Historical Realism

 

Alexander, Kwame. The Door of No Return. Little, Brown Books for Young Readers, 2022. $17.99. 9780316441865 Gr 5 & up.

Kwame Alexander creates a powerful work of historical fiction in verse. He tells the story of Kofi, a boy living in 1860s Africa, specifically in the Asante Kingdom in what is now Southern Ghana. At first, the narrative is focused on classic coming-of-age issues such as bullies, family relationships, a first crush, and concerns about growing up. These themes can be seen in any time period or culture, thus helping children to relate to the main character. A quarter of the way through the book, the plot takes a more serious turn with a tragedy involving Kofi’s brother at a festival and dire consequences for the brothers as a result. Readers will be moved as Kofi finds himself an unknowing victim of the violent slave trade on the Cape Coast. Dramatic irony is used to devastating effect since Kofi doesn’t know what’s happening, but readers know the truth about Kofi’s terrible predicament.

Alexander uses language, descriptions, and cultural details to establish the setting. He uses many Twi words throughout the book to convey the language of his characters even though the overall book is written in English. He describes storytelling, festivals, foods, and games like Oware. Even if the setting and characters can’t be 100% fully accurate to the period, these details demonstrate that Alexander is rooting his story in a specific time. For example, Kofi’s concerns about his crossover ceremony show how the relatable coming-of-age theme is translated to a particular culture and setting.

Most notable is the vivid way Alexander uses the poetic format to convey emotion, especially in the most intense moments of the book. In an NPR interview, Alexander talks about how poetry allows him to tell a difficult story in a way that is “palatable and digestible” for children. The rhythmic, poetic language “sort of allows us to enter Kofi's journey in a way that isn't intimidating, isn't too hard” (Morning Edition, 9/26/22). Alexanders uses similes, repetition, personification, and many other literary techniques. One of the most moving sections is “A Praise Song” where Kofi and another character are honoring loved ones they have lost; repetition is used very effectively here.  

A Twi Glossary, a glossary of Adinkra Symbols, and a list of fiction and nonfiction Locations Used are given, as is a short, vague Author’s Note and a longer Acknowledgements section. I think students could have benefited from a detailed Historical Note as well as a Bibliography because students will want to learn more about Asante history and the Asante’s role in slave trading. Getting some guidance and research direction from the author would have been helpful.

Marshall, Joseph III. In the Footsteps of Crazy Horse. Illustrated by Jim Yellowhawk. Amulet Books, 2015. $18.99. 9781419707858 Gr 5-9.

This book uses dual timeline narratives: one of Jimmy, a fictional character in modern day, and one of Light Hair/Crazy Horse in the 1800s. The author distinguishes between the two by starting each Crazy Horse section with “The way it was” and the year the events of that section occur. The 1800s sections are also entirely in italics. The switch between narratives is clear, but the way Crazy Horse’s narrative switches forward and back in his life timeline is a bit confusing. However, the choice makes sense since Jimmy and his grandfather are going on a physical journey to different places, and each flashback corresponds with the location Jimmy is visiting currently. He and his grandfather stop at different historical sites, and his grandfather tells him stories of what happened there and what Crazy Horse experienced. Learning about Crazy Horse, who had light hair like Jimmy, raises Jimmy’s awareness of the past but also helps him to gain a new perspective about dealing with the bullies he faces at school. As Jimmy learns, the reader learns.

The historical details in the Crazy Horse sections appear well-researched, especially in terms of almost step-by-step details of battles fought. I’ll admit that as someone who dislikes war, these sections were not particularly gripping for me, but for children with an interest in military history, these sections might be exciting. Without a doubt, Marshall’s detailed writing makes readers feel that they are right there on the battlefield. Most moving is the honest yet measured way that Grandpa explains to Jimmy about why Crazy Horse eventually surrendered, despite his success in battle. Grandpa doesn’t hold back the truth about how the U.S. government treated the Lakota and other Native American people. And yet, he acknowledges that every life lost is a tragedy that shouldn’t be forgotten. Indeed, the main theme of the book is “Do not forget what happened here” (124). Crazy Horse’s concerns are depicted in a way that shows his internal conflict – his willingness to never give up fighting but also his concern his entire people’s safety, which Grandpa is able to explain through the Lakota values of that time period, not just a modern lens.

The characters of Jimmy and his Grandpa are sympathetic and benign, but not particularly well-developed. However, they are more of a vehicle for historical lessons told through the tradition of oral storytelling, so this is a case where characterization can take a backseat to plot and historical information.

The supplementary material for this book is impressive. He includes a map, an Author’s Note, an extensive Glossary, and a Bibliography; at the beginning of the Bibliography he emphasizes that his primary source is “the Lakota oral tradition through the stories and cultural information” of Lakota elders. This is a powerful statement that demonstrates the author’s commitment and personal connection to this topic.

Rinaldi, Ann. My Heart is on the Ground: The Diary of Nannie Little Rose, a Sioux Girl. Scholastic Inc., 1999. $10.95. 9780590149228 Gr 3-7.

This one was an eye-opener. The format of the story (like all stories in the Dear America series of which this book is a part) is a diary from a fictional young girl’s perspective. The main character and diary writer is Nannie Little Rose, a Sioux child who has been sent to the Carlisle Indian School in Pennsylvania in the 1880s. At the beginning of her diary, she struggles with English language and grammar, but then by the end she is extremely fluent. Some critics complain that Little Rose’s earlier entries are written in offensive, stereotypical language. I think demonstrating someone’s progression of learning language is difficult to convey, especially through the person’s alleged writing journey, so this aspect of the book was weak and unrealistic.

Emotionally, Rinaldi gets across Little Rose’s fear as she experiences traumas such as being forced to have her hair cut, having her possessions taken away, being separated from her brother, and watching her peers die from several illnesses. She also presents the plight of the indigenous people sympathetically. There is frequent acknowledgement of the negative actions of settlers and the government. For instance, “In their treaties, the whites make two meanings for their words. That is how they take our land” (10). Or later, when describing how their hunting practices have been destroyed on the Rosebud Reservation, Nannie Little Rose says, “We take what is allowed to us by the white man. It is never enough” (53). However, critics are rightly concerned that Rinaldi softens aspects of the Carlisle Indian School experience. Overall, she depicts several of the white staff and administrators, including the real historical figure Captain Pratt, as somewhat benign, which the very existence of these schools calls into question. Additionally, when her brother runs away from the school, Nannie Little Rose views his actions as shameful; she seems to already have the perspective of the white colonizers. Many children died running away from residential schools because they were desperate to escape the abusive treatment they endured.

But the insurmountable flaws of this book are the inaccuracies and the disrespect of victims. Rinaldi’s historical note, acknowledgements, and use of photographs give the outward appearance of a thoroughly researched book. But in this detailed review published Rethinking Schools, a shortened version of an even more extensive review, critics list the many historical and cultural errors which suggest otherwise, especially in regard to famous Native Americans like Sitting Bull and details about culture and language. Finally, in her “About the Author” section Rinaldi talks about taking the names of real children from gravestones and using them out of context as names of characters in her book. Rinaldi says, “I am sure that in whatever Happy Hunting Ground they now reside, they will forgive this artistic license, and even smile upon it” (196). This statement is disrespectful to the deceased children’s cultures, beliefs, perspectives, and experiences. It perfectly represents why this book cannot be recommended for children.