Module 4- Native American Literature
Bibliography
Bruchac,
Joseph and James Bruchac, 1998. Ill. by William Sauts Bock. When The Chenoo
Howls: Native American Tales of Terror. New York: Walker and Co. ISBN
9780802786388
Brief Summary Plot
When the Chenoo Howls is a collection of twelve
traditional Native American monster tales based off legends. These legends have
played a significant role in the culture of the Northeast Woodland Native
American people. Eight tribes are represented throughout the book as each tale depicts
one hideous monster after another, some camouflaged, some outwardly terrifying.
Heroes and heroines alike are challenged to outwit these monsters, ultimately
finding the courage to face their own fears. Other tales introduced would be
considered cautionary and the outcome is less than favorable. These types of
tales are included as a deterrent for children to heed the advice of their
elders and be respectful toward them while imparting important lessons for
their future.
Critical Analysis
Renowned Native American storyteller, Joseph Brouchac, along
with his son, James, have collaborated to collect for their audience a mix of
traditional and modern horror tales that were originally heard orally, which
has been a part of Native American culture. The style of writing is simple
enough for youth to easily make their way through the text, yet at the same
time the writing can hold the attention of an adult with its griping tales of
impending doom. The descriptions of some monsters are frightening and chilling,
not your typical gore fest.
Some examples of the monster characters portrayed throughout
the stories as told in the book include Stone Giants, whose skin is hard as
flint, “Flying Head” who has an insatiable appetite for human beings, Chenoo, a
cannibal giant whose heart is made of ice, and Keewahkwee, a cannibal ogre who
steals children and fattens them up to eventually eat. Other evil characters
that prey upon the disobedience of children include “Ugly Face” and “Big Tree
People”, who take children away, never to be seen again. “The Spreaders”, dangerous little people who live near cliffs, are
mentioned to keep children away from dangerous areas. Another treacherous
character is Toad Woman who lives near the swamps. She attacks her victims who
are alone and unaware. This creature has been highly effective in keeping
children away from deadly swamps. The end of each chapter includes a detailed
explanation of the monster, including the tribe the story originated from, the
monsters Native American name; back ground information, and additional sources
of reference. An appendix is included at the end of the book, which is
resourceful as a pronunciation guide.
Storylines take place in nature, village longhouses, lodges,
hunting camps, caves, and the “rez”, modern day terminology for reservation.
Cultural markers for names of characters vary depending of
the time era of each story. Stories that took place many distant years ago
include Skunny-Wundy, Blue Sky, Looking Far, Nolka,
Red Flower, Little Weasel, and Two Hawks Flying. Modern day
character names include Lloyd Little Deer, Aaron Little Deer, and Mary Little
Deer.
The cultural marker for identification of a specific culture
is documented in the table of contents and within each chapter with the
inclusion of the tribal origin of each monster at the conclusion of the tale.
Native American tribes include Algonquin, Oneida, Seneca, Mohawk, Lenape, and
Abenaki to name a few.
Dialect or first language cultural markers are identified
with the name of each monster being mentioned either within the text storyline
or the explanation at the conclusion of each chapter.
Also identified as a cultural marker for forms of address
would be the mention of the “Creator”, “Thunder Brothers” who fly on the clouds
with lightening spears, and “Kitselemukong”, the
Great Mystery.
William Sauts Bock who created the illustrations; is a
Lenape Indian who grew up hearing the familiar tales of terror as a youngster.
His black and white pen drawings are a perfect pairing to each storyline. Each
illustration provides a ghastly depiction to an already chilling storyline.
Each illustration helps the reader visualize what is transpiring orally.
Cultural markers evident in the illustrations include facial
features of dark eyes. The cultural marker for clothing shows Native American
men dressed in ornamental moccasins, fringed skirts, and animal skin coverings.
Women and young girls are seen wearing ornamental jewelry and fringed dresses.
Both genders can be seen wearing what appears to be fur lined animal skin in a
winter setting.
In the area of hairstyles, women are seen with long, braided
dark hair and men are shown to have long, loose dark hair, a single long braid
while the other areas of the head have been shaved, or possibly a Mohawk
hairstyle.
A final cultural marker for the illustrations would be in
the area of modern vs. traditional representation. Traditional representations
of various Native American tribes are included in the stories, The Stone Giant, Ugly Face, The Chenoo,
and Amankamek. Each story is
representative of a time set long ago with its depiction of settings (forest,
villages), traditions (evening sweat lodge), and clothing (animal skins.)
Modern day representations are visible in the stories Aglebemu, Big Tree People,
and Toad Woman. Each of these stories
include information which is relevant to today’s society including the character
of Louis receiving a baseball from his dad, the Little Deer family living in a
two story house; sleeping in a double bed, and a group of boys building a fort
in the forest during the summer.
The theme reflected in most of the stories is that good
conquers evil when one uses their intelligence and shows courage in the face of
evil, represented here as monsters. The cautionary tales reflect the theme of
lessons learned for disobedient and disrespectful boys and girls. These tales
are meant to offset potential problems by providing a consequence that ends
tragically.
I wanted to read this book to my class, but was unsure of
the reaction I would get from some of my students. I approached this book with
“caution.” A discussion took place before I read the book detailing the
contents and an explanation that all tales were fictitious. I proposed to my
class that if anyone felt uneasy about the subject matter as we made our way
through the book, we would cease with the reading. I was pleasantly surprised by
the reaction of my students. I did have stopping points throughout the book to
check for uneasiness. Everyone’s reaction was to continue with the read. As one
student said, “we know it is not real.” I would recommend this book as an alternative
to typical horror stories. You are exposing your students to a culture that is
steeped deep in tradition and engaging them in an entertaining read aloud.
Awards
No awards or honors
Review Excerpts
Booklist reviewed
August 1, 1998: “Joseph Bruchac and son James have collected and retold 12
scary stories from northeast woodland Native Americans. Some are hero tales;
others are cautionary stories, intended to make children behave and keep them
from danger. Nine are traditional tales, but three are original stories that
incorporate legendary monsters. Some might consider these contemporary pieces
out of place, but the Bruchacs want people to realize that "these stories
and the Native people who tell them have not vanished." Interesting cultural
background and original sources are appended to each selection. An appendix
provides definitions and pronunciations. The ink sketches fit the stories;
their monsters may attract reluctant readers. A worthy addition to Native
American folklore collections, this is also suitably frightening for fans of
Schwartz's scary stories and San Souci's Short and Shivery collections.” – Linda Perkins
School Library Journal
reviewed December 1, 1998: “An interesting alternative
for children who love horror stories. These 12 tales from the Northeast
Woodland Native American nations are based on legends and mythical creatures
from eight tribes. The authors use their own styles to tell about a wide
variety of monsters while remaining as close as possible to the traditions of
their ancestors. They have set the stories from "the very distant past to
very recent times." Now as in the past, these legends offer entertainment
and instruction. In many of them, bravery, clear thinking, and goodness allow
the hero or heroine to overwhelm a monster and come to a happy ending. Several
cautionary tales are also included, showing the end that can befall disobedient
or willful youngsters who fail to mend their ways. Intriguing drawings help to
bring the fearsome creatures to life. Each story is accompanied by a brief note
of explanation and list of sources. A helpful pronunciation guide is appended.
A good addition to any folktale collection, for both individual reading and
storytelling sessions. – Darcy Schild,
Schwegler Elementary School, Lawrence, KS
Connections
Teachers can use this book as an introduction to folktales.
Students can illustrate their own depiction of one of the
monsters in the text.
Students can compare the qualities of each creature.
Students can identify the lessons learned from each
cautionary tale.
References
TWU Library Database – Books In Print
http://ezproxy.twu.edu:3959/TitleDetail/DetailedView?hreciid=|4040690|47551797&mc=USA
(accessed October 21, 2015)
TWU
Library Database - Children’ Literature Comprehensive Database
(accessed October 21, 2015)
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