Writing Outside Your Culture: Dealing with Religion

Creating Esther is written for a secular audience, but religion was a part of both the Native American culture and the white culture that officials tried to implant at boarding schools. So some mention was necessary for authenticity.

Yes, some Native Americans were Christians by then, but it was still an anomaly. And the boarding schools did not understand how to integrate Christianity into the local culture. Since I wanted to show a realistic picture of what it would be like for most of the children attending the Indian boarding schools in 1895 and 1896, I had to include the conflict between Ojibwe religious beliefs and Christianity as taught by the boarding schools. My challenge was to be sensitive to Native American religious practices while remaining true to my Christian beliefs.

In the end, I decided to show the conflict between the two without resolving it. Here is a passage from the protagonist’s first boarding school Christmas:

“What is Christmas?” Ishkode asked Mrs. Hansen. “Everyone talks about it coming next week, but what is it?”

“It’s the day Christians celebrate the birth of Jesus.”

Even though Ishkode had been attending chapel every Sunday for three months, she still didn’t understand who Jesus was. Sometimes he sounded like Wenebojo, who was born of a human mother and a spirit father. But she had asked a minister after chapel one day, and he said Wenebojo was not Jesus.

Now Ishkode rubbed her forehead. It was too confusing.

Actually, the book even shows the negatives about how the boarding schools practiced and taught Christianity. The Christianity I found in my research is not the Christianity I find in my Bible. I’m sure many of the teachers and administrators were sincere, but they were also misguided.

Boarding school staff tried to convert the Native American students by forcing religion on them. That approach doesn’t work in life, and it doesn’t work for fiction writers, either.

So use a soft touch when writing about religion.

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I took the photo at the Ziibiwing Center of Anishinabe Culture and Lifeways at Mount Pleasant, Michigan while on my 2015 research trip.

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This post is a revision of the December 22, 2016 post I wrote for the Hoosier Ink blog sponsored by the Indiana Chapter of the American Christian Fiction Writers.

Writing Outside Your Culture: Language Issues

The characters in Creating Esther speak two languages, which makes the work harder for me as the author. At the beginning of the book, Ishkode understands some English but speaks and thinks in Ojibwe. Once she reaches the boarding school, she still thinks in Ojibwe but is forbidden to speak it. So how do I distinguish between the different languages without confusing my readers?

The second issue is how to write the dialogue and text when Ishkode and her friends speak or write English. At a conference I attended several years ago, a speaker said that broken English and grammar errors tell the reader that the character is unintelligent, even when that is neither the reality (to the extent fiction reflects reality) nor the message the author intended to convey. The speaker said the better option is to keep the character’s English sentence structure and vocabulary simple at first and to make them more complicated as the character learns the language. Good advice, and something I may not have thought of on my own.

I bought a number of books to help me bridge these language barriers, including two scholarly studies on how students acquired English language skills in the boarding schools, two basic books on Native American sign language (which I ended up not using), and two Ojibwe dictionaries. But although they gave me some help, I had to figure it out myself.

So what did I do?

I made Ishkode a quick learner who had been attending the reservation day school for several years before the story opens, which allowed me to start her with a basic command of English. Since all of Ishkode’s narrative thoughts would be in Ojibwe,however, they could be more complex than if they were in English. So although I had to simplify the dialogue, I didn’t have to simplify the narrative.

I still needed to signal which language my characters were speaking when there was dialogue. I solved that problem by specifically stating when people were speaking English in Part I (on the reservation) and Part II (travelling to the boarding school), which tells the reader that the rest of the dialogue was spoken in Ojibwe. I reversed the process for Part III (at the boarding school), which mentions when people are speaking Ojibwe. And yes, Ishkode and her friends do defy the ban on speaking Ojibwe.

As far as I can tell, I succeeded in distinguishing between the languages without confusing my readers. My beta readers all followed the story, and none of them mentioned any problems with how I handled the language issues.

But it wasn’t an easy puzzle to solve.

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This post is a revision of the November 24, 2016 post I wrote for the Hoosier Ink blog sponsored by the Indiana Chapter of the American Christian Fiction Writers.

Writing Outside Your Culture: Naming Characters

As mentioned in previous posts, the main character in Creating Esther is an Ojibwe girl who goes to an Indian boarding school in 1895. The practice was to “civilize” the students by giving each of them a traditionally white name. So I had to find two names for my protagonist—an Ojibwe name and a “white” one.

One way that superintendents and teachers chose white names was to compile a list from the Bible and assign the next one. Running through some Biblical names in my head, I settled on “Esther” because it just sounded right. But there was another reason, as well. By the end of the book, my protagonist has made some decisions that put her on the path to saving her people, which is what the original Esther did. My Esther will do it less dramatically and as one of many forces, but the concept works.

Coming up with an Ojibwe name was more challenging. I started by going to one of those baby naming websites and looking for Ojibwe girls’ names. I liked “Keezheekoni” because it supposedly means “burning fire,” and my protagonist has a fiery temperament. Unfortunately, based on the sources I found, it appears to be hard to pronounce.

There was an even bigger problem. While most of the baby name sources list it as a Chippewa name, a couple list it as Cheyenne. Worse, I couldn’t find any of its roots in either A Dictionary of the Ojibway Language by Frederic Baraga or A Concise Dictionary of Minnesota Ojibwe by John D. Nichols and Earl Nyholm. So even though I liked the look and the purported meaning of “Keezheekoni,” I ended up rejecting it.

But the meaning worked well for my story, so I checked both dictionaries for the Ojibwe word for “fire.” Father Baraga’s dictionary listed “ishkote,” while the more modern one used “ishkode.” One letter different, but which is correct?

They probably both are. Ojibwe was originally a spoken language with no written equivalent, and the people who tried to write it down used various spellings. In Red World and White: Memories of a Chippewa Boyhood, author John Rogers says that his new baby brother was named Ahmeek, meaning beaver. But the Concise Dictionary spells beaver a-m-i-k.

In the end, I decided to go with the more modern spelling and name my protagonist Ishkode.

I used a similar process for naming my secondary Ojibwe characters, leafing through the dictionaries to find words that had suitable meanings while being relatively easy to pronounce. For example, the antagonist is named “Waagosh,” which means “fox,” and Ishkode’s older sister is “Opichi,” which means “robin.” I relied on those same dictionaries for the words Ishkode uses for her parents and grandparents.

Notice the emphasis on the word “relatively” above. Because the names come from another language, none of the pronunciation is easy. But I wanted to be as authentic as possible, which ruled out using English words, like naming a character “White Feather.” So I put a pronunciation guide at the beginning of the book, and hopefully it’s close enough.

Because even character names should be as realistic as possible.

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This post is an expansion of the October 27, 2016 post I wrote for the Hoosier Ink blog sponsored by the Indiana Chapter of the American Christian Fiction Writers.

Writing Outside Your Culture: The Importance of Group Names

When writing outside your race or culture, it is particularly important to avoid labels that unintentionally disparage the race or cultural group.

My second middle-grade historical novel, Creating Esther, is about an Ojibwe girl who goes to an Indian boarding school at the end of the 19^th Century. My first dilemma was whether to use “Indian” or “Native American.” I didn’t want to offend anyone by using the word “Indian,” but that was what Native Americans were called at the time of my story, and every boarding school had “Indian” in its name. For historical purposes, that was the best choice. But was it acceptable?

One of the stops on my 2015 research trip in 2015 was at the Grand Portage National Monument, where the exhibits in the Heritage Center answered my question about using the term “Indian.” A sign near the entrance stated:

Although the term “Native Americans” was once considered more acceptable than “Indians,” today most Indian people in the United States—including Grand Portage—refer to themselves and their families as just that: “Indians.” In the exhibits here in the Heritage Center we have used “Indians” or “Native people” more or less interchangeably.

My second question was what to call the tribe itself. The legal name is Chippewa, and that is the name I was familiar with when growing up in Chippewa County, Michigan. But most tribes call themselves Ojibwe (or Ojibwa or Ojibway). Then there is Anishinaabe, which is the older version. Again, I’ll let the exhibit at Grand Portage provide the answer, which you can read in the photo at the head of this post.

Based on those exhibits, I ended up using “Indian” and “Ojibwe.”

When writing historical fiction outside your culture, it is important to balance historical accuracy with sensitivity to the group’s feelings. Sometimes history has to win out, but think carefully about your choice.

And sometimes it’s as easy as asking.

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The photo shows a sign in the exhibit area at Grand Portage National Monument in Grand Portage, Minnesota.

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This post was repurposed from the July 28, 2016 post I wrote for the Hoosier Ink blog sponsored by the Indiana Chapter of the American Christian Fiction Writers.

Researching CREATING ESTHER, Part II

My research for writing Creating Esther wasn’t limited to documents. I also dragged Roland along on a trip through Ojibwe country in Michigan, Wisconsin, and Minnesota to visit museums and reservations and the shells of former Indian boarding schools.

It isn’t always possible to take research trips to the sites in our fiction, but it has always been worthwhile for me when I had the opportunity. And this one kept me from falling into the pitfalls created by regional differences.

I already knew, of course, that different tribes had different customs and ways of life. But I didn’t know that a few hundred miles could make a difference within a tribe.

The main elements of Ojibwe life and history were the same at each location. Every exhibit we saw referred to the Ojibwes’ seasonal way of life: collecting maple syrup in the spring, fishing and berrying and planting gardens in the summer, harvesting wild rice in the fall, and hunting in the winter. (Actually, fishing and hunting took place all year long, but they were more predominant at those times.) Families moved from one place to another for these seasonal activities but tended to return to the same spot every spring, every summer, every fall, and every winter. In all regions, the members of the tribe also had the same clan system (although not always the same clans) and the same teachings passed down through their oral history.

But they didn’t all live in the same type of birch-bark housing.

Before we left, I thought all of the earlier Ojibwe lived in birch-bark wigwams with the rounded shape shown in the museum exhibit above. On the research trip, I learned that the construction materials varied somewhat depending on the season. Woven birch-bark mats covered the frame in the hot summer months, which allowed the wall coverings to be raised so that air could circulate through the lower part of the frame. In the winter, the walls were insulated with moss and the floors used a radiant heating system.

All of that was helpful new information, and none of it surprised me.

What did surprise me was that some Ojibwe used a birch-bark teepee during the winter. We saw no evidence of this in Michigan or Wisconsin, where winter dwellings were built using the wigwam shape. But that changed when we got to Minnesota. A guide at the Mille Lacs Indian Museum told us that the teepee shape keeps the dwelling warmer. (Since heat rises, the smaller air space near the ceiling would keep more of the heat down by the floor.) During the warmer months, there were no regional differences—all dwellings were built as wigwams. But the winter shape seems to have been modified as members of the tribe moved farther west and closer to the plains Indians, who lived in animal skin teepees.

I’m very glad I took that trip and learned about Ojibwe regional differences. They don’t show up in the book because I kept the settings in Wisconsin and Michigan. But without location research, I could have gotten it wrong.

And I’d rather be true to the culture.

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I took the first picture at the Ziibiwing Center of Anishinabek Culture and Lifeways at Mount Pleasant, Michigan, and the second at Grand Portage National Monument in Grand Portage, Minnesota.

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This post was repurposed from the September 22, 2016 post I wrote for the Hoosier Ink blog sponsored by the Indiana Chapter of the American Christian Fiction Writers.

Researching CREATING ESTHER, Part I

My research for any historical novel begins with reading as many first-person accounts as I can. This is especially important when writing outside my culture, as is the case with my newly released middle-grade historical novel. Memoirs are usually the best source, although diaries, letters, and contemporary newspaper stories are also good.

As I said in my last post, Creating Esther is about an Ojibwe girl who goes to an Indian boarding school at the end of the 19^th Century. There are plenty of memoirs about the Native American boarding school experience, but few come from the right perspective. Most took place several decades later, when the students knew what to expect. Others came from the male perspective or that of a white teacher.

The three most helpful memoirs were (1) three essays by Zitkala-Sa (Gertrude Bonnin), which can be found in her American Indian Stories; (2) No Turning Back: A Hopi Woman’s Struggle to Live in Two Worlds by Polingaysi Qoyawayma (Elizabeth Q. White); and (3) Red World and White: Memories of a Chippewa Boyhood by John Rogers (Chief Snow Cloud). The Zitkala-Sa essays tell about her experiences as a Native American student and teacher shortly before the time of my story, but they are short on details. No Turning Back begins at about the right time and provides a few more specifics, but it spans a number of years and is written by a woman from a different tribe than my protagonist. Red World and White gives a reasonably detailed look at Ojibwe (Chippewa) reservation life around the right time but gives little information about the male author’s boarding school experience.

I also read a number of academic books about the Native American boarding school experience or the Ojibwe tribe. Putting all this information together with what I learned from location research, I believe I have portrayed an accurate picture for my readers. But it wasn’t easy.

Next month I’ll talk about the location research that helped me understand the broader picture.

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The photo at the head of this post shows one of the abandoned buildings from the Mount Pleasant Indian Industrial Boarding School. I took the picture on my research trip in 2015. And before you ask, I wasn’t intentionally trying to make it look old. Somehow I set my camera to grayscale and didn’t notice it until later.

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This post was repurposed from the August 25, 2016 post I wrote for the Hoosier Ink blog sponsored by the Indiana chapter of the American Christian Fiction Writers.