By Monique
You might have heard about J.K. Rowling’s literary misfire in recent days. The Harry Potter writer is busy creating new stories for her Magical Beasts and Where to Find Them movie, and a new set of stories, telling the history of magical North America, hit Pottermore to eager fans. A promotional trailer was also released, in which some of the details of her North American history are revealed.
I’ve been a fan of the Harry Potter books, despite my personal gripes. But one of gripe I had while reading her textbook tie-ins was that America was always put into stereotype. We didn’t get Quidditch; we got some dumb analog to American football because Americans are just more brutish that way (that’s how I interpreted it anyway). Now, we Americans don’t have the simple term “muggle” to describe non-magical people; we have some clunky term like “No-Maj,” which seems to imply that America’s usage of English is clunky and fumbly, unlike the Brits’ musical-sounding words. But she’s not the first European to view America as an overbearing, loud place, and she won’t be the last. And in truth, if she had stopped at just a history of white America, she might have saved herself some grief. But she decided to include Native American history into her fictional tale, and that has proved disastrous, and rightly so.
The major points of contention are:
• JKR lumped all of Native American culture together in one term, a term we should all be careful about using: “Native American community.” Native Appropriations’ Dr. Adrienne Keene writes that that phrase represents “[o]ne of the largest fights in the world of representations,” which is “to recognize Native peoples and communities and cultures” as “diverse, complex, and vastly different from one another.”
• JKR appropriated the Skin-walker myth. JKR writes in her story that skin-walkers are a myth created around Native American Animagi (animagi being people who can transform into animals, like Professor McGonagall). The myth states that the skin-walkers had “sacrificed close family members to gain their powers of transformation,” but in her world, the Native American Animagi used their powers “to escape persecution or to hut for the tribe.” She goes AWOL when she decides to call the Skin-walker myth itself “derogatory rumours often originated with No-Maj medicine men, who were sometimes faking magical powers themselves, and fearful of exposure.”
The skin-walker (yee naaldooshii) legend itself, in actuality, is of Navajo origin, and refers to a witch who gains their power to transform by breaking cultural taboo. Medicine men aren’t the same as skin-walker witches, since witches are using their methods to harm, and medicine men are using theirs to heal. I got my info from Wikipedia as well as other sites, which shows that it’s not that difficult to at least try to pay homage to a particular culture’s legends. I admitted the little research I’ve done because I’m not going to act like I’m an expert on Navajo culture; far from it. But Keene’s statement on the myth tells you what you need to know. “…[T]he belief of these things (beings?) has a deep and powerful place in Navajo understandings of the world. It is connected to many other concepts and many other ceremonial understandings and lifeways. It is not just a scary story, or something to tell kids to get them to behave, it’s much deeper than that.” So with that said, why does JKR feel she can call a part of someone else’s belief system “derogatory”?
• JKR doesn’t address the atrocity of white colonialization on Native peoples. In her story, JKR calls Europeans settlers merely “explorers,” as Keene points out, when we know that there was a lot more that went into their “exploring.” It’s currently unclear as to how she will address the full extent of devastation brought on by colonialization, but some clues are probably in how she addresses Africa and India’s magical histories in that same Magical Beasts textbook I mentioned above.
Native American fantasy and sci-fi, written by Native Americans
The story hasn’t gone without getting properly reamed in social media and on numerous websites. But this story is also just one of many stories out there that appropriates and erases Native culture until it can fit into a highly limiting, Eurocentric, often stereotypical view of Native Americans as a whole. JKR’s misstep also begs the question of if this, a story written by a non-Native, is out there, and if there are plenty other books by non-Native authors writing about cultures they might not know anything about, where are the fantasy stories (and sci-fi stories) written by Native American writers? How can we expose ourselves to fantasy that respects Native cultures and exposes non-Native readers to new ideas? Well, check these five examples out:
• Walking the Clouds: An Anthology of Indigenous Science Fiction, edited by Grace L. Dillon
This anthology is a great entryway into the world of Native American fantasy. The anthology, the first of its kind, features fantasy, stream-of-consciousness, sci-fi, and magical realism. Indian Country Today Media Network also states that Dillon, a professor of Indigenous Nations Studies at Portland State University, provides literary and cultural context for each piece, “making this book an excellent starting point for scholars and sci-fi fans alike.”
• Intersection of Fantasy and Native America: From H.P. Lovecraft to Leslie Marmon Silko, edited by Amy H. Sturgis and David D. Oberhelman
This book is more a literary study than an actual sci-fi or fantasy novel, but such a text is also useful for those wanting to become more versed in Native American fantasy and speculative fiction. Sturgis, part of the Cherokee Nation of Oklahoma, and David D. Oberhelman examine the push and pull between stories by Native authors such as Gerald Vizenor, Leslie Marmon Silko, and Louise Erdrich, and non-Native uthors like J.R.R. Tolkien, H.P. Lovecraft, and ironically enough, J.K. Rowling.
• Bearheart: The Heirship Chronicles, Gerald Vizenor
Vizenor, part of the Anishinaabe people and a member of the Minnesota Chippewa Tribe, White Earth Reservation, envisioned the destruction of America amid, as Wikipedia describes, “white greed for oil,” leading tribe of pilgrims to traverse the country’s dystopia. It could very well be argued that Vizenor’s then fictional world is coming true, seeing how bad climate change has become, much of it fueled by irresponsibility and a desire for oil. Bearheart: The Heirship Chronicles was part of the literary movement known as the Native American Renaissance, which took place during the 1990s.
• The Tantalize Series by Cynthia Leitich Smith
The Tantalize Series, by Smith, a member of the Muscogee Creek Nation, writes young adult science fiction that also reflects today’s highly diverse society. The series is set in Austin, TX and focuses on a werewolf protagonist who, along with her uncle, open a vampire-themed restaurant. But when a murder leaves them without a chef, they have to transform their new fill-in into a convincing vampire. This leads to a love triangle, skirmishes with the supernatural, and the reveal of just who is playing whom.
• Robopocalypse, Daniel H. Wilson
Robopocalypse, by roboticist, Popular Mechanics contributor, and television host Wilson, of Cherokee heritage, advances the idea (and the fear) of robots becoming sentient and, of course, against humanity. In Wilson’s world, a supercomputer turns the world’s technology against its creators, killing most of the world. The only hope left is, as Tribal College Journal’s Ryan Winn describes it, “an off-the-grid Osage stronghold where humans resisting the assault find sanctuary.” The fact that this book (and its sequel, Robogenesis), is written by a robotics engineer makes the story even that more terrifying due to its potential plausibility.
There are more books out there, but the difference between throwing up your hands in defeat and actually finding them is putting in the work. The literary world is still very homogenous, to be nice about it. To be honest about it, the literary world is a colonialized, whitewashed place, with too many literary agents (many who are white) picking authors (many who are white) that reflect their same worldview. Finding proper representation in the literary world takes some work, but it’s out there.
What we as a society should work on is lifting up marginalized voices, such as Native writers. Their stories are just as valuable to the literary framework, and lifting up those voices would alleviate the anxiety that comes when other writers are given unmitigated freedom to write about characters from different cultures and races. When more Native American writers are given the chance to write about their experiences, and when they’re given the correct exposure, then everyone wins.
But you still want to write your story about Native Americans. What you can learn from JKR’s missteps when it comes to writing about Native cultures (and any culture that’s not your own):
With all of this said, I’m sure there are still many of you writers out there who want to use Native American characters and cultural elements in future stories, but don’t want to fall into the JKR trap. From both my passive and active experiences, I can offer the following advice that might come in handy.
The lessons we can glean from JKR’s mistakes are lessons that we can learn from many books throughout history, including classics like the Tarzan series, movies like Disney’s Peter Pan, and books-turned-movies like The Help.
• Do your research. If you’re not of a culture, it would behoove you to crack open a book, or get on Google, or do something to arm yourself with knowledge before ever writing anything down. JKR’s lack of success when it comes to writing about Native American beliefs as a whole is that it would appear she did cursory research, but neglected to go deeper into any of the things she was investigating. For instance, Skin-walkers. Instead of co-opting the term and turning it into something of her own creation, she could have incorporated the belief as it is and as it has been for centuries without changing it into a “derogatory” set of “rumours” created by non-magical people. She could have shown some level of sensitivity.
• Once you do your research and get comfortable, you still might have some questions. It doesn’t hurt to ask someone—RESPECTFULLY—to help you out. As an outsider, you will never know everything that comes with being the race you’re writing about, but you can gain some valuable insight from someone who agrees to work with you on your story.
JKR could have asked for a Native American writer or consultant, or several Native American writers, consultants, and historians, to help her edit her story and point out some things she should include more of or forget altogether. This brings up another point: I’d suggest you only ask a person of the culture you’re writing for help after you’ve done the proper legwork necessary in terms of research. Don’t expect a person not of your culture or race to fill in everything for you, since that’s not how reciprocity or actual cultural exchange works. You come with your knowledge, and ask for guidance. Don’t expect that person to be the representation of all of their people. No race or ethnicity is a monolith; Native American culture is certainly not a monolith, since there are many different nations and tribes with their own customs and cultural attitudes. I can’t say this enough: CULTURES AND PEOPLE OF THOSE CULTURES ARE NOT MONOLITHIC. THIS ISN’T STAR TREK.
•Don’t take something of another culture and appropriate it to mean something else. Where JKR lost many is when she decided that the Skin-walker myth was something she could create into her own idea. It’s similar to how white Christianity turned voodoo into the devil’s religion, when it’s not that all. Cultural mythos and belief systems, especially the belief systems and myths of cultures that are routinely forgotten and appropriated in society, should be honored and respected. There’s still a way to incorporate these ideas into modern literature, but to me, the way to do that is to keep the original myth intact.
To this point, I also add: Don’t rewrite a peoples’ entire history on the earth to suit your whims. JKR’s attempts to write a complex history of American magic and provide a nuanced, diverse approach to inclusion, but her efforts became hamfisted, seeing how her knowledge on Native America, and America in general, is limited to stereotype. JKR writes of Native Americans, as a whole, as a magical people, but limiting an entire group to “magic” undercuts any of JKR’s good intentions and just makes her Native American characters “magical ethnic” tropes and flattens any inroads towards learning at least the very basics about the many types of Native American cultures. Again, to use voodoo, Americans (and I’m sure Europeans as well) tend to limit Africa to witchcraft (or huts, child solidiers, or the Savannah). None of these express the cultural, societal, ethnic, and racial complexities of an entire continent.
• If you still feel uncomfortable and believe you could offend people, just don’t write about that culture. There’s a lot more I could say about this, but you can’t write about what you don’t know.
• Despite your best intentions and even after you research and get outside help, you’re still taking a risk in misrepresenting a culture that’s not your own. Taking precautions and utilizing sensitivity can help you mitigate any issues, but you’ve got to remember that you’re still the outsider, and the insiders have every right to dissect what you’ve put out. Be careful.
These are just basic lessons, and I’m sure there are plenty more that can be learned from JKR’s mistake. Overall, if a writing decision feels sketchy, just don’t do it. You’ll save yourself headaches.
Great blogs on the subject:
Non-white Protagonists in Fantasy and Science Fiction (theillustratedpage.wordpress.com)
Native American and Speculative Fiction: An Interview with Amy H. Sturgis (journeytothesea.com)
Native Americans to J.K. Rowling: We’re Not Magical (National Geographic)
Julian 