![]() A worthy, well-written novella-but readers cannot be moved by a story that pulls them in so many different directions. Two sketchy subplots: Danny runs into an old Seminole friend, who, evidently due to parental neglect, has joined a gang after dreaming of an eagle falling from a tree, Danny learns that his father has been injured in a construction- site accident. Later, Danny's refusal to tattle when Tyrone, the worst of his tormenters, accidentally hits him in the face with a basketball breaks the ice for good. Danny Bigtree gets jeers, or the cold shoulder, from his fourth-grade classmates, until his ironworker father sits him down to relate-at length-the story of the great Mohawk peacemaker Aionwahta (Hiawatha), then comes to school to talk about the Iroquois Confederacy and its influence on our country's Founding Fathers. 1529, etc.), this disappointing tale of a young Mohawk transplanted to Brooklyn, N.Y., is overstuffed with plotlines, lectures, and cultural information. Simple, bella, un regalo permenente: simple and beautiful, a gift that will stay.Ī rare venture into contemporary fiction for Bruchac ( The Circle of Thanks, p. Like all good stories, this one incorporates a lesson just subtle enough that readers will forget they're being taught, but in the end will understand themselves, and others, a little better, regardless of la lengua nativa-the mother tongue. This story seamlessly weaves two culturaswhile letting each remain intact, just as Miguel is learning to do with his own life. Eventually, Tía Lola and the children swap English and Spanish ejercicios, but the true lesson is "mutual understanding." Peppered with Spanish words and phrases, Alvarez makes the reader as much a part of the "language" lessons as the characters. ![]() ![]() She can also cook exotic food, dance (anywhere, anytime), plan fun parties, and tell enchanting stories. Tía Lola, however, knows a language that defies words she quickly charms and befriends all the neighbors. The last thing Miguel wants, as he's trying to fit into a predominantly white community, is a flamboyant aunt who doesn't speak a word of English. When Tía Lola arrives to help the family, Miguel and his hermana, Juanita, have just moved from New York City to Vermont with their recently divorced mother. Renowned Latin American writer Alvarez has created another story about cultural identity, but this time the primary character is 11-year-old Miguel Guzmán. ![]() Howell’s artwork is arresting, with an emotional lucidity that conveys powerful people, facing adversity without losing their way. Salted between poems are pieces through which Old Man fills the gaps, sketches in the memories, locates what abides: spirit, humility, grace, generosity. The poems can be incantatory some are simple explication (“What came with us in the Beginning Time?/Turtle Spirit./What comforted us in the Middle Way?/Buffalo Spirit”), while others are more elusive (“We are afraid to remember obsidian,/because it reminds us of pain”). While the Sacred Flame is central to the book, Wood ranges far and wide, into Sun Dances and corn ceremonies, community and tradition. The story is told by the Old Man, guardian of the Sacred Fire, one of the four great elements and symbolic of longevity, hope, wisdom, and purification. The hardship suffered by the Pueblos after the Spanish occupation brings a concurrent sense of survivance, and of holding tight to the cosmology, rituals, and pacing of their everyday lives. In another collaboration with Howell, Wood (Dancing Moons, 1995, etc.) uses poetry and prose to tell of the Pueblo people of the Southwest, a story at once melancholy and wonderfully dense with cultural landscapes.
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