Are you
seeing American Indian characters or content?
Questions
Agents and Editors Can Use to Evaluate Native content
Developed
by Kara Stewart (Sappony) with many thanks to Debbie Reese (Nambe Pueblo) for
contributions.
Dear Agents and Editors,
Have you just been presented with a manuscript that has American
Indian content? I know what you’re thinking. “Great googlie mooglies, how do I
tell if the Native content in this doorstop is accurate or if it will cause a
garbage fire for my agency/house?”
Or you may be thinking, “Well, I really like the voice, the plot
is killer, and the author says she
did a lot of research.”
Or you may not be overly familiar with problems in the ways that
writers create American Indian content, and think “I’m sure it’s fine…”
Or….*eyeswipe over listed resources*
“Okay! A resource list! Content should be good to go.” But that
niggling doubt… are those resources reliable?
Or perhaps you’re thinking, “It’s just this one little paragraph
that has American Indian content... and it sounds okay to me...we don’t need to
check on just that!”
Stop right there!
I know neither you nor your authors want dumpster fires, so here
is a handy (errr… I think it’s handy and hope you do, too!) set of questions
(and answers!) you can use to evaluate that manuscript. And a bonus resource
list! By using it, you can gain skills to inform yourself and help authors
create great books that help, rather than harm.
Just pick from List A (for authors who claim to be American
Indian) or List B (for those who do not) and have at it!
A couple of notes on the questions:
- These are meant as
guides. Any single question may not lead you to a definitive answer, but will
inform you. Or you may come up with additional questions to ask or research on
your own.
- It is not racist or bad
form to ask questions specific to American Indian citizenry. For American
Indian populations, the question/answer is larger than underrepresented
minorities or historical oppression, and involves tribal citizenship. American
Indian people are, first and foremost, sovereign nations with structures in place to govern ourselves. This includes
citizenship. Asking “Are you enrolled?” or “Are you a citizen of your nation?”
then, is a question that many welcome. The answer will tell you a lot. Most American
Indian authors will understand why you are asking and openly share their
citizenship with you.
- One little paragraph,
sentence, or phrase can make a difference in a book’s tone, believability,
consequences, and how an American Indian reader may respond to it. Why include American
Indians at all in that phrase, sentence, or paragraph? Choose from List A or
List B.
- For List A, Question 4
and for List B, you will need at least one, preferably two, vetted readers from
the tribe whose content is included. The author’s American Indian contact and
their auntie who works at the college does not count. An objective, tribally-vetted person from the tribe who is familiar
with Native literature does.
- Is pondering these
questions slightly uncomfortable? It is for me too, but I believe it is crucial
that agents and editors take an informed, pro-active stance in the stream of
what gets published. Cliché, but we need all hands on deck. I’m not suggesting
an interrogation, but a conversation that includes these questions will greatly
improve depictions of American Indian people in children’s and young adult
books.
- As editors and editorial
agents, you often ask writers to revise something that you think isn’t right.
It might be a factual error, or asking for clarity. You can do that, too, with American
Indian content.
- Ultimately, what you’re
asking is this: “What will children most likely walk away from this
book/section believing about Native people?” Boil it down to what is/isn’t on
the page. And don’t forget American Indian children! What will they walk away
with, when they read this book or this section?
LIST A: For authors who claim to be American
Indian
1.
I see your bio says you are Native American. What tribe do you associate
yourself with?
2.
Is that a state, or federally recognized tribe?
3.
How are you involved with your tribe?
4.
Are you writing about your tribe or another tribe?
List A Cheat Sheet Potential Answers:
1.
The author should be able to definitively
name a specific tribe. If not, they may have Native ancestry at some point in
their family lineage, but they are most likely not part of a tribe or familiar enough
with it for them to be able to write in the #OwnVoice framework. If an author seems to change their mind, giving
different tribe names at different
times, that indicates they’re in an exploratory phase of finding out their American
Indian ancestry. Note: if an author tells you they are Native via a DNA test, hit
the pause button! Read (re-read) Kim Tallbear’s article, There Is No DNA Test To Prove You’re Native
American. DNA means nothing. What matters is lineage and kinship,
not DNA.
On the plus side, an author may say, “I
am a citizen of the Choctaw Nation and of Navajo descent” or "I am
Sappony". Or, “I am Lumbee and Sappony, enrolled with the Lumbee” or
"I am an enrolled member of the Sappony", if the author understands
that there are members, and there are enrolled members, and it sometimes makes
a difference. Note: if a writer gives
you enrollment information for two distinct tribes, that’s a sure sign that the
writer is not versed in citizenship. While we may have parents or ancestry from
more than one tribe, we are enrolled in one. That’s a protocol widely known
amongst those who are raised with knowledge of their native communities. You
can also ask the author for their tribe's website and contact information. Many
tribes verify membership through tribal ID cards. You can ask to see the tribal
ID card. “And do you have a tribal ID card?” is acceptable. If the person does
not have a card, but is a member/citizen, they’ll likely know that they (and
you) can verify enrollment or citizenship through letter/email. We are asked
for our tribal ID cards fairly often – at university offices, to register to
dance at powwows, or as acceptable forms of identification to vote in some
states, for example.
2.
Question 2 is, in essence, a check on Question
1. It is easy for someone to fudge their way through Question 1, especially if
you, agent/editor, don’t feel confident in your ability to sniff out American
Indian authenticity. If they don't know if their tribe is state or federally
recognized, that is a red flag that points to shallow understanding and
knowledge. It lessens the chance they
are really part of any tribe. Neither state nor federally recognized is 'better
than' or more authentic than the other. If their tribe is neither state nor
federally recognized, that could be a warning signal to find out more, since
there are many groups that claim to be American Indian tribes.
3.
Asking how one is involved in the tribe
they claim is another check on Question 1. Being a member of a tribe is more
than an enrollment number or membership verification. It a way of life. It is
giving back to your tribe, your family. It is being involved. Some nations
require tribal members to live nearby, or require participation in tribal
activities. Possible follow up questions: Did you grow up in the community you
are writing about? Do you live there now? Are you able to get back to see your
family much? If a person says they serve on the tribal council, or sit on a
committee for their tribe or state or federal Indian organizations, volunteer
at tribal events and can name them, or can tell you other ways they give back
to their own Indian community, their state-level Indian community or the
federal-level Indian community, then they have a higher chance of creating
content that is accurate.
Caveat: volunteer work at various
Indian functions or organizations is not really an indicator on its own since
many non-Natives volunteer and may therefore think they have enough Native
experience and friends to write about us. See List B.
4.
If the author is American Indian but
writing about another tribe, see List B. American Indian tribes are so varied
that a Lakota writing about the Mohawk, a Pueblo writing about the Sappony, a
Tohono O’Odham writing about the Ojibwe, means that the author is writing about
a culture not their own, a culture outside of their own experience. They may
have a fundamental understanding of the overarching issues, stereotypes and
values in ‘Indian Country’ in the generic sense, but would be an outsider to
another tribal culture. We think that you will still need a vetted reader, or
two, from the tribe whose content is in the book. See List B.
LIST B: For authors who are not American
Indian but claim to have done research and/or have enough American Indian
experience to result in authentic, accurate, non-stereotypical text:
1.
Why did you want to write a book about American
Indians/include this part with American Indian content in your book?
2.
What tribe are you writing about/what
tribe’s content is included in this part of your book?
3.
Why did you select this particular
tribal nation for your story?
4.
Who have you interviewed/spoken with in
the tribe, and can you give me the names and a statement from the tribe that
acknowledges that these people are vetted by the tribe to speak for them?
5.
What is your personal experience with
this tribe?
6.
What resources have you used to inform
your work?
List B Cheat Sheet Potential Answers:
List B questions are more recursive than List A questions.
1.
·
If the author talks about
having worked with American Indian kids/community and says that they asked the author
to write a story for them, and this is that story, we have an example of
saviorism. It’s not just authors of European ancestry who can get
it wrong. Writing from ANY ‘outsider’ culture – White, African American, Asian,
Hispanic – should have equally rigorous scrutiny when including American Indian
content. If the author is being a savior, they may have saviors in the story,
too. Also, very commonly, authors will express having an affinity for American
Indian culture, being fascinated with Indians, or growing up near a reservation
– Danger, Will Robinson! Proceed with caution! This can be code for “many
stereotypes ahead”. See Answer 6 for
great resources to combat that.
·
If there are a couple of American
Indian references in the book, “some Indian tribes say…” or “..look like an
Indian..” or “Hopi legend says…” or “Indian burial ground” or “wise, old Indian
man said …”, ask the author why they chose American Indian culture for that
reference. We’ve seen many books in which it seems the author did not imagine American
Indian children as amongst the audience for the book. With that in mind, ask why
the author needs to include American Indians at all in that phrase, sentence,
or paragraph. Can the scene stand without it? Why is it there? Can another
group reference be substituted there? If the answer doesn’t support accurate,
non-stereotypical text, you probably want to lose it.
2. If there is no
specific tribe mentioned . . .
 |
| Danger, Will Robinson, Danger! |
3.
This answer circles back to Question 1
but will give you more specific information. Pay particular attention if the
author says something like, “I had a neat idea for a historical fiction book
based on a real tribe/person/event.” See Answer 6.
4.
Via a social event or mutual
acquaintance, a non-Native author may feel they have someone they can turn to
who can help them with their American Indian content. But that doesn’t mean that the Native person
your author spoke with speaks for the tribe, has a larger view of the cultural
questions, or knows anything about American Indian representation in
literature. The author may pose questions and receive vague or simple
affirmation for that content. The assumption is that feedback from any American
Indian person is fine, or that positive feedback from an American Indian person
is validation of authenticity, accuracy and acceptance. That is a false
assumption. You and your author—and your
author’s readers—deserve more than that. Writers worked, in some cases, years
on the manuscript. It is important to find someone who can give the content the
serious attention it, the writer, and readers, deserve. This is why it is important to have not only
appropriate, but objective, American
Indian information contacts as well as vetted (someone the tribe agrees can
speak for them) readers.
5.
This answer circles back to Questions 1
and 2, but will give you more specific information. Again, if the author talks
about working or living with/near American Indian kids/community and the story
written was well received by them . . . time to ferret out more information.
What experience? For how long? Time frame? What did the work/interactions
consist of? What about this experience enables you to write from the point of
view of an American Indian person?
6.
The Devil is in the details . . . and
the overall tone. Authors can have all their facts historically correct
according to accepted sources available. But it is the interpretation of the
facts into a story that makes the book harmful or helpful. I’ve seen a number
of books that get most of the ‘facts’ correct, but the overall tone is that of
stereotypes (which may be difficult for non-Indian writers, agents and editors
to see when that has been the prevailing mode of American Indian
representation). I’d highly recommend that agents and editors read the Revised
Criteria from How to Tell the Difference: A Guide for Evaluating
Children's Books for Anti-Indian Bias. Reading a manuscript through
that lens and thinking deeply about Eurocentrism and colonialism will make all
the difference. You can find guidelines, suggestions,
statistics and a number of resources here at Writing About Native Americans.
It is a long post (as was this).
But if it is truly important to you and your
author to stop perpetuating stereotypes, you will have made it to the end of
this post. And that one.
Resources
Writing,
Tonto and the Wise-Cracking Minority Sidekick Who Is Always the First to Die
