Stephanie Graegin spent her childhood drawing and collecting fauna. These days, she lives in Brooklyn, is still drawing, and has managed to keep her animal collection down to one orange cat.
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Blog: The Children's Book Review (Login to Add to MyJacketFlap)
JacketFlap tags: Illustrator, Ages 0-3, Ages 4-8, Picture Book, Peace, Picture Books, Art, Shaun Tan, Maurice Sendak, Richard Scarry, featured, Ezra Jack Keats, Barbara Cooney, Lane Smith, Picture Books For Children, Edward Gorey, Arnold Lobel, Book Illustrator, Beatrice Alemagna, Illustration Inspiration, Cultural Wisdom, Social Graces, Stephanie Graegin, Annette LeBox, Add a tag

Blog: Liz's Book Snuggery (Login to Add to MyJacketFlap)
JacketFlap tags: Barbara Cooney, Chanticleer and the Fox, 3-5, 5-8, Caldecott Illustrators, Way Back Wednesday, Uncategorized, Classics, Add a tag
Chanticleer and the Fox
By Barbara Cooney
“Flattery looks like friendship, just like a wolf looks like a dog.” Remember that line please, for it provides a perfect introduction via this anonymous quote, to another essential classic in our Way Back Wednesday essential canon of picture book not to be missed classics.
Flattery is at the heart of Barbara Cooney’s Caldecott Award winning adaptation of “The Nun’s Priest’s Tale”, taken from Chaucer’s “The Canterbury Tales.”
Winning the award in 1959, the picture book tells the story of Chanticleer, a beautifully crowing, but proud cock and his nemesis, a wily, but ultimately outfoxed fox. Chanticleer, and his mate Partlet, are a lovey dovey duo, living on the farm of a poor, but hardworking widow with two young daughters.
Chanticleer has a very prophetic dream that his mate pooh poohs. He dreams of a
….beast like a hound which tried to grab my body and would have killed me. His color was between yellow and red, and his tail and both ears were tipped with black different from the rest of the fur
Hmmm. Now what sort of description does THAT fit, eh Partlet? But instead of comforting her partner, she calls him a coward and says, “Do not fear dreams.” Dear Partlet, tell that to Caesar, when his wife, Calpurnia (great name), warned him not to go to the Senate on the Ides of March. And we all know how THAT dream ended.
But this tale is not so much about dreams, but how flattery can get both Chanticleer and the fox in a spot where both use flattery to get what they want. Fortunately, for Chanticleer, they each want different things.
Barbara Cooney won a second Caldecott in 1980 for “Ox-Cart Man” and, who can ever forget the Lupine Lady, “Miss Rumphius?”
In “Chanticleer and the Fox”, Ms. Cooney elegantly employs a combination of color and black and white in her drawings to emphasize the intensity of the action, or a splash of color to set off more pastoral scenes.
Her descriptive passages and narrative draw young readers in, and her use of vocabulary is first rate.
I applaud picture books such as “Chanticleer and the Fox.” They are excellent both in storytelling, art and they believe their audiences to be up to the challenge of this type of book and never water things down too much.
May I say that they, in a way, “flatter” the reader in a good way? They believe young readers are up for it. And they are; if we, as adults, believe it too!
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Blog: American Indians in Children's Literature (Login to Add to MyJacketFlap)
JacketFlap tags: stereotypes, not recommended, Barbara Cooney, Miss Rumphius, award-winning book, Cigar store Indians, Alexander Lawrence Posey, Add a tag
Editor's Note: Back in 2009, I wrote up a short note about Barbara Cooney's Miss Rumphius. Because the book is on the We Give Books site, I decided to revisit that short post, add to it, and repost a cleaned up version of it here, today:
Though it is much loved and winner of an American Book Award, every time I think of Barbara Cooney's Miss Rumphius, the image that I recall is not the lovely lupines she walks amongst or the landscapes people adore. Instead, I remember this page:
(Source for image: http://theartofchildrenspicturebooks.blogspot.com/2011/03/miss-rumphius.html)
Here's the text for that page:
Now he worked in the shop at the bottom of the house, making figureheads for the prows of ships, and carving Indians out of wood to put in front of cigar stores.
"He" is Cooney's great grandfather. He's the one who carved cigar store Indians. So... what is wrong with that page?
Source: Oklahoma Historical Society |
Noted Creek writer, Alexander Lawrence Posey, said that the cigar store Indians "are the product of a white mans's factory, and bear no resemblance to the real article." Posey died in 1908.
Is Cooney wrong for including this information in her book? It is factual as Cooney wrote it--carvers of that time period did carve figureheads for ships and wooden Indians, too--but given that Miss Rumphius was published in 1982 and the information about these carvings being stereotypical is quite old, perhaps she could have inserted "stereotypical" in front of "Indians."
If she had done that, the text on that page would be:
"Now he worked in the shop at the bottom of the house, making figureheads for the prows of ships and carving stereotypical Indians out of wood to put in front of cigar stores."
Course, if Cooney did that, the story wouldn't be as charming as it is, but it would be more accurate, and it could prompt teachers, parents, and librarians to address stereotypes whenever they read the book to children. What do you think?
Blog: The Children's Book Review (Login to Add to MyJacketFlap)
JacketFlap tags: Picture Books, Christmas, Barbara Cooney, Hanukkah, Patricia Polacco, Edward Ardizzone, Jan Brett, Robert Barry, Aliki, Goodie Bag: Books to share and give, Ages Nine to Twelve: Books for Third Through Sixth Grade, Book Lists: Specialty Picks, Gloria Houston, Iza Trapani, Rumer Godden, Seasonal: Holiday Books, Ages Four to Eight: Books for Pre-School Through Second Grade, By Dylan Thomas, Clement Moore, Add a tag
By Nicki Richesin, The Children’s Book Review
Published: November 29, 2011
During the holiday season it’s a great joy to share family traditions and spend time together. Every year, I look forward to reading these beloved books below to my daughter.
The Story of Holly & Ivy
By Rumer Godden; illustrated by Barbara Cooney
Rumer Godden begins The Story of Holly & Ivy with the sweetest line, “This is a story about wishing.” When an orphan named Ivy and a dreamy doll named Holly see each other through a toy shop window, magic happens. In this classic Christmas tale, Holly and Ivy both find a sense of belonging in their new home and to each other. Wishes come true in part thanks to Barbara Cooney’s tender illustrations of the festive village and toys. Godden captures the precious beauty of a brave girl unwilling to give up on her dream. (Ages 5-10)
Christmas Tree Memories
By Aliki
My daughter and I love returning to Christmas Tree Memories by Aliki each December just like the family’s tradition in the book of sitting by their tree with cookies and a roaring fire to recount each story behind their homemade ornaments. Aliki imbues such gentleness to each character, whether it’s Papouli or the children, the love this family feels for each other comes across with her every detail. (Ages 4-8)
Jingle Bells
By Iza Trapani
Jingle Bells (as told and illustrated by Iza Trapani) is a rollicking fun songbook filled with holiday customs and traditions from around the world. Children will enjoy learning about bearded little gnomes in Sweden, lantern parades in the Philippines, breaking the piñata in Mexico, and presents found in their shoes in Italy. (Ages 4-8)
Blog: Emmasaries (Login to Add to MyJacketFlap)
JacketFlap tags: Mo Willems, Blog, childrens books, Jim McMullan, Kate McMullan, picture books, Peter H. Reynolds, Kevin Henkes, Barbara Cooney, Ian Falconer, Margaret Wise Brown, Crockett Johnson, Writing Childrens Books, picture book month, Debi Gliori, Clement Hurd, Joyce Dunbar, Add a tag
November is National Picture Book Month, and I thought I would contribute to the celebration with a list of ten of my favorite picture books. This is by no means a definitive list – I have hundreds of favorites! – but for our family, these books have stood the test of time and continue to delight, even after multiple readings. Many of them also ‘break the rules’ of picture book writing and publishing, and remind us that a unique idea, an original voice or a magical complement of story and art make it possible to venture beyond formulas and create something surprising and enduring:
Bark, George! (Jules Feiffer) – The giddy tale of a puppy who speaks every other animal’s language but his own – with superbly spare text and Feiffer’s brilliant, classic line-drawings.
The Dot (Peter H. Reynolds) – A child who thinks she has no creative talent learns how simple it can be to express oneself creatively and to take pleasure in the ownership of one’s efforts.
Goodnight, Moon (Margaret Wise Brown/Clement Hurd) - A little rabbit preparing for bed says goodnight to everyone and everything in his world. The perfect, classic bedtime story.
Don’t Let the Pigeon Drive the Bus (Mo Willems) – A brilliant tribute to the often dramatic and unreasonable behavior of preschoolers, with simple but hilarious illustrations and text.
Harold and the Purple Crayon (Crockett Johnson) – Harold takes a memorable journey with a simple purple crayon… First published in 1955, a tribute to the power and wonder of imagination.
I Stink (Jim and Kate McMullan) – A hilarious ode to the humble garbage truck, reminding us that everyone has value and something to contribute.
Miss Rumphius (Barbara Cooney) – Alice Rumphius has three life quests – to see faraway places, to live by the sea in her old age, and to do something to make the world a more beautiful place.
Olivia (Ian Falconer) – The “Eloise” of pigs! Ian Falconer’s hilarious series about an unforgettable (if a tad precocious) porcine heroine.
Owen (Kevin Henkes) – Owen and his beloved blanket are inseparable, until the first day of kindergarten. Can his parents find a solution that suits everyone and helps their son transition?
Tell Me Something Happy Before I Go To Sleep (Joyce Dunbar/Debi Gliori) – A thoughtful bunny calms his younger sister’s nighttime fears by encouraging her to think happy thoughts.

Blog: The Art of Children's Picture Books (Login to Add to MyJacketFlap)
JacketFlap tags: painting, paint, Barbara Cooney, Miss Rumphius, Add a tag

Blog: The Art of Children's Picture Books (Login to Add to MyJacketFlap)
JacketFlap tags: Barbara Cooney, Evaline Ness, Mary Azarian, Good Book Cover Design, Berta Hummel, Antonio Frasconio, Provensen, Joan Walsh Anglund, Henry C. Pitz, Robert Gibbings, Maurice Sendak, Add a tag
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Blog: Playing by the book (Login to Add to MyJacketFlap)
JacketFlap tags: Seasons, American history, Markets, Barbara Cooney, Farms, Being independent, Donald Hall, Add a tag
My official swap partner for Perfect Picture Books by Post was Beth and her homeschooling family in New Hampshire. They chose to send us a Caldecott medal winning picture book set in their home state, Ox-cart Man by Donald Hall, illustrated by Barbara Cooney.
Beth couldn’t have known that right here, right now this is the perfect picture book for us – I’m currently reading M Little House on the Prairie, and as soon as we’d finished reading Ox-cart Man she immediately made a connection between the two. Somehow seeing the life she’s listening to shown in another book really thrilled her and ever since it has been inspiring hours and hours of role play.
Ox-cart Man depicts the rhythm of a year in the life of a New England farmer and his family in the early to mid 1800s. Opening with the farmer packing up his ox-cart with goods he and his family have grown, made and prepared throughout the preceding 12 months, we follow his journey through russet and gold autumnal countryside to Portsmouth Market, where he sells his wares, right down to his ox and cart. Using his earnings to buy a few store goods for his family he returns home to start preparing for the following year’s market, with his first task being to build a new yoke and cart.
The tale is told in a sparse and unadorned manner (for example, barely any adjectives are used), mirroring the family life being depicted. But in the eyes of a 21st century girl it is a tale full of wonder. I think M found it both slightly baffling and rather thrilling to see how much the family makes and grows for itself (even though we make and grow quite a lot ourselves, at least by urban, British standards). Baffling because of the simple lack of “stuff” and the value placed on nowadays seemingly almost valueless items like a single needle, and thrilling because it appeals to every young child’s sense of independence and belief that they can do everything themselves.

Barbara Cooney’s illustrations match the simplicity of the text. They are unfussy, yet full of historical detail and
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Blog: CURIOUS CITY DOINGS (Login to Add to MyJacketFlap)
JacketFlap tags: Curious City, barbara cooney, jamie hogan, Raising Readers, Add a tag
Took a sweet side trip up to Bowdoin College Museum of Art to see the final days of the Barbara Cooney Exhibit. Oooed and awed my way through the minute details of her work alongside the beatific illustrator, Jamie Hogan.
We stood dumbfounded by a group of tiny birds gathered in the gutter in an out-of-the-way corner of Cooney's picture book, Eleanor. Watch for the attentive, busy animals in almost every single spread she creates.
Was also enamored with the lupines painted on Chinese silk for Miss Rumphius. Proud to say, I have worked with Penguin USA and Raising Readers to include Miss Rumphius in an anthology of picture books by Maine authors and illustrators that will be distributed to Maine five-year-olds in 2010. Cooney's lupines grace the end papers of a collection that also includes Robert McCloskey, Amy MacDonald, Lynn Plourde, and Scott Nash.
It was one thing to see this exhibit and another to see it alongside the ever-curious-eye of Jamie Hogan. She finds wonder and inspiration in every detail of life. If you have not spied her Blog, JamiePeeps, you must. It is a perfect reflection of her creative life, mindset, and process.
Thanks to Jamie for this sketch of me made while I was sketching a wall carving from Iraq circa 859 BC. Under Jamie's pencil, I need not go on a diet.

Blog: First Book (Login to Add to MyJacketFlap)
JacketFlap tags: Barbara Cooney, Books & Reading, Miss Rumphius, Add a tag
Guest blogger Tina Chovanec is the manager of Reading Rockets.org: the authoritative online source for comprehensive and accessible information about teaching young children to read and helping those who struggle. Reading Rockets is one of four multimedia educational websites created by Learning Media, a division of WETA, the PBS affiliate in the Washington DC area. Tina is the mother of two grown daughters, both enthusiastic readers and Scrabble players. She volunteered at Hoover School (Corvallis, Oregon) throughout their elementary school years, and just started as a reading tutor at Drew Model School in Arlington, Virginia.
Last month I made the trek up to Rangeley, Maine (“midway between the Equator and the North Pole”) with my daughters for a family reunion at Gull Pond – the place where I spent many growing-up summers. The Maine air still feels diamond-clean and the geography of the water’s edge looks remarkably unchanged after 20+ years.
Emily, Nora and I walked the logging road into town. I wanted to visit the old stone library – my favorite place on a rainy summer day. The welcoming stone facade is still there, but wow it’s changed inside. No longer small and Hobbit-like, it’s now spacious, with a light-filled atrium, bustling media center (of course), expanded book collections – and lots of visitors. (It seems that libraries everywhere are thriving!)
We made a bee-line to the young reader’s section, all three of us drawn to the books of our childhoods. In a place of honor on the “you-must-read-this” display was my all-time favorite children’s book, Miss Rumphius.
This children’s librarian knew something! With Miss Rumphius, author Barbara Cooney created a timeless and evocative picture book about some of life’s big questions: What is my place in the world? Can I envision a better world and then act to make something positive happen?
In Miss Rumphius, the adventurous Alice Rumphius settles by the sea in Maine after a full, rich life of traveling and making friends around the world. Keeping a promise made to her grandfather when she was a young girl to “make the world more beautiful,” Miss Rumphius does just that, by becoming the eccentric old lady who scatters lupine seeds everywhere.
This is a wonderful read-aloud, a book that prompts many questions and opportunities to learn. Here are a few:
Vocabulary development. Miss Rumphius is filled with rich words: ‘bristling,’ ‘conservatory,’ ‘figurehead,’ ‘jasmine,’ ‘masts,’ ‘prow,’ ‘stoop’). Learn more about building a child’s vocabulary through books and conversation in this Reading Rockets article, “Taking Delight in Words.”
Background knowledge. What is lupine and why does it bloom year after year? Miss Rumphius travels to faraway places. Map her journeys to learn more about the world and its people. When Cooney writes about the Land of the Lotus Eaters or cigar store Indians, what does that mean?
Plot structure: the flashback. Talk about the present, past, and future as you read this book with a child. Can they identify the shifts in time? Have they read other flashback stories? Could they tell their own story in flashback? Learn more about teaching plot structure with picture books.
Making a difference in the world. This is a great discussion topic for children. Ask if they have ideas about how they might make their community a better place. Do they know people who stood up for something they believed in and showed great courage? For a selection of other wonderful stories dealing with these same themes, browse this Reading Rockets booklist.
Roots and wings. Miss Rumphius raises other themes worth talking about, even with very young children. What does “home” mean to you? Is it important to see and experience different parts of the world in order to understand your own place in it? Books are a great way to travel the world.
The central themes in Miss Rumphius are powerful and enduring. The International Reading Association even coined a term, the Miss Rumphius Effect, to describe “a phenomenon taking place on the Internet as teachers enact new visions for literacy and learning through the curriculum they create and share with others.” They established the Miss Rumphius Award, which recognizes educators committed to spreading their innovative teaching ideas (like lupines…) to the world.
The Horn Book published a fascinating article by Barbara Bader in 2000 about Cooney, the evolution of her illustration and storytelling style, and her instinct to write stories about “determined, creative women, like Cooney herself.”
I had the chance to meet Barbara Cooney years ago when my daughters were small. Our local independent bookstore, Narnia Books, had invited Cooney to visit and there we were: first in line, holding an armful of books awaiting a signature, excited to meet this woman we so admired. She was very kind and genuine, and she asked Emily and Nora about their favorites places to read. I was enchanted: she looked just like Miss Rumphius.
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Blog: Just One More Book Children's Book Podcast (Login to Add to MyJacketFlap)
JacketFlap tags: Barbara Cooney, Emily Dickenson, Michael Bedard, review, Podcast, Community, Picture book, Girl, Woman, Making a difference, Friendship, Beautiful, Appreciation, childrens book, Ages 9-12, Hope, Life Skills, Diversity/Multi-culturalism, Realistic, acceptance, Writing, Arts, Thinking/Attitude, Notes, Personalities, Canadian, Canadian, Michael Bedard, Personalities, Notes, Barbara Cooney, Emily Dickenson, Ages 4-8, Formal, Compassion, Courage, Creativity, Generosity, Respect, Illustrations, Language, Understanding/Tolerance, Add a tag
Author: Michael Bedard
Illustrator: Barbara Cooney
Published: 1992 Dell Dragonfly Books (on JOMB)
ISBN: 0440417406 Chapters.ca Amazon.com
Warm, evocative illustrations and beautifully worded, thought provoking narration make this fictional encounter with poet Emily Dickenson a stirring introduction to poetry, eccentricity and the power of understanding.
You can read more about social anxiety in children’s book here.
Tags:Barbara Cooney, childrens book, Emily Dickenson, Michael Bedard, Podcast, reviewBarbara Cooney, childrens book, Emily Dickenson, Michael Bedard, Podcast, review.jpg?picon=694)
Blog: The National Writing for Children Center (Login to Add to MyJacketFlap)
JacketFlap tags: Picture Books, Renee Kirchner, tips for parents, Tip For Teachers, teaching tips, A Wild Western Cinderella, Bubba and Beau: Best Friends, Chickarella, Kathi Appelt, Mary Jane Auch, Susan Lowell, t chart, teaching compare and contrast, Venn diagram, Add a tag
By: Teaching Tips Contributing Editor, Renee Kirchner
It is important for elementary aged children to understand the concept of compare and contrast. This concept can be applied to many areas of the curriculum including math, science, and literature. When a child is asked to compare and contrast two different things, they are supposed to tell how they are alike and different. Comparing shows the similarities between two objects and contrasting shows the differences. Children will use words such as both, like, also, and similar when comparing. Words such as unlike, however, and but might be used when contrasting two objects.
Children’s books, both fiction and nonfiction, can be useful tools for teaching the concept of compare and contrast. Select one book with two different characters or choose two books with similarities and differences in character or plot. Nonfiction books will also work well. For example, you could choose a book on reptiles and compare and contrast two different types
of reptiles.
There are two useful tools that teachers use as prewriting activities when teaching compare and contrast: the Venn diagram and the T-chart. The Venn diagram is made up of two or more overlapping circles depending how many objects you are comparing. Each circle contains different information about the objects and the overlapping portion in the middle contains the
similarities.
For example if I was comparing a rabbit with a wolf, the rabbit circle might have herbivore and the wolf circle would have carnivore. The overlapping portion in the middle might contain the word mammal, since both animals are mammals. Of course your student would put more than one descriptive word in each circle. The more detail they use, the better. The T-chart is organized differently than the Venn diagram. If we use the example of the rabbit and the wolf the chart would look like this:
Characteristic Rabbit Wolf
Diet Grass Meat
Animal group Mammal Mammal
Here are some examples of picture books that would work well for studying the concept of compare and contrast:
One Picture Book with Two Characters
Bubba and Beau: Best Friends by Kathi Appelt
Bubba is a Texas baby and Beau is a Texas puppy and they are best friends. They have adventures together and both of them become very upset when their pink blanket gets washed.
Similarities between Bubba and Beau:
Both of them are keen on chewing, neither one is housetrained, and they both disdain soap.
Differences between Bubba and Beau:
Bubba loves the pinky pinky blankie because it smells like Beau and Beau likes the pinky pinky blankie because it smells like Bubba.
Two Picture Books with a Similar Main Character
Cindy Ellen: A Wild Western Cinderella by Susan Lowell
Chickarella by Mary Jane Auch
Similarities between Cindy Ellen and Chickarella:
Both of them have an evil stepmother or step-chicken, a fairy godmother or fairy fowl mother, and both have a prince or a princely rooster.
Differences between Cindy Ellen and Chickarella:
Cindy Ella can wrangle, rope and gallop. Chickarella starts a high fashion business that grows out of making clothes for the ball.
Children can use the examples above to create a Venn diagram or a T-chart and then write a compare-contrast paper about the different characters.
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Note: Although school is out for summer vacation in most places across the country, parents can still read with their children this summer and use activities like this one to have fund with their children as they help them become better readers.
A Wild Western Cinderella Bubba and Beau: Best Friends Chickarella Kathi Appelt Mary Jane Auch Picture Books Renee Kirchner Susan Lowell t chart teaching compare and contrast teaching tips Tip For Teachers tips for parents Venn diagramA Wild Western Cinderella Bubba and Beau: Best Friends Chickarella Kathi Appelt Mary Jane Auch Picture Books Renee Kirchner Susan Lowell t chart teaching compare and contrast teaching tips Tip For Teachers tips for parents Venn diagramA Wild Western Cinderella, Bubba and Beau: Best Friends, Chickarella, Kathi Appelt, Mary Jane Auch, Picture Books, Renee Kirchner, Susan Lowell, t chart, teaching compare and contrast, teaching tips, Tip For Teachers, tips for parents, Venn diagram
I've always just quietly edited that part out when reading the book to kids. It's not really relevant to the story, even if it is accurate, and since he carved plenty of other things we can get a clear picture without knowing about the cigar store Indians.
Given the age range the book is geared for, not having included that particular detail in the first place might be a better choice than inserting the word "stereotypical" which, yeah, would detract from the otherwise mostly-charming book. (I also get hung up on the fact that in many parts of the country lupines are a highly invasive plant, and I worry that well-meaning but ignorant teachers and parents might try to link reading the book with broadcasting lupine seeds.)
On the whole teachers and parents reading the book to children are not going to break the reading-together trance to turn it into a teachable moment beyond perhaps 'quietly editing' as the previous commenter said; and doing _that_ only if they themselves are already educated about the issue. To wish that Cooney had made different choices 40 years ago, and had amended her memory of her grandfather's workshop or inserted a klunky teaching word into her text, doesn't make much sense to me. I'm not with you on this one. (But I love the book--as reader, librarian, spinster and coastal person how could I not-- so I may be bringing irrelevant sensibilities to your question.)
I emailed this post to several librarian listservs. At one, a person replied:
"Oh bother. Debbie Reese is one of those bloggers that I usually delete without reading because she can find the most obscure reference to Indians and turn it into a big deal. She's the one who also hates Matchlock Gun."
Because I receive listserv emails in digest, I won't see any replies to this individual (if there are any). I'm sharing the reply here to note that there are different perspectives on books like MISS RUMPHIUS or MATCHLOCK GUN. Sometimes, they vary depending on what child-reader you have in mind. It could be the child's identity, or his/her knowledge base.
Because most children are more likely to see an image of an Indian in a popular, award-winning book like MISS RUMPHIUS than they are likely to see an accurate one in any other book, these "obscure" images matter a great deal.
Is it the word choices made or the perception/reinforcement of a cultural stereotype that’s offensive?
A cursory glance around the Web finds at least one newspaper account from the late 1960s noting the Indian figure’s use being linked to tobacco, with its introduction to white settlers by natives. That could make it a natural association, regardless of whether it’s a kind or thoughtful one.
The author is, after all, looking back and remembering her ancestor creating the sculptures. That is her reality, her ancestral heritage. Should she deny her own memory, her own roots?
Does she not have her own truth? The words chosen to depict it can reinforce the negative or promote something more positive. Such words may not always be inclusive, but absolutely, all truths can be more sensitively expressed.
Regarding Posey’s assessment: While his thoughts no doubt are perceptually accurate from his perspective, such figures indisputably existed. How then should they be explained in our own era? Who has the right to explain them?
Can’t all writers claim the right to use objects from the collective material culture in their work? These figures were not tribal artifacts; they were and continue to be statuary created (as fully acknowledged by Posey (thanks for the link)) by white folks, which most people today understand are primarily for advertising purposes.
Colonialism happened. It was ugly. It was deathly. It can’t be whitewashed, swept under the rug, or otherwise denied.
If writers expunge the reality of such statues (and they were used in the physical sense, so to ignore them creates holes in the fabric of U.S. material culture), bowdlerizing results. Some writers and historians find that choice akin to censorship.
Mitali Perkins has a post discussing this issue.
For example, the original could be amended to “Now he worked in the shop at the bottom of the house, carving wooden statues depicting beautiful women to adorn ships’ prows and handsome Indian men to grace cigar-store fronts.”
Thoughts?
I didn't suggest that Cooney deny or remove the statues from her memory or ancestral heritage.
And of course, writers can and do depict material culture as they choose. I'm not suggesting they can't do that either.
I'm also not suggesting that colonialism be whitewashed or denied. It must be addressed, and it could have been addressed in Cooney's book.
Such things can, and should be explained, by anyone, but especially by teachers who are charged with educating the children in their classrooms.
In your suggested rewrite, you do not acknowledge the cigar store Indian as being a stereotype. Do you not think it matters? Aren't you, with that suggestion, expunging the reality of the statues as being stereotypical?
I recall Mitali's post on this topic, by the way. In the commets, she wrote (in response to people who said edits should not be done):
"I hear you guys, but I used to read widely and freely as a brown tween and teen without any adult assistance in interpreting such books as historical or understanding how and why things are different.
I also had classroom teachers who read us books without pointing out how times have changed, and perhaps they didn't even notice the racism that rings so clearly to me now as an adult.
Do the Little House books (Ma: "The only good Indian is a dead Indian), for example, have the power to damage an already marginalized kid growing up on a reservation who encounters them with or without an astute or informed adult shepherding him or her through the story?"
I doubt that any child could be stupid enough to believe the grandfather carved actual people out of wood. He was an artist or craftsman, and not a contemporary one but one from generations past. Clearly, he only carved wooden representations of people as his own imagination dictated, which any passerby would have seen as a work of his own creative expression. I can't fault him for making less than perfectly realistic sculptures, and I doubt anyone else would, either. They're called "Folk Art" and we give their carvers some license. Rather than calling them stereotypical, I think readers would recognize them as crude or whimsical or idiosyncratic or what not, in accord with the grandfather's own visions.
If one reads the book to a child who asks questions about the carvings, then one should certainly explain and or discuss the idea, but with my children, we read right though that page without stopping. They all turned out free of racism.
My understanding is that in the day when people couldn't read, businesses used symbols for signage, like the saw over the hardware store door or the beer mug over the tavern door. I thought that people often made a connection between Indians and tobacco. Is there something offensive about that that I'm not getting?
The original comment questions a choice made by the author and asks whether she might, as an example, have inserted the word stereotypical to indicate awareness that many people consider certain aspects of her subject to be controversial.
Would a little white girl of that period have thought about stereotypes? Isn’t the narrative structured as if the little girl is reflecting on how she felt as a child, what she remembered from that time and place?
From the illustration, it looks as if it depicts a little girl around eight years old in the early decades of the 20th century, maybe earlier. Would an eight-year-old white girl 100 years ago have known about stereotypes?
An eight-year-old Indian girl, on the other hand, of the same period would’ve viewed the statue differently. And would’ve known that the statue did not represent every Indian.
In addition, were the figures acknowledged as stereotypes at that time by people other than, for example, the adult Posey observing and commenting. We’d want to see accounts about that from back then.
My suggested rewrite was merely a quiet attempt to align the male Indian figure to better correspond with the idea of the female figure used as a figurehead. No judgment of any kind meant for either one. Because females are often characterized as ships’ figureheads in the form of beautiful mermaids. That, too, is stereotypical.
And finally, I didn’t insert the word as an editorial suggestion, because I gather from the discussion that it likely wouldn’t have been in this little white girl’s thoughts.
However, the curious and sensitive modern editor would, it is hoped, query the author. If it turns out that this child might have had such knowledge, then by all means, it could be included, and should be. Something as simple as: But I knew that statues and carvings like that weren’t really the way women and Indians looked (if it’s first-person, or Miss R knew... etc.).
That way it’s incorporated into the narrative organically. It’s the author/child’s voice remembering, not an editor didactically imposing a word to right a cultural wrong.
Yes, I thought you might know about the post and comments by Mitali et al. It seemed as if the words there would’ve resonated with you and that your readers here might find them valuable, too.