Showing posts with label for_educators. Show all posts
Showing posts with label for_educators. Show all posts

Monday, January 17, 2011

The Mark Twain Controversy over Racially-Charged Language

Our readers are probably familiar with the current controversy over removing certain offensive words from Mark Twain's classics, The Adventures of Huckleberry Finn and The Adventures of Tom Sawyer, to make the books more suitable for young people to read. Ever since New South Books, a publisher in Alabama, announced the upcoming release of its new edition, there has been a number of debates in the media, blogs, and online commentary between those who view the move as a form of censorship that sanitizes the past and corrupts the force of the novels and those who believe that removing certain offensive racial epitaphs makes the books more accessible to young students. While many have focused on the substitution of the word "nigger" with the word "slave," the new edition also substitutes "Injun" with the more acceptable "Indian."

One of our favorite websites, American Indians in Children's Literature, has provided an interesting analysis from a Native American perspective. The author, Debbie Reese, has given us permission to reprint the analysis for the readers of our blog.


An American Indian perspective on changing "Injun" to "Indian" in TOM SAWYER
by Debbie Reese
Monday, January 10, 2011


On January 3rd, Publisher's Weekly carried an article called Upcoming NewSouth 'Huck Finn' Eliminates the 'N' Word. The article says that NewSouth Books is planning to release a version of Mark Twain's The Adventures of Tom Sawyer and The Adventures of Huckleberry Finn in a single volume titled Mark Twain’s Adventures of Tom Sawyer and Huckleberry Finn. The article also says that the editor, Alan Gribben, replaced "nigger" with "slave" and "injun" with "Indian."

I've received several emails, asking what I think of the change.


I imagine that I probably read The Adventures of Tom Sawyer and The Adventures of Huckleberry Finn when I was in school, but I don't remember much. Waller Hastings (a colleague on child_lit) pointed to the lack of critical discussion of Twain's portrayals of Indians. News about the NewSouth book, and Waller's comment, too, prompted me to read (reread?) Tom Sawyer.

The Adventures of Tom Sawyer
(Note: Page numbers below correspond to the eBook copy of The Adventures of Tom Sawyer that I read in Google books.)

Some facts:

The Adventures of Tom Sawyer was first published in 1875.
Two chapter titles include the phrase "Injun Joe."
The phrase "honest injun" appears two times.
The phrase "Injun Joe" appears 33 times.
The word "Indian" appears once.
The word "Indians" appears twice.
The word "powwow" appears once.
The phrase "war-whoop" appears three times.

[Update, 1/12/2011: Unless otherwise noted, illustrations shown are from the 1980 printing by the University of California Press, edited by John C. Gerber, Paul Baender, and Terry Fitkins. It includes original illustrations by True E. Williams. Twain selected Williams to do the illustrations. Page 273 of the text quotes Twain as saying "Williams has made about 200 rattling pictures for it."

Summary and my comments.

Summary: The first Indian that Twain introduces readers to is an unnamed figure in Tom's imagination. This takes place in chapter eight on page 74. Tom has been rebuffed by the girl he's sweet on (Becky) and runs off to the woods. There, Tom thinks about running away to "join the Indians" where he'll "hunt buffaloes and go on the warpath in the mountain ranges and the trackless great plains of the Far West." When he returns, he'll be with "a great Indian chief, bristling with feathers, hideous with paint." He'll go into Sunday-school "with a blood-curdling war-whoop."


Deb's comments: Tom's image reflects America's love/hate attitude towards American Indians. On one hand, we're admired and on the other, we're feared. Or----I should say---IMAGES of us are admired and feared. Tom wants to join Indians who (he imagines) are living the good life out west, hunting buffaloes. He is drawn to the warlike image, too, as he images going on the warpath with the Indians of his imagination. Tom dwells more on the aggressive warlike image of Indians in feathers and paint who utter sounds that terrorize courageous Christians and settlers.
Summary: In the next chapter, Twain introduces the character, "Injun Joe." Not counting the chapter titles in the table of contents, "Injun Joe" first appears in the story on page 84.

The scene is a graveyard. Tom and Huck are in the graveyard and hear voices. At first they're afraid, thinking the voices belong to devils but they see that the voices belong to three men, Dr. Robinson, Muff Potter, and, "Injun Joe." The doctor has hired Potter and "Injun Joe" to dig up a body. (We aren't told why the doctor needed this body, but the Report of the geological survey of the State of Missouri says that that near Hannibal is a cave where a "Dr. McDowell deposited a relative's corpse to see if it would petrify" (p. 36). The book was published by Bureau of Geology and Mines in 1874.)

Once the body is above ground and wrapped in a blanket, Potter and "Injun Joe" ask for more money. The doctor says he's already paid them, but Potter and "Injun Joe" want more. "Injun Joe" approaches the doctor, saying:


"Five years ago you drove me away from your father's kitchen one night, when I come to ask for something to eat, and you said I warn't there for any good; and when I swore I'd get even with you if it took a hundred years, your father had me jailed for a vagrant. Did you think I'd forget? The Injun blood ain't in me for nothing. And now I've got you, and you got to settle, you know!" (p. 85)


A fight ensues, during which "Injun Joe," with Potter's knife in hand, goes

"...creeping, catlike and stooping, round and round about the combatants, seeking an opportunity."(p. 86)


The doctor hits Potter, knocking him out and to the ground. Then,
"...the half-breed saw his chance and drove the knife to the hilt in the young man's breast." (p. 86)


The doctor dies and the "half-breed" mutters



"That score is settled--damn you." (p. 86)

"Injun Joe" robs the body and then puts the knife into Potter's hand. When Potter regains consciousness, "Injun Joe" asks Potter why he killed the doctor. Potter can't recall doing it, so Joe (throughout this conversation, Potter calls him Joe, not "Injun Joe"). Joe describes how Potter killed the doctor. Potter begs "Joe" not to tell anyone, and he agrees to keep quiet. The two part ways. The text says that the "half-breed" watched Potter leave. His knife was left behind.


Deb's comments: As developed by Twain, "Injun Joe" is a vengeful, lying murderer who moves like a cat. In framing "Injun Joe" as animal-like, Twain is not alone. Authors then and now do it. A recent example is seen in James Crowley's Blackfeet characters who gnaw on bones (see section on chapter six).

And, he's a half-breed whose Indian blood/identity is the reason he's a vengeful, lying murderer.

He uses "Injun" (not "Indian") to describe himself. What, if any, backstory did Twain work up on him? Who did Twain imagine his parents to be? (In Why Mark Twain Murdered Injun Joe Carter Revard says "halfbreeds" were children of white fathers and Indian women, many of whom were prostitutes.)

Did "Injun Joe" grow up in Hannibal? We know that he was poor and hungry and that five years prior to the murder, he had been poor and hungry enough to ask for a handout. According to Twain's preface, the book is set 30 or 40 years prior to its publication in 1876. A critical companion on SAWYER indicates that there was an Osage man named Indian Joe living in Hannibal. Twain used his name.

Would it make a difference in how readers view "Injun Joe" if they read "Indian Joe" instead? I think not! He'd still be a vengeful, lying, half-breed murderer. In fact, replacing the derogatory "Injun" to the too-broad-but-not-derogatory "Indian" actually works to make the character even less sympathetic. Readers may not know what an "Injun" is, but they definitely know what an "Indian" is! Removing the slur without changing the character doesn't alleviate anything derogatory... It absolutely pins wicked evil behavior on Indians.
Summary: From their spot in the graveyard, Tom and Huck witnessed the murder. In chapter ten, they run off and wonder what to do. They decide to stay quiet because



"That Injun devil wouldn't make any more of drownding us than a couple of cats, if we was to squeak 'bout this and they didn't hang him." (p. 91)



They go through an elaborate ritual, burying their written oath to remain quiet.

Deb's comments: Twain tacks on "devil" to "Injun Joe's" character. Other classic works of literature frame Indians as devils or engaged in "devilment" (see page 284 of Wilder's LITTLE HOUSE ON THE PRAIRIE where the text reads "Mr. Scott said he didn't know why so many of those savages were coming together, if they didn't mean devilment." That text is followed by Mr. Scott saying "The only good Indian is a dead Indian." Death will be precisely how Twain deals with his Indian character.)

Summary: The next day (in chapter 11), the body and Potter's knife are found. "Injun Joe" tells the townspeople that he saw Potter kill the doctor. Tom and Huck watch in disbelief as "the stony-hearted liar" (p. 100) talks. The two boys expect God to strike the liar with lightning but nothing happens,



"for plainly this miscreant had sold himself to Satan and it would be fatal to meddle with the property of such a power as that." (p. 100)



"Injun Joe" repeats his lie at an inquest. Again, no lightning strikes him down, and so, Tom and Huck's fear that "Injun Joe" sold himself to the devil is confirmed. They're fascinated with him and decide to watch him, night and day, in the hopes of actually seeing him with the devil. The townspeople are angry at "Injun Joe" for participating in the grave-digging and body-snatching, but are afraid of him and leave him be.


Deb's comments: Earlier he was called a devil; now he's sold himself to the Satan, and not even God is willing to use his power against Satan...


Summary: Worried over what he's seen, Tom feels low and dreary. In chapter 12, his aunt tries various remedies and then starts giving him "Pain-killer." Bored, Tom gives some to the cat, Peter, by prying the cats mouth open and pouring Pain-killer in it:



Peter sprang a couple of yards in the air, and then delivered a war-whoop and set off round an round the room, banging against furniture, upsetting flower-pots, and making general havoc. (p. 107)

Deb's comment: Here, Twain is using the running-around-like-a-wild-Indian imagery, and, he's added the war-whooping sound to make sure the reader sees what he is imagining.
Summary: Tom is better and heads on to school, wondering where Becky might be. Not seeing her, he goes inside the school house and then sees her pass by the gate:


...Tom's heart gave a great bound. The next instant he was out, and "going on" like an Indian; yelling, laughing, chasing boys, jumping over the fence at risk of life and limb, throwing hand-springs, standing on his head--doing all the heroic things he could conceive of, and keeping a furtive eye out, all the while, to see if Becky Thatcher was noticing. (p.109)


She doesn't notice, so...



He carried his exploits to her immediate vicinity; came war-whooping around, snatched a boy's cap, hurled it to the roof of the school-house... (p. 110)


Becky rebuffs him, he's embarrassed, and sneaks off, crestfallen.

The next few chapters are about Tom, Huck, and Joe Harper, who've run off to an island where they play pirates. They get sick smoking cigarettes. When the boys don't return home, the townspeople think they drowned. At one point when Huck and Joe fall asleep, Tom takes off, headed home. Tom sneaks into his aunt's house and hears her, his brother, and Joe's mother lament the loss of the boys. He also hears when their funeral will be held. After they go to bed, Tom takes off again and returns to their camp on the island.

The boys swim and play, but start to feel lonely for home. When Huck and Joe decide to leave. Tom convinces them to stay by planning their return during the funeral (readers don't know the plan till it happens). That night a storm comes and soaks their camp. The next morning, the boys try to leave again, and Tom reminds them of the plan. They stay and decide to quit being pirates and "be Indians for a change" (p. 147):



...it was not long before they were stripped, and striped from head to toe with black mud, like so many zebras--all of them chiefs, of course--and then they went tearing through the woods to attack an English settlement.


By and by they separated into three hostile tribes, and darted upon each other from ambush with dreadful war-whoops, and killed and scalped each other by thousands. It was a gory day. Consequently it was an extremely satisfactory one.

They assembled in camp toward supper-time, hungry and happy; but now a difficulty arose--hostile Indians could not break the bread of hospitality together without first making peace, and this was a simple impossibility without smoking a pipe of peace. There was no other process that ever they had heard of. Two of the savages almost wished they had remained pirates. However, there was no other way; so with much show of cheerfulness as they could muster they called for the pipe and took their whiff as it passed, in due form.

And behold, they were glad they had gone into savagery, for they had gained something; they found that they could now smoke a little without having to go and hunt for a lost knife; they did not get sick enough to be seriously uncomfortable. They were not likely to fool away this high promise for lack of effort. No, they practiced cautiously, after supper, with right fair success, and so they spent a jubilant evening. They were prouder and happier in their new acquirement than they would have been in the scalping and skinning of the Six Nations. We will leave them to smoke and chatter and brag, since we have no further use for them at present. (pp. 147-148)


Deb's comments: They play Indian much as Tom imagined it earlier in the book. Mud serves as paint. They attack, ambush, kill, and scalp. Because they'd gotten sick smoking cigarettes, they're reluctant to smoke tobacco again. But, they're Indians, and they've got to smoke the peace pipe. They smoke just a little. It doesn't make them sick, and, that's what makes them jubilant---more proud and happy, even, than if they had been scalping and skinning Indians of the Six Nations.

Skinning Indians? Hmmm... What does Twain mean by that? Skinning Indians meant taking advantage of them. Is that what Twain meant? Or did he mean literally skinning Indians?

And what is Twain doing with the whole smoking theme? Did he own stock in tobacco?! Did he want boys to know that they should not be afraid to smoke if, on their first try, it made them sick?

Summary: The boys return home in the midst of the funeral service. They are greeted with joy. Summer comes and school is out. Potter's trial is about to take place. Tom talks with Huck, asking him if there is anyone who could force him to talk. Huck says:


"Get me to tell? Why, if I wanted that half-breed devil to drownd me they could get me to tell. They ain't no different way." (p. 190)


Deb's comment: Clearly, Huck is afraid "Injun Joe" will kill him.

Summary: The two boys swear again to each other to keep quiet, but they feel bad for Potter, knowing he is innocent and that the lie told by "Injun Joe" is the only evidence against him. Everyone gathers at the courthouse. "Injun Joe" is there, too. To almost everyone's surprise (readers learn later that, feeling guilty, Tom met with Potter's lawyer the night before), Tom is called to the stand and is asked where he was that night. Tom glances at "Injun Joe" and after a few minutes, says that he was in the graveyard and starts testifying. When he gets to the part about "Injun Joe" jumping up with the knife,


Crash! Quick as lightening the half-breed sprang for a window, tore his way through all opposers, and was gone! (p. 197)


Tom is a hero to the townspeople. Both Tom and Huck are afraid (Tom has bad dreams), now that "Injun Joe" is on the loose. Huck is glad he didn't have to testify. He's afraid, though, that it'll come out that he, too, was a witness to the murder.

In chapter 25, Tom and Huck embark on another adventure: hunting for buried treasure. They dig in several places. Finding nothing, they head to Cardiff Hill, the location of a haunted house. They go inside to look around. While inside they hear voices of men approaching the house. One of them is "Injun Joe." He and the other man talk about their "dangerous" plans. They've got silver coins with them that they decide to bury before they leave, returning for it later. "Injun Joe" remembers seeing a pick (it is Tom's pick) and uses it to dig. He notices fresh dirt on it. As he's digging, he finds a box of gold coins.

Tom and Huck happily consider all the money they'll have once the two men leave the house. But, the two men decide not to leave the silver or gold there, but to hide it "under the cross" in "Injun Joe's" "Number Two" den.

"Injun Joe's" companion tells him they have enough money and don't need to do that other job, but with "a wicked light" in his eyes, "Injun Joe" says its not about robbery, it's about revenge. The men leave, and the boys leave, too.

The next day Tom and Huck plan to find Number Two den. In chapter 29, Huck follows two men who have the box of gold. They go to Widow Douglas's house. Listening to them talk, Huck learns that her husband was a justice of the peace who had judged "Injun Joe" to be a vagrant and


...had me horsewhipped! ---horsewhipped in front of the jail, like a nigger! ---with all the town looking on! HORSEWHIPPED! --do you understand? He took advantage of me and died. But I'll take it out on her." (p. 236)



His companion tells him not to kill her. "Injun Joe" replies:



"Kill? Who said anything about killing? I would kill him if he was here; but not her. When you want to get revenge on a woman you don't kill her--both! you go for her looks. You slit her nostrils--you notch her ears like a sow!"
"By God, that's--"
"Keep your opinion to yourself! It will be safest for you. I'll tie her to the bed. If she bleeds to death, is that my fault? I'll not cry, if she does. My friend, you'll help in this thing--for my sake--that's why you're here--I mightn't be able alone. If you flinch, I'll kill you. Do you understand that? And if I have to kill you, I'll kill her--and then I reckon nobody'll ever know much about who done this business." (pp. 236-237)


Deb's comment: At the widow's house, readers learn that "Injun Joe" is not just a thieving, lying murderer. He's also racist and barbaric. Racist because he was humiliated at being treated "like a nigger" in front of everyone, and barbaric because he plans to torture and horribly mutilate the widow.
At this point in the book, Twain makes "Injun Joe" even more despicable. Now he's not only a liar, a thief, and a murder. He's racist and barbaric, too.

Summary: Huck races for help, stopping at the Welshman's house to tell him that two men are planning to hurt the widow. Huck goes with the Welshman and his sons, who take their guns to rescue the widow. When he hears their guns fire, Huck runs home. The next morning (chapter 30), Huck goes to the Welshman's house and learns that they did not catch the men. The Welshman questions Huck, trying to get info from him about the two men. Huck, intent on keeping his own identity as a witness to the murder a secret, stumbles over his words trying to describe the two men. But the Welshman is on to him, presses him, and gets Huck to blurt out that it was "Injun Joe." The Welshman says:


"It's all plain enough, now. When you talked about notching ears and slitting noses I judged that that was your own embellishment, because white men don't take that sort of revenge. But an Injun! That's a different matter altogether." (p. 243)


Deb's comment: Again---if we replace "Injun" with "Indian," does it make a difference in how readers view that character? I think not!

Summary: There is a plan to find the two men, but then everyone realizes Becky and Tom are missing. There is fear they're lost in a cave, and the townspeople spend three days searching for them.

In chapter 31, Tom and Becky are in the cave, lost. They discover that "Injun Joe" is also in the cave. In the next chapter, Tom and Becky are rescued and the cave entrance is sealed. Days pass. When Tom learns that the entrance to the cave is sealed off, he tells the judge that "Injun Joe" is in the cave. In chapter 33, the judge, Tom, and townspeople return to the cave and open the door.


Injun Joe lay stretched upon the ground, dead, with his face close to the crack of the door, as if his longing eyes had been fixed, to the latest moment, upon the light and the cheer of the free world outside. Tom was touched, for he knew by his own experience how this wretch had suffered. His pity was moved, but nevertheless he felt an abounding sense of relief and security, now, which revealed to him in a degree which he had not fully appreciated before how vast a weight of dread had been lying upon him since the day he lifted his voice against this bloody-minded outcast.


Injun Joe's bowie-knife lay close by, its blade broken in two. The great foundation-beam of the door had been chipped and hacked through, with tedious labor; useless labor, too, it was, for the native rock formed a sill outside it, and upon that stubborn material the knife had wrought no effect. (p. 267)



"Injun Joe" died a slow death. Knowing that it was useless to hack at the door with his knife, he ate candle stubs and bats. He had made a crude cup to collect water from drops that fell from a stalactite.


Deb's comments: Having just been lost in the cave, Tom feels some empathy for "Injun Joe" but is glad he's dead and safe from the "bloody-minded outcast." Twain gives readers a lot of details to help readers see the suffering he endured in his last days.

Summary: "Injun Joe" was buried near the mouth of the cave.

[P]eople flocked there in boats and wagons from the towns and from all the farms and hamlets for seven miles around; they brought their children, and all sorts of provisions, and confessed that they had had almost as satisfactory a time at the funeral as they could have had at the hanging. (p. 269)


Deb's comments: What is that flaw in humanity, that wants to see grisly events like hangings? Why is witnessing such things "satisfying"?! People attended "Injun Joe's" funeral, not to mourn him, but to celebrate his death.

Summary: Between finding the body and his funeral, some "sappy women" (p. 269) felt sympathy for "Injun Joe" and wanted the Governor to pardon him:



This funeral stopped the further growth of one thing---the petition to the Governor for Injun Joe's pardon. The petition had been largely signed; many tearful and eloquent meetings had been held, and a committee of sappy women appointed to go in deep mourning and wail around the Governor, and implore him to be a merciful ass and trample his duty under foot. Injun Joe was believed to have killed five citizens of the village, but what of that? If he had been Satan himself there would have been plenty of weaklings ready to scribble their names to a pardon petition, and drip a tear on it from their permanently impaired and leaky waterworks. (p. 269)

Deb's comments: Why did Twain add that bit about the pardon? Did he imagine some of his readers might have sympathy for "Injun Joe"? Framing the signers of the petition as "sappy" and "weaklings" he may be asking his reader who they wish to be. Sappy weaklings? Not likely!


Summary: The day after the funeral, Tom and Huck go back to the cave and find the gold and silver. Though they're rich, they promise each other to follow through on their plans to become robbers.

Debbie's thoughts about "honest injun"...The first use of "injun" in the story occurs on page 17, and it isn't in reference to a specific character. By that point, we've already met Tom and Jim. Tom's aunt Polly has punished him, setting him to whitewash a fence. As he works, he realizes a boy named Ben is nearby. He doesn't want Ben to tease him, so, Tom steps back, admires his work, adds another brush stroke, studies it, adds another, and so on, as though its art, not work. Ben asks if he can try it, but Tom says no, that only one boy in a thousand or two could do it the way it needs to be done. Ben asks again if he can do it, and Tom replies:


"Ben, I'd like to, honest injun; but Aunt Polly---well, Jim wanted to do it, but she wouldn't let him; Sid wanted to do it, and she wouldn't let Sid. Now don't you see how I'm fixed? If you was to tackle this fence and anything was to happen to it---"


The phrase "honest injun" came up about a year ago in U.S. politics when chair of the GOP used it. I did a bit of research on it then, and thought that Twain was the first to use to in print. Today, I found an older use of it... It appeared in 1830 in a collection of items called Very Funny, Not too Funny; Just Funny Enough. (Note: The correct year for Very Funny is 1880, not 1830.) My colleagues in children's literature may be interested to know it was in an 1880 volume of St. Nicholas, the monthly magazine for children. Back to Tom Sawyer.... the phrase appears again on page 271.


It is a slur but I'm not sure how many people know it is derogatory. A lot of people don't know that "redskins" or "squaw" are derogatory. As I said earlier, I'm not sure what image comes to mind when a child hears the word "injun". I'm certain that a specific (stereotypical, monolithic) image comes to a child's mind when he or she hears the word "Indian."


My conclusions about the revised edition of Tom Sawyer?

The Adventures of Tom Sawyer is not helped by changing "Injun" to "Indian." Alan Gribben (the editor of the revised volume) says in the Introduction to the volume that:



The editor’s decision for this edition of Tom Sawyer has been to render the sixty-seven repetitions of the outcast’s name as “Indian Joe” to assist in retiring another antiquated and insulting word (even though the very name “Indian” itself commemorates a misnomer dating back to Columbus). But the substitution of a merely informative racial sobriquet salvages Twain’s ethnic innuendoes regarding the motivation for Indian Joe’s animosity toward the town’s residents. A total of seventeen miscellaneous usages of the I-word have similarly been altered in both novels. For the same reasons the eight references in Tom Sawyer to “half-breed” have been converted to “half-blood,” which is less disrespectful and has even taken on a degree of panache since J. K. Rowling’s Harry Potter and the Half-Blood Prince (2005).

I've never used "I-word" for "Injun" and I don't know of any Native scholars who've used it either. If you've seen it used, please let me know (send email or submit a comment below).

Earlier in the introduction Gribben says that Twain didn't have to concern himself with African American or Native American readers because they were occupied with recovering from degradation and trying to survive and hence, too busy "to bother about objectionable vocabulary choices in two popular books." Perhaps, but I'd like to see evidence of that claim. In saying that, I think Gribben inadvertently says that we (remember, I'm a tribally enrolled American Indian) couldn't do both---survive and engage in literary study and political activism. I know that's not true. We've been doing both for literally hundreds of years. In 1829, for example, William Apess, a Pequot man, wrote A Son of the Forest in which he said:


[T]he great fear I entertained of my brethren was occasioned by the many stories I had heard of their cruelty toward the whites—how they were in the habit of killing and scalping men, women, and children. But the whites did not tell me that they were in a great majority of instances the aggressors—that the had imbrued their hands in the lifeblood of my brethren, driven them from their once peaceful and happy homes—that they introduced among them the fatal and exterminating diseases of civilized life.


Gribben thinks changing "Injun" to "Indian" will make the book more likely to be used in schools. What schools, I wonder, does he mean? Does he think the change makes it more likely to be used in tribally-run schools? Or does he mean schools that don't have Native children in them?

His remarks (quoted above) indicate that he thinks that there's enough in the book for readers to understand the motivations for Joe's animosity. What do you think? Do you know of a teacher who is helping children see and understand the anti-Indian racism in the book?

I suppose there may be teachers who can do that, but my experience with other classics (like Little House on the Prairie) tells me otherwise. Teachers are over-worked, underpaid, and they are not respected for the tremendous job they do, so please know that I'm not dumping on them.

Instead, I am pointing to an overall lack of critical engagement with the ways that American Indians are portrayed in books and movies and textbooks. That lack of engagement spans most universities, from their colleges of Education to their English departments, to their schools of Medicine.

I wouldn't use the old or new versions of The Adventures of Tom Sawyer in any elementary classroom. I might use it in a high school course in a unit that studies racism in literature...

What would you do? Do you know of teachers who teach the book? How do they address "injun" or "Indian"? Do you think they point out anything at all to counter the image generated by Twain?

-----------------------------------------
Note, 1:57 PM CST, Jan 10, 2012

This is a public thank-you to colleagues on child_lit who've been discussing SAWYER and FINN over the last week. I highly recommend the child_lit listserv to anyone interested in children's books. Subscribe to child_lit today.

I shared the link to this post on child_lit. Waller noted something I didn't catch. I pointed out that "Injun Joe" is described as cat-like and I pointed out that when Tom gives the cat some of the pain-killer, the cat races about wildly and does a war-whoop. I didn't connect the two incidents. Usually, the animal characteristics used to describe Indians are wolves. I wonder why Twain used cats? On another note, there's an animated Tom Sawyer in which "Injun Joe" is a bear.

Sunday, September 26, 2010

"Waiting for Superman" Stirs Controversy

Davis Guggenheim sure knows how to draw a crowd. He did this first with the environmental awareness documentary “The Inconvenient Truth” and now he is at it again with his highly controversial documentary on the current face of American public school system: “Waiting for Superman.” The New York release of the film brought people out, not only to view the movie but also to protest its seeming promotion of charter schools and anti-union message. The movie and the message it carries are definitely stirring up some strong emotions from both sides of the union and charter school fences.
Below are some of the loudest voices, some are educational and balanced while others are passionate and opinionated.
http://www.nytimes.com/2010/09/30/opinion/30collins.html?_r=2&scp=2&sq=Gail%20Collins&st=cse

http://seattletimes.nwsource.com/html/opinion/2013041688_guest01stritikus.html
http://forpubliced.blogspot.com/
http://blogs.edweek.org/edweek/Bridging-Differences/2010/09/blog_-_thursday_sept_23.html

http://movies.nytimes.com/2010/09/24/movies/24waiting.html?ref=education&pagewanted=all

http://blogs.edweek.org/edweek/Bridging-Differences/2010/10/dear_deborah_i_reviewed_waitin.html#comments

http://www.wce.wwu.edu/Resources/CEP/eJournal/v005n002/a008.shtml
http://www.bamradionetwork.com/index.php?option=com_content&view=article&id=504:jackstreet54&catid=70:jackstreet54&Itemid=145

http://www.notwaitingforsuperman.org/Articles/20101020-MinerUltimateSuperpower

http://www.samchaltain.com/the-gift-a-k-a-waiting-for-superman
http://www.nybooks.com/articles/archives/2010/nov/11/myth-charter-schools/?pagination=false&printpage=true
http://www.jackstreet.com/jackstreet/WTLCA.RTSuperman.cfm
http://www.rethinkingschools.org/archive/25_02/25_02_karp.shtml
http://www.rethinkingschools.org/archive/25_02/25_02_miner.shtml
For a counterbalance to this film, view the film, "Race to Nowhere."

Monday, September 20, 2010

A Teachable Moment: Discussing the Controversy over the Proposed Islamic Cultural Center near Ground Zero

We just learned about an interesting curriculum that we wanted to bring to the attention of our readers. It was developed by the Tanenbaum Center for Interreligious Understanding. We invited the center to describe its work in the post below.


Curriculum Ideas for Discussing Park51
From the Tanenbaum Center for Interreligious Understanding


Park51, the proposed cultural center/mosque near Ground Zero is one of the most talked-about and volatile issues in the U.S. right now, raising questions and feelings about Islam, extremists, terrorists and 9/11.

The same information that characterizes the debate in the mainstream media will inevitably color students’ perceptions of the issue, as they inherit the media’s and individuals in their communities’ take on the debate. Tools for helping guide conversations around this issue are important. The Tanenbaum Center for Interreligious Understanding has created a curriculum to help arm teachers with the resources they need to turn this tension-filled topic into an enriching classroom experience.

Tanenbaum is a secular, non-sectarian organization committed to the vision that people of all beliefs, from the most religiously devout to the most committed atheist can live, learn and work peacefully together in a spirit of true respect. The mission of the Religion and Diversity Education program is to train educators across the globe to prepare students to be global citizens, skilled in living and succeeding in a religiously diverse society and able to incorporate coexistence into their everyday lives. We know that teachers encounter questions from students about the role of religion in their lives and in the world and offer our trainings and curriculum to help them in that work.

Using the curriculum, teachers can explore the Park51 controversy specifically, or use it as an avenue to discuss conflict generally and look at conflict resolution and mediation tools. They can look at anti-Islam sentiment across the country, and compare it to other historical “phobias” in the U.S. They can also use the conversation as a tool for having a thoughtful conversation about 9/11 and what it means for the U.S. and our relationship with the rest of the world.

You can download the Park51 Curriculum Guide and Fact Sheets from Tanenbaum’s website. If you have any questions, please contact education@tanenbaum.org.

Sunday, August 15, 2010

Community Organizing Group Compiles Studies on Charter Schools

A community organizing group based in Mississippi, the Southern Echo, has compiled a list of studies on the charter school movement on their website. The studies include those by the Rand Corporation, Stanford University, Teachers College, Columbia University, the Civil Rights Project at UCLA and others. For our readers who would like to check out the various studies in one place, we are providing the link to the research on their website.

The Southern Echo describes its mission as working to empower the African American community through an intergenerational model of effective community organizing. With the mainstream media always covering educational change from the top down model, our readers may be interested in examining this grassroots movement directed at change.

Thursday, July 29, 2010

A Great Resource for Teachers

Several times, we have referred our readers to a very helpful website called, American Indians in Children’s Literature. Just in time for the fall semester, the website has put up several lists of Top Ten Book Recommendations for teachers in the elementary, middle schools, and high schools, who are looking for some authentic readings for their classrooms. There is also a link to an article, "Native Voices," by Debbie Reese from the School Library Journal where readers can find annotations.

The site is run by Debbie Reese, who provides helpful criteria for teachers to use in making selections. Be sure to check out her section on “Evaluate from an informed perspective.” You will find information on Guidelines for Evaluating American Indian websites, Resources for research projects, Tribally-owned Websites, Images of Indians in Children's Books.

A member of the Nambe Pueblo in northern New Mexico and former school teacher, Debbie Reese currently teaches in UIUC's American Indian Studies program.

Keep up the good work Debbie.

Tuesday, June 1, 2010

Former Justice Sandra Day O’Connor on the Lack of Civic Knowledge

According to an Associated Press article of May 26th, Former Supreme Court Justice Sandra Day O’Connor argues that one of the unintended consequences of the No Child Left Behind initiative has been a decline in civic knowledge. With its emphasis and focus on test scores, especially reading and math, the controversial act has had the effect of narrowing the curriculum. O’Connor spoke at a conference where she was promoting a website designed for students and teachers that uses video games to stimulate the learning of civics. It is aimed at middle school students.

According to the AP report, O’Connor talked about the dismal state of student knowledge.

"Barely one-third of Americans can even name the three branches of government,much less say what they do," O'Connor said. "Less than one-fifth of high school seniors can explain how civic participation benefits our
government. Less than that can say what the Declaration of Independence is,and it's right there in the title. I'm worried."


The program is called iCivics. The website describes the project as follows:

iCivics is a web-based education project designed to teach students civics and inspire them to be active participants in our democracy. iCivics is the vision of Justice Sandra Day O'Connor, who is concerned that students are not getting the information and tools they need for civic participation, and that civics teachers need better materials and support.


Here is a description of a game called Guardian of Law taken from the Serious Games Market Website that says its aim is to "help students learn by doing civics rather than learning about it."


Guardian of Law is also part of the suite of games developed for Justice Sandra Day O'Connor's free, interactive, web-based program designed to teach civics and inspire students to be active participants in our democracy.

The player is a Guardian of Law, a legal professional, who must establish Rule of Law in a futuristic, multicultural society inhabited by humans, alien species, and intelligent robots.

Players explore SkyCity that uses the American legal system but has regions of lawlessness where specific civil rights are violated. The player meets people who have civil rights cases that must be resolved. After a player takes a case, the player finds case cards to support arguments. When the player has a sufficient number of case cards, the player goes to a courthouse to argue the case.






As the player wins cases, rule of law is established, and SkyCity changes to reflect the effects of the civil right on society. Players will also be given the opportunity to argue extreme cases, so they see the dynamics between law and society and see the impact on society that laws may have.

The purpose of Guardian of Law is to teach students, specifically middle school students, about American civics in a new and exciting way. Students will learn about legal concepts such as due process and equal protection as well as important case precedents such as Brown v. Board of Education. More importantly, students will apply their knowledge in a way that improves their argumentation skills, which will fundamentally improve both their traditional academic and 21st century skills. Students will also learn about civic engagement by exploring various civil rights topics within the game.

Over time, improvements in argumentation can be measured as the student takes cases and argues them in court. Having cases that develop particular issues allows the possibility of gauging student interest in specific civil rights topics and allows students to become expert in topics of personal interest.



Teachers can go to the website at: http://www.icivics.org/ It has many free resources for teachers and video games for children.

We would love to hear from readers who are using this resource. What has been your experience with the material?

Tuesday, December 22, 2009

The Zinn Education Project



Our readers may want to check out a new website called, Teaching a Peoples History -- the Zinn Education Project.

It is a collaborative effort by Teaching for Change and Rethinking Schools.


Influenced by Howard Zinn's classic book, A People's History of the United States, as well as his other works in revisionist history, this website provides educators and viewers lessons and resources for teaching a fuller, broader perspective on the history of the United States. Check it out.

Tuesday, December 15, 2009

“American Indians in Children’s Literature” Blog

I have been following a very informative blog that would be helpful for teachers who are trying to understand the rich cultural lives of an increasingly diverse student population in our schools. Called, “American Indians in Children’s Literature,” it helps teachers to grow in their understanding, appreciation and discernment of Native American literature. It also corrects so many of our misconceptions. Actually it goes beyond just books and says its mission is to provide "critical perspectives of indigenous peoples in children's books, the school curriculum, popular culture, and society-at-large." As always, we try to bring our readers multiple perspectives on issues.

If you are aware of other resources that would expand our understanding of the cultural diversity of our students, please let us know in your comments to this blog and we will share them.

Friday, November 20, 2009

American Schools: The Art of Creating a Democratic Learning Community


Many of our readers will remember Sam Chaltain’s article, “Ways of Seeing (and of Being Seen): Visibility in Schools,” that we published in our winter 2008 issue of the journal on the theme, “Schooling as if Democracy Matters.” Sam is the National Director for the Forum for Education & Democracy. In his article, he describes the current state of invisibility so many students experience in our schools and lays the groundwork for rethinking the role of school leadership. “The central challenge in any organizational culture," writes Chaltain, "is to help people become more aware of the inner place from which they operate." Chaltain has now developed his ideas further in a new book, American Schools: The Art of Creating a Democratic Learning Community, published by Rowman & Littlefield Education and featuring a foreword from Justice Sandra Day O'Connor. If you are interested in reviewing this book for a future issue of our journal, please contact CEP-eJournal@wwu.edu We are thinking about experimenting with a new video review format. If you have the expertise and would like to try this new format, let us know.


Below are some of the advance reviews of the book:


"Our country's ongoing commitment to democratic principles can only be actualized if democracy lives in our public schools. This book reveals how schools can help students and teachers see and hear one another, create a strong community, and develop the sensibilities and skills for democratic life. It provides a framework for democratic leadership that is accessible, actionable, and grounded in good pedagogy."—Linda Darling-Hammond, Charles E. Ducommun Professor of Education, Stanford University

"Sam Chaltain expects schools to do more than merely give their students knowledge of the world. By helping them to make themselves known to the world, he believes that they will be able to meet the democratic goal of taking responsibility for it. This book offers ideas and practical examples."—Ted Sizer, founder, Coalition of Essential Schools and former Dean of Harvard Graduate School of Education

"A powerful concept provides the organizing theme of this refreshing book: our nation's school leaders must strike the right balance between freedom and structure in order to create healthy, high-functioning learning environments. But there is a pervasive, more subtle one that slips along with the turning of the pages: the curriculum provides knowledge and skills relevant to daily functioning, but the persona of the teacher powerfully shapes the becoming of each unique being."—John Goodlad, president, Institute for Educational Inquiry

"Sam Chaltain has written a provocative, daring book, one that tangles with how best to create community and tolerance within the walls of a school. Chaltain is on to something - that an understanding of freedom is essential to creating active, engaged citizens, and that supporting individual freedoms need not negate an orderly, structured environment. I urge you to read American Schools."—Alex Kotlowitz, author of There Are No Children Here

"I want to thank Sam Chaltain for writing this book. I wish I had the guidance of his ideas when my colleagues and I created our own network of public schools. Sam explains through personal stories and case studies how the visible can become visible, how the disengaged can become engaged, and how structure and freedom can complete a well-rounded education. Sam shows education leaders how student achievements can be enhanced, how teachers can be supported to use their talents and interests to learn from one another, and how the larger community of parents and citizens can be mobilized to become part of the ongoing creation of powerful schools. What separates this book from others on school leadership is its clear set of doable practice focused relentlessly on the public purpose of schools. Sam is a much talented writer; lyrical in his descriptions, humorous in his candor, and greatly respectful of educators who try each day to be true to their larger calling."—Carl Glickman, professor at the University of Georgia

Monday, March 9, 2009

Creative Lessons by Woodring College of Education Students

In our winter 2008 issue on Schooling as if Democracy Matters, we published an article on the curriculum developed at Teachers College, Columbia University around the Hurricane Katrina tragedy. Using the HBO documentary by Spike Lee, Margaret Crocco and Maureen Grolnick developed a curriculum called Teaching the Levees: a Curriculum for Democratic Dialogue and Civic Engagement. The goal was to use a contemporary social issue in order to help students engage in a democratic dialogue that the event raised.

Students at the Woodring College of Education at Western Washington University have created lessons that bring content from their own discipline (English, social studies, science, art, music, math, physical education) to the democratic discussion that they are trying to generate. We have created this public space for students and teachers to share their ideas. We also invite teachers and students from other parts of the nation and around the world to enter into our conversation. We will keep adding to this post over the years as more and more people share their comments.

Here's a more fundamental question to reflect upon as well: Can we imagine a high school experience that integrates the disciplines around major social issues and engages students in democratic dialogue and civic action? Our very fragmented approach to the study of high school subjects is deeply entrenched in our system. Does this approach prepare all students adequately to participate in a 21st century democracy that is constantly reinventing itself? Can our schools create a public that is capable of sustaining this republic in an increasingly complex and global world? Add your thoughts.


Example from student, Brook Landers:

Dawn Sodt, Lucy Castro and I, MIT students of the Woodring College of education created this integrated curriculum, which combines fine arts and foreign language studies in order to teach the film "When the Levees Broke."

Featured Lesson:

All the King’s Horses and All the King’s Men

What is the culture of New Orleans, and can it be restored after Katrina?

For High School Students

Disciplines: Art, Language Arts, Theatre, Music

Our respective disciplines are Spanish and Art. In this context, our approach to this assignment is based on the culture of New Orleans. What struck us after watching Spike Lee’s documentary, When the Levees Broke, was the strength of the cultural connection each of the inhabitants had to New Orleans regardless of their socio-economic background. This made us curious about how this culture evolved and what made it so strong. There might be lessons here for all of us as we continue to struggle with assimilation into our own increasingly multi-cultural society. Therefore, we posed the question:

Is it important to put New Orleans back together again?

There are many perspectives from which to approach this question. Among them are political, economical, ecological, and sociological perspectives. However, all of those disciplines fall under Cultural and we want students to realize the complexity of the people involved which is important as a prerequisite in any discussion from any other angle. We want students to come to feel the sense of identity each of the New Orleanians expressed in Lee’s movie.

Our Unit on the Breaking of the Levees involves Language and Art, both outcomes of a culture and both considered to be major characteristics of New Orleans life.

First, students will engage in a simulation exercise to understand how new languages form when cultures and languages collide. Students will be asked to combine two versions of the same poem, one written in English, and one written in Spanish. Unique translations of the poem in “Spanglish” will evolve out of the exercise.

The second project for our unit plan is a group inquiry project that culminates in a reader’s theatre production using visual and audio components. We have produced a product similar to what students could produce to give you a sample.

This exercise is sure to raise more questions than it answers. In fact, we do not expect the students to actually answer the above question. We want them, as explained above, to describe a portrait of what New Orleans as a culture represents and to consider what it means to them as citizens of a country in which such a culture exists.

Objective 1.1
o In pairs, students will research one of the four “roots” of New Orleans culture. They will collect images and facts, quotes, and salient ideas that they find interesting while researching.
o Students will understand that the Creole culture of New Orleans has been influenced over time by four main root cultures: 1. French, 2. African American, 3. Spanish, and 4. Native American.
o Students will present knowledge gathered through research in the final reader’s theatre.
o Bloom’s taxonomy: Knowledge

Objective 1.2
• Students will watch selected excerpts from the HBO documentary video: When the Levees Broke. Students will record quotes that stand out as particularly meaningful or poignant.
• Students will understand the main historical, social, and cultural effects of Hurricane Katrina.
• Students record poignant quotes while watching the documentary. These quotes will be incorporated into the final reader’s theatre.
• Bloom’s taxonomy: knowledge

Objective 1.3
• Students will create and perform a reader’s theatre including art and music that will symbolize the complex and unique New Orleans culture. Information gleaned from student research and the HBO documentary video: When the Levees Broke will be incorporated into the reader’s theatre.
• Students will be able to address the overarching questions:
Why is it important to put New Orleans back together?
Would we want to build it back in the same way?
What would you leave out if you were to rebuild New Orleans?
• Students will complete a written response to the questions posed throughout post-reader’s theatre discussion. The response should incorporate emotional responses to the reader’s theatre and include supporting information gathered while listening to the students-directed presentation.
• Bloom’s taxonomy: Evaluation

Objective 1.4
• Students will be given a poem in English as well as Spanish. The task will be to combine the two languages into a new language just as the Creole language is a mixture of different languages.
• Students will understand how languages and cultures collide and are combined to form new cultures.
• Students will turn in a unique poem that presents a unique language formed by combining Spanish and English.
• Bloom’s taxonomy: Understanding, Synthesis

1. Context:
In the Spanish classroom, students have just finished a unit on Chicano culture. Students understand the way in which Hispanic cultures mix with the American culture to form a new “Chicano” culture within the United States. In the same way, multiple cultures have blended together over time to form a unique Creole culture in New Orleans.
In the art class students have just completed a unit on contemporary socially responsive art work and artists. In this unit, students will collaborate and create their own socially responsive piece of artwork.

2. Purpose:
Millions of American citizens where uprooted and labeled “refugees” after Hurricane Katrina hit New Orleans in 2005. Who was affected? How did the United States respond to the disaster? Why is it important we rebuild New Orleans? Motivated by the quote, “You can’t embrace the branch if you don’t know the root,” we will work to understand the precious culture unique to New Orleans.

3. Teaching/learning activities:
a. Presentation of excerpts from Spike Lee’s HBO Documentary: When the Levees Broke:
Students will view footage of Hurricane Katrina and the aftermath of the storm through this documentary. They will listen carefully to the citizens of the 9th ward present opinions, observations, and emotions. While watching the film, students will record phrases, ideas, and salient quotes. After viewing selections from the film, students will each select five quotes from the interviews and narration. Students will write out a sentence or two for each of the quotes explaining what issue it is related to and how it is an important issue to address for the future of New Orleans.

b. Exploratory Research of Creole culture:
Students will be divided into pairs and assigned one of the “roots” of Creole culture: 1) French culture, 2) Spanish culture, 3) Native American culture, or 4) African American culture. Students will be asked to research their assigned aspect of New Orleans life and collect images, quotes, and ideas that represent Creole culture. Information and images gathered through research will be recorded and incorporated into the final reader’s theatre project at the end of the unit.

c. Language creation simulation:
Students will read a poem relating to Hurricane Katrina in English. They will read the same poem in Spanish. Their job will be to creatively combine both poems in order to present the same poem in a new language (“Spanglish”). The activity will simulate the way in which a new language or for that matter a new culture is born.

d. The Reader’s Theatre:


1. Students will brainstorm to come up with ideas of creating a readers’ theatre from these ideas and how to incorporate visual and audio components for a production of the readers’ theater. They will take a vote on which ideas to work on together for a single class project.
2. Students will divide the work for the project up into pieces to be assigned to smaller groups within the class.
3. Students will devise a timeline in which work must be done with the culminating production time determined by the teacher.
4. Each group will write a plan with a calendar listing goals for each day and a list of tasks they expect to complete to reach those goals in the form of a check list. Each student will get a copy and one copy for each group will be turned in to the teacher. A copy of each will be posted on a board for all to see so that all groups are aware of the progress of each.
5. The teacher will check in with each group each day to determine their progress, to keep them on-task, and to aid them with any difficulties they encounter. It will be likely that a group will become sidetracked by information they discover so the final goal and product must be kept firmly in their minds.
6. Students will present their final product as a readers’ theater at an assembly or in front of an audience of their choosing within reason and possibility.
7. A class discussion and review following the presentation will be very important and might well take a full day. Begin with asking questions regarding their performance and any comments they received from the audience. Then ask questions to elicit comments and feedback about the process of a whole class project: – How well did it work? Did everyone feel involved? Did everyone feel they had a meaningful part to play in putting the project together and performing? Next, ask the students how their perspective on New Orleans has changed as a result of their work on this project? Follow this up by asking if they have thought of relating this new perspective to how they think about their own community culture. How important is their own community culture to them? If a natural disaster happened to (Bellingham) and they were dispersed across the country would they want to come back? Why or why not? These are just some of the questions that you might ask but, providing adequate time for closure is important. You might do this by asking for a written response to some of these questions.
Questions will percolate out of the discussion. Example questions include: 1) why is it important to put New Orleans back together? 2) Would we want to build it back in the same way? 3) What would you leave out? 4) How much is racism and poverty a part of the culture that evolved? 5) Why do the residents of New Orleans feel so rooted to their home?

4. Homework Assignment:
Students will complete a written response to the reader’s theatre questions posed during the class discussion. The response should incorporate emotional reactions to the reader’s theatre and include supporting information gathered while listening to the presentation.

5. Assessments:
The checklist provided by each group within the class can be used to evaluate each student’s participation by determining to what level they are engaged in each of the tasks listed. Formative assessment is very important and should be tracked carefully. Much student involvement in this project can be pretty subtle so it is important to interact with students asking what they are thinking and how they are proceeding all along the way. The culminating presentation is another source of assessment information. Finally, a written reflection answering some of the questions posed during the Closure will provide individual indicators of involvement, engagement, and how well the lesson provoked further thought and questions.