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ENTRY TYPE: new
WORK TITLE: Chooch Helped
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WEBSITE: https://andrealrogers.com/
CITY: Fayetteville
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COUNTRY: United States
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PERSONAL
Grew up in Tulsa, Oklahoma; children: three daughters.
EDUCATION:Institute of American Indian Art, Santa Fe, New Mexico, MFA. Attending the University of Arkansas to earn her Ph.D.
ADDRESS
CAREER
Writer and teacher. Taught art and high school English for fourteen years.
AWARDS:Walter Award, Teen Category, We Need Diverse Books, 2023, for Man Made Monsters; Caldecott Medal, American Library Association, 2025, for Chooch Helped.
WRITINGS
Contributor of short stories to periodicals such as Transmotion, Kweli Journal, Yellow Medicine Review, Santa Fe Literary Review, and Massachusetts Review.
SIDELIGHTS
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Andrea L. Rogers is a citizen of the Cherokee Nation who grew up in Tulsa, Oklahoma. She earned her MFA from the Institute of American Indian Arts in Santa Fe, New Mexico, and for fourteen years she taught art and high school English at public schools in the Dallas-Fort Worth area. She then moved to Fayetteville, Arkansas, to pursue a Ph.D. in English literature. She writes in a variety of genres but with a consistent emphasis on the experience of Native Americans. Her first book was Mary and the Trail of Tears: A Cherokee Removal Story, a middle-grade historical novel based on the forced removal of the Cherokee people in the 1830s.
During the years she was obtaining her MFA, Rogers wrote a number of short stories, which she then collected and reworked for her short story collection Man Made Monsters. As she discussed in an interview with The Pitch, she imagined the stories as interconnected, such as the authors Louise Erdrich and William Faulkner have done with many of their narratives. In Rogers’s case, the narratives use classic monster tropes such as vampires and werewolves and combine them with the themes of colonialism and the displacement Native Americans have faced throughout their history. The book won the Walter Award in the teen category in 2023.
Reviewers enjoyed this collection. Tamara Saarinen, in School Library Journal, called the stories “chilling” but noted that they are “the right balance of suspense without too much horror.” A writer in Kirkus Reviews called the stories “creepy and artful.” They praised Rogers’s “grounded, smooth writing style” and how she makes both the magical elements and human villains seem threatening. The review also praised the artwork by Jeff Edwards. A writer in Publishers Weekly called the stories “spine-tingling” and praised Edwards’s artwork for how it contributes to the “haunting atmosphere.” They also appreciated how Rogers “artfully tackles themes of colonialism and its effects on entire generations.” The result, for this reviewer, was a “simultaneously frightening and enthralling read.”
In the picture book When We Gather (Ostadahlisiha), Rogers continued to present elements of her Cherokee background but for a much younger audience. She has talked about how her experiences as a girl hunting for onions were the inspiration for this narrative about a Cherokee family who gather onions and then cook the Cherokee wild onion feast. With illustrations by Madelyn Goodnight, the book celebrates Cherokee traditions and the joy of community.
“A delicious story, rich in culture and community,” wrote a reviewer in Kirkus Reviews. They enjoyed how Rogers “discusses the cultural significance of wild onion dinners” and how she “imbues her text with warmth and playfulness.” They also praised the “gentle” illustrations that portray a “supportive, tightknit community.” Carolyn Phelan, in Booklist, also enjoyed the “simple story and appealing illustrations.”
Rogers returned to a young adult audience with the dystopian novel The Art Thieves. It takes place in the middle of the twenty-first century when the weather has gone haywire because of climate change. Still, protagonist Stevie Henry is doing the things young people have always done: making friends and looking forward to the future. When she discovers that one of her new friends is a boy from the future, he tells her that he has come to save significant pieces of art before they are destroyed in the coming apocalypse, and Stevie has to decide how to respond.
Reviewers were enthusiastic about this novel, often comparing it to the work of Octavia Butler. A writer in Publishers Weekly particularly enjoyed the “plethora of memorably realized characters” and how Rogers “navigates tough issues relating to death, familial turmoil, exploitation, and climate collapse.” They also praised Rogers for her “smart and empathetic” prose. The result is a “gripping adventure” that is both “adrenaline-pumping and emotionally moving.” Angela Carstensen, in Booklist, called the book a “beautifully designed work of futurism” that “pushes back hard against the ills of our own world and embraces hope for the next.” A reviewer in Kirkus Reviews concurred, describing the story as “sharp social commentary folded into an all-too-believable dystopian setting.” They appreciated the story’s “strong pacing” and exploration of various themes.
In Chooch Helped, Rogers returns to the world of picture books. In this story, a Cherokee girl named Sissy explains her family’s traditions to her much younger brother Chooch. He just wants to help, but Sissy struggles with how he always wants to do what she does. Rebecca Lee Kunz, who is also a citizen of the Cherokee nation, did the illustrations. In early 2025, Rogers and Kunz learned that Chooch Helped had won the prestigious Caldecott Medal for the most distinguished American picture book. A reviewer in Kirkus Reviews loved this outing, predicting that “readers’ hearts will be warmed by Sissy and Chooch’s relationship and by the moving representation of Cherokee traditions.” They called it a “beautiful sibling story.”
In an interview with Cynsations, Rogers talked about some of her motivation in writing: “I have daughters and I want them to outlive me. I’m a citizen of a tribe, and I want it to survive me. I want our language to thrive. If you look at films about Native people, we’re in the past or we’re ghosts or ‘the last of.’ In reality, we’re still here. We’re not going anywhere.”
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BIOCRIT
PERIODICALS
Booklist, February 15, 2024, Carolyn Phelan, review of When We Gather (Ostadahlisiha): A Cherokee Tribal Feast, p. 60; August, 2024, Angela Carstensen, review of The Art Thieves, p. 70.
Kirkus Reviews, July 1, 2022, review of Man Made Monsters; April 15, 2024, review of When We Gather (Ostadahlisiha); August 1, 2024, review of Chooch Helped; August 15, 2024, review of The Art Thieves.
Publishers Weekly, August 22, 2022, review of Man Made Monsters, p. 72; July 29, 2024, review of The Art Thieves, p. 65.
School Library Journal, October, 2022, Tamara Saarinen, review of Man Made Monsters, pp. 90+.
ONLINE
Andrea L. Rogers website, https://andrealrogers.com (February 9, 2025).
Cynsations, https://cynthialeitichsmith.com/ (November, 2022), AJ Eversole, author interview; September, 2024, AJ Eversole, author interview.
Horn Book, https://www.hbook.com/ (October 20, 2022), author interview.
Pitch, https://www.thepitchkc.com/ (October 6, 2022), Nick Spacek, author interview.
School Library Journal, https://www.slj.com/ (August 23, 2021), author interview.
Andrea L Rogers
Genres: Children's Fiction
New and upcoming books
October 2024
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The Art Thieves
October 2024
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Chooch Helped
Novels
The Art Thieves (2024)
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Collections
Man Made Monsters (2022)
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Series contributed to
Girls Survive
Mary and the Trail of Tears (2020)
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Picture Books hide
When We Gather (2024)
Chooch Helped (2024)
Andrea L. Rogers is an award-winning author of historical and contemporary fiction across a variety of genres. Her work includes essays, picture books, young adult novels, middle grade stories and one comic. So far. Her first book, Mary and the Trail of Tears is historical fiction, which is pretty much horror for Native people. It was on both the NPR & American Indians in Children’s Literature best of 2020 lists.
Her critically acclaimed Young Adult Horror Novel, Man Made Monsters, was released by Levine Querido in October 2022. It includes illustrations by Jeff Edwards (Cherokee). The novel received the Walter Award and several other accolades. Her next YA novel is a Cherokee Futurism called The Art Thieves out September 2024.
Her debut picture book about Southeastern tribes and wild onion dinners (the opposite of horror) is called When We Gather and will be illustrated by Madelyn Goodnight (Chickasaw) will be out in May 2024. A second picture book, Chooch Helped, will also be out in October 2024 and will be illustrated by Rebecca Kunz (Cherokee).
Andrea is a citizen of the Cherokee Nation and grew up in Tulsa, Oklahoma. She currently attends The University of Arkansas in Fayetteville where she is a doctoral student in English. Andrea graduated with an MFA from the Institute for American Indian Arts. She taught Art and HS English in public schools for 14 years. She has three wonderful children.
Super Short Bio
Cherokee Nation citizen Andrea L. Rogers writes fiction and nonfiction and is the author of “Mary and the Trail of Tears: A Cherokee Removal Survival Story. Visit her online at https://andrealrogers.com/
Bio, 171 words
Andrea L. Rogers is a citizen of the Cherokee Nation. She grew up in Tulsa, Oklahoma, but currently lives in Arkansas. She graduated with an MFA from the Institute for American Indian Arts. Her literary horror and speculative fiction stories have been published in Waxwing, Yellow Medicine Review, The Santa Fe Literary Review, Transmotion, The Massachusetts Review and River Styx. Capstone published her children’s book Mary and the Trail of Tears which was included on the best books of 2020 by both NPR and American Indians in Children’s Literature. Her essay, “My Oklahoma History” appeared in You Too? 25 Voices Share Their #METoo storiesfrom Inkyard Press. Her short story “The Ballad of Maggie Wilson” is included in Ancestor Approved: Intertribal Stories for Kids, a MG short story Anthology from Heartdrum, an imprint of Harper Collins which will be release on February 9, 2021. Her picture book called, When We Gather, for HeartDrum will be out May 7. 2024. It is a story about community and wild onion dinners.
Bio
Andrea L. Rogers writes in a variety of genres, creating work for all ages. She is a citizen of the Cherokee Nation and a graduate of the Low Rez MFA program at the Institute for American Indian Arts. She has a B.A. in English from the University of Tulsa and an MFA in Creative Writing-Fiction. She grew up in Tulsa, Oklahoma, but currently lives in Arkansas where she is pursuing a Ph.d in English at the University of Arkansas. She is the mom of three daughters.
At IAIA, she was mentored by strong Indigenous writers and teachers. While there, she completed her short story collection Man Made Monsters, a meditation on love, loneliness, family, and the monsters in society. Cherokee people are centered in this collection, along with a cast of vampires, werewolves, zombies, aliens, ghosts, two handsome Princes, and a Goatboy. Her short stories have been published in Transmotion; Kweli Journal; Yellow Medicine Review; The Santa Fe Literary Review; Waxwing, The Massachusetts Review, and forthcoming from The River Styx. Capstone published her children’s book Mary and the Trail of Tears which was included on the best books of 2020 by both NPR and American Indians in Children’s Literature. Her essay “My Oklahoma History” was included in You Too? 25 Voices Share Their #MeToo Stories. Her short story “The Ballad of Maggie Wilson” is included in Ancestor Approved: Intertribal Stories for Kids, a MG short story Anthology from Heartdrum, an imprint of Harper Collins. Her picture book called, When We Gather and illustrated by Madeline Goodnight (Chickasaw) for Heartdrum will be published in May 2024. Her Cherokee futurism The Art Thieves will be out in Fall 2024. Her picture book Chooch Helped, illustrated by Rebecca Kunz (Cherokee) will be out in October 2024.
Author Interview: Andrea Rogers on Writing Horror for Young Readers
Home » Author Interview: Andrea Rogers on Writing Horror for Young Readers
By AJ Eversole
Today it is my pleasure to welcome Andrea Rogers to the blog. Andrea is a citizen of the Cherokee Nation and writes both fiction and nonfiction. Her YA horror debut, Man Made Monsters (Levine Querido, 2022) released in October.
What is the heart of Man Made Monsters?
Oooh, I love this question. I think it’s the spirit of the Cherokee Final Girl. I needed one, so I wrote one. I have daughters and I want them to outlive me. I’m a citizen of a tribe, and I want it to survive me. I want our language to thrive. If you look at films about Native people, we’re in the past or we’re ghosts or “the last of.” In reality, we’re still here. We’re not going anywhere.
Me. AJ, Henry and Ana Henry at New Echota, Georgia in March 2019.
What appeals to you about writing horror in a children’s space? What are the craft challenges of writing for this age group?
I loved scary books when I was a kid. I guess I never really stopped. It was hard to find work that was age appropriate and, like many other readers, I read what was available instead. Sometimes that wasn’t the best thing for my still-young heart and brain. My kids loved Scary Tales to Tell in the Dark. (Scholastic, 1989). Full disclosure, I did, too. For a long time, there wasn’t a whole lot to scaffold up to, especially work that took the feelings of BIPOC kids into consideration. In writing for this audience, I write stories I would have liked to have curled up with on dark and stormy nights. But when I go back and edit, I keep my young adult reader front and center.
This pool may have inspired a story with an interesting sentient being.
What writers/people have influenced your writing the most?
Debbie Reese’s work in her blog, American Indians in Children’s Literature, really backed me up as a parent and a writer on the importance of us telling our own stories. Man Made Monsters was nourished by the work of Darcie Little Badger, Victor LaValle, Carmen Maria Machado, Stephen Graham Jones, Tommy Orange, Terese Mailhot, Louise Erdrich, Toni Jensen, and Marcie Rendon. In our critique group Marcie asked a question about one sentence in my story “Snow Day” and it made it so much better.
In kid lit, Traci Sorell and Cynthia Leitich Smith were all I had for a while. Now, that field is exploding with fantastic authors. I’m in a writing group with like twenty-five of them, including Brian Young, Dawn Quigley, Stacy Wells, Kim Rogers, Laurie Goodluck, and Leslie Widener. There is a lot of good stuff coming.
April 9, 2016, KWELI, in person, The Colour of Children’s Literature Conference. Front: L to R: Charlene Willing McManis (Grand Ronde); Andrea Rogers (Cherokee Nation); Marcie Rendon (White Earth (Anishinaabe) Nation)
Back: L to R: Natalie Dana (Passamaquoddy); Laura Kaye Jagles (Tesuque Pueblo); Traci Sorell (Cherokee Nation); Joseph Bruchac (Abenaki); and Kevin Maillard (Seminole)
Do you have any tips for debut authors about balancing the roles of author and writer?
Always be writing. Write what you’re passionate about. Balance is hard, but remember, in my opinion, you need your body, your community, and people who love you. So take time to show you value all of those people. Make time to enjoy the good stuff.
This guy might have had a creepy cameo in the title story of Man Made Monsters…
How do you celebrate success?
I buy books. I send gifts to people who have helped me and to people I love.
What are you working on next?
I wrote two picture book manuscripts that are in the process of being illustrated. I’m really excited about those. One is for Heartdrum and called When We Gather. It’s about wild onion dinners. There is something about being in community, having a meal, that really embodies Home for me. I have a manuscript called Chooch Helped that Levine Querido is going to publish. It’s about the stress and joy of being an older sibling. I’m, also, working on a science fiction novel about a time traveling art thief.
Cynsational Notes
Andrea L. Rogers is a citizen of the Cherokee Nation and writes fiction and nonfiction for young people and adults. She grew up in Tulsa, Oklahoma, but currently splits time between Fort Worth, Texas, and The University of Arkansas in Fayetteville where she is a doctoral student in English. Andrea graduated with an MFA from the Institute for American Indian Arts. Andrea taught both Art (all grades) and English (HS) in public schools in Dallas-Fort Worth for 14 years.
Her work for young people includes:
“Lifting While She Climbs” included in Allies from DK Publishing (2021) and “My Oklahoma History” published in You Too? 25 Voices Share Their #MeToo Stories (Ink Yard Press, 2020)
Her first book, Mary and the Trail of Tears: A Cherokee Removal Survival Story (Capstone, 2020), is a historical fiction middle grade novel focusing on one Cherokee family and their forced internment and walk to Indian Territory where the Cherokee Nation reestablishes. It has won several awards and was named an NPR Best Book of 2020 and Highly Recommended by American Indians in Children’s Literature. See Andrea’s 2020 Cynsations interview, Writing about the Trail of Tears.
Her short story “The Ballad of Maggie Wilson” was included in the award winning anthology Ancestor Approved: Intertribal Stories for Kids, edited by Cynthia Leitich Smith (Heartdrum, 2021)
Her forthcoming picture books are When We Gather/Alisdayvdi (pronounced ah-leece-day-uh-di): A Cherokee Tribal Feast (Heartdrum, 2024), illustrated by Madelyn Goodnight and Chooch Helped to be published by Levine Querido.
AJ Eversole covers children’s-YA writing, illustration, publishing and other book news from Indigenous authors and illustrators for Cynsations. She grew up in rural Oklahoma, a place removed from city life and full of opportunities to nurture the imagination. She is a citizen of the Cherokee Nation of Oklahoma and writes primarily young adult fiction. She currently resides in Fort Worth, Texas with her husband. Follow her on Instagram @ajeversole or Twitter @amjoyeversole.
Author Interview: Andrea Rogers Celebrates Tradition with When We Gather
Home » Author Interview: Andrea Rogers Celebrates Tradition with When We Gather
Cynsations is celebrating its 20th anniversary by switching to a quarterly publishing schedule, featuring in-depth interviews and articles. Thank you for your ongoing support and enthusiasm!
By AJ Eversole
Author Andrea L. Rogers (Cherokee) joins us today to discuss her new picture book, When We Gather (Ostadahlisiha): A Cherokee Tribal Feast, illustrated by Madelyn Goodnight (Chickasaw) (Heartdrum, May 2024).
What is the heart of When We Gather?
Wild Onion gathering and gatherings were a part of my childhood that I wanted to share with my own children. When I was a kid my dad had this manual push mower that he would cut our grass with and the smell of wild onions mixed with the smell of freshly mown grass at the beginning of Spring. When I visited the New Echota cemetery back in our Cherokee homelands the scent of wild onions permeated that hallowed space.
I thought, when our ancestors were forced to relocate to Indian Territory that winter of 1839 it must have been a small comfort that next Spring to find Native plants similar to what we seasoned our food with back home. They were probably the first fresh food of the season.
New Echota
Tell us about some gatherings that you drew inspiration from.
I don’t know how great we were at picking wild onions when we were kids. Even now, I second guess when I gather. I break the plants and sniff them to make sure I’m picking the right plant a lot. Later, though, my friend took us to gather onions when I had my own children. Then I realized how lucky I was to have that memory and that cultural heritage.
Later, when I lived in Texas I missed being with other Native people. But every Spring the Urban Indian Methodist Church would do a Wild Onion Dinner and we’d go for a taste of home. Now I make wild onions and eggs for special occasions, sometimes from bags I have in the freezer.
New EchotaNew Echota
How does When We Gather depict positive representation of Native communities?
I was at a storytelling event recently and Sammy Still said, and I’m paraphrasing, that sharing is a Cherokee Cultural value and by gathering and exchanging stories we were maintaining a cultural practice.
Gathering and sharing food and stories and being in community is so important. But when I was a kid and raising my own children, I never saw books about these kinds of gatherings for any Native tribe. Something that was a long lived tradition was absolutely absent in popular culture. Our kids need these books that speak to their own cultural practices and history and life.
What has been most challenging in depicting modern Natives in your writing?
The most challenging thing is meeting people who say, “I have never met a Native person.” That always surprises me. The challenge it presents is some people only know a homogenous stereotype of Native people. Those are anchor beliefs they got from television and books and stereotypes that some non Native writers still exploit. It can be frustrating, but it’s so important to not play that game.
What do you want children, Native and non-Native to take away from When We Gather?
I want people to value Native plants and treat them with respect and care and not take more than is good for the planet.
I want people to honor elders and other knowledge keepers. I am always surprised when I go to events that are supposed to be Native events and no one is serving the elders or inviting them to the front of the line. That’s not the way I was raised. I think that teaching is important.
I want people to celebrate our gatherings. People are so busy, but I think the 2020 lockdown taught us how important it was to just sit and listen to each other and share food and stories.
How was working with illustrator Madelyn Goodnight to bring the story to life?
Madelyn is great. I loved that she just took the story and invested it with her own experiences. Seeing her illustrations made me cry in a happy way.
What projects are you working on next, what can you tell us about them?
Chooch Helped (Levine Querido, 2024) comes out in October 2024. It’s illustrated by Rebecca Kunz who is Cherokee and it is filled with Cherokee inspired images.
My Cherokee futurism, The Art Thieves (Levine Querido, 2024) comes out in September with illustrations by Rebecca, as well.
This summer I’m scheduled to write a horror play with Shane Hawk. I have a few things with my agent and I’m waiting to see what’s next on those projects.
Cynsational Notes
Andrea L. Rogers is a citizen of the Cherokee Nation and grew up in Tulsa, Oklahoma. She currently attends The University of Arkansas in Fayetteville where she is a doctoral student in English. Andrea graduated with an MFA from the Institute for American Indian Arts. She taught Art and HS English in public schools for 14 years. She has three wonderful children.
AJ Eversole covers children’s-YA writing, illustration, publishing, and other book news from Indigenous authors and illustrators for Cynsations. She grew up in rural Oklahoma, a place removed from city life and full of opportunities to nurture the imagination. She is a citizen of the Cherokee Nation of Oklahoma and writes primarily young adult fiction. AJ currently resides in Texas; with her family. Follow her on Instagram, TikTok &Threads @ajeversole.
In Their Own Words: What Christine Day and Andrea L. Rogers Want You to Know
by Kara Stewart
Aug 23, 2021 | Filed in News & Features
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In our limited weekly series "In Their Own Words," we will be featuring Kara Stewart's exclusive book reviews, as well as interviews with Native creators. This week, Stewart speaks with Christine Day and Andrea L. Rogers about their realistic and historical middle grade fiction titles.
In my August 2020 article Strategies for Teaching Seven Native-Centered Books to K-12 Students, I spoke of a contemporary renaissance of recently published Native-centered books. We are now on the cusp of, if not already diving into, that long-awaited phenomenon. Thankfully, agents, editors, and publishers have become increasingly aware of the need for accurate, lived-experience-driven Native books for all kids.
I share with you here some not-to-be-missed Native chapter book, middle grade, and young adult releases from 2020 and 2021—their fully unfurled words have blossomed into leafy vines of expression of our hope, strength, and resilience. In further gift to us, each author offers their own heartfelt words about their book and their journey to bring it from seed to fruit.
Middle Grade Realistic and Historical Fiction
DAY, Christine. The Sea in Winter. Heartdrum. 2021. ISBN 9780062872043.
The author opens this beautifully written, complex novel with a direct address to the reader, describing her book as “a love letter to the young, the struggling, and the lonely. It’s a story about starting over…longing for your life to go back to normal. Feeling scared or uncertain about the future.” This is the timely story of Maisie Cannon and her Makah, Piscataway and Lower Elwha Klallam family. Maisie has badly torn her ACL, separating her from the ballet school that is her sanctuary and jeopardizing her long-planned future as a dancer. Things come to a head during a family trip at the Northwest coast when Maisie lashes out at her family in her anxiety and hopelessness, despite their closeness. This gorgeous, emotional book has deep characters and well-blended Indigenous contextual information. It addresses and normalizies seeking mental health assistance in a way that is at once poignant, realistic, and uplifting. This is a must-read for all tweens.
Photo by Jessica Wood
What is the main takeaway you would like readers to get from reading this book?
I hope that my readers will find something they're looking for in my work. And I hope that "something" will vary from person to person.
What do you wish I would ask you about your book? What would you like to say about the finished product, the creation, or the publishing process?
So often, Native creators are asked about the current state of publishing, or our seemingly autobiographical connections to our books. Personally, I would love to participate in more craft-focused discussions. I'm a writer; I want to talk about writing.
Which Native writers of adult literature do you read? Who resonates with you and why?
Elissa Washuta (Cowlitz) is one of my favorites. Her writing is acerbic and clever and emotional, and she doesn't shy away from darker subjects. She is one of the most exciting and inventive essayists I've ever read.
ROGERS, Andrea L. Mary and the Trail of Tears: A Cherokee Removal Survival Story. Capstone/Stone Arch Bks. 2020. ISBN 9781496587145.
This book stays true to its membership in the "Girls Survive" series with its fast pace, tension, and wealth of accurate historical information. Mary, a Cherokee girl from Georgia, and her family find themselves at the mercy of white soldiers and citizens who force their removal from their beloved home of many generations. The family tries to stay together as they endure loss, suffering, and starvation on the Trail of Tears and in the internment camps where they are held for desperate lengths of time. Mary is a middle sister who finds a burgeoning maturity through a heartrending series of events. A much-needed book about this event in America’s history.
Photo by Phillip Robbins
What is the main takeaway you want readers to get after reading this book?
I want people to know that Cherokees are still here, and we are a strong, adaptable people, but we’re stronger together. The Cherokee word Gadugi defines this ideology. I want people to look at their own geographic areas and find out more about that land’s history as Indigenous Land. I want people to remember the importance of their culture, all elders, and perhaps, be moved to take steps to reclaim or ensure the survival of their own cultures and communities in whatever way they can.
What do you wish I would ask you about your book? What would you like to say about the finished product, the creation, or the publishing process?
I was grateful I got to tell this story, even though it was really difficult to trace the trail back to our homeland and read the accounts of what our Cherokee ancestors went through. Most people think of the Cherokee when they hear “Trail of Tears,” but the Choctaw, Creek, Chickasaw, and Seminole along with other smaller tribes also faced removal. All tribes were impacted by Indian policy in some fashion. I think all those stories should be told by the impacted tribes.
Which Native writers of adult literature do you read? Who resonates with you and why?
I read everything Stephen Graham Jones and Darcie Little Badger write. I can’t wait to read Tommy Orange’s next book. Terese Mailhot is working on a novel and I can’t wait to read that. 2020 saw some great books drop by other Native writers, including Kelli Jo Ford, Brandon Hobson, and Dennis Staples. Talented Native writers are getting some well-deserved attention. It’s nice being able to escape into all kinds of different books that have a variety of Native characters.
Andrea L. Rogers’ Man Made Monsters is terrifying, hilarious, and tear-jerkingly poignant
October 6, 2022 Nick Spacek
Andrea L Rogers
Andrea L. Rogers. // Courtesy the author
Writer Andrea L. Rogers’ new book, Man Made Monsters (out this week from Levine Querido) sees the Cherokee author delving into two centuries of a family, beginning in 1839.
Along the way, Rogers takes horror tropes and uses Native history and perspective to turn them inside-out. While there are zombies, vampires, werewolves, aliens, and more, this YA novel is based firmly in the concept of family and is by turns terrifying, hilarious, and tear-jerkingly poignant.
From its opening line, “Tsalagi should never have to live on human blood, but sometimes things just happen to sixteen-year-old girls,” you’ll be sucked into this series of tales that focus on “predators of a distinctly American variety – the horrors of empire, of intimate partner violence, of dispossession.”
Aided by the illustrations of artist Jeff Edwards, it’s also one of the best-looking novels to hit our to-be-read stack in ages.
We spoke with Rogers from her current residence in Fayetteville via Zoom to discuss Man Made Monsters and what brought it to vivid life.
The Pitch: Some of the book’s sections have been short stories that were published elsewhere. Have they always all been connected?
Andrea Rogers: Yeah, I’m a big fan of Louise Erdrich and Faulkner and you know, their world. They build this world where everybody really is somehow connected. They have their own little cities and towns and villages and so maybe that’s kind of what I was always just thinking. In fact, when I originally started this, I just gave everybody the last name Wilson, and eventually it was like, “You know, Cherokees frown on incest, so you know, I need some more names.”
In my head, they were part of the same family. I have a cousin and she and I are a lot alike, but we didn’t spend hardly any time together when we were kids. Her dad was like, 10 or 15 years younger than my dad, so we’re close in age, but we were geographically distant. After my grandmother died, she lived in Jay, Oklahoma, and that was really the only time the family got together—at her funeral there in Cherokee nation. So, I really didn’t see her.
She was about 10 years younger than me, so I wouldn’t have spent time with her ’cause she was little, but we get together and we are so much alike. She was staying in Austin for a while and she’s like, “Hey, do you wanna check out this Buddhist Zen temple with me?” and I was like, “Yeah!” She’s interested in writing, doing screenwriting, and loves film. We’re just so much alike. I was thinking about how my dad had four brothers and four sisters and all of us were raised by siblings who grew up with similar situations. They grew up with similar difficulties.
Her dad had the Vietnam war. My dad avoided it by joining the Air Force and being in the Air Force band, but his older brother almost was in World War II. He like just barely missed. He was there and they sent him home, but they were raised by the same parents. They were raised on the same allotment. They were raised with the same choices for participation and cultural stuff, so I thought when me and my cousins get together, “We’re like alternate universes, right? We’re these worlds that are like, “If I had been raised in Tulsa, then I would be like this. We’re like a multiverse.”
That’s what I like about Erdrich’s work is that you get different points of view, so you see stories in different ways and you may even seem to see the same situation in different ways and so for me, it’s like, these are all me or if I had been raised this way, if I had been born in 1945, you know, and if I had been born a boy, if I had turned into a werewolf. So yeah, I think they were always connected.
What’s so fascinating about the book is the way it is kind of multiverse, especially in the different genres of each of the segments. The werewolf part is a 1950s monster movie and the ghost cat section almost feels like a Miyazaki kind of movie, where it’s just like, “Oh, that it’s so sweet.” It seems like you got to explore all of these different themes and genres within one bigger work.
It was fun to play in different worlds. I’m glad that that came out and comes through, especially with “American Predators,” which is told in the second person. Boy. I was terrified of that because second person is hard to do and not have your reader dismiss it after the first page. Playing with all the different points of view was fun.
Man Made Monsters CoverHow closely did you work with illustrator Jeff Edwards? It seems as though he really got to the heart of each story.
I’ve admired his artwork for a long time. Actually, you know, I had seen his artwork, but didn’t put it together with him. I had met him when I went to pick up some posters. He works in the Cherokee language technology office and does graphic design for them and does a lot of really cool stuff for them but on the side, he’s an artist too.
There’s a place called Spider Art Gallery in downtown Tahlequah and it’s Cherokee artists. I’d go in there and I’d see stuff and I’d see his work and be really excited about it and I’d have to buy a piece–a print or something. Then I realized who he was. I had sold the book and we were talking about illustrators and what kind of illustrations would be in the book. I wanted my editor to check out Jeff’s work so I’d send him to his Facebook page or something, but then I went and saw Jeff and I took him a copy of Mary on the Trail of Tears, and I said, “Hey, I’ve sold this other book, but it’s horror and it’s gonna have some illustrations. Would you be interested?”
He’s like, “Ugh, I don’t know. You know, I have insurance. I have a day job. It’s just extra money when I do stuff like that and I don’t like being told what to do. If I show somebody my work and they’re like, ‘Oh, but could you do this? Could you do that?’ I’m like, ‘No, this is what I did. If you don’t like it, don’t buy it. That’s fine.’” [laughs] So he was like, “Nah, I don’t think so,” but I was persistent. I went back to go visit with Ed Fields, who’s a Cherokee language specialist, visited with him, brought him lunch, and we visited and then went to pick up posters, I think, or something.
Ed told me to go get from Jeff in the language department. And I said, I said, “Dude, I sold the book. It really sold. Are you sure? Would you consider it?” I said, “Tell you what: let me send it to you. Check it out, read it a little bit, see if you’re interested. If you’re not, I totally understand, but God, I would love it. You’re perfect.”
He puts Cherokee in almost all of his illustration work. He cares about the language and he cares about the culture and he’s a good guy. So he read it and, and then he started illustrating! I was like, “Wait, I have a contract! Wait, I haven’t got my editor to say yes! Hold on!”
I put Cherokee in, every now and then. I’m not a fluent speaker. I’m in a class. I’ve tried to learn Cherokee. It’s hard. I wasn’t raised around it but I see myself as sort of a gateway drug dealer for Cherokee. I’m like, “You kids with these malleable brains who are ready, come learn Cherokee while you can. It’s hard when you’re older.”
But he read the book and then he’d go back and he’d re-read the stories and then he’d make some art and then he’d go and read it again. He picked out what resonated with him and that’s what I wanted. You don’t tell Jeff what to do and what he did was perfect. I couldn’t be more thrilled. I’m so honored and grateful that he finally said, yes eventually, ’cause I was pushing him out of his comfort zone, too.
That first story, speaking of language, has several languages that you do not translate. You’re just like, “You’re on your own,” which seems like you have a certain amount of faith in an inquisitive reader.
One of my favorite horror writers is Tanarive Due and she’s a black woman. Her husband is Steven Barnes and they have a podcast called Lifewriting. I was listening to it this weekend and what Steven Barnes was talking about was having faith in your reader—that your reader will pull out one what’s important to them.
Don’t hit them over the head with meaning, right? You’re not being pedantic. You’re not being teachy, you’re letting them figure the story out. Kids will find the information they need and the information that they want. Until we take the internet away from them, they’re gonna read whatever they want. If they’re interested, they’ll check it out. They’ll look it up. I taught English and I was big on context. Just asking people to be, “All right, just trust me. You’re gonna figure it out. Trust me, you’ll figure it out.”
Also, just the reality that Texas at that time, there were those languages. My husband’s family came over in the 1850s from Germany and in the 1950s, they were dozens still speaking German down there. The reality of the language stuff, and also that we were communicating—I think that’s something that gets lost when people talk about what was going on.
Native people were talking to each other. I mean, we might have been using Spanish or we might have been using sign language, but the Commanche chief in Texas knew what was going on with the Cherokee in Indian territory in Georgia. They knew what had happened to the Pequots way back when. We had a telegraph and it may have been verbal, but they knew what was going on.
Andrea Rogers’ Man Made Monsters is out now from Levine Querido.
Five questions for Andrea L. Rogers
by Horn Book
Oct 20, 2022 | Filed in Newsletters
The eighteen interconnected short horror stories in Man Made Monsters (Levine Querido, 12 years and up) by Andrea L. Rogers (Cherokee), illustrated by Jeff Edwards (Cherokee), follow a family forced from their ancestral lands through generations spanning two centuries, from 1839 to 2039.
1. What inspired you to combine fantastical horror with real-life horrors?
Andrea L. Rogers: When I read fiction, I pick up random information about the world and history. Native people have often been stock characters in horror, portrayed in stereotypical ways, existing in made-up scenarios which may or may not have their facts straight about the Native people whose land is the setting for these stories. There is not a lot of horror (or contemporary fiction) out there being told through a Native lens. There certainly wasn’t when I was a kid. There were scary stories and movies that I was able to get lost in, but the main characters didn’t look like me or my family. As a teacher, when I tried to find books by Native people to give my high school students in our Native Education program and, later, my daughters, I couldn’t find them. I knew that for a long time. At some point I sat down to write, and these are the stories that sprang to life. They were fun to write. They were set in my world, so they couldn’t exist without the real-life horrors that have been visited upon Native people. We didn’t ask for these things to happen. They don’t define us as tribal nations, but they do impact our lives. I wanted to tell stories where we were the final people, where we do survive.
2. Did you write these interconnected stories in order, or did you have a different process?
ALR: I jump all over when I write, even when a story or manuscript seems linear. I see scenes and stories in my head like a film, so sometimes I have an opening or an ending that really moves me.
With this collection, I had written about twelve stories while getting my MFA at the Institute of American Indian Arts (IAIA) and I had also written two earlier stories. I printed them and organized them chronologically to see which generations had stories that were missing. Where I found gaps, I had family history and Cherokee history that inspired me. Once I had at least one story per generation, I had to decide if chronologically was the best way to organize the book. I tried a few different ways of rearranging things: by themes, backwards, by seasons. In the end, this method of interconnecting them made the most sense. You meet the characters when they’re younger and, sometimes, you get to see how things turned out for them and theirs.
3. What was it like for you seeing the art?
ALR: I was a fan of Jeff Edwards’s work before I knew I was a fan of Jeff Edwards. He had pieces at the Spider Gallery in Tahlequah, Oklahoma, as do Cherokee artists from all over the country. In the meantime, I met him when I went to pick up language materials at Cherokee Nation. The second time I met him, I realized I had just bought some prints that he made. They were smart, funny, and cool looking. I sent him my book and he agreed to give it a shot. He read the whole collection, then went back and read each story before making the art. Jeff understood the stories. What spoke to him made it into his work. I never dreamed it would be this beautiful. I aimed for the stars by asking him to illustrate, but I got the moon.
4. How did you care for yourself in the writing of these difficult stories?
ALR: Is crying self-care? Maybe. I let myself mourn my characters, but I also feel joy when things work out. Writing these stories maybe is a form of self-care. Honestly, it’s reading nonfiction and news about Native and Indigenous people that’s more difficult. Reading a paper about Columbus’s treatment of the little girls in Hispaniola? That’s the stuff that gets me. I’m writing new stories about Native girls being the “final” girls.
5. “The rest of my life is on me.” Do you find this idea (from the end of your book) empowering? Unsettling? Neither or both?
ALR: I hadn’t thought about that. I think it is both, but mostly I wanted it to be empowering. Trauma sucks. But if you don’t deal with it, might you traumatize others? That’s what vampires do, yeah? Even if you do deal with it, you may hurt other people. I think that’s why monsters such as Mary Shelley’s monster resonate with me. He didn’t ask for that. It’s only through his grief that he sees what his life choices lost him. But better choices weren’t really available to him because of all he had been denied. None of his needs were being met. Native people didn’t ask for this, either. But we’re still here. Native cultures and communities exist. Many native languages are based in a worldview that can restore some balance to people and the planet. On the best days, my life, future me, is my responsibility. For me it is empowering. For me, it’s a mantra.
Photo: Hiba Tahir. From the October 2022 issue of Notes from the Horn Book.
ROGERS, Andrea. Man Made Monsters. illus. by Jeff Edwards. 320p. Levine Querido. Oct. 2022. Tr $19.99. ISBN 9781646141791.
Gr 8 Up--Chilling stories tell about generations of a Cherokee family's encounters with the supernatural and violence. Beginning on the Trail of Tears, when Ama is turned into the Undead, and continuing through 2039, the stories of Ama's various family members and descendants are told. Each chapter can be read as a standalone short story; the entries are tied together by characters from one story appearing in later ones. Ama is featured in many of the chapters, appearing to help and guide her current family members through various trials and tribulations. The stories from the 1800s are odes to European horror. In the 1900s, ghosts, werewolves, and revenge are the main topics, and during the 2000s, most of the characters are dealing with violence--dating, gun, and domestic. Traumatic events are primarily alluded to, then described in detail. Most chapters end without a clear understanding of what happened to the various characters. The narrative incorporates Cherokee history, words, and customs. One section focuses on Deer Woman, a Cherokee myth, who avenges women and children. The themes throughout are family love and tribal ties. Each chapter begins with the name of a family member, date of the event, and a white illustration on a black background. Family trees are provided at the beginning, and a glossary of Cherokee words written in English and in Cherokee syllabary are provided at the end. VERDICT Full of familiar tropes and new ideas, these stories are the right balance of suspense without too much horror. A strong first purchase.--Tamara Saarinen
Copyright: COPYRIGHT 2022 A wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
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Saarinen, Tamara. "ROGERS, Andrea. Man Made Monsters." School Library Journal, vol. 68, no. 10, Oct. 2022, pp. 90+. Gale General OneFile, link.gale.com/apps/doc/A720065741/ITOF?u=schlager&sid=bookmark-ITOF&xid=75bf1279. Accessed 20 Jan. 2025.
Edwards, Jeff MAN MADE MONSTERS Levine Querido (Teen None) $19.99 10, 4 ISBN: 978-1-64614-179-1
A chilling story collection following a sprawling Cherokee family through many generations.
Starting with Ama Wilson in 1839 and ending in 2039, this spooky speculative assortment features stories from times historical, present, and yet to come. Although each of Cherokee author Rogers' stories could stand alone (and versions of some were previously published individually), placing them in chronological order and thus in dialogue with each other results in a thematically richer read and allows readers the delight of tracing the family trees in the frontmatter to situate the characters in relation to other protagonists. Ama's opening story, set during a forcible relocation to Indian Territory, sets the tone: Ama thinks her family's main worries are Texas Rangers and disease; she also faces a supernatural nightmare. The tight focus on families and the specificity of their experiences, along with the matter-of-fact text, directly address the way persecution of the Cherokee Nation morphs over the decades. Rogers' grounded, smooth writing style--juggling first-, third-, and even second-person points of view--makes magical elements (from milder hauntings to monsters like vampires, werewolves, and zombies) as threatening as human villains. The stakes remain high: The short story format means any character one meets could later die. Exquisite white-on-black line art from Cherokee artist Edwards sets the eerie mood. The use of the Noto Sans Cherokee typeface and Edwards' hand-drawn Cherokee syllabary beautifully integrates written language into the book's design.
A creepy and artful exploration of a haunting heritage. (glossary) (Horror. 12-adult)
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"Edwards, Jeff: MAN MADE MONSTERS." Kirkus Reviews, 1 July 2022. Gale General OneFile, link.gale.com/apps/doc/A708486924/ITOF?u=schlager&sid=bookmark-ITOF&xid=857d3415. Accessed 20 Jan. 2025.
Man Made Monsters
Andrea L Rogers, illus. by Jeff Edwards. Levine Querido, $19.99 (320p) ISBN 978-1-64-614179-1
Spanning generations, Rogers (Mary and the Trail of Tears) recounts the past, present, and future trials and tribulations of one Cherokee family in this spine-tingling horror collection. Though the stories presented can stand alone, each tale, arranged in chronological order, follows members of the Wilson family as they navigate myriad supernatural and real-life terrors. Opening the volume is "An Old-Fashioned Girl," in which 16-year-old Ama Wilson is turned into a vampire while she and her family flee from Texas Rangers in 1839. Mythical creatures such as ghosts, zombies, werewolves, and even aliens abound, but most threatening are monsterlike men who kidnap, abuse, and murder Native women. Striking white line art on black backgrounds by Cherokee artist Edwards introduce each story, containing the tribe's syllabary, adding to the haunting atmosphere, and synthesizing handwritten language with stunning visuals. While Rogers expertly crafts gripping grisly horror elements and cataclysmic paranormal phenomena via a deep understanding and appreciation for her Cherokee ancestry, the narrative's strength lies in its powerful prose and thematic core: "How different were zombies from the soldiers and settlers who wanted our land?" Fresh, crisply written text, which alternates between first-, second-, and third-person tellings, artfully tackles themes of colonialism and its effects on entire generations, for a simultaneously frightening and enthralling read. A glossary and extensive family tree are included. Ages 12-up. Agent: Emily Sylvan Kim, Prospect Agency. (Oct.)
Copyright: COPYRIGHT 2022 PWxyz, LLC
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"Man Made Monsters." Publishers Weekly, vol. 269, no. 35, 22 Aug. 2022, p. 72. Gale General OneFile, link.gale.com/apps/doc/A715675469/ITOF?u=schlager&sid=bookmark-ITOF&xid=8ff8a598. Accessed 20 Jan. 2025.
Man Made Monsters
Andrea L. Rogers, illus. by Jeff Edwards. Levine Querido, $19.99 (320p) ISBN 978-1-64-614179-1
Spanning generations, Rogers (Mary and the Trail of Tears) recounts the past, present, and future trials and tribulations of one Cherokee family in this spine-tingling horror collection. Though the stories presented can stand alone, each tale, arranged in chronological order, follows members of the Wilson family as they navigate myriad supernatural and real-life terrors. Opening the volume is "An Old-Fashioned Girl," in which 16-year-old Ama Wilson is turned into a vampire while she and her family flee from Texas Rangers in 1839. Mythical creatures such as ghosts, zombies, werewolves, and even aliens abound, but most threatening are monsterlike men who kidnap, abuse, and murder Native women. Striking white line art on black backgrounds by Cherokee artist Edwards introduce each story, containing the tribe's syllabary, adding to the haunting atmosphere, and synthesizing handwritten language with stunning visuals. While Rogers expertly crafts gripping grisly horror elements and cataclysmic paranormal phenomena via a deep understanding and appreciation for her Cherokee ancestry, the narrative's strength lies in its powerful prose and thematic core: "How different were zombies from the soldiers and settlers who wanted our land?" Fresh, crisply written text, which alternates between first-, second-, and third-person tellings, artfully tackles themes of colonialism and its effects on entire generations, for a simultaneously frightening and enthralling read. A glossary and extensive family tree are included. Ages 12-up.
Copyright: COPYRIGHT 2022 PWxyz, LLC
http://www.publishersweekly.com/
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"Man Made Monsters." Publishers Weekly, vol. 269, no. 49, 23 Nov. 2022, p. 98. Gale General OneFile, link.gale.com/apps/doc/A728493972/ITOF?u=schlager&sid=bookmark-ITOF&xid=150402fd. Accessed 20 Jan. 2025.
Rogers, Andrea L. WHEN WE GATHER (OSTADAHLISIHA) Heartdrum (Children's None) $19.99 5, 7 ISBN: 9780063076792
A Cherokee community observes the beginning of spring with a feast.
As the nights get shorter, "the frost melts," and "the dark clouds flee," it's time to get ready for a big meal. Everyone has a job to do. Mama puts the finishing touches on a basket, while Agilisi (Cherokee for Grandmother) sews a dress. Meanwhile, Daddy and Agiduda (Grandfather) are busy in the garage. The young child who narrates replenishes the henhouse with hay. Soon, family and community members head into the woods to forage for wild onions. The next day, they gather at the community center to prepare the meal. "Mama stirs and cooks. Agilisi tastes and seasons. Daddy kneads and shapes. Agiduda fries and turns." Finally, Agilisi gives thanks to the Creator, and everybody enjoys corn soup, wild onions and eggs, and grape dumplings. Rogers (Cherokee Nation) imbues her text with warmth and playfulness; readers will smile when the narrator describes trimming wild onions as giving them haircuts. The pacing picks up in the kitchen scenes; word choice and the use of alliteration speak to the senses and heighten the excitement. Goodnight's (Chickasaw Nation) gentle illustrations depict a supportive, tightknit community. Cherokee values--reciprocity, cooperation, respect, and kinship--are on full display. In an author's note, Rogers reflects on the history of the Cherokee Nation and discusses the cultural significance of wild onion dinners.
Serves up a delicious story, rich in culture and community, that will bring readers back for more. (about food and recipes, glossary, a note from Heartdrum author-curator Cynthia Leitich-Smith) (Picture book. 4-8)
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"Rogers, Andrea L.: WHEN WE GATHER (OSTADAHLISIHA)." Kirkus Reviews, 15 Apr. 2024. Gale General OneFile, link.gale.com/apps/doc/A789814688/ITOF?u=schlager&sid=bookmark-ITOF&xid=244f9af2. Accessed 20 Jan. 2025.
When We Gather (Ostadahlisiha): A Cherokee Tribal Feast. By Andrea L. Rogers. Ulus, by Madeiyn Goodnight. May 2024. 40p. HarperCollins/Heartdrum, $19.99 (9780063076792). PreS-Gr. 3.
In spring, the days lengthen, the frost melts, and green onion shoots appear above ground. A Cherokee girl puts down fresh, clean hay in her family's chicken house and then waits with her little brother for their uncle to arrive in his truck and show them the way to the best, secret places for gathering green onions. Other relatives drive there, too, and when they've collected enough onions, they carry them home to clean and trim before taking them to the cooks at the community center, where people are gathering for a traditional shared feast. Before eating, they give thanks. Some of the elders serve themselves, while the children take plates of food to the rest. In an author's note, Rogers comments on the Trail of Tears, her life as a citizen of the Cherokee Nation, and wild onions, which she remembers from her childhood. The closing pages include a glossary and recipes for several Cherokee dishes. This picture book's simple story and appealing illustrations introduce the lives of Cherokee children and their families today.--Carolyn Phelan
Copyright: COPYRIGHT 2024 American Library Association
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Phelan, Carolyn. "When We Gather (Ostadahlisiha): A Cherokee Tribal Feast." Booklist, vol. 120, no. 12, 15 Feb. 2024, p. 60. Gale General OneFile, link.gale.com/apps/doc/A783436497/ITOF?u=schlager&sid=bookmark-ITOF&xid=9814c35f. Accessed 20 Jan. 2025.
Rogers, Andrea L. CHOOCH HELPED Levine Querido (Children's None) $18.99 10, 8 ISBN: 9781646144549
A young Indigenous girl attempts to get along with her infuriating little brother.
Sissy has a mischievous 2-year-old brother called Chooch--an affectionate nickname based on the Cherokee word forboy orson. No matter what the usdi (baby) does, he "just gets away with everything"--from painting streaks through Elisi's mural to making a mess of Edutsi's grape dumpling flour. Each transgression is followed by the same refrain: "Chooch helped." Sissy has less tolerance for her brother's "assistance," and the last straw comes when Chooch damages her clay pot. After the fed-up narrator screams at the little boy, her parents yell at her, bringing the beleaguered sister to tears. But Chooch shows up to do what he always does--with his arms around a sobbing Sissy, "Chooch [helps]." Sissy comes to understand that young children learn by watching others and that her patience helps Chooch grow. Author Rogers and illustrator Kunz, both members of the Cherokee Nation, portray Sissy's older sisterhood with tenderness; illuminating backmatter explains the links between the story and the creators' own heritage. The touching narrative and its universal lesson are brought to life through Kunz's powerful images, which make stunning use of collage to illustrate the children's rich familial and cultural webs. Readers' hearts will be warmed by Sissy and Chooch's relationship and by the moving representation of Cherokee traditions.
Native life and language are at the center of this beautiful sibling story. (author's and illustrator's notes, instructions for creating a pinch pot, glossary)(Picture book. 4-10)
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"Rogers, Andrea L.: CHOOCH HELPED." Kirkus Reviews, 1 Aug. 2024. Gale General OneFile, link.gale.com/apps/doc/A802865001/ITOF?u=schlager&sid=bookmark-ITOF&xid=16232665. Accessed 20 Jan. 2025.
The Art Thieves
Andrea L. Rogers. Levine Querido, $19.99 (400p) ISBN 978-1-64-614378-8
Though the world is seemingly out of balance and bizarre, catastrophic weather conditions have become increasingly frequent, high school graduate Stevie Henry, who is Cherokee, continues to build a life for herself and her family, whom she loves, particularly her six-year-old brother Levi, who is deathly allergic to tree nuts. To earn money for college, Stevie works at the Modern Art Museum gift shop in 2052 Texas, where she meets handsome new intern Adam. The two bond over their values regarding art, Native culture, and family, but he often disappears and won't name his Indigenous affiliation. Mysteries accumulate as the climate worsens, and soon Adam reveals a disturbing truth: he's from 2201, and he has arrived to save significant art pieces from the upcoming apocalypse. Inspired by Afrofuturism, per an endnote, Cherokee author Rogers (Man Made Monsters) employs smart and empathetic prose to present a realistically rendered science fiction tale that is at once adrenaline-pumping and emotionally moving. In this gripping adventure, Rogers considers the future of Indigenous heritage via an indomitable protagonist who, alongside a plethora of memorably realized characters, navigates tough issues relating to death, familial turmoil, exploitation, and climate collapse. Ages 12-up. Agent: Emily Sylvan Kim, Prospect Agency. (Oct.)
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"The Art Thieves." Publishers Weekly, vol. 271, no. 29, 29 July 2024, p. 65. Gale General OneFile, link.gale.com/apps/doc/A803782881/ITOF?u=schlager&sid=bookmark-ITOF&xid=a97e61bd. Accessed 20 Jan. 2025.
The Art Thieves.
By Andrea L. Rogers.
Oct. 2024. 400p. Levine Querido, $19.99 (9781646143788).
Gr. 9-12.
Rogers follows Man Made Monsters (2022) with a fierce, apocalyptic, time-travel novel. Stevie is a Cherokee teen living in 2052 Fort Worth, Texas, with her parents and young brother, Levi. Through her job in the Modern Art Museum gift shop, she meets Adawi, or Adam, a beautiful intern artist who soon tells her that he has come from the future to save works of art from the coming apocalypse. A pandemic, combined with escalating climate disasters, is about to kick off 90 days of chaos. Adam assures Stevie that the future will be an improvement, but she must reach her family's reservation lands in Oklahoma to survive. When Adam and Stevie fall in love and break the rules of time travel to save Levi, the time line turns unpredictable. Mysteries and confusion abound as Stevie's understanding of her family's involvement shifts again and again. This beautifully designed work of futurism, influenced by Octavia Butler, pushes back hard against the ills of our own world and embraces hope for the next, one built on cooperation and connection.
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Carstensen, Angela. "The Art Thieves." Booklist, vol. 120, no. 22, Aug. 2024, p. 70. Gale General OneFile, link.gale.com/apps/doc/A808396863/ITOF?u=schlager&sid=bookmark-ITOF&xid=aecd8905. Accessed 20 Jan. 2025.
Rogers, Andrea L. THE ART THIEVES Levine Querido (Teen None) $19.99 10, 8 ISBN: 9781646143788
In the mid-21st century, a Texas teen tries to plan for the future, while around her, people struggle with extreme weather cycles and other threats.
Stevie, a member of the Cherokee Nation, is working in a museum gift shop and saving for college. She has healthy relationships with her family (although her parents are "fighting about the end of the world"), and she spends her free time developing her photography skills. One day, a new interning artist piques her interest: Adam says he's Indigenous from Costa Rica but doesn't offer any more information, leading Stevie to wonder if he's lying. But when she presses him, Adam says he's a time traveler from 2201, 150 years in the future, and that he needs her help stealing an important piece of art for him to save because her "world is about to implode." The story's strong pacing allows ample room to explore multiple themes, including people who pretend to be Indigenous, exploitation of people and natural resources, museums' retention of sacred ceremonial items, climate change and environmental devastation, and pandemics. Stevie is a complex character who's dealing with anxiety. Her adoptive father is Black, and her younger brother, Levi, is Black Cherokee; their identities offer room for Rogers to naturally explore racism both from white people and between marginalized communities. Stevie's closest friends bring additional diversity to the cast and help ground Stevie, offering her different perspectives on the world.
Presents sharp social commentary folded into an all-too-believable dystopian setting.(Dystopian. 12-18)
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"Rogers, Andrea L.: THE ART THIEVES." Kirkus Reviews, 15 Aug. 2024. Gale General OneFile, link.gale.com/apps/doc/A804504678/ITOF?u=schlager&sid=bookmark-ITOF&xid=466a38ef. Accessed 20 Jan. 2025.