Take a photo of a barcode or cover
3.47 AVERAGE
3.47 AVERAGE
Two Quick Notes:
I had to read this for school, I probably would not have even known this book existed otherwise.
And this is a 3-3.5, I don't know
Now, the tales and some of the artwork was very pretty and interesting. However, some were difficult to understand, and one was even difficult to READ because of the font used. Some of the tales/myths/legends I enjoyed more than others, as it usually is in collections of stories, poems, graphic novels, etc.
I had to read this for school, I probably would not have even known this book existed otherwise.
And this is a 3-3.5, I don't know
Now, the tales and some of the artwork was very pretty and interesting. However, some were difficult to understand, and one was even difficult to READ because of the font used. Some of the tales/myths/legends I enjoyed more than others, as it usually is in collections of stories, poems, graphic novels, etc.
This year I helped a committee come up with the 100 best books for children. This list has been produced for a while and each year we make sure to include a folk and fairytale section. The problem? With each passing year publishers produce less and less folk and fairytales for kids. In the past this was a serious category, with a variety of different authors and illustrators all battling it out for folktale supremacy. Nowadays, you can read through a big publisher’s full catalog for the upcoming season and not find a single solitary folktale gracing their lists. It’s sad really. Maybe that’s part of the reason that Trickster, as edited by Matt Dembicki, appealed so strongly to me. This isn’t just a graphic novel and it isn’t just a pairing of smart writers and great artists. Dembicki has come up with a way of collecting a wide variety of Native American folktales into a single source, done in such a way that kids will find themselves enthralled. When was the last time a book of folktales enthralled one of your kids anyway? It’s remarkable. Not that it’s a perfect collection (there are a couple things I’d change) but generally speaking I hope Trickster acts as a sign of good things to come. I wouldn’t call it the ultimate solution to the current folktale crisis but I would call it a solution. And in this day and age of publishing, there’s something to be said for that.
Twenty-one Native American storytellers are paired with twenty-one artists. Each storyteller tells a tale about a trickster type character. Coyote, raven, rabbit, raccoon, dog, wolf, beaver, and wildcat all have their day. The sheer range of storytellers is impressive, calling upon folks from Hawaii to the Eastern shore, from Alaska to Florida. Sometimes the stories are told traditionally. Sometimes they utilize a lot of modern terms (you don’t usually run across the term “crystal cathedral thinking” in a book of folktales these days). The final result is an eclectic collection, where each story plays off of the ones paired before and after it. Though oral in nature, editor Matt Dembicki finds a way to make these tales as fresh and spontaneous on the printed page as when they were told to generations of eager listeners.
I liked the sheer array of kinds of tricksters in this book. In some cases they were villains that had to be outsmarted. Other times they were unrepentant bad boys (never bad girls, alas) who always got their way. Sometimes they were wise and powerful, and other times very small and more sprite than single entity. I also enjoyed seeing similar stories repeat in different places. For example, in three different stories a trickster pretends to be dead in order to lure its prospective meal nice and close. These include “How Wildcat Caught a Turkey” as told by Joseph Stands With Many, “Azban and the Crayfish” by James and Joseph Bruchac, and “Ishjinki and Buzzard” by Jimm Goodtracks. Now these are stories from guys from the Cherokee, Abenaki, and Ioway/Otoe tribes, but the similarities are striking. There are people in this world who spend their entire lives tracking how tales move from one group of people to another. Trickster allows you a quick glimpse into that lifestyle.
I tried this book out with my children’s bookgroup and it was a big success. Really, the only problem was that a lot of them weren’t familiar with the very concept of tricksters and had a hard time figuring out, what they called, the "point" of certain stories. For example, in the tale “Rabbit and the Tug of War” a sneaky bunny manages to get two buffalo to tug on a single rope against one another, thinking they’re tugging against him. It’s a silly prank, but my kids were puzzled. “Why did he do that?” It’s tough being the first person to explain the concept of tricksters and trickery to ten-year-olds. You just sort of assume they know what you’re talking about.
The kids also had distinct opinions on the art. I was a little surprised by it, honestly. First off, I’d never heard of a single one of the artists. None of them have really done graphic novels or comics in the young reader sphere, working instead in the realm of adult comics and Eisner Award winning books. None of the artists, as far as I could tell, were Native American either. Now in his notes From the Editor at the end of the book, Mr. Dembicki does say that the text of individual tales was always changed with the full approval of the storyteller. That said, I had to wonder what their opinions of their accompanying artists were. The animal stories wouldn’t have had to worry (mostly) but when you see American Indians in headdresses and the usual shtick, you have to parse whether or not someone might be offended. However, after listening to an interview with Dembicki, I learned that the storytellers were allowed to choose their artists, and that makes a huge difference, so my fears were sort of abated. On the kids’ part, they paid far more attention to the types of art being utilized. We all loved the art Jason Copland created of “Raven the Trickster” (looking like nothing so much as [b:Arabel’s Raven|892100|Arabel's Raven|Joan Aiken|http://photo.goodreads.com/books/1179240741s/892100.jpg|877333] in a slightly different form). They were disturbed by the art Paul Zdepski made for “Puapualenalena Wizard Dog of Waipi’o Valley” (like me). And they were all equally entranced by the work Pat Lewis did on “Rabbit’s Choctaw Tail Tale”. That Mr. Lewis doesn’t have a children’s book out yet is nothing short of bizarre. Clearly this is his medium.
For all this, the book is not without its flaws. For example, on a first reading it’s impossible to say which story is attributed to which tribe. After some time you will realize that within the biographies in the back of the book the tribe of each of the storytellers is listed alongside that person's name. All well and good, but unfortunately this gives the book the initial impression that all tales are one and the same. I would have also have liked more information in Dembicki's note at the end of the book about why certain artists were paired with certain stories. Ah well.
Of course, the book wasn’t really written with a child audience in mind. Librarians in children’s rooms have purchased it for that purpose but you can tell that it was initially meant to be for a more adult crowd. Maybe that’s the solution to the folktale gap problem, then. If adults start reading folktales and begin collecting books like Trickster here, then perhaps we’ll see a resurgence of interest in the publishing industry. In the meantime, supplement your reading of this book with the child-friendly [b:Trick of the Tale: A Collection of Trickster Tales|1405669|Trick of the Tale A Collection of Trickster Tales|John Matthews|http://photo.goodreads.com/books/1183346025s/1405669.jpg|1395906] by John and Caitlin Matthews and the more young adult The Coyote Road: Trickster Tales edited by Ellen Datlow and Terri Windling. I guarantee your trickster hunger will be well satiated if you happen to do so. You'll probably keep returning to this book, though. There's something new to find within it each time you pick it up.
For ages 9 and up.
Twenty-one Native American storytellers are paired with twenty-one artists. Each storyteller tells a tale about a trickster type character. Coyote, raven, rabbit, raccoon, dog, wolf, beaver, and wildcat all have their day. The sheer range of storytellers is impressive, calling upon folks from Hawaii to the Eastern shore, from Alaska to Florida. Sometimes the stories are told traditionally. Sometimes they utilize a lot of modern terms (you don’t usually run across the term “crystal cathedral thinking” in a book of folktales these days). The final result is an eclectic collection, where each story plays off of the ones paired before and after it. Though oral in nature, editor Matt Dembicki finds a way to make these tales as fresh and spontaneous on the printed page as when they were told to generations of eager listeners.
I liked the sheer array of kinds of tricksters in this book. In some cases they were villains that had to be outsmarted. Other times they were unrepentant bad boys (never bad girls, alas) who always got their way. Sometimes they were wise and powerful, and other times very small and more sprite than single entity. I also enjoyed seeing similar stories repeat in different places. For example, in three different stories a trickster pretends to be dead in order to lure its prospective meal nice and close. These include “How Wildcat Caught a Turkey” as told by Joseph Stands With Many, “Azban and the Crayfish” by James and Joseph Bruchac, and “Ishjinki and Buzzard” by Jimm Goodtracks. Now these are stories from guys from the Cherokee, Abenaki, and Ioway/Otoe tribes, but the similarities are striking. There are people in this world who spend their entire lives tracking how tales move from one group of people to another. Trickster allows you a quick glimpse into that lifestyle.
I tried this book out with my children’s bookgroup and it was a big success. Really, the only problem was that a lot of them weren’t familiar with the very concept of tricksters and had a hard time figuring out, what they called, the "point" of certain stories. For example, in the tale “Rabbit and the Tug of War” a sneaky bunny manages to get two buffalo to tug on a single rope against one another, thinking they’re tugging against him. It’s a silly prank, but my kids were puzzled. “Why did he do that?” It’s tough being the first person to explain the concept of tricksters and trickery to ten-year-olds. You just sort of assume they know what you’re talking about.
The kids also had distinct opinions on the art. I was a little surprised by it, honestly. First off, I’d never heard of a single one of the artists. None of them have really done graphic novels or comics in the young reader sphere, working instead in the realm of adult comics and Eisner Award winning books. None of the artists, as far as I could tell, were Native American either. Now in his notes From the Editor at the end of the book, Mr. Dembicki does say that the text of individual tales was always changed with the full approval of the storyteller. That said, I had to wonder what their opinions of their accompanying artists were. The animal stories wouldn’t have had to worry (mostly) but when you see American Indians in headdresses and the usual shtick, you have to parse whether or not someone might be offended. However, after listening to an interview with Dembicki, I learned that the storytellers were allowed to choose their artists, and that makes a huge difference, so my fears were sort of abated. On the kids’ part, they paid far more attention to the types of art being utilized. We all loved the art Jason Copland created of “Raven the Trickster” (looking like nothing so much as [b:Arabel’s Raven|892100|Arabel's Raven|Joan Aiken|http://photo.goodreads.com/books/1179240741s/892100.jpg|877333] in a slightly different form). They were disturbed by the art Paul Zdepski made for “Puapualenalena Wizard Dog of Waipi’o Valley” (like me). And they were all equally entranced by the work Pat Lewis did on “Rabbit’s Choctaw Tail Tale”. That Mr. Lewis doesn’t have a children’s book out yet is nothing short of bizarre. Clearly this is his medium.
For all this, the book is not without its flaws. For example, on a first reading it’s impossible to say which story is attributed to which tribe. After some time you will realize that within the biographies in the back of the book the tribe of each of the storytellers is listed alongside that person's name. All well and good, but unfortunately this gives the book the initial impression that all tales are one and the same. I would have also have liked more information in Dembicki's note at the end of the book about why certain artists were paired with certain stories. Ah well.
Of course, the book wasn’t really written with a child audience in mind. Librarians in children’s rooms have purchased it for that purpose but you can tell that it was initially meant to be for a more adult crowd. Maybe that’s the solution to the folktale gap problem, then. If adults start reading folktales and begin collecting books like Trickster here, then perhaps we’ll see a resurgence of interest in the publishing industry. In the meantime, supplement your reading of this book with the child-friendly [b:Trick of the Tale: A Collection of Trickster Tales|1405669|Trick of the Tale A Collection of Trickster Tales|John Matthews|http://photo.goodreads.com/books/1183346025s/1405669.jpg|1395906] by John and Caitlin Matthews and the more young adult The Coyote Road: Trickster Tales edited by Ellen Datlow and Terri Windling. I guarantee your trickster hunger will be well satiated if you happen to do so. You'll probably keep returning to this book, though. There's something new to find within it each time you pick it up.
For ages 9 and up.
adventurous
funny
informative
lighthearted
medium-paced
Plot or Character Driven:
Plot
Strong character development:
No
Loveable characters:
Complicated
Diverse cast of characters:
Yes
Flaws of characters a main focus:
Complicated
Trickster is a collection of Native American folktales told through comic form.
Each story has a different writer and artist. I loved this because you got new eye candy in each story. Hurray for being visually appealing! I hate when a graphic novel or comic book is full of classic, boring comic book art. It's so blah. But Trickster isn't visually boring at all. Points for that. It loses points for some of its artist choices though. Most stories were done by amazingly talented artists, but a select few look like they were done by 4-year-olds. I understand wanting different styles, and this book totally has that, but I think some poor choices were made. As for the great ones, my favorites were Micah Farritor and Jacob Warrenfeltz. Both are super impressive.
Now, the reason this collections gets 3 stars is because of the atrocious writing. Clearly most of the writers have never written for a comic before because the flow and language in many of the stories was way off. There's a certain way to write a comic and many of these tales missed the mark. But that's not where the bad writing ends...
I loved the art in "Coyote and the Pebbles" but the writing was not ok. The big issue with this one was the use of the phrase "Indian time." It's an offensive and ignorant term that should NOT have been used in a book supposedly praising Native Americans. According to my anthropology professor, the term "Indian time" was created by white folk who considered the inferior Natives lazy and inconsiderate because they were "late" all the time. The truth is that the Natives didn't measure time in the way that the white settlers did. They had no concept of time in that manner. Sure they had seasons, but the concept of measuring time by minutes, hours...etc. did not exist. So if you told one of them to meet you at 1pm, they would not arrive on time because 1pm meant nothing to them. The phrase was created by ignorant, ethnocentric white men. It shouldn't have been used in this book. My second writing issue is a minor one - the use of "maestro" in describing an artist.
A maestro is an excellent musician, not an artist.
Another nit-picky issue was on page 20. This writer started a sentence with "Anyway..."
"So the raven continued down the beach kicking a deq every time he came upon one." (image of raven kicking deq) "Anyway, farther down a particular deq saw what he was doing."
No! That was so unnecessary! It's writing 101. That one word drives me crazy! I am tempted to grab some whiteout and remove the "anyway." Why did the editor even allow that? Sure, "anyway" works as a segue in writing, but not at all in this particular circumstance.
Ugh! I will stop there, because I could rip the writing apart in many of these stories.
Overall - loved the art, hated the writing.
Each story has a different writer and artist. I loved this because you got new eye candy in each story. Hurray for being visually appealing! I hate when a graphic novel or comic book is full of classic, boring comic book art. It's so blah. But Trickster isn't visually boring at all. Points for that. It loses points for some of its artist choices though. Most stories were done by amazingly talented artists, but a select few look like they were done by 4-year-olds. I understand wanting different styles, and this book totally has that, but I think some poor choices were made. As for the great ones, my favorites were Micah Farritor and Jacob Warrenfeltz. Both are super impressive.
Now, the reason this collections gets 3 stars is because of the atrocious writing. Clearly most of the writers have never written for a comic before because the flow and language in many of the stories was way off. There's a certain way to write a comic and many of these tales missed the mark. But that's not where the bad writing ends...
I loved the art in "Coyote and the Pebbles" but the writing was not ok. The big issue with this one was the use of the phrase "Indian time." It's an offensive and ignorant term that should NOT have been used in a book supposedly praising Native Americans. According to my anthropology professor, the term "Indian time" was created by white folk who considered the inferior Natives lazy and inconsiderate because they were "late" all the time. The truth is that the Natives didn't measure time in the way that the white settlers did. They had no concept of time in that manner. Sure they had seasons, but the concept of measuring time by minutes, hours...etc. did not exist. So if you told one of them to meet you at 1pm, they would not arrive on time because 1pm meant nothing to them. The phrase was created by ignorant, ethnocentric white men. It shouldn't have been used in this book. My second writing issue is a minor one - the use of "maestro" in describing an artist.
A maestro is an excellent musician, not an artist.
Another nit-picky issue was on page 20. This writer started a sentence with "Anyway..."
"So the raven continued down the beach kicking a deq every time he came upon one." (image of raven kicking deq) "Anyway, farther down a particular deq saw what he was doing."
No! That was so unnecessary! It's writing 101. That one word drives me crazy! I am tempted to grab some whiteout and remove the "anyway." Why did the editor even allow that? Sure, "anyway" works as a segue in writing, but not at all in this particular circumstance.
Ugh! I will stop there, because I could rip the writing apart in many of these stories.
Overall - loved the art, hated the writing.
I liked very much that all the authors of the stories were Native, and they were able to choose the illustrator for their tale from among a pool of talent. The illustration styles vary widely, as do the main characters. Coyote and Rabbit are probably the two most mentioned, but the Trickster is also embodied in human form, and as a raven, a raccoon and even a Wizard dog. I liked some stories better than others, but overall, this was wonderful.
fast-paced
adventurous
lighthearted
reflective
fast-paced
Plot or Character Driven:
A mix
Strong character development:
N/A
Loveable characters:
N/A
Diverse cast of characters:
N/A
Flaws of characters a main focus:
N/A
A collection of short comics about the animal "trickster" characters of traditional Native American storytelling.
Some really beautiful variation in visual and storytelling forms in this collection featuring trickster figures from a variety of Indigenous cultures of North America. It's fun to think about the role these stories have in sharing values, and agreements of how humans might strive to act in relation to each other and animal relatives.