able to make their own trail. He gives encouragement to do so. The saying that “One had better make something out of life, or life will make something out of you,” rings true to this book.

- back to top -

The Girl Who Swam With the Fish
Alaska Northwest Books, 1999
Retold by Michelle Renner
Illustrated by Christine Cox
Ages 7 and up

Is this a fiction or non-fiction story?
This story is based on a Kuskokwim Athabaskan legend, that is retold by the author who got the story from a published collection of stories told by an elder of the area Miska Deaphon of Nikolai, Alaska entitled Nikolai Hwch’ihwzoya’, 1980. The story would be considered fiction by westerner’s standards, but most likely a real life event by the reporter of the story.

Is the story based upon cultural, and/or Indigenous knowledge(s)?
Yes it is, because the material was first collected and produced by the National Bilingual Materials Development center. The stories were then translated by Betty Petruska and edited and proofread by Ray Collins an anthropologists that resides in the area.

Is the story an infringement on cultural intellectual knowledge(s)?
Yes, I believe that this is the case because when I read the introduction to the book Nikolai Hwch’ihwzoya’, there was a concern that oral story telling was disappearing in their village and they wanted to preserve them by documenting them in a printed form both in the Kuskokwim dialect and in English. There is also a mission statement in the introduction that reads, “Now-a-days story telling is rarely done in the village of Nikolai. There are still a few people that remember the stories, such as those recorded in this book, but they do not tell them. It is, therefore, the hope of all the people who assisted in the preparation of this book that the people of Nikolai will once again find a renewed interest in the telling of their stories.” The introduction further states: “The old need for entertainment and remembrance. The young need them for education and the improvement of their understanding of their cultural heritage. To allow these stories, and others which are yet to be collected and preserve, to disappear, would be to facilitate the great cultural erosion that is currently plaguing all the Native villages of the state. We must not allow this to happen, for the saddest story any one could ever tell any group of people who lived on this, or any other planet, would be that there are no more stories to tell. Hopefully, this collection and its study guide will help to preserve the stories of the Nikolai people.”

Who is the author?
According to the short bio at the back of the book it states, “Writer Michelle Renner has taught elementary school in Alaska in a small village, Kongiganak, as well as in Kenai and Anchorage. The Girl Who Swam With The Fish is her first children’s book. She lives with her husband and two sons in Eagle River, Alaska.”

What is the author’s background, i.e.: reliability, credibility?
Other than her introduction in the back of the book, the only credibility is that she has taught in a remote village. To answer this question to the best of my ability I searched the web and found reviews of the book. One such site claimed this story was “based upon a Yupik story.” For another point of view there is a review that reads in amazon.com:

“Grade 2-4?In this retelling of an Athabascan legend, a girl waiting for the salmon to return slips by accident into the river, and, changing into a salmon herself, is swept to sea. Living with the ocean kings for years, she learns about their preferences: the salmon will return only to families with clean racks, sharp cutting knives, and proper drying methods. When she has matured enough to journey up the river, she rejoins her family and tells them what she has learned, and they always have fish. The cultural importance of this story does not, alas, guarantee an exciting plot. The moment of the girl's return to human form is passed over in an anticlimax, and the narrative ends weakly. It is hard for non-Athabascans to see the point. The illustrations, competent and sometimes clever (e.g. the girl's salmon-shaped shadow in the last picture), also lack excitement. The artist's palette is limited to the palest hints of ochre, blue, and green. The quasi-woodcut style provides strong linear interest, but also accentuates faults of draftsmanship. This well-meaning but dull effort demonstrates that not every native legend offers transcultural wisdom? Patricia (Dooley) Lothrop Green, St. George's School, Newport, RI
Copyright 1995 Reed Business Information, Inc.”

What are the character(s) theme(s) and plot(s) of the story?
The story by Michelle Renner is about a girl who got to close to the river bank, fell in, and turned into a fish that went to the ocean for four years and then returned. In doing so she reported to her people that the fish would only return to rivers where the people kept their camps clean and knifes sharp. But when comparing this story to the original text it looses subtle nuances of the original story.

What was the purpose of the story?
In the original story as compared with the children’s book, the purpose of the story is to be respectful of the salmon keeping fish camps clean and knifes sharp. Also, there is a certain way to preserve the cut salmon by placing them on the drying racks skin side out so that they dry correctly.

Are the characters in the story real people?
As I have mentioned before they probably are as to the perspective of the original story teller, but not to the people of this dominant western society.

Are the illustrations/photographs accurate and/or appropriate?
For the most part yes, the clothing was pretty much appropriate to the times as far as the moose skin clothing. But there was beadwork on them that seems out of place for the story timeline. As for the illustrations of the King Salmon and the salmon that she turned into, they did not look like any salmon I have ever seen before. They looked more like trout or Dolly Varden to me.

Are there stereotypical and demeaning portrayals in the story?
For the most part no, other than the stereotypical ‘Athabaskan beadwork’ was on clothing where at that time it would have been more appropriate to have quill work on the clothing. Also I would mention that the dentalium shells on her person were basically indistinguishable

What was your overall feeling of this book? Did you like/dislike the book?
I really enjoyed the original story by Miska Deaphon; the story by Renner was not all that bad. I could tell she took great pains not to copy, or infringe on the original story.

How did this story make you feel?
Mad, to coin a phrase by Annie Pavilla, “It’s just another cultural rip off!” When comparing the original to the published story it leaves a lot of information and story lines out of the published works. It seems that writers like this were not the intentions of the originators of the collected materials from the elder’s interviews and publications.

Was the story respectful of its subjects?
Yes.

Was the language, vocabulary, used correctly?
To fit the story line, yes.

What was the message to the readers?
The life cycles of the salmon, and to keep your fish camp clean, and always keep sharp fish knives.

- back to top -

Legacy of the Chief
Author, Ronald N. Simpson
2001, Publication Consultants
Estimated range: seventh through twelfth grades, adult

Is this a fiction or a non-fiction story?
The author dedicates the book to his great-grandfather Chief Nicolai of Taral who witnessed the coming o