Walking Eagle

April 28, 2014
Born clubfooted (“his legs made the shape of a heart”) and without speech, Walking Eagle travels the countryside sharing stories with neighboring tribes: “Because Walking Eagle didn’t speak, he used his hands, his face, his smile and his eyes to communicate everything that his listeners needed to hear.” What this actually means is left vague, aside from a reference to Walking Eagle’s “vivid performances” and images of him smiling beatifically while mystical images swirl out from his body. Unfortunately, the story feels steeped more in “magical Native” stereotypes than in Comanche culture, concluding with a forced plea for global solidarity. Ages 6–up.

March 1, 2014
A mute young storyteller in a feathered headdress draws all the tribes into a giant, mystical tepee to chant and drum and invite everyone in the world to hold hands. The tale is definitely laudable of purpose, though written in rhapsodic prose and grossly stereotypical in concept and presentation. It puts a lad born silent and clubfooted ("his legs made the shape of a heart") atop a flying pinto pony to bond with wild animals and then spread stories of the oneness of all creatures with "his hands, his face, his smile and his eyes." Giving him headdress feathers in gratitude, his enthralled Native American audiences gather in a tepee woven from a "bright, white magical thread," after which he continues "along the path," telling tales "without words." Said stories are vaguely depicted in the lyrically windswept illustrations as sparkling bubbles and glowing animal outlines issuing, oddly, from his mouth. Along with feathers dyed in rainbow colors, Uya strews the pictures with floating dream catchers, carved poles of smiling totems and like tourist goods. Though ostensibly aimed at children, the most natural audience for this culturally tone-deaf offering is equally well-meaning and clueless adults. Purest kitsch. (Picture book. 5-8)

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June 1, 2014

Gr 1-3-Described as "a magical tale about nature and harmony between the different peoples of the world," Eulate's attempt at creating a book about an inspiring Native American child only works in further stereotyping an already problematic area of children's literature. The most glaring stereotype is Eulate's emphasis on the spiritual communion of Native Americans and nature as the central theme of Walking Eagle's message. There is no indication as to why Walking Eagle is bowlegged and without speech; why do these characteristics make him such a powerful spiritual symbol of the story? There is little in the way of plot here: Walking Eagle is born and attempts to unite people with his signed messages of peace and harmony. The story conveys nothing beyond this-was he a real person? When did this story take place? None of these questions can be answered. Also, problematically, the illustrations also perpetuate gross stereotypes. Walking Eagle is depicted as always wearing a ceremonial headdress, which only shows both Eulate and Uya's lack of research in Comanche customs and connection to Native American cultures. The illustrations also rely heavily on Native American symbols and spiritual items from across several tribes, resulting in a mishmash of nonsense. The lush colors are sure to lure most children in, but as this book has numerous problems, it is not recommended in any way. If perpetuating the idea to children (and adults) that Native Americans are an extinct group of people that used their spiritual beliefs to live in harmony with nature is not your inclination, then save the money spent on adding this book to your collection and seek out picture books that depict Native Americans as tribally distinct and culturally relevant, such as Cynthia Leitich Smith's Indian Shoes (2002) or Jingle Dancer (2000, both HarperCollins).-Beth Dobson, Weatherly Heights Elementary School, Huntsville, AL

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