Cohen, Caron Lee. 1988. The mud pony: a traditional Skidi Pawnee tale. Ill. by Shonto Begay. New York: Scholastic Inc. ISBN 0590415255

PLOT SUMMARY

There was once a poor boy in an Indian tribe who wanted his own pony more than anything. Every day he would visit the river and watch the other boys water their ponies, and one day, he used the mud at the river to fashion a pony with a white face. Every day, he would go to the river and take care of his mud pony as if it was real. One day while he was caring for his pony, scouts rode into his group’s camp and told them that buffalo had been sighted. The entire camp packed up and readied themselves to follow the herd of buffalo. Although the boy’s family looked for him, they did not find him and left him alone. When the boy returned to his camp, he realized that he was alone. He found bits of old food, an old blanket and cried himself to sleep. While asleep, he dreamed that his mud pony spoke to him saying, “My son, you are not alone. Mother Earth has given me to you. I am part of her.” When the boy awoke, he went to the river and found that his mud pony was alive. Again, she spoke to him in his mind telling him that he must trust both her and Mother Earth and that someday he would become a chief among his people. The boy followed where the pony led, and was eventually reunited with his family and the rest of his group. The boy, along with his pony help his people defeat their enemies and lead them in the hunt for buffalo, paving the way for him to become a chief among his people. The watercolor illustrations by Begay, son of a Navajo medicine man, are done in earth tones and offer few details, reminding readers of authentic artwork found on Native American housing. The acknowledgments provided in the front of the book gives credit to the many sources that were used as research before writing, and gives a general overview of the meaning of many of the Pawnee stories.

CRITICAL ANALYSIS (INCLUDING CULTURAL MARKERS)

The Mud Pony is told in a quiet, reverent style that honors both the legend and the origins of this ancient boy-hero story. Although original language and dialect is not present throughout the story, the boy is greeted by the chief of his tribe with the words “Nawa, tiki!” In addition to this native dialect, the rhythm and pacing of the story are respectful and somber, as one might expect in a traditional legendary tale. Although specific religious practices of the boy are not mentioned, the references to Mother Earth throughout the story illustrate the great respect that the Pawnee Indians felt toward the Earth and the gifts that were given by her.

The earth-toned, watercolor illustrations by Begay represent traditional views of the characters, and primarily portray the boy and his pony. Other characters are shown with few distinguishable characterizing features. The body types shown in the group pictures vary as do the clothing styles that are shown. Readers will see characters of varying ages wearing loin cloths, dresses and wraps. Not all males wear feathers in their hair, although the illustration of the chief does picture him with fringed clothing, a Mohawk and feathers. The other characters in the story have hairstyles that readers might expect, yet not all characters wear the same style.

The mode of transportation shown is either walking or riding bareback, which fits with what is known about the Pawnee Indians. Most research tells us that these Native Americans lived in dome-shaped earth lodges, yet the illustrations throughout The Mud Pony show the boy and his people living in teepees, possibly due to the fact that they frequently moved to follow herds of buffalo and other prey.

Together, the illustrations and the text combine to retell a story that is bursting with tradition and legend. Readers will enjoy this coming of age story set in the peaceful and reverent past of the Skidi Pawnee tribe.

REVIEW EXCERPTS

Publisher’s Weekly. From the Skidi branch of the Pawnee Indians of the Plains comes this tale of a boy who achieves greatness in his tribe with the guidance of a pony he made out of mud. Too poor to own a pony like the other boys, he fashions a small mud pony and goes to see it every day. It is during one of these visits that the rest of the tribe moves west in search of buffalo, and the boy is left behind. Not only does the mud pony become a living, breathing horse, but she takes him to his tribe; later, she helps him become the chief of his tribe by giving him great power in battles.

School Library Journal. A poor Indian boy longs for a pony of his own. He sculpts a pony out of mud and takes care of it as if it were real. When his tribe accidently leaves him behind, the mud pony becomes real and leads the boy to their new camp. The boy and his magical pony help the tribe defeat their enemies, and after many years the boy becomes a powerful chief. The pony appears to the grown boy in a dream and tells him that it’s time for the animal to return to Mother Earth.

CONNECTIONS

The Mud Pony can be used along with a legendary tale from another tribe (Turquoise Boy by Terri Cohlene—from the Navajo tribe) to compare two different Native American tribes.

Look for these other legendary tales about Native Americans:

Abenakew, Freda. How the birch tree got its stripes: a Cree story for children. ISBN 9780920079386

Begay, Shonto. Ma’ii and Cousin Horned Toad: a traditional Navajo story. ISBN 9780590453912

Steptoe, John. The story of Jumpin Mouse: a Native American legend. ISBN 9780688087401

Sekaquaptwa, Eugene. Coyote and the winnowing birds: a traditional Hopi tale. ISBN 9780940666863

Tapahonso, Luci and Eleanor Schick. Navajo ABC: a Dine alphabet book. ISBN 9780689826856

Bruchac, Joseph. 2002. Seasons of the circle: a Native American year. Ill. by Robert F. Goetzl. New York: BridgeWater Books. ISBN 0816774676

PLOT SUMMARY

Joseph Bruchac shares with readers time-honored traditions of several Native American tribes, beginning in January, when “Maliseet hunters follow the tracks of the moose through crusted snow” and ending in December, when “a Lakota elder tells stories of when earth was young.” In an author’s note at the beginning of the book, Bruchac details the importance of the circle, the seasons, and the traditions that the included tribes follow each year. Also included is a pronunciation guide and more detailed explanations of the customs and their importance to the tribes. Readers will also find a map of the United States with locations of the various tribes labeled. The extraordinary paintings that illustrate the text provide a more intimate look at the customs and traditions that pervade the culture of Native Americans. Each two-page spread shows both traditional and modern peoples celebrating the seasons of the year, the phases of the moon, and the way of life that has kept them strong throughout history.

CRITICAL ANALYSIS (INCLUDING CULTURAL MARKERS)

Throughout Seasons of the Circle, Bruchac uses a lyrical, almost poetic tone to inform readers of various traditions and cultures celebrated by North American Native American tribes. Each month is detailed with a different tribe paying tribute to Mother Earth and the traditions and cultures that make them each a community. Although Native American dialect is not used in relating the traditions, the author did provide additions to the book, one of which is a meaning and pronunciation of tribal names. In this guide, Bruchac gives more information about each season as well as the tribal customs that are used to celebrate and honor the specific time of year. Another informative addition is the list of Moon Names by month for the Mohawks, Lakotas and Suquamish tribes. The names given by each tribe more effectively describe the time of year and the happenings during that time.

The illustrations by Goetzl complement the expressive text and honor each tribe and their customs with respect. The earth tones used in each two-page spread remind readers that Mother Earth plays a very important role in the lives of all Native Americans. Although readers will see similarities in facial features between the tribes, Goetzl portrays the Native Americans with varying body types and facial features. The skin tones of the characters, although typically darker, cover a variety of shades, providing added individuality for the illustrations. Additionally, the hairstyles of the characters are not identical. Although some Native American men are seen with feathers in their hair, most are shown with hoods, hats, or short hair as one would expect to see today. The women are also portrayed with different body types and hairstyles, some with no adornments, others with braids, and still others with ponytails or pigtails.

Characters of many ages are shown, from young babies being held by mothers to aged men and women sharing their years of experiences with younger tribal members. Additionally, the clothing styles and settings of the illustrations portray both traditional and modern representations of the tribes. Although the general environment of the illustrations leans toward the rural, many of the settings also show buildings and other urban sights, illustrating without words that although there is a history of celebrating seasons, the traditions do not prevent the Native Americans from contributing to society today while still staying true to their culture and heritage.

Together, the text and illustrations meld to provide readers with a respectful and informative look at several Native American tribes and their people. This book is a wonderful addition to libraries and will provide readers with a brief overview of a calendar year and the seasons that mark the circle of time.

REVIEW EXCERPTS

Booklist. From Maliseet hunters following moose tracks in the snow in January to a Lakota elder’s winter tales during a cold December evening, this lyrical tribute to American tribal nations cuts across the seasons. Pictures of Lenape women gathering sap from trees in April, Apache celebrating a girl’s journey into womanhood in July, and Menominee harvesting rice as they paddle through the cool September water sweep across double-page spreads to make this book both pleasing to look at and informative.

Kirkus Reviews. The prolific chronicler of Indian culture for children tries to distill a complicated set of cultural signals into the great circle of the seasons. In doing so, this package falls victim to its own reductionism and in the end serves up little more value than as an introduction to young children of the different tribes and key moments in their years.

CONNECTIONS

Readers can compare the year of Native Americans with customs and traditions celebrated during their own calendar year. This could also be used in a unit or discussion of calendars around the world.

Look for these other Native American books by Joseph Bruchac:

Bruchac, Joseph. Code talker: a novel about the Navajo marines of World War II. ISBN 9780142405963

Bruchac, Joseph. Skeleton man. ISBN 9780064408882

Bruchac, Joseph. Sacajawea: the story of Bird Woman and the Lewis and Clark expedition. ISBN 9780439280686

Bruchac, Joseph. First strawberries: a Cherokee story. ISBN 9780140564099

Bruchac, Joseph. Between Earth & sky: legends of Native American sacred places. ISBN 9780152020620

Smith, Cynthia Leitich. 2001. Rain is not my Indian name. New York: HarperCollins Publishers. ISBN 0688173977

PLOT SUMMARY

On the night before her birthday, the night that Rain finally kissed her forever best-friend, Galen, he is tragically killed in an automobile accident on his way home. In her grief, Rain refuses to attend Galen’s funeral and shuts herself and her life off from everyone around her for six months, not realizing until later that the town gossip is that she and Galen did more than kiss. Her brother Fynn, also tired of Rain’s reclusiveness, strongly encourages her to attend her Aunt Georgia’s Indian Camp for children. Although Rain inherited Native American blood from both her father’s side of the family and her mother’s, she is reluctant to expose herself as an “Indian” in her small hometown. Finally, Rain volunteers to attend the camp as a volunteer photographer, and becomes involved through her camera lens. The experience reconnects her with friends from her past and those who hope to be part of her future. When funding for the camp becomes a political debate in her small town, Rain must decide whether to commit to her heritage or return to hiding. Throughout the story, Rain’s slightly dysfunctional family supports her and her efforts to return to life as a normal teenager.

CRITICAL ANALYSIS (INCLUDING CULTURAL MARKERS)

Cassidy Rain Berghoff is a modern Native American who has suffered the loss of her mother and now the loss of her best friend, and first romantic interest. Cynthia Leitich Smith does not give a detailed description of Rain or of the other characters, but in passing informs readers that she is “average height, average weight, with bottle-cap boobs and eyes pinched at the corners”. When her mother was alive, she used to say that Rain’s “hair looked like waving wheat and [her] eyes changed color with the weather”. Although Rain does say that her brother Finn is “striking”, the only other description readers get of Fynn is when Rain calls him “Native American Fabio”.

Rain is Not My Indian Name portrays a family of Native Americans living the average American life. They have a nice house in Kansas, their father is in the Air Force, their grandfather lives with them along with Fynn’s girlfriend/fiancée, Natalie. Throughout the story, Rain struggles with her heritage, which is mixed, but still a vital part of her life. There is mention of Rain’s resentment of the way it felt to be an Indian in her small town. “At school, the subject of Native Americans pretty much comes up just around Turkey Day, like those cardboard cutouts of the Pilgrims and the pumpkins and the squash taped to the windows at McDonald’s” (p. 13). Rain’s reaction is to avoid the season and read other materials when the class is discussing the season.

Although Rain is not ashamed of her heritage, it is not her favorite topic of conversation. Aunt Georgia’s Indian Camp, as Rain feared brings her heritage, her past, and her future into the open, forcing her to deal with her life with all its ups and downs. Although Rain is a Native American, Smith portrays her as an average American girl with the same thoughts and feelings as everyone else. This is a wonderful story for readers to experience life along with Rain and see the world through the eyes of someone with special qualities and a heritage that helps her face the challenges she must face every day.

REVIEW EXCERPTS

Publisher’s Weekly. The sensitive yet witty narrator, 14-year-old Cassidy Rain Berghoff, grows up in a small Kansas town as one of the few people with some Native American heritage. That experience alone might challenge Rain, but Smith creates a welter of conflicts. Rain’s mother is dead (she was struck by lightning), and as the novel opens, her best friend is killed in a car accident just after he and Rain realize their friendship has grown into romance. Six months later, her older brother urges her to go to her great-aunt’s Indian Camp. At first she shrugs it off, but later volunteers to photograph the camp for the town paper and begins to share her Aunt Georgia’s commitment to it.

School Library Journal. There is a surprising amount of humor in this tender novel. It is one of the best portrayals around of kids whose heritage is mixed but still very important in their lives. As feelings about the public funding of Indian Camp heat up, the emotions and values of the characters remain crystal clear and completely in focus. It’s Rain’s story and she cannot be reduced to simple labels. A wonderful novel of a present-day teen and her “patchwork tribe”.

CONNECTIONS

This novel is a great beginning point for readers to discuss loss and what it can and does mean in their lives.

Look for these other novels about modern Native American kids:

Smith, Cynthia Leitich. Jingle dancer. ISBN 9780688162412

Smith, Cynthia Leitich. Indian shoes. ISBN 9780060295318

Carvell, Marlene. Who will tell my brother? ISBN 9780786816576

George, Jean Craighead. The talking Earth. ISBN 9780064402125

McCain, Becky Ray. Grandmother’s dreamcatcher. ISBN 9780807530320