Cover Reveal : The South Sea Bubble

For the last volume of the Crown Phoenix series, Lisa Daly was kind enough to design another cover for me. The book is The South Sea Bubble, and here is the blurb:

An Edwardian hospital hides many secrets:

A mysterious patient lurks in the cellar...

A secret passage leads to danger...

Coded messages reveal new riddles...

Visions of danger haunt the people of Grimstead Manor…

Lizzie and Miriam find horror, adventure, and romance surrounding the strange vessel known as The South Sea Bubble.

“Compulsive reading!”

“Addictive steampunk.”

And here is an excerpt:

“Oh, stop the dramatics,” Simon groaned. “What on earth are you talking about? Of course I’m not leaving until we sort all of this out and you tell me what - is - going - on!” His voice rose in volume on each successive word.

Miriam looked at him. Her eyes were dark and very direct. “No, Simon.” Her lower lip trembled, but she took a deep breath and seemed to recover. “I will not.”

“Oh, is that so?” His voice dripped with sarcasm. “And I suppose you think I’m just going to waltz off and forget all about you, Lampala, and last summer.” He raised one finger and stabbed the air in her direction. “I’m not going to, my girl, and don’t you forget it. I will not give up on you, although apparently you have given up on me.”

Finally, here is the lovely cover, courtesy of my friend and constant artist, Lisa:

That Moment...

... when your kid who is obsessed with American Girl dolls puts them in little niches around the house and you realize it's really creepy. 

At least it wasn't this:

That Moment...

... when you put on your make up and realize your kid used the foundation brush to paint black zebra stripes on something at some point during the weekend.

Ditto the blush brush.

Well, it wasn't like I was pale as a ghost to start with or anything...

the Blogger after a day at the beach

Indian 101 for Writers, Part 5: Walking In Two Worlds

Alison DeLuca, purveyor of Fresh Pot of Tea, and Kara Stewart, part-time post pusher at Kara Stewart Art in Photography, have collaborated to bring you this five part traveling blog series. 

This series takes a look at writing about Native Americans and gives resources to accurately and respectfully do so.  

Alison DeLuca is is the author of several YA steampunk books. She is committed to adding characters with different ethnic backgrounds to her works, and is always looking for authentic, realistic ways to do so. 

Kara Stewart is Native, an enrolled member of the Sappony, and white, and is a full-time Literacy Coach in the public schools, as well as serves in several Indian organizations, with a passion for photography, writing and Indian education. Her disclaimer for this series, “The views I express in this series are my personal views, brought about my own experiences and many years in literacy and education. I do not claim to represent the views of all Indians, but I do hope writers will find helpful resources and perspectives.”

Today we host the last in our five-part series,

Indian 101 for Writers, Part Five: Walking In Two Worlds.

See Part 1, Part 2, Part 3 and Part 4

Alison: Do you have quite a bit of interaction with people from your culture? What desires, if any, do they express for representation within literature and film?

Kara: Your first question is a difficult one to answer because I don’t/can’t really separate my culture from me; I am as much Indian as I am white. As much white as I am Indian. So I live in both worlds equally. Our mainstream culture in America is white; I don’t think anyone could sensibly argue that. So of course I live in that world. We all do, no matter if we are black, white, Latina, Native or Asian or multiracial.

Powwow by Kara Stewart

But as far as my Indian world, I am involved in Indian education in North Carolina and am fortunate to know a number of other North Carolina Indian people through that. I also currently serve an elected position as a tribal council member for my tribe, the Sappony, and tap into Indian issues that way. I am active in our tribe through volunteer activities such as our youth camp and other events, which give me regular contact with tribal members. And the main thing - tribal members are my family. So calling my cousin and talking to her would count as “interaction with people from my culture”, no? Going to a party with a friend who happens to be Native would count as “interaction with people from my culture”? I don’t know. It’s hard to separate and I'm not sure it's possible to. 

The Visitor by Kara Stewart

The concept of living in two worlds is very common for Indian people. For many (myself included), there’s a whole other world going on for us, parallel to the mainstream world. There’s a parallel, Indian stream of information, issues, events, and people that we navigate along with those things in the mainstream world. This parallel stream makes us aware of these things on multiple levels – how information, issues, events and people impact, are perceived and relate to the mainstream world, and how they impact, are perceived and relate to Indian Country. These two streams weave together, sometimes clashing (as when faced with stereotypes and possibly well-intentioned but uneducated statements). What you, as writers, teachers, humans, can do is to educate yourselves. Open your eyes to an entire world going on around you that you haven’t taken the time to notice before. And ask us. Talk with us. Don’t be afraid of race conversations or approaching us. We know we’re Indian, just like most black people know they are black and most Latinos know they are Latino! It's okay and it’s not a secret. Talk with us.

Powwow Barbies by Kara Stewart

As far as your second question, what Indians would like expressed about us in literature and film, what I have mostly heard from friends and family is the wish to be portrayed accurately, respectfully and to be real when you write about us. To be aware of, and not perpetuate, the stereotypes, or to even do a little stereotype-busting! We will read your books and be hurt by your stereotypes. Our children are hurt by teachers and authors who unknowingly promote stereotypes. Make it real. Because we are real.

Thank you, Alison, for the idea for this blog series, for working with me on it and for hosting our 'hops'! It has truly been a pleasure creating this series with you, my friend.


Indian 101 for Writers, Part 1: Know Thyself
Indian 101 for Writers, Part 2: Know Whereof You Speak (a.k.a. Don't Make It Up or Rely On What You *Think* You Know)
Indian 101 for Writers, Part 3: Keep It Real, People
Indian 101 for Writers, Part 4: Aargh!
Indian 101 for Writers, Part 5: Walking In Two Worlds

Jingle by Kara Stewart

Indian 101 for Writers Part 3: Keep It Real, People

Alison DeLuca, purveyor of Fresh Pot of Tea, and Kara Stewart, part-time post pusher at Kara Stewart Art in Photography, have collaborated on a new five part traveling blog series! This series will take a look at writing about Native Americans and giving resources to accurately and respectfully do so.  

Alison DeLuca is is the author of several YA steampunk books. She is committed to adding characters with different ethnic backgrounds to her works, and is always looking for authentic, realistic ways to do so. 

Kara Stewart is Native, an enrolled member of the Sappony, and white, and is a full-time Literacy Coach in the public schools, as well as serves in several Indian organizations, with a passion for art, writing and Indian education. Her disclaimer for this series, “The views I express in this series are my personal, brought about my own experiences and many years in literacy and education. I do not claim to represent the views of all Indians, but I do hope writers will find helpful resources and perspectives.”

Today we host Indian 101 for Writers, Part Three: Keep It Real, People.
See Part 1 and Part 2.

Alison: Which novels represent, in your opinion, Native culture in a fair and accurate way? Which novels would you recommend that writers read before they write Indian characters into their novels?

Kara: I love Sherman Alexie’s novels. He is Spokane/Coeur d’Alene and his writing exemplifies the Native sense of humor* about the world (which is the one thing I’d generalize as far as ‘India
ns’). His novel, The Absolutely True Diary of a Part-Time Indian is a must read for anyone thinking about writing about an Indian character – or just for a great, hilarious read. The movie, Smoke Signals, based on Alexie’s novel, The Lone Ranger and Tonto Fistfight In Heaven, has become an Indian Country iconic cult film, and will also give writers insight. Also definitely worthy of mention is his novel Reservation Blues, and the soundtrack of Reservation Blues, which  is one of my soul touchers with the tracks deeply embedding parts of certain tribes’culture and overarching themes common to many tribes.  Another film of his particularly germane to writers is The Business of Fancydancing (scroll down), which speaks to identity. One thing to keep in mind is that Alexie portrays what he knows (or knew at the time) – reservation life. It is important to realize that the majority of Indians in America do not live on reservations (22% as of 2010).

Those novels, and the films, have Indian Country front and center, but his characters are people first, who just happen to be Indian. I think that is the key: their ‘Indianness’ doesn’t define them. For a read on how Alexie incorporates an Indian character seamlessly, accurately and respectfully into a crime novel, read his novel Indian Killer. It’s just as important to incorporate one Indian character well (not coming across as a token Indian without any reason for being in the novel other than an attempt at diversity – although an attempt at diversity is better than no attempt at diversity).

What I appreciate most about Alexie’s novels is that he keeps it real. His characters have humor as well as in-depth emotion, they are current, they care about issues, they have grandmothers and fathers they feel ambivalent about, like many people - they are real people who happen to be Indian. They are not whooping warriors, New Age mystics or (my personal peeve) the “noble Indian” who reveres or worships nature and whose every action is some sort of ritual. That makes me want to scrrrreeeaaaammmm! Just get real. We (Indians) are no more noble than white people, black people or any other people. If there is some sort of accurate, legitimate, researched ritual you feel is integral to your story, okay, have the character just do it and then go eat their fry bread and turn up the radio!

I’d also recommend that authors read Louise Erdrich’s books The Birchbark House,  The Game of Silence and The Porcupine Year for examples of writing realistically and respectfully about Natives in a historic setting. Her characters are also touching, real, and while they are Indian, that is not the reason they are in the story – they are people first. I read part of The Birchbark House sitting in a faculty meeting and cried for a good portion of that meeting while I read! Couldn’t put it down. Okay, and yes, I missed the info I was supposed to be paying attention to in the meeting. But hey, bibliophiles can relate.

DebbieReese’s great blog, American Indians in Children’s Literature, has Indian point of view reviews of books involving Indian characters. I’d recommend checking it out to see some examples of issues with writing Indian characters. 

*For other examples of Indian humor and an inside peek at our 'real', see Powwow Comedy Jam, Charlie Hill on the Comedy Network, 7 Ways to Tell if a Native Girl Likes You, Ernie Tsosie III, Tatanka Means and my favorites, 1491s. and here and here or just google 1491s. Slapping Medicine Man cracks me up every time. Why? I don't know. But it does.

Take away: Find out about real Indians - Indians who are alive today and working in all professions, who live in all cities and around the world, who laugh with their kids, get mad at their uncles, love their family traditions, hate their family traditions, read themselves to sleep, run out of gas, screw up at work, excel at work, try to make the world a better place, and are generally people.

Stay tuned for Indian 101 for Writers, Part Four: Aargh! tomorrow on Kara Stewart Art in Photography. 

Dagger Blanket Piece by Kara Stewart

Part TWO of Indian 101 for Writers

Today's post is on Kara Stewart's blog, Art in Photography. She expands her advice for writers who wish to include Native characters - and, as usual, Kara has lots of amazing resources.

You can read it here.

Men's Fancy Dance Colors

INDIAN 101 FOR WRITERS - A Five Part Series

Alison DeLuca, purveyor of Fresh Pot of Tea, and Kara Stewart, part-time post pusher at Kara Stewart Art in Photography, have collaborated on a new five part traveling blog series! 

This series will take a look at writing about Native Americans and giving resources to accurately and respectfully do so.  

Alison DeLuca is the author of several YA steampunk books. She is committed to adding characters with different ethnic backgrounds to her works, and is always looking for authentic, realistic ways to do so.

Kara Stewart is Native (an enrolled member of the Sappony) and white, and is a full-time Literacy Coach in the public schools, as well as serves in several Indian organizations, with a passion for art, writing and Indian education. Her disclaimer for this series, “The views I express in this series are my personal views, brought about my own experiences and many years in literacy and education. I do not claim to represent the views of all Indians, but I do hope writers will find helpful resources and perspectives.”

Indian 101 for Writers. Part One: Know Thyself

Alison DeLuca: As a Native and an artist, what parts of your background influence your work?

Red Arrow Medallion

Kara Stewart: When I moved to North Carolina in 1998 and got more involved with my tribe, the Sappony, I began to be more aware of Indian issues such as health care, housing, tribal recognition, government and education and to learn more about my own tribe. I did this through my own research and talking with my tribe’s researchers and members. I also began to educate myself about my own racial identity and experiences, and how those have impacted my life. After all, we all have a racial identity that affects us, even those who haven’t thought of (or have had the luxury of not having to think of) themselves in relation to a specific racial background.

My education about Indian issues that impact many tribes across the nation, learning the history and current issues of my tribe, and my ever-growing awareness of my own racial identity continually shape my work by helping me express myself in a way that I hope is celebratory of the strengths of Indians and seeks to educate non-Indians, and is also culturally sensitive while avoiding stereotypes and offenses perpetuated by mainstream media and culture.

                            

I think it is impossible to write to or about Indians in a culturally sensitive manner unless you have really put in the work and thought about race in America – and your place in that. The first step must be educating yourself about race in America, and then realizing that Natives are a current, thriving, contemporary race in this country made up of real people, not just the stereotypes and past that the media present. 

Some good starting places are:

28 Article – Faaabulous quick guide

I Don’t See Race – Myth #2 made me want to stand up and cheer. Deny my racial identity and you deny my experiences.

Excellent article on The Pitfalls of the Colorblind Mindset

Another excellent article on Racial Color Blindness with a starting point at the end.

Helm’s White Racial Identity Development Model

Even better racial identity model from CCODE Diversity Training that expands on Helm’s model by including people of color – scroll down to where it says “Unlike Helm’s model…” 

The best book on race I have ever read (starts slow but hang in there), Beverly Daniel Tatum’s Why Are All the Black Kids Sitting Together in the Cafeteria?

I’d recommend that every writer write her own racial autobiography or the story of her racial background and history. To write it, recall your earliest racial memories and events and record them. What was your first personal experience in dealing with race or racism, or being aware of race? Describe what happened. Was it something that happened at school? Within your family? Was it something someone said? If so, what? What was your reaction? What did you think, feel? Write these events, identifying some of the landmarks on your racial journey, and working your way up to describing your most recent events and conversations about race, race relations and/or racism that may have impacted your current perspectives of yourself and others and/or your experiences and your awareness of others’ experiences. This is a fluid document that you can reflect on and update many times as your racial consciousness evolves. Tim Wise’s White Like Me is one of the best racial autobiographies I’ve read, although there are many.

Some links for thinking about your racial autobiography:

Pacific Educational Group, who implements Beyond Diversity training nationally has a specific guide for creating racial autobiographies here.

Author Robert Wallace wrote an eloquent racial autobiography focused on one incident that impacted his racial identity in a recent Durham News article.

      Here is another example of a racial autobiography.

      Here is an amazing prezi-style racial autobiography centered around one main event and her resulting thoughts written by a student teacher (start with the block at the stems; the prezi is interactive and moves with your control.)

It took me a long time to write my own racial autobiography. But I am so glad I did. It was not only cathartic, but it gave me insight into my passions, my ‘hot buttons’, family dynamics, and a kind of chart to my inner soul. It helped me see with greater clarity how pieces of my history and my thoughts fit together, and helped me to give an openness to others’ racial histories and thus their thoughts, words and actions.

Home

While our American history of over 300 years of slavery and subjugation of many groups has left the racial aftermath we deal with now, it’s important for writers to know that once you begin to unpack and demystify race and process your own racial history, you will find that you are able to write with a greater understanding of yourself, as well as greater consideration and accurate representation for many viewpoints and cultures. And that is ultimately the goal: to give equal consideration and accurate representation to all.

(Look for Part Two of Indian 101 in Kara Stewart's Blog, Kara Stewart Art in Photography, Thursday October 10th.

Children of the Elementi

I really love this book by Ceri Clark, but it was unavailable for a while. And now it's back - hurray!

And here is the cover in all its glory.

Blurb: From the ashes of an ancient empire, five must save the future. 

Jake: Last in line to the Elementi High King throne, sent through time and space to be brought up in an alien world, he has no knowledge of his past. 

Mirim: As the caretaker of the mysterious Citadel which hosts the dying crystal mind of the Matrix, her air power is the only link to the old world. 

Kiera: A Romani foundling with growing powers over nature, she is searching for a better life away from her criminal past. 

They must find the other two heirs and reunite all their elemental powers over earth, air, fire, and water together with the Matrix to defeat the Empire that conquered their parents. 

With a fire demon on his trail, can Jake bring together the last of the Elementi in time?

You can buy the book in paperback or Kindle edition.