Carlson, Lori Marie, ed. Moccasin Thunder. New York: HarperCollins, 2005. Print.
Lori Marie Carlson compiles an anthology of short stories by ten American Indian writers, each representing a different tribe and telling a unique contemporary story. Each author uses an adolescent or pre-adolescent main character to narrate their tale as they try to make sense of the world and their identities. The teenaged (or tween) storytellers give us an honest glimpse into their [fictional] lives and reveal examples of contemporary American Indian life. Some of the characters exude frustration; others radiate shame; some maintain pride; but most display hope.
Contemporary, recent past (or modern history—still during 20th century). Set in the United States or Canada: an Indian boarding school, in a public access cable booth in the Northwest Territories, in a costume shop in Texas, at Grandma’s house out in the country on the Great Plains, in a rowboat in the middle of Lake George, on a hillside near a convent, in an apartment in a refurbished Army barracks, at a potluck for a Storyteller’s visit, at an American Indian Center dance in Chicago.
Point of View:
1st person, ten different adolescent narrators
school, family, tradition, racism, substance abuse, sexuality, poverty, dreams, mistakes
Each author is an experienced, well-published author, very capable of telling a short story that develops its characters and plot in 30 pages or less. The stories use dialogue and descriptive language to “show instead of tell.” Sometimes the narrator’s voice is so convincing that the reader is wont to go back and check that the story is not actually autobiographical.
The editor includes short biographies of each writer at the end of the book, giving the reader a better idea of their background. Each story was written by an American Indian author, qualified to share their cultural experiences. The editor also includes a heartfelt note at the beginning about her reasons for compiling such stories, even though she is not of Native American background or educational expertise. However, there is also an introduction by Dr. Helen Maynor, who does have a tribal affiliation and is an assistant director of the National Museum of the American Indian. She touts the virtues and authenticity of the stories, lending her authority to the compiled selections.
This book is probably best used with young adult and adult readers, given that some of the themes are a little raw or graphic (such as sexual assault or drug use). There are a few selections that are less “edgy” that might be appropriate for middle school readers. Adolescent readers will probably be highly interested in this edginess and may identify with some of the characters’ struggles.
I generally felt like this book was enjoyable to read, though some stories kept my attention better than others. I was rooting for Kevin the drug-dealer in “The Last Snow of the Virgin Mary” as he dreamt of turning his life around and smacked my hand to my forehead as I realized he messed up. I got a kick out of the sassy character that fumbles in love in “A Real-Live Blond Cherokee and His Equally Annoyed Soul Mate.” The sexual confrontation in “Wild Geese (1934)” and the brother’s anger in “Crow” made me uncomfortable. I was satisfied that Fawn gets a happy ending in “Drum Kiss,” as tween turmoil can be pretty distressing for kids. Each story managed to evoke an emotion from me as a reader. Overall, I thought Moccasin Thunder succeeded in its goal of sharing contemporary American Indian culture with its audience.