November 2014: Dual/Multi Language Stories (Master List and General Discussion)

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Caribou Song / atíhko níkamon / Ateek Oonagamoon (I read this edition, with illustrations by a First Nations artist, but there is also an earlier one with different illustrations)

(view spoiler)[While Tomson Highway’s English language text remains pretty much the same as the 2001 publication of Caribou Song / atíhko níkamon (the one illustrated by Brian Deines) and also obviously retains the same book title, this new 2013 edition has supposedly been translated into a colloquial dialect of Cree rather than the original high/standard Cree (which I will also have to take at face value, as I do not know enough Cree to make any kind of textual comparisons).

Furthermore, Caribou Song / atíhko níkamon (in its 2013 incarnation) has also been illustratively revitalized by John Rombough (a Chipewyan Dene artist from the Northwest Territories) and who with his stylistic and intensely coloured pictures makes this a very different viewing experience from that of the softer and more realistic illustrations by Brian Deines (but also in my humble opinion more visually brilliant and showing a considerably more successful entrancing and enchanting marriage of text and images), since John Rombough's artwork for the 2013 edition of Caribou Song / atíhko níkamon is infused with major energy and a sense of authentic First Nations magic, which engages the viewer/reader/listener into an active participation of Tomson Highway's storytelling for Caribou Song / atíhko níkamon, and much more deliberately and authentically than is achieved by Brian Deines 2001 illustrations.

Of course, Tomson Highway's presented text for Caribou Song / atíhko níkamon, it also contains ample verbal magic (and with me also truly regretting that I do not know Cree, that I am only able to read the English language and not the Cree parts of Caribou Song / atíhko níkamon). Set in Northern Manitoba, Canada, the story of Caribou Song / atíhko níkamon follows the adventures of two young brothers, Joe and Cody, who call the caribou herds to come forth in the springtime with their accordion (kitoochigan), with their singing and their dancing, and with the caribous' vigorous response enabling the boys’ parents’ traditional hunt, a delightful and wonderful textual and also as already mentioned above visual combination of laughter, danger, enthusiasm and spiritual joy, a solidly four star rating from me for Caribou Song / atíhko níkamon. And well, the only reason why my rating for Caribou Song / atíhko níkamon is not five stars is that the linguist in me would really want and would really appreciate an English/Cree glossary and some information on Cree grammar and syntax (even though I do realise that as a typical dual language book, my requests are actually above and beyond the scope of and for Caribou Song / atíhko níkamon). (hide spoiler)]

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I still consider David Bouchard to be Metis, but if you believe the accusations against him not being Metis (which I personally do not think have been proven), just do not read my generally very positive reviews.

Nokum Is My Teacher Love the words and the illustrations (by a First Nations artist) are visually stunning.

(view spoiler)[Through a conversational inquiry, Canadian Métis author David Bouchard’s 2006 picture book Nokum is My Teacher (which is dual language English and Cree) carries his readers/listeners on a beautiful and wonderful textual journey exploring the relationship, the give and take of teaching and of learning between a young Cree boy and his Nokum, his grandmother. And yes, this enchanting and poetical dialogue, it honours and celebrates equally both the Cree and English language by Bouchard having the dual text appear in columns throughout Nokum is My Teacher, and indeed, this format really does visually invite us to imagine the conversation between Nokum and her grandson occurring in either language (or even in both languages) as David Bouchard makes the boy keep question his place in the world, repeatedly asking his grandmother for guidance and even wondering how relevant his school learning (including reading) will be in his life when held in contrast to his experiences as a Cree and his cultural traditions. And when the grandmother responds, she in Nokum is my Teacher shows her grandson that both traditional Cree knowledge and culture as well as modern education are important and the young boy soon realises the value of both traditional knowledge and also the importance of the know-how he will be gaining from his experiences in school (where there are other teachers, but indeed, that learning to respect and appreciate ALL knowledge and learning are necessary and essential, and for the young boy, this starts with his Nokum, with his grandmother basically in Nokum is My Teacher being his very first and also probably most important instructor, as she sets her grandson on the path of appreciating EVERY KIND of learning, including what he is provided with at school).

And Cree artist Allen Sapp’s painterly accompanying illustrations for Nokum is My Teacher, they exquisitely and with beautifully realistic detail show and depict both contemporary and traditional Cree lives and they also invite the intended audience (older children from about the age of eight or so onwards, and yes, including adults as well, in my opinion) to reflect (both visually and with David Bouchard's dual language text of course also textually, verbally) on their own stories, on their own backgrounds and on the importance of place, family and community. Four stars and highly recommended is Nokum is My Teacher (and I certainly do regret that my own paperback edition did not end up coming with the accompanying CD, which I do think is a very annoying shortcoming, and probably the ONLY reason for my rating for the 2019 paperback edition of Nokum is My Teacher being four and not five stars). (hide spoiler)]

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Mii maanda ezhi-gkendmaanh / This Is How I Know: Niibing, dgwaagig, bboong, mnookmig dbaadjigaade maanpii mzin’igning / A Book about the Seasons Wonderful, dual language, seasonal and yes Own Voices as well.


(view spoiler)[An absolutely delightful dual language Anishinaabemowin and English description both verbal and visual of the four seasons (and yes, I do appreciate that everything in Mii maanda ezhi-gkendmaanh / This Is How I Know is dual language and not just the main textual body), and how a young Anishinaabe girl lyrically and with wonderful but subdued emotionality explains how she and her grandmother know that it is summer, autumn, winter and finally spring, Mii maanda ezhi-gkendmaanh / This Is How I Know (which was also a 2021 finalist for the Governor General's Literary Awards for Young People's Literature in Canada) is really and truly a superb and spectacular celebration of not only the four seasons but also of family and how the unnamed Anishinaabe girl (the first person narrator) and also her grandmother live in harmony with nature but also should not ever be seen and approached as being exotic or as the other, but simply as people, as individuals who appreciate the outdoors, who enjoy experiencing the four seasons, but that they also reside in typical modern houses (and not of course in tipis) and are basically just like anyone who enjoys seasonal changes and likes being outdoors and observing nature.

Accompanied by Ojibwe artist Joshua Mangeshig Pawis-Steckley's colourful woodcut like artwork (which really does aesthetically both compliment and often visually expand on author Brittany Luby's lyrical and heartwarming text), Mii maanda ezhi-gkendmaanh / This Is How I Know is both a solid five stars and also highly recommended as an "own voices" picture book that is totally suitable and approachable for EVERYONE (and with my only very minor and personal complaint being that as someone who loves languages and loves studying languages, I would really on an academic level have appreciated it if at the back of Mii maanda ezhi-gkendmaanh / This Is How I Know, Brittany Luby would consider including an Anishinaabemowin and English glossary and perhaps some information on the Anishinaabemowin language).

And finally, when Mii maanda ezhi-gkendmaanh / This Is How I Know was chosen as a finalist for the Governor General's Literary Awards of Young People's Literature, the CBC, the Canadian Broadcast Corporation pointed out that the author, that Brittany Luby (even though she is of Anishinaabe descent) actually had to get someone else to write the Anishinaabemowin parts of Mii maanda ezhi-gkendmaanh / This Is How I Know because she herself was never in fact taught her native tongue at school (and that she is now as an assistant professor at the University of Guelph finally getting a chance to learn Anishinaabemowin), and yes, this really does and should strike a chord, as so so so many Native Canadian and Native American children were not only not taught their traditional languages at school, they were in fact often told and taught that their mother tongues were lesser, that they were evil and depraved and that many First Nations children were in fact also severely punished for using their native languages at school etc. (hide spoiler)]

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Lii Yiiboo Nayaapiwak lii Swer: L'alfabet di Michif / Owls See Clearly at Night: A Michif Alphabet Totally and absolutely wonderful (and the supplemental information is also great)

(view spoiler)[Julie Flett's Lii Yiiboo Nayaapiwak lii Swer: L'alfabet di Michif / Owls See Clearly at Night : A Michif Alphabet is not only both gracefully and aesthetically a truly and evocative visual and stunningly grand artistic feast for the eyes, this book also presents what I most humbly do indeed label an absolutely perfect marriage of text and images, an introduction to not only Michif (to the Métis, their language and culture) but is in my opinion also something almost too inherently beautiful to even adequately defy description.

However, as much as I do in fact and indeed completely and utterly visually adore Julie Flett's simple but spectacular earth tone with occasional splashes of red illustrations (of buffaloes, of beavers, of a bear sneaking up to a campfire to grab itself a slice of bannock etc.) for linguistically interested and inclined I, while Julie Flett's art has truly taken my breath away and keeps taking my breath away, it is actually the introduction to the Michif language in the form of, in the guise of a traditional alphabet book (without the letters q and x of course as they do not exist in Michif) that really and truly shines for me and that indeed also demonstrates clearly and succinctly much relevant linguistic information on Michif as a tongue. Now in her excellent introduction, Julie Flett offers a short but succinctly informative portrait of Michif as a language and also of the Métis as a people (in particular that Michif is a creole language, a mixture of French, Cree and some Saulteaux Ojibwe and that it is at present also considered a very much and unfortunately threatened language). And in my humble opinion, while of course the twenty-four Michif words featured in the main body of Lii Yiiboo Nayaapiwak lii Swer first and foremost glowingly and informationally introduce Michif words and often also traditional Métis culture (such as buffalo hunting, story telling, dancing and fiddle playing, all of which are prominently featured both linguistically and artistically), the letter sections of Lii Yiiboo Nayaapiwak lii Swer to and for me also very clearly point out that in Michif, there is a very strong and obvious tendency for nouns to be of French origin (or rather of the French that was spoken by the Voyageurs, by the French Canadian fur traders of New France), while verbs, adjectives, adverbs and such more often than not appear as being Cree and Ojibwe (with the caveat that the Michif nouns based on French are phonetically spelled and thus obviously do not look very much like the standard written French of today).

Combined with the simply excellent vowel and consonant pronunciation guides and resource section, I can and will only consider a five star ranking for Lii Yiboo Nayaapiwak lii Swer and the only reason that I am a bit hesitant to wholeheartedly recommend this book is the sad fact that it currently appears to be out of print and not only extremely rare but also extremely expensive (when I purchased my personal copy a couple of years ago, it cost me about fifteen dollars Canadian, which is not cheap but also not overly expensive, but when I recently checked online, as I wanted to get a copy for a friend, the featured prices were well over five hundred dollars, and as much as I have loved and appreciated Lii Yiboo Nayaapiwak lii Swer, it is absolutely not worth that kind of money, but if you are able to find a copy at a reasonable price, this is indeed a book I most highly and strongly do recommend). (hide spoiler)]

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Cheryl wrote: "Jorge Argueta has written several bi-lingual books about food that I will be reading over the few days. They look delightful."

Yes, I really have enjoyed the three Jorge Argueta dual language food based picture books I have read (except that I do not like the illustrations for the one about rice pudding).

Sopa de frijoles / Bean Soup

Guacamole: Un poema para cocinar / A Cooking Poem

Arroz con leche/Rice Pudding: Un poema para cocinar/A Cooking Poem

Highly recommended both for language learning and also for an introduction to Latin American food and culture.

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The Secret of Your Name: Proud To Be Métis / Kiimooch ka shinikashooyen: aen kishchitaymook aen li Michif iwik is a bit too long perhaps for a picture book (and I know that there is also some controversy regarding David Bouchard's status as a Metis). But frankly, I absolutely love The Secret of Your Name: Proud To Be Métis / Kiimooch ka shinikashooyen: aen kishchitaymook aen li Michif iwik and do not really think it has been proven that Bouchard is not Metis.

(view spoiler)[I am not sure wether I can even find the words to adequately describe just how much I have always loved and been both emotionally and philosophically moved by The Secret of Your Name, by this in every conceivable manner absolute and true gem of a picture book, how both David Bouchard's intense, poetical (personal) text and Dennis J. Weber's evocative illustrations have directly spoken to me, how they have drawn me in, how I have felt like I was part and parcel to the author's intimate and moving account of what it is, what it feels like to be Métis. Hauntingly, metaphorically beautiful, emotionally powerful (and heartbreaking at times), I consider both the English and the Michif narratives equally compelling. And while I (unfortunately) cannot read or really comprehend Michif (although I have indeed been able to figure out quite a number of the French Canadian words from context), I did listen to both texts on the accompanying audio CD, and even though I was only able to grasp, to fully understand a few words of the Michif text (mostly nouns), I did and do feel that same sense of emotion, of haunting intimacy and poignancy I experienced reading and then listening to the English text; both entered into my heart and soul utterly and completely, and remain there.

The Métis of Canada are the only mixed-blood people on earth recognised by every level of government as being a nation (they have their own language, song and flag). However, the Métis' path to that official recognition has been one of hardship, denial and downright disgusting lies (some of which are unfortunately still being spread and adhered to, especially amongst those bigoted "Canadian" citizens who think that Louis Riel was a traitor and the Metis just a bunch of, sigh, "mongrels"). In the aftermath of the North West Rebellion of 1885 (the Riel Rebellion), the Métis of Canada were manipulated, deceived and robbed of their pride and much of their culture. In David Bouchard's excellent foreword, he describes in evocative detail how many of his and other Métis' grandparents were humiliated and pushed into denying their native ties in favour of their more "acceptable" European bloodlines. Many Métis are now searching for their past, are only now stepping forward to say (to dare to say) that they are proud to be Métis, that they are proud of both their First Nations and European heritages.

Bouchard's text is therefore not only a proud declaration of his Métis heritage, of both his First Nations and European background. It is also (and maybe even primarily) an emotional, heartfelt apology to his First Nations (Native Canadian) grandmothers (Bouchard's Nokums), that no one ever spoke of them, that their traditions, their lives, their very names were considered shameful, less worthy, that their stories, songs and cultural traditions are now quite unknown to him (as they likely are to and for many Métis). I cannot even begin to describe how this apology has tugged at my heart and the multiple emotions it has engendered and continues to generate. Besides the joy of discovery (Bouchard's discovery and embracing of his First Nations roots) there are also feelings of incredible sadness and, of course, righteous and deep anger at the fact that the First Nations traditions of the Nokums were perceived and approached in such a (and often officially) prejudicial and bigoted manner.

The poetic narrative is textually dense, descriptive and really quite sophisticated (the English text, that is, as I cannot really say all that much regarding the accompanying Michif, except that I have found and continue to find it powerful, as well as a compelling and joyful symbol of cultural and linguistic survival). And although the text itself reads easily enough, it does demand both attention and maturity from its readers. I would therefore consider The Secret of Your Name suitable for children above the age of nine or ten; there is no upper limit, as this is also a book for adults (in fact, adults might well appreciate The Secret of Your Name considerably more than many children). That being said, Bouchard's word choices are not overly complicated, and Dennis J. Weber's accompanying artwork does much to assist with comprehension, making The Secret of Your Name perhaps even suitable for slightly younger children (ages six to eight), if the text were being read with or to them.

Métis artist Dennis J. Weber's illustrations are so wonderfully evocative, so descriptively and boldly gorgeous that I can only describe it with one small, yet powerfully effective word, "wow!" His full-page oil paintings reflect the same haunting quality, the same sense of loss, longing, of undeserved repression and imposed "shame" that is shown in Bouchard's narrative. Louis Riel was actually Dennis J. Weber's first cousin five generations removed, and Weber feels that his own mother was made to feel ashamed of her Métis culture and heritage; he has dedicated the illustrations to his mother (who died in 1991, two years after the Métis were officially recognised as a nation).

Now if you decide to read The Secret of Your Name, I do and most strongly recommend that you also listen to the accompanying audio CD. Hearing the texts (David Bouchard himself reads the English text, the Michif text is read by Norman Fleury) is an amazing, emotional and simply wonderful experience, and the fiddle music by Métis musician John Arcand is not only a real musical treat, it pays homage to the fact that music was and is an important part of Métis culture and life.

And if you speak and understand French, you will most probably also be able to figure out at least some of the accompanying Michif text by listening to it on the audio CD. And personally, I actually think you will likely be able to discern more of the French Canadian words by listening to the Michif than by only trying to read it, as the French words used in Michif are not spelled like standard French; they are spelled rather majorly phonetically (which to me indicates the oral, non written origins of Mischif, of language in general, of most creoles). I know that I was able to understand more of the spoken Michif, the written narrative was quite difficult for me (I did manage to figure out some of the French words in the written text of The Secret of Your Name, but I most definitely understood more of the French words used in Michif when I listened to the text on audio CD). Very, very highly recommended for anyone, The Secret of Your Name is one of the most poignant and evocative books I have read in a long time (that I have ever read and will ever read, and that I will also and gladly reread over and over again). (hide spoiler)]

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Papá and Me

I have heard that Papá and Me has been on some American banned books lists simply because the young boy and his father are Hispanic and that the father is unilingually Spanish (and honestly, ANYONE and yes this includes lawmakers, politicians, school board officials, who would challenge or ban Papá and Me really and truly must have manure and rocks instead of brains in their heads as there is NOTHING even remotely problematic regarding a young boy spending a fun day with his father).

(view spoiler)[Although there is really not all that much of an actual story presented by author Arthur Dorros in his Papá and Me, the book is still a truly wonderful slice of life so to speak, a glowing exultation of a young bilingual boy spending an entire day with his unilingual Spanish speaking father (and I do truly both love and appreciate how textually, the author has incorporated so many Spanish expressions, nouns, verbs etc. and in such a way that one does not even in any manner require a glossary, as they can all pretty well and easily be figured out simply from the context of the narrative and that, in fact, for many of them, an English language translation is provided, both naturally and beautifully).

Now while I on a personal and aesthetic level do not actually find Rudy Gutierrez' accompanying illustrations as entirely to my tastes (for while I love the depicted facial expressions of the little boy and his Papá, his Daddy, and absolutely adore the glowingly wondrous colour schemes, the depictions of both arms and feet are often rather too strangely unnatural and overly rounded for and to me), I still do in fact strongly believe that they provide a descriptive and fun mirror of Arthur Dorros' text, and thus, a high four star ranking for Papá and Me and very much recommended (as long as readers do take into account that Papa and Me is definitely not a plot driven story by any stretch of the imagination, but simply a lovely little interlude, an evocative and delightful description of a boy and his father enjoying the fun and sweetness of spending the day together).

Oh and by the way, I would also very glowingly, warmly and strongly recommend Papá and Me as a useful and engaging adjunct tool for basic Spanish language learning and teaching, as many, as actually most of the Spanish expressions and words featured are commonly used vocabulary choices, and it sure is more fun to both teach these and learn these in context (even by means of a simple and colourful picture book) than to tediously have to memorise vocabulary lists. (hide spoiler)]

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Discovering Words and Discovering Numbers are very nice and simple board books penned in English, French and Cree and with author/illustrator Neepin Auger being a Cree artist (and daughter of artist Dale Auger). Very simple but highly recommended. Love how Auger uses many words and pictures that are part of First Nations culture and life.

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Âmî Osâwâpikones / Dear Dandelion.

Highly recommended, a 2023 debut picture book by a Cree (or rather a nêhiyaw) author/illustrator (from Alberta, but I will not call S.J. Okemow Canadian because I think she does not really feel Canadian but nêhiyaw), a lovely both lyrical and aesthetic celebration of dandelions and of life in general, Own Voices, but with the text and the images being delightfully and sweetly for everyone, both young and old.

(view spoiler)[Although in the USA and in Canada, dandelions are not only often considered to be a weed but are also at least technically speaking an invasive species (and were likely first brought to North America on board of the Mayflower for medicinal purposes), I happen to adore dandelions, do not really at all consider them as being problematic and also thus very strongly agree with nêhiyaw (with Cree) author S.J. Okemow, who in her spectacular and also intensely personal author's note for her 2023 debut picture book Âmî Osâwâpikones / Dear Dandelion basically states that for her (and like is totally the case for me), dandelions have been established long enough in North America to be mostly considered as endemic now (and in particular since there are in fact many native North American plants which hail from the same family as dandelions and thus attract similar insects and provide many benefits to and for Canadian and American ecosystems), that dandelions thus are not something to get rid of, but a lovely, resilient, useful and versatile flower to cherish, a bloom that provides nectar, nourishment and is basically absolutely and utterly not a weed, not noxious, but a plant to celebrate and to almost worship for its beauty and for oh so much more.

Poetic, free form verses (and with a number of y dialect Plains Cree words and expressions inserted) make Âmî Osâwâpikones / Dear Dandelion a lovely, a totally wonderful lyrical and Own Voices celebration of dandelions, with Okemow describing dandelion flowers as aesthetically gorgeously beautiful, as a colourful and enchanting gift to and for both man and wildlife, both for pleasure and also for food, shelter and equally signifying courage, bravery, strength, whilst Âmî Osâwâpikones / Dear Dandelion also sweetly and delightfully demonstrates how the dandelion's constant and lasting resilience mirrors human emotions and brings the eternal promise spring and seasonal rebirth. And yes indeed, the artwork for Âmî Osâwâpikones / Dear Dandelion (which is also by S.J. Okemow, as she is both author and illustrator), the featured pictures not only colourfully and brilliantly visually mirror and compliment the sweetly poetic text, but also visually show that First Nations individuals are not exotic, are not "the other" but simply individuals living their lives and enjoying nature (including of course the dandelions of the book title), but that yes, I do appreciate that in one of the illustrative spreads for Âmî Osâwâpikones / Dear Dandelion S.J. Okemow has drawn a young First Nations girl clad in what looks like a traditional dance costume. Highly recommended, solidly five stars and with my only very minor frustration with regard to Âmî Osâwâpikones / Dear Dandelion being that I kind of wish the English language translations and pronunciation guide for the Cree words could be located not only at the back of Âmî Osâwâpikones / Dear Dandelion (where it is located) but within the text proper as well, as I do find it kind of annoying and distracting having to flip back and forth. (hide spoiler)]

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I really cannot understand why ANYONE would ban and censor We Are Grateful: Otsaliheliga, but I guess too many bigots and morons do not want their children to read about Native Americans and about anything penned by Native American authors that might involve dealing with the cultural and actual genocide Native Americans experienced from settlers.

(view spoiler)[Traci Sorell has with her We Are Grateful: Otsaliheliga created a truly glowing, moving and yes indeed brightly sparkling homage to the Cherokee Nation (of which she is a member), a simple yet at the same time deeply profound narrative that above all, that first and foremost presents and depicts the modern Cherokee not as exotic, not as the "other" but simply, sweetly, descriptively as individuals, as people going about their day to day business, their routines (like everyone tends to do), being appreciative of, being grateful for life's many blessings (as well as its struggles and challenges), whilst of course and naturally also at the same time celebrating traditional Cherokee culture, spirituality, religion. An in all ways wonderful and evocative marriage of Traci Sorell's loving and tender text and Frané Lessac's descriptively colourful, imaginative accompanying images is We Are Grateful: Otsaliheliga, with the fact that the included Cherokee words are penned in both English lettering and Cherokee syllabics being the absolute icing on the cake for me, and a very much appreciated bonus (although in the Kindle version of We Are Grateful: Otsaliheliga, the back material, the supplemental details, they are sadly and frustratingly presented in such a tiny and minuscule font size that I have had major issues being able to read this without a very strong magnifying glass).

And therefore, while I will definitely and gladly rank We Are Grateful: Otsaliheliga with a more than well deserved and shining five stars, I do in fact NOT recommend the Kindle, I do NOT recommend the e-book edition of We Are Grateful: Otsaliheliga (because as an e-book, We Are Grateful: Otsaliheliga is just not very reader and user friendly regrading the to and for me oh so essential and interesting information at the end of the book, the definitions, the author's note and especially and in particular, the legend for the Cherokee syllabary, which is really and truly nigh illegible on the Kindle). (hide spoiler)]

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Gathering the Sun: An Alphabet In Spanish And English wonderful and delightful both as a dual language and also as an alphabet book (but focuses on the Spanish alphabet).

(view spoiler)[A wonderful collection of simple, yet always tenderly evocative poems, one for every letter of the Spanish alphabet, Alma Flor Ada's amazing dual-language, lushly and brilliantly illustrated alphabet book not only captures the sun, the meadows, the fields of Mexico and the Southern United States, it is also an important and heartfelt homage to migrant farm workers, to people like César Chavez (to whom Gathering the Sun is dedicated), to those individuals who work hard (who must work hard) in the fields so that we can buy and enjoy fresh produce at reasonable and affordable prices. The poetical text selections of Gathering the Sun are straightforward, effortless and delightfully uncluttered, but also always rich, full of flavour and a myriad of nuances, textually capturing the sights, sounds, the tastes of water, tomatoes, beets, showing what farming, what the life of a farm worker is, or can be. Neither too elementary nor too complex, Gathering the Sun is a true reading pleasure and treasure that can be (and should be) appreciated by both children and adults, and would indeed be a wonderful and versatile teaching and learning tool in beginning level (and even basic intermediate) Spanish language classes. Highly recommended in almost every way imaginable and if I could give Gathering the Sun more than five stars, I most definitely would! (hide spoiler)]

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Niwechihaw / I Help

Wonderful and Ownvoices dual language English/Cree picture book about a young boy and his grandmother going out into the woods to pick rose-hips (love the short and simple sentences and that I was able to figure out the Cree words mostly from context alone and the illustrations), a lovely story of a boy and his grandmother and with the boy learning by imitating, by helping his grandmother pick rose-hips to make tea (and there is a newer edition that is triple language and appears in English/Syllabics/Cree).

https://www.goodreads.com/review/show...

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The Apple Tree: A Cherokee Story. Wonderful story and definitely with a better morale and message than The Giving Tree

(view spoiler)[An absolute gem of a picture book (and the author is actually both a tribal librarian and great granddaughter of survivors of the horrible, tragic and infamous Cherokee Trail of Tears), Sandy Tharp-Thee's The Apple Tree: A Cherokee Story is a sweet and tender dual language English/Cherokee account of friendship, patience and encouragement, and in which, unlike in Shel Silverstein's The Giving Tree, it is not the apple tree that offers up its bounty, its fruit, again and again to a rather unappreciative (at least in my humble opinion) little boy, but a little Cherokee boy who not only plants an apple tree, but then offers his special tree both encouragement and actively imaginative support when said apple tree becomes impatient, discouraged and sad at how slowly it has been growing, even going so far as to suspend a red apple from the tree's branches in order to make the apple tree believe it has finally produced its first fruit (and this astute little ploy, although I guess some might consider it as not being entirely truthful, really not only does the trick so to speak, in so far as the apple tree is made happy and oh so much encouraged, it then offers the red apple to the little Cherokee lad, who even though he was the one who had of course placed the apple on the tree, gratefully and yes hungrily accepts his arborous friend's offering, a sweet and tenderly caressing two way, of reciprocal gifting).

And when finally, both the apple tree and the little boy have grown big and strong, and the former is in its absolute glory, producing a myriad of pink blossoms in the springtime and abundant, sweet yellow apples come harvest, the apple tree still remembers and appreciates his first apple, the apple that "the Creator made red" (that the little boy used for a gift to the tree, a gift of love and encouragement, of tenderness). Most highly recommended, and the accompanying Cherokee text (in Cherokee syllabics) is an added bonus, especially as the author, as Sandy Tharp-Thee, also provides historical information on the Cherokee syllabary, a website link for additional information, and last but definitely not least, and for me personally, oh so much appreciated, a legend and explanation on how the Cherokee syllabary works, on how to figure out the syllabics and their specific vowel and consonant sounds.

Now as to Marlena Campbell-Hodson's accompanying illustrations, they are truly as evocative and as magical as the author's sweetly loving text, presenting themselves as natural, colourful, realistically beautiful, and above all, showing the little Cherokee boy as simply a contemporary little lad wearing jeans, a t-shirt and running shoes, and not ever thankfully portraying him as donning feathers or other accoutrements to make him appear as Indian, a fact and much appreciated truth that is also echoed by the glowing and tender narrative, namely that while the unnamed little boy is Cherokee, is described as being Cherokee, he is nevertheless first and foremost, he is above all a little boy planting an apple tree, making The Apple Tree: A Cherokee Story also a perfect book and educational tool for demonstrating that Native Americans are not and should not be seen as some exotic other, but simply as people, as human beings, acting and reacting as humans do (and in this case, with the little boy using his imagination and encouragement to help the tree he has planted, providing happiness, love, support, and thinking outside the proverbial box so to speak with his red apple subterfuge). (hide spoiler)]

[QNPoohBear]

There are so many new dual language books! At my city library they have a whole section of English/Spanish books.

We Are Grateful is not on this year's banned lists and ONLY banned (but reinstated) in Central York, PA because it was on their list of diverse resources. The same for Duval County, Florida. It had to be reviewed and the only Arthur Dorros book on the OFFICIAL list is Abuela, again in Duval County.

[Manybooks, Fiction Club host]

Mouse Paint / Pintura de raton

A simple board book story introducing colours (both primary and some secondary) with a fun text and lovely and expressive artwork (although the cat is a bit annoying and kind of goes nowhere). But the Spanish part is totally wonderful, very user friendly and I found the Spanish words really easy to figure out, so that my rating is going to be four stars (and I do recommend the dual language aspect and that Mouse Paint / Pintura de raton can and should also be used to introduce colours in elementary level Spanish language courses).

https://www.goodreads.com/review/show...

[Cheryl, Host of Miscellaneous and Newbery Clubs]

QNPoohBear wrote: "There are so many new dual language books! At my city library they have a whole section of English/Spanish books.

We Are Grateful is not on this year's banned lists and ONLY banned (but reinstate..."

Thank you for this good news.

[Manybooks, Fiction Club host]

It is nice that there are more and more dual language books for children available, but while I am not surprised that the majority are English/Spanish, I certainly kind of wish that there would be more language choices featured.

[Manybooks, Fiction Club host]

Powwow Counting in Cree

OwnVoices, with lovely pictures and a simple text presenting the Plains Cree numbers from one to ten within the context of a Cree powwow, four stars for both text and artwork, although I do wish that the pronunciation guide appeared both in the text and at the back of the book and that Powwow Counting in Cree would also have an author's note providing information on Cree culture and powwows.

https://www.goodreads.com/review/show...

[Manybooks, Fiction Club host]

A bit textually simplistic, and thus not always all that engaging, but I did enjoy Li paviyóñ di Michif /Thomas and the Metis Flag (what the Métis flag means and figuring out the Michif).

https://www.goodreads.com/review/show...

[Manybooks, Fiction Club host]

I have also read the fourth instalment of the Michif Children's Seriesse, Tumaas ekwa li Michif Sharey: Thomas and the Metis Cart.

Similar feelings as with Li paviyóñ di Michif /Thomas and the Metis Flag, text is thematically and contents wise rather simplistic and as such a bit lacking (although still educational), but the Michif part has been fun and I really enjoyed trying to figure out the words.

https://www.goodreads.com/review/show...

[Manybooks, Fiction Club host]

So Rita Flamand (who provides the Michif translations for Bonnie Murray's English text in the Michif Children's Series), according to my research online, Flamand (1931-2016) was who first rendered the originally oral Michif language into written form.

https://www.metismuseum.ca/media/docu...

And yes, this makes me even more determined to obtain all four instalments of the Michif Children's Series picture books for my personal bookshelves (as just reading Li paviyóñ di Michif /Thomas and the Metis Flag and Tumaas ekwa li Michif Sharey: Thomas and the Metis Cart on library is not enough for me and I obviously also want to to read the two other series books Li Minoush: Thomas and His Cat and Li saennchur fleshii di Michif / Thomas and the Metis Sash).

[Manybooks, Fiction Club host]

An Aboriginal Carol

With the 2007 picture book An Aboriginal Carol Canadian Métis author David Bouchard (and yes, I personally do indeed consider Bouchard to be Métis even though his background has been questioned) teams up with First Nations artist Moses Beaver and Inuit musician Susan Aglukark to produce a lushly illustrated dual language English/Inuktitut version of Canada's oldest (and with that I mean not originating elsewhere) Christmas carol, of the Huron Carol, with David Bouchard providing a reworked and slightly expanded textual treatment of Jesse Edgar Middleton's 1926 English language adaptation of Jean de Bréboeuf's 1642 and penned in the Wyandot language of the Hurons Jesous Ahatonia, Susan Aglukark's Inuktitut text being located in syllabics immediately below the English words, and that yes indeed, An Aboriginal Carol also comes with a compact disc that has David Bouchard reading his English language words and Aglukark both reading and then also singing the latter in Inuktitut.

And with regard to my own and personal reaction to An Aboriginal Carol, yes and certainly, Moses Beaver's illustrations are absolutely and totally aesthetically spectacular and as such wonderfully provide a gorgeously detailed, lushly authentic (and delightful) First Nations themed visual mirror to and for both David Bouchard's English language adaptation and also Susan Aglukark's Inuktitut translation (and with my only and mild irritation regarding the syllabics of An Aboriginal Carol being that I really do wish that An Aboriginal Carol would either also show the Inuktitut text using Latin based letters or provide a legend at the back indicating which syllabic is meant for which Latin based letter or letter combination). But well, as to what David Bouchard is textually providing in An Aboriginal Carol, I am indeed both joyful and also at times a trifle frustrated. Because albeit I do appreciate that Bouchard has in An Aboriginal Carol reworked Jesse Edgar Middleton's 1926 adaptation of Jesous Ahahtonia, of the Huron Carol by adding more (and also realistic, authentic) First Nations contents, culture and thematics, I really do wish that the Gitschi Manitou moniker Middleton used for God would be removed by Bouchard, since Gitschi Manitou is an Algonquian term and Jesous Ahatonia was of course written by Jean de Bréboeuf for the Hurons (and they of course would not be using the term Gitschi Manitou).

Furthermore, and finally, considering that Jean de Bréboeuf actually wrote Jesous Ahatonia in the Wyandot language of the Hurons and that his 1642 text is in fact quite a bit different from the 1926 Huron Carol English language adaptation (and that said adaptation is now also often considered a bit controversial, culturally appropriating and sometimes even erroneous), frankly, I think that as a preface for An Aboriginal Carol, David Bouchard should most definitely be providing information on Jean de Bréboeuf and the genesis of Jesous Ahatonia as well as presenting both the original Wyandot text and a direct translation of this, and yes indeed, that the information about Deganawidah featured by Bouchard in the preface and how he is supposedly considered to be another manifestation of Jesus Christ by some First Nations, yes, I really and truly do not understand why Bouchard has even included this information in An Aboriginal, Carol, since he never expands on this in any way and that there are also no tie-ins at all with regard to the main textual body of An Aboriginal Carol.

[QNPoohBear]

I read another one with a documentary from the same team as the documentary that accompanies Ho'onani: Hula Warrior

This one is titled Kapaemahu

In English and a written form of Hawaiian, this story tells a tale of long, long ago, before Kakukihewa ruled Oahu in the 1500s, four Tahitians sailed across the ocean from their home in Moaulanuiakea to Hawaii. They were mahu, a mixture of both male and female in mind, heart and spirit. Each spirit had a different power in the science of healing. "They were beloved by the people for their gentle ways, and their fame spread as they traveled throughout the islands administering their miraculous cures."

They bequeathed their healing wisdom to the people of the islands. When the healers completed their work, and it was time to depart, "they asked that two stones be placed at their residence and two at their bathing place in the sea as a permanent reminder of the relief of pain and suffering from their ministrations." The people created a monument in their honor to express gratitude. "The healers transferred their names and spiritual power to the stones, placing mahu idols under each one." Over time, after other people moved to the islands, the stones were forgotten. They have since been recovered but the story of the spirits has largely been forgotten and their mahu identity erased.

This is a fascinating story that deserves to be told, especially for Hawaiian children. They need to know that their ancestors accepted the concept of mahu and that it is normal and OK to embody both male and female characteristics. I'm not familiar enough with Hawaiian culture to evaluate the telling of the legend. I liked learning about the ancient Hawaiian spirits and the history of the culture that has been suppressed for so long. A history that has been denied to them by White, European and American Christian conquerors.

The author's note is extensive. The author right away stakes their claim as a kanaka, a person descended from the original inhabitants of Hawaii. Their survival as indigenous people depends on their being able to tell these stories and pass them down; to speak their language and practice their culture.

There's a history of the Healer Stones in the backmatter and a note on the language. The book is written in English and Olelo Kanaka Niihau, the only form of Hawaiian uninterrupted by western contact and closest to the language probably spoken by the mahu healers.

A note on the film is also included.

There's a a discussion of the censorship mahu people have faced ovee the centuries, including a mention of Hawaiian mahu nightclub performers faced in the kate 20th century.

This version of the story is based on the handwritten manuscript of a story conveyed by James Alapuna Harbottle Boyd, a colonel of the Hawaiian Kingdom and confidante of Queen Liliuokalani, to Thomas Thrum, publisher of the Hawaiian Almanac. It was published in 1907.

The artwork is different, more akin to stone carvings than Disney's Moana. The colors are dark and western kids may find this style of art unappealing but I think it's supposed to be reflective of the culture and the stone monument.

Check out the website for text from the story, film clips and more background info.

https://kapaemahu.com/

[Manybooks, Fiction Club host]

It Bears Repeating

Basically a dual language counting book, using numbers and polar bears to showcase the digits one to ten in the North Qikiqtaaluk direct of Inuktitut, OwnVoices (author is Inuk and illustrator Inuit), and with text and images working really nicely together to not only practice counting in North Qikiqtaaluk but to also show a typical polar bear day and typical polar bear behaviour. Recommended.

https://www.goodreads.com/review/show...

[QNPoohBear]

We Belong to the Drum / mistikwaskihk kitipêyimikonaw

In English and Cree with a glossary in back (but no pronunciation guide), the purpose of this story is to show how kids feel validated when they are seen and their culture/heritage/background is acknowledged and accepted. Little Nikosis has been listening to the beat of the drum since before he was born. He loves summer with his grandmother and parents dancing at the pow-wow. The drum represents the heartbeat of Mother Earth. "We all belong to the earth and we all belong to the drum." When it comes time to start day care he cries when his mother leaves. Nikosis doesn't like daycare until his mother comes up with a grand idea. The next day she brings in a powow CD for everyone to listen to. The daycare staff (a Muslim woman is shown in hijab) is so excited, they play drum music from around the world and the kids play with a variety of drums. Nikosis isn't quite satisfied until he introduces everyone to the powow drum he knows and loves. They watch powow videos and he tells them all about his summers with Okhoma (his grandmother). It was the first time anybody heard him talk about his family. This makes him feel safe and happy and helps him feel like he belongs.

While I can't stand the wide-eyed Disney animation style illustrations, I like the diversity of the daycare. One girl has hearing aids and even she can feel the beat of the drum and participate.

Author's note explains how the story is based on her oldest son's experience in daycare

[Manybooks, Fiction Club host]

Animals at Play in Mi'kma'ki


Artist Mel Beaulieu resides in Fredericton, New Brunswick, Canada, is a member of Metepenagiag First Nation and is known for their combination of traditional Mi'kma'ki beading and augmented reality. And ALL of the eleven animals encountered in Beaulieu's artwork for the 2024 board book Animals at Play in Mi'kma'ki gloriously, sillily and humorously demonstrates this, with a fox depicted by beads as playing soccer, a black bear donning a camera, a moose bedecked with colourful Christmas lights, a beaver wielding an axe, a crow wearing and waving sparkling jewellery, a heron wading around in wellingtons, a salmon using a snorkel, an eel armed with a fishing net, an otter using a floatation device and finally a bald eagle reading aloud to their chick.

Now with regard to what is verbally being provided in Animals at Play in Mi'kma'ki, this indeed is simplicity itself, with basically just the English animal word being featured and then followed by the corresponding word in Mi'kma'ki (as well as a very much appreciated and user-friendly pronunciation guide and right in the text proper of Animals at Play in Mi'kma'ki and as such not relegated to the back of the book as is unfortunately often the case). Five stars!!

https://www.goodreads.com/review/show...

[Manybooks, Fiction Club host]

How Many Donkeys?: An Arabic Counting Tale


Whether children know a little bit of Arabic or none at all, the extremely repetitive (but also in my opinion totally fun and engaging) nature of How Many Donkeys?: An Arabic Counting Tale should likely have readers and/or listeners be able to count from one to ten in Arabic by the end of the book.

So both textually and equally so visually (as Carol Liddiment's colourful and descriptive artwork for How Many Donkeys?: An Arabic Counting Tale completely and wonderfully mirrors Margaret Read MacDonald and Nadia Jameel Taibah's featured text and vice versa) children should definitely enjoy figuring out why main protagonist Jouha just cannot seem to figure out how many donkeys he has in his caravan. Five stars (as I have hugely enjoyed the text and absolutely adore the added bonus of the educational author's note), but DO NOT if interested try the Kindle edition as it is absolute trash.

https://www.goodreads.com/review/show...