Project and content management for Contemporary Authors volumes
WORK TITLE: Yippee’s Gold Mountain
WORK NOTES:
PSEUDONYM(S):
BIRTHDATE: 1965?
WEBSITE: http://www.raquelriverawashere.com/
CITY: Montreal
STATE: QC
COUNTRY: Canada
NATIONALITY: Canadian
RESEARCHER NOTES:
PERSONAL
Born c. 1965, in Toronto, Ontario, Canada; married; husband’s name Kim; children: two.
EDUCATION:York University, B.F.A., 1987.
ADDRESS
CAREER
Writer, editor, artist. Freelance artist, Toronto, Ontario, Canada, 1991-93; WordMaker Design, project manager and writer, 1994-96; Site Dish, freelance project consultant, writer, and illustrator, 1996-99; Johnson Design Group, Washington, DC, project manager and writer, 1998-99; IMHO Reviews, Montreal, Quebec, Canada, co-publisher, contributing writer and illustrator, 1998–; self-employed writer and editor, 1999–; Canadian Unitarian, editor, 2009-17; Quebec Reading Connection, MELS, Montreal, Quebec, Canada, book treatment writer, 2013–. Quebec Writer’s Foundation, member of editorial board, 2009-12, member of board of directors, 2012-17.
MEMBER:Quebec Writers’ Federation, CANSCAIP, Writers’ Union of Canada, Canadian Children’s Books Centre.
WRITINGS
Writer of blog, In My Hysterical Opinion.
SIDELIGHTS
Raquel Rivera is a Canadian writer, editor and children’s book author. She began, in 1994, working as a copywriter and project manager for graphic design and communications firms in Singapore and Washington DC. However, when her children were born, she and her family relocated to Montreal and she began freelancing as writer and editor.
“I write adventure stories but I’m not outdoorsy,” Rivera notes on her website. “City-born and bred, I like a built, busy landscape with lots of windows for peering into. But my regular short stints with nature–camping, kayaking, or skiing– bring me an unusual sense of peace, and a special animal pleasure just in being part of it. So I worship nature, with the fear and respect of an un-furred, dull-toothed incompetent.”
Arctic Adventures
In Arctic Adventures: Tales from the Lives of Inuit Artists, Rivera offers a series of stories based on the lives of native artists Pudlo Pudlat, Jessie Oonark, Kenojuak Ashevak and Lazarusie Ishulutuk, introducing young readers to the difficulties of existence in the Far North. One tale has a young boy adrift on an ice flow, another deals with a mother and daughter who are stranded on the tundra, whole still another explores the connection between animals and humans. Rivera also provides a profile of each Inuit artist whose life stories she retells, as well as a map of locations described in the tales.
Reviewing Arctic Adventures in Resource Links, Heather Empey termed it a “fantastic book of tales based on events from the lives of four Inuit artists.” Similarly, Booklist critic Hazel Rochman noted that “this dynamic picture book draws on memoir, legend, art, and history to tell true dramatized events in the lives of four modern Inuit artists.”
Orphan Ahwak
In Orphan Ahwak, Aneze, an adolescent Inuit girl, is left for dead after her father and brother are killed in a wife-raid, and her mother has been kidnapped. She struggles to survive and in her travels she encounters an old man on the icy tundra who builds snow houses and hunts seals. He teaches the young girl survival skills, and Aneze soon renames herself Orphan Ahwak, a brave hunter now returning to her forest home.
“This charming survival tale of a brave Inuit girl from long ago is full of adventure and atmosphere,” noted Kliatt reviewer Deirdre Root of Orphan Ahwak. Resource Links contributor Linda Aksomitis also had praise, commenting: “The main theme of the book, belonging, will resonate with modern readers, making the story accessible. Aneze’s adventures, and the folklore woven through the story, will appeal to both boys and girls. Classroom teachers will find Orphan Ahwak useful for units on northern Canada and discussions about life before European contact, as well as survival themes.” Reviewer’s Bookwatch writer Avery Largent similarly termed this an “enjoyable adventure story.” The commentator added: “Rivera writes with such good description of the characters that you can really relate to them. Even though the plot is exciting, the characters are another reason that keeps the reader turning the pages.”
Tuk and the Whale
Tuk and the Whale is another tale of Inuit life. Here the setting is the coast of Baffin Island in the seventeenth century. Young Tuk is an Inuit boy and during his tribe’s winter camp on the island, they encounter European whalers who have been blown far off course from their usual whaling grounds to the south. The Inuit and Europeans make a tentative truce, finding common ground in their prizing of the bowhead whale. They form a partnership for a time in a whale hunt, a voyage of discovery for both the Europeans and for Tuk and his people. But each side may have different goals in mind, presaging difficulties in the future between these two cultures.
Writing in School Library Journal, Susan Hepler commended Tuk and the Whale, noting: “The story captures well the tentative and taut encounter, the danger, and the event that culminates in Tuk’s saving the entire party.” CM Online contributor Min So was also impressed, commenting: “This short chapter book gives readers an interesting, and what might be an accurate, glimpse into the day-to-day life of the Inuit living in a winter camp on Baffin Island in the early 1600s. It is refreshing to read from the First Nations’ perspectives about their first encounters with Europeans. … Rivera really did her homework as attested by the list of sources she used and by her willingness to seek experts’ help in the development of this book as explained in an Author’s Note near the end of the book.” Quill & Quire Online reviewer Patty Lawlor similarly called this an “entertaining blend of fact and fiction that transports readers to the Eastern Arctic of the early 1600s to witness the first meeting of two cultures.” Lawlor added: “Adept at deploying research, diversifying material, and engaging varied audiences, Rivera presents new, exciting, and thought-provoking content for middle readers.”
Show Mode and Yipee's Gold Mountain
Rivera turns to contemporary fiction in Show Mode, set at a school for the arts in Montreal and focusing on ninth-grader Adina and her friends Seth, Willow, and Sandra. Adina tries to be the perfect daughter for her Canadian/Hindi parents, and pushes herself to extremes for the annual showcase, blending fashion design, dance, and music. Adina is driven and soon this wears on her friends. Added to this is the competition from other students who might even be planning to sabotage Adina and her team. Can she finally learn to relax and enjoy the event? Resource Links contributor Joan Marshall noted of this novel: “Many thoughtful themes emerge that will keep students talking: how words can hurt others, bullying, Hindi culture, body image, boys in the arts, co-operation that leads to real friendship. Younger teens interested in the arts will be satisfied by this short, easy to read novel and inspired by the collaboration of Adina and her friends.” Similarly, Mary Harelkin Bishop, writing in CM Online, commented: “It was refreshing to read a book which pushes the boundaries of the dominant culture in so many ways.”
Rivera moves further afield from her native Canada in Yipee’s Gold Mountain, set in the Arizona territory in the 1860s and featuring Yip Pee, a young Chinese girl disguised as a boy, and Na-tio, an Apache youth who longs to be a warrior. These two form a bond and an unexpected romance. “The story strains credulity,” noted a Kirkus Reviews critic, who added: “Loose ends, displaced character motivation, and adherence to old assumptions make this one to skip.” Others found more to like. An Internet Bookwatch reviewer dubbed it a “riveting and entertaining read from cover to cover.” Likewise, CM Online contributor Huai Yang Lim observed: “As a whole, Yipee’s Gold Mountain does contribute to the existing field of children’s and young adult literature with Rivera’s portrayals of characters of Chinese and indigenous heritage—a rare combination for any book in this genre.”
BIOCRIT
PERIODICALS
Booklist, July 1, 2007, Hazel Rochman, review of Arctic Adventures: Tales from the Lives of Inuit Artists, p. 52.
Internet Bookwatch, March, 2018, review of Yipee’s Gold Mountain.
Kirkus Reviews, February 1, 2018, review of Yipee’s Gold Mountain.
Kliatt, May, 2008, Deirdre Root, review of Orphan Ahwak, p. 23.
Resource Links, October, 2007, Linda Aksomitis, review of Orphan Ahwak, p. 20; October, 2007, Heather Empey, review of Arctic Adventures, p. 24; April, 2017, Joan Marshall, review of Show Mode, p. 32.
Reviewer’s Bookwatch, May, 2008, Avery Largent, review of Orphan Ahwak.
School Library Journal, November, 2008, Susan Hepler, review of Tuk and the Whale, p. 100.
ONLINE
Quill & Quire Online, https://quillandquire.com/ (June 5, 2018), Patty Lawlor, review of Tuk and the Whale.
Raquel Rivera website, http://www.raquelriverawashere.com (June 18, 2018).
CM Online, https://www.umanitoba.ca/cm/ (June 13, 2008), Min So, review of Tuk and the Whale; (September 29, 2017), Mary Harelkin Bishop, review of Show Mode; (April 6, 2018), Huai Yang Lim, review of Yippee’s Gold Mountain.
QUOTE:
I write adventure stories but I’m not outdoorsy. City-born and bred, I like a built, busy landscape with lots of windows for peering into. But my regular short stints with nature--camping, kayaking, or skiing-- bring me an unusual sense of peace, and a special animal pleasure just in being part of it. So I worship nature, with the fear and respect of an un-furred, dull-toothed incompetent.
Raquel Rivera, author
I’m a writer living with my family in Montreal, Canada, since 1999. Prior to this I practiced my profession in Washington DC, Kuala Lumpur, Singapore, Barcelona and Toronto.
My travel experiences and my own family background have led me to write on themes such as opposing viewpoints, cultures in conflict and in cooperation. I read history and biographies for perspective on the challenges facing our world today; I guess I’m seeking ancestral wisdom to help me mediate the wonders and the horrors of our species’ amazing technological ingenuity.
I write adventure stories but I’m not outdoorsy. City-born and bred, I like a built, busy landscape with lots of windows for peering into. But my regular short stints with nature--camping, kayaking, or skiing-- bring me an unusual sense of peace, and a special animal pleasure just in being part of it. So I worship nature, with the fear and respect of an un-furred, dull-toothed incompetent.
I’m proud to be a member of Quebec Writers’ Federation (qwf.org), CANSCAIP (canscaip.org), Writers’ Union of Canada (writersunion.ca), and Canadian Children’s Books Centre (bookcentre.ca). These organizations do great work for writers and anyone who cares about reading and literature.
Raquel is available for readings, school visits, talks, and seminars for people of all ages. Funding support may be available from the Writers’ Union or the Quebec Writers’ Federation.
QUOTE:
The story strains credulity.
Loose ends, displaced character motivation, and adherence to old assumptions make this one to skip.
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Print Marked Items
Rivera, Raquel: YIPEE'S GOLD
MOUNTAIN
Kirkus Reviews.
(Feb. 1, 2018):
COPYRIGHT 2018 Kirkus Media LLC
http://www.kirkusreviews.com/
Full Text:
Rivera, Raquel YIPEE'S GOLD MOUNTAIN Red Deer Press (Young Adult Fiction) $14.95 3, 27 ISBN:
978-0-88995-550-9
A Chinese girl and an Apache boy find comradeship in 1860s Arizona Territory.
Yip Yee, or Yipee, a young Chinese girl posing as a boy, has been let go from her job as a ranch hand in
Sacramento. As she prepares to leave for Arizona in hopes of employment, her boss warns her of the
murderous Apaches (but not the white cowboys and criminals who would be a threat to Yip Yee as a lone
Chinese traveler). In alternating chapters readers meet Na-tio, a young Apache who longs to become a
warrior. On a raid he is shocked to witness a very brutal scene of revenge, shifting his view of his father and
uncle forever. (The act of Anglo violence that incited this is not depicted, nor is a later one that kills his
mother.) Conflicted, Na-tio decides to steal a horse to show his father he is not weak. It is on this journey
that he crosses paths with Yip Yee and throws in his lot with her. Though Na-tio has an opportunity to go
back to his tribe, he chooses to stay with Yip Yee, and romance ensues. The story strains credulity. Aside
from the fantasy the author creates of a Chinese girl trekking through dangerous settler territory, it is
unfathomable that Na-tio would abandon his tribe to run off with a stranger, especially after his mother's
murder. In a particularly troubling moment, the resolution depends on Na-tio's gesture to adopt a white child
and "do better" than his father. An author's note and a Q-and-A in the backmatter give insight into the
author's process, but her attempt to complicate what she calls the "Wild West" ultimately fails.
Loose ends, displaced character motivation, and adherence to old assumptions make this one to skip.
(Historical fiction. 12-16)
Source Citation (MLA 8th
Edition)
"Rivera, Raquel: YIPEE'S GOLD MOUNTAIN." Kirkus Reviews, 1 Feb. 2018. General OneFile,
http://link.galegroup.com/apps/doc/A525461599/ITOF?u=schlager&sid=ITOF&xid=f5544704.
Accessed 4 June 2018.
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QUOTE:
Many thoughtful themes emerge that will keep students talking: how words can hurt others, bullying, Hindi
culture, body image, boys in the arts, co-operation that leads to real friendship.
Younger teens interested in the arts will be satisfied by this short, easy to read novel and inspired by the
collaboration of Adina and her friends.
Rivera, Raquel: Show Mode (Limelights
Series)
Joan Marshall
Resource Links.
22.4 (Apr. 2017): p32+.
COPYRIGHT 2017 Resource Links
http://www.atcl.ca
Full Text:
(G)
RIVERA, Raquel
Show Mode (Limelights Series)
Orca Book Publishers, 2017. 135p. Gr. 6-9. 978-1-459812055. Pbk. $9.95
Adina and her friends Seth, Willow and Sandra, in grade nine at a large inner-city school based on
Montreal's FACE school (Fine Arts Core Education), try to assemble an act for the Fall Fashion Show, a
grad fundraiser. Seth's sophisticated older sister Jill and her followers Dawn and Sofia work on an act also.
In her aim for perfection, Adina drives herself and her group crazy, with Sandra and Willow quitting at the
last minute. Extreme dieting leads Dawn and Sofia to tumble during their audition, with aspiring ballerina
Sofia breaking her ankle. As Adina finally realizes that she has to relax her expectations, Jill and Dawn
collaborate with Seth, Sandra and Adina to pull off an excellent act appreciated by the judges.
Adina is the perfect daughter in a professional Canadian/Hindi family, with high expectations for their
children. Her week is packed with music on top of all the other school subjects. Her older brother Dev, also
immersed in music, plans to go to India after high school, soaking up India's music, while his parents would
prefer him to go directly to pre-engineering. Adina is frustrated by the goofy behaviour of her talented
friends whom she admires but can't control. As a younger teen she is still second-guessing every moody
moment and hasn't learned to relax and let things go. It takes her a while to work out that her sharp remarks
are hurtful, not helpful. It's only after the disastrous first audition night that Adina realizes that co-operation
works best and that she can relax and let the others lead.
The easy-going music mixer Seth whose mother has passed on to him her sewing skills and passion is a
good contrast to Adina's perfectionism, as he gleefully chooses fabric, designs a pattern, cuts the fabric and
fits it to the girls with stunning results. Sandra's rich, booming voice belies her worries over her weight, and
Dev's older brother's advice and close relationship with Adina highlight an essentially happy family.
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Dialogue is natural and advances plot well, without the casual profanity often observed in this age group.
Adina's introspection and inner self-dialogue clarifies her feelings but doesn't slow down the action too
much. She often directly addresses the reader: "don't you hate it when people don V understand what's good
for them? " Although the novel is told in the first person, other characters' actions and dialogue reveal their
true characters and beliefs.
Dance students will be thrilled with the scenes in which the teens are designing their own choreography to
their own choices of music.
The ancient, moody, gothic building where the arts program is housed is an excellent setting that will appeal
to any arts student. Arts-driven readers at regular high schools will wistfully ache for such an arts-centred
school where art, dance, choreography, costume design, drama and music are the celebrated norm.
Many thoughtful themes emerge that will keep students talking: how words can hurt others, bullying, Hindi
culture, body image, boys in the arts, co-operation that leads to real friendship.
Younger teens interested in the arts will be satisfied by this short, easy to read novel and inspired by the
collaboration of Adina and her friends.
Thematic Links: Friendship; Dance; Costume Design; Choreography;
Joan Marshall
Source Citation (MLA 8th
Edition)
Marshall, Joan. "Rivera, Raquel: Show Mode (Limelights Series)." Resource Links, Apr. 2017, p. 32+.
General OneFile, http://link.galegroup.com/apps/doc/A495033930/ITOF?
u=schlager&sid=ITOF&xid=612cbeb7. Accessed 4 June 2018.
Gale Document Number: GALE|A495033930
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QUOTE:
This charming survival tale of a brave Inuit girl
from long ago is full of adventure and atmosphere.
Rivera, Raquel. Orphan Ahwak
Deirdre Root
Kliatt.
42.3 (May 2008): p23.
COPYRIGHT 2008 Kliatt
http://hometown.aol.com/kliatt/
Full Text:
RIVERA, Raquel. Orphan Ahwak. Orca. 137p. c2007. 978-1-55143-653-1. $7.95. J
Left for dead when her Inuit family is killed in a raid, preteen Aneze is alone in the northern Canadian
wilderness, living by the skills she learned from her family in her short life. Her wanderings lead her to a
strange old man who builds houses out of snow, hunts the mysterious animal Seal, and teaches her the ways
of his people. When she returns to her own forest home as the brave hunter Orphan Ahwak and not a meek
girl-child, she must struggle for the respect she deserves. This charming survival tale of a brave Inuit girl
from long ago is full of adventure and atmosphere. For middle school libraries. Deirdre Root, Ref. Libn,
Middletown PL, Middletown, OH
J--Recommended for junior high school students. The contents are of particular interest to young
adolescents and their teachers.
Root, Deirdre
Source Citation (MLA 8th
Edition)
Root, Deirdre. "Rivera, Raquel. Orphan Ahwak." Kliatt, May 2008, p. 23. General OneFile,
http://link.galegroup.com/apps/doc/A179159858/ITOF?u=schlager&sid=ITOF&xid=20c1c4e2.
Accessed 4 June 2018.
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QUOTE:
The main theme of the book, belonging, will resonate with modern readers, making the story accessible.
Aneze's adventures, and the folklore woven through the story, will appeal to both boys and girls. Classroom
teachers will find Orphan Ahwak useful for units on northern Canada and discussions about life before
European contact, as well as survival themes.
Orphan Ahwak
Linda Aksomitis
Resource Links.
13.1 (Oct. 2007): p20+.
COPYRIGHT 2007 Resource Links
http://www.atcl.ca
Full Text:
Good, even great at times, generally useful!
RIVERS, Raquel
Orphan Ahwak
Orca Book Publishers, 2007. 143p. Gr. 4-8. 978-1-55143-653-1. Pbk. $8.95 (Reviewed from Advance
Reading Copy)
Orphan Ahwak is Raquel Rivera's third book--another one out in 2007 is Arctic Adventures: Tales from the
Lives of Inuit Artists, (see p. 24 for review) which retells stories from the far north in an illustrated
collection. In this novel, Orphan Ahwak, she draws from her research (outlined in an afterward) to tell the
fictional story of a young girl whose family are killed in a raid, leaving her alone to survive in the north.
The afterward tells us that the time period is before the early northern peoples encounter European traders.
While it isn't clear in the novel, the afterward also advises the reader that such things as the superhuman
distance young Aneze travels can be explained by magic, thus mixing some fantasy or folklore with the
historical fiction.
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The story is written in third person POV, narrating Aneze or Orphan Ahwak's experiences. It begins with
the horrific scene of the slaughter of her village: She could see Itiwan, her brother's best friend. He floated
face down. The back of his head was all pulpy. And, Brother's face, looking surprised, even after the war-ax
took off his head. The writing style of tight, short sentences continues throughout the novel, keeping the
reading level low and the action moving quickly.
Aneze is a character readers will admire, as she draws from her inner strength to survive, first looking for
retribution, then gradually realizing she just wants to belong again. Her journey takes her to the far north,
where she encounters people who don't share her language or the lifestyle she's known--this is where she
assumes the name Ahwak, which sounds like her war cries. However, she decides to go back to the forest
world she's come from, so the old man, her rescuer, helps her on her journey and leaves her there. From
here, the tension increases, pulling the reader through the last half of the book to its climax.
The main theme of the book, belonging, will resonate with modern readers, making the story accessible.
Aneze's adventures, and the folklore woven through the story, will appeal to both boys and girls. Classroom
teachers will find Orphan Ahwak useful for units on northern Canada and discussions about life before
European contact, as well as survival themes.
Thematic Links: Canadian History; Survival
Aksomitis, Linda
Source Citation (MLA 8th
Edition)
Aksomitis, Linda. "Orphan Ahwak." Resource Links, Oct. 2007, p. 20+. General OneFile,
http://link.galegroup.com/apps/doc/A172135031/ITOF?u=schlager&sid=ITOF&xid=8312565c.
Accessed 4 June 2018.
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QUOTE:
fantastic book of tales based on events from the lives of four Inuit artists.
Arctic Adventures: Tales From the Lives
of Inuit Artists
Heather Empey
Resource Links.
13.1 (Oct. 2007): p24+.
COPYRIGHT 2007 Resource Links
http://www.atcl.ca
Full Text:
Excellent, enduring, everyone should see it!
RIVERA, Raquel
Arctic Adventures: Tales From the Lives of Inuit Artists
Illustrated by Jirina Marton. Groundwood Books, 2007. 47p. Illus. Gr. 3-6. 978-0-88899-714-2. Hdbk.
$18.95
A fantastic book of tales based on events from the lives of four Inuit artists. The stories, accompanied by the
illustrations by Jirina Marton, give the reader a taste of what life in the Arctic is like as well as giving a
glimpse of Inuit art, culture and legend. Each story is followed by a brief biography and portrait of the
featured artist, and a reproduction of one of his or her artworks. The book also includes a map showing
where the stories take place, a glossary, and a bibliography for suggested further reading.
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This is a delightful book and the illustrations bring the story beautifully to life. It is well worth adding to
any collection to support either artwork curriculum or the study of Inuit life and culture.
Thematic Links: Inuit; Arctic; Artists; Biography
Empey, Heather
Source Citation (MLA 8th
Edition)
Empey, Heather. "Arctic Adventures: Tales From the Lives of Inuit Artists." Resource Links, Oct. 2007, p.
24+. General OneFile, http://link.galegroup.com/apps/doc/A172135043/ITOF?
u=schlager&sid=ITOF&xid=78d58c63. Accessed 4 June 2018.
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QUOTE:
this dynamic picture book draws on memoir, legend, art, and
history to tell true dramatized events in the lives of four modern Inuit artists.
Arctic Adventures: Tales from the Lives
of Inuit Artists
Hazel Rochman
Booklist.
103.21 (July 1, 2007): p52.
COPYRIGHT 2007 American Library Association
http://www.ala.org/aboutala/offices/publishing/booklist/
Full Text:
Arctic Adventures: Tales from the Lives of Inuit Artists. By Raquel Rivera. Illus. by Jirina Marten. 2007.
48p. Groundwood/House of Anansi, $18.95 (0-88899-714-0). 305.897. Gr. 3-6.
Steeped in the Inuit culture of the far north, this dynamic picture book draws on memoir, legend, art, and
history to tell true dramatized events in the lives of four modern Inuit artists. The stories range from a boy's
survival adventure with his dog on shifting ice and a hunter's close-up encounter with a polar bear, to a
shaman's dangerous journey to appease the sea-goddess at the bottom of the stormy ocean. Another story
introduces Jessie Oonark, a widow rescued with her child on the tundra by the Royal Canadian Air Force;
she worked as a janitor and later became famous for her wall hangings and prints. Beautiful illustrations in
colored pencil and mixed media show the individual people and creatures in the Arctic landscape close up,
sometimes with an edge of magical realism. After each story, there is a brief, straightforward biography of
the artist, a photo, and a reproduction of his or her work, which is often a rich blend of the traditional and
the new. End matter includes a map, bibliography, and glossary.--Hazel Rochman
Rochman, Hazel
Source Citation (MLA 8th
Edition)
Rochman, Hazel. "Arctic Adventures: Tales from the Lives of Inuit Artists." Booklist, 1 July 2007, p. 52.
General OneFile, http://link.galegroup.com/apps/doc/A166429775/ITOF?
u=schlager&sid=ITOF&xid=7843e749. Accessed 4 June 2018.
Gale Document Number: GALE|A166429775
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QUOTE:
The story
captures well the tentative and taut encounter, the danger, and the event that culminates in Tuk's saving the
entire party.
Rivera, Raquel. Tuk and the Whale
Susan Hepler
School Library Journal.
54.11 (Nov. 2008): p100.
COPYRIGHT 2008 Library Journals, LLC. A wholly owned subsidiary of Media Source, Inc. No
redistribution permitted.
http://www.schoollibraryjournal.com/
Full Text:
RIVERA, Raquel. Tuk and the Whale. illus. by Mary Jane Gerber. 88p. bibliog. further reading. glossary.
CIP. Groundwood. 2008. Tr $15.95. ISBN 978-0-88899-6893. LC C2007-907124-4.
Gr 3-5--Set in the 1600s in the early days of Arctic whaling, this short chapter book imagines the first
encounter between whalers and the native Inuit people. Black-and-white illustrations, two per chapter, show
the action at a distance and help readers visualize the vast and flat terrain. Tuk first sees the whaling ship
come over the horizon and, when it arrives, he is smitten, especially when the whalers give him a wonderful
knife. While some of the men caution against participating, Tuk and his father, plus a few others, climb into
the whalers' boat to hunt for Arvik, as the Inuit call the bowhead whale. If the hunt is successful, the Inuit
families will have what they need to survive. Not so the whalers, who need to fill their ship's hold. The story
captures well the tentative and taut encounter, the danger, and the event that culminates in Tuk's saving the
entire party. But while some textual clues help, readers may have to flip to the glossary to remember what
maktaaq, Qallunaaq, or Quilliit are. Like Jane Yolen's Encounter (Harcourt, 1992), this story foreshadows
troubles to come, ending with Grandfather's warning that "you can learn a great deal from those men, both
good and bad," and a warning about coveting things, but Tuk happily cradles his new knife and looks to the
future.--Susan Hepler, formerly at Burgundy Farm Country Day School, Alexandria, VA
Hepler, Susan
Source Citation (MLA 8th
Edition)
Hepler, Susan. "Rivera, Raquel. Tuk and the Whale." School Library Journal, Nov. 2008, p. 100. General
OneFile, http://link.galegroup.com/apps/doc/A189870614/ITOF?
u=schlager&sid=ITOF&xid=a723964d. Accessed 4 June 2018.
Gale Document Number: GALE|A189870614
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QUOTE:
riveting and entertaining read from cover to cover,
Yipee's Gold Mountain
Internet Bookwatch.
(Mar. 2018):
COPYRIGHT 2018 Midwest Book Review
http://www.midwestbookreview.com
Full Text:
Yipee's Gold Mountain
Raquel Rivera
Red Deer Press
c/o Fitzhenry & Whiteside Limited
195 Allstate Parkway, Markham, Ontario, Canada, L3R 4T8
www.reddeerpress.com
9780889955509, $14.95, PB, 224pp, www.amazon.com
Set in the Wild West of 1860s Arizona, "Yipee's Gold Mountain" is the story of Yip Yee, an orphaned
Chinese ex-railway laborer who dreams of being a cowboy, and Na-tio, an Apache warrior-apprentice who
is recovering from his first botched raid. Through alternating chapters both narrators reveal different sides
of the story, as their initial and mutual suspicion evolves into true friendship. Together, Na-tio and Yip Yee
face down a wolf attach, a sinister bounty hunter and even greater challenges in the hard scrabble world of
fortune-seekers, soldiers and warriors. And through all of these adventures and trials, Na-tio must cope with
a terrible crisis for his people, and Yip Yee must carefully guard a very important secret. A deftly crafted
and original story by novelist Raquel Rivera, "Yipee's Gold Mountain" also features an informative
interview with the author in which she discusses the historic background and setting of "Yipee's Gold
Mountain" as well as the inclusion of a list of books and periodicals along with notes from a research trip to
Arizona. A riveting and entertaining read from cover to cover, "Yipee's Gold Mountain" is very highly
recommended for personal reading lists, and especially for community library collections.
Source Citation (MLA 8th
Edition)
"Yipee's Gold Mountain." Internet Bookwatch, Mar. 2018. General OneFile,
http://link.galegroup.com/apps/doc/A538119779/ITOF?u=schlager&sid=ITOF&xid=f0592311.
Accessed 4 June 2018.
Gale Document Number: GALE|A538119779
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QUOTE:
enjoyable adventure story
Rivera writes with such good description of the characters that you can really relate to them.
Even though the plot is exciting, the characters are another reason that keeps the reader turning the pages.
Orphan Ahwak
Avery Largent
Reviewer's Bookwatch.
(May 2008):
COPYRIGHT 2008 Midwest Book Review
http://www.midwestbookreview.com
Full Text:
Orphan Ahwak
Raquel Rivera
Orca Book Pubishers
PO Box 468, Custer, WA 98240-0468
ISBN 9781551436531, $7.95, www.orcabook.com
"Orphan Ahwak" is an enjoyable adventure story about a young girl named Aneze. When all the men in her
hometown are killed by warriors, and the women are all kidnapped, Aneze runs away and meets a kind old
man who begins teaching her how to be a hunter like her father had been. Once she learns the skills
necessary for a hunter, she goes off on her own and finds many exciting adventures.
Author Raquel Rivera writes with such good description of the characters that you can really relate to them.
Even though the plot is exciting, the characters are another reason that keeps the reader turning the pages.
My favorite character is Aneze because she is so bold, kind, and would make a very trustworthy friend.
Aneze shows she is very brave and has the heart of a hero even if she has just suffered so much, and during
the whole book she shows no signs of losing her head or mourning forevermore in her losses. Aneze holds
her responsibility, however hard it is and keeps moving forward to stay alive.
The old man Aneze first finds home with is a very good character, too; he made a great friend for her the
beginning and he builds back Aneze's strength. Aneze's friend Ketch and Ketch's family provide the family
and home that Aneze was searching for. Even if Ketch and his family were nervous at first to Aneze's
arrival, they quickly bond to her. Ketch makes almost a brother, as well as a friend, and Uncle and Aunt fill
in as her mother and father, even though she does not forget her old parents or her hometown.
Aneze faces many life-threatening challenges, but unlike most books her biggest challenge is her first.
When her town is attacked and she runs away, this is the hardest thing that Aneze has to face. One
complaint I had with the book is that the end of the story gave Aneze very little challenge. I think it would
have been more interesting if Raquel Rivera had made the ending harder on Aneze.
"Orphan Ahwak" shows real things a hunter may have had to do back in that time. At times, it is almost like
a guidebook. Occasionally, however, it gets so involved it is almost cruel to animals. For example, the old
man sometimes talks absentmindedly about killing various creatures, including his own lead dog. Aneze
also does not appear to feel upset or show any sign of comfort to the reader, though, perhaps, this is just
because her father is a hunter and she may have heard these kinds of things back at home. The book is very
well written, though it may be frightening to younger children searching for a good read.
I would recommend "Orphan Ahwak" to my friends, just as long as they were prepared for the parts that are
hard for animal lovers. The book was a very good book one and definitely one of my favorites. I believe it
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is good for children over nine and even adults. I think that Raquel Rivera will one day be a best-selling
author, and "Orphan Ahwak" is a great entertainment.
Largent, Avery
Source Citation (MLA 8th
Edition)
Largent, Avery. "Orphan Ahwak." Reviewer's Bookwatch, May 2008. General OneFile,
http://link.galegroup.com/apps/doc/A178796295/ITOF?u=schlager&sid=ITOF&xid=5b565f58.
Accessed 4 June 2018.
Gale Document Number: GALE|A178796295
QUOTE:
It was refreshing to read a book which pushes the boundaries of the dominant culture in so many ways,
CM . . . . Volume XXIV Number 4. . . September 29, 2017
cover
Show Mode. (Orca Limelights).
Raquel Rivera.
Victoria, BC: Orca, 2017.
135 pp., pbk., pdf & epub, $9.95 (pbk.).
ISBN 978-1-4598-1204-8 (pbk.), ISBN 978-1-4598-1205-5 (pdf), ISBN 978-1-4598-1206-2 (epub).
Grades 6-9 / Ages 11-14.
Review by Mary Harelkin Bishop.
*** /4
Reviewed from Advance Reading Copy.
excerpt:
And it’s not helping that all the other Coffee Hut customers are staring as they pass my table. I know I look like a doof. Here I am at a big table, just me and four large iced mocha lattes with extra whipped cream. I look like I have imaginary friends. Or worse, that these fluffy drinks of sweet deliciousness are my friends.
It’s not my fault the others are late. I sip the drink in front of me. I am beginning to wonder if this was such a good idea after all. With my used up Coffee Hut card, I tap out a beat against the table. Buying a round of special coffees seemed like a great way to get everyone in a team spirit again. I was trying for positivity and good leadership, but right now it feels more like a bribe. A bribe that no one seems to want.
I almost don’t recognize myself. For the past while, the ways my insides have been feeling and the way I’ve been acting – it hasn’t been matching up. I’ve been trying to be chill, like Seth says. I’ve been pretending I think the act is good enough when I know it can be better.
How come Sandra gets to vent her usual snarkiness while I’m killing myself to smooth everything over?
Because auditions are tomorrow, that’s why. Because my dream is to be in Fashion Show.
High school student Adina, has been dreaming about performing in the school’s yearly fashion show for years. It’s almost all she has thought about, and now is her chance. She and her friends create a dance routine and have been rehearsing, but Adina can tell that they aren’t taking it seriously. Adina quickly becomes a task master, trying to cajole her friends into practicing more and trying harder. When that doesn’t work, she finds herself criticizing them. Her friends respond by distancing themselves from her. Adina begins to wonder if she will ever be able to realize her dream of being in the Fashion Show. As Adina deals with the looming deadline for auditions and what she considers her friends’ lackadaisical attitude toward their routine, her frustration grows. Incidents of hurt feelings occur, and Adina finds herself pitted against her friends. Things come to a crisis point when one of her friends storms off leaving the dance group, and it looks like performing in the Fashion Show will not be possible. Adina begins questioning her own motives and methods of dealing with a difficult situation and realizes she has a lot to learn when dealing with people.
It was refreshing to read a book which pushes the boundaries of the dominant culture in so many ways, first, with the main character, Adina, then with Seth, a boy who not only dances but also creates and sews all the costumes for their dance routine. The main character, Adina, is a young woman of South Asian descent. There are glimpses of Adina’s culture throughout the book via the foods she eats, the music she and her brother listen to, and to some background information about her family. I longed to know more about Adina’s culture and wished to have it figure a little more prominently in the story, especially at the beginning.
Show Mode is another title in the “Orca Limelights” series. The series contains stories with performance themes, and they are written with simplified at level vocabulary but with enough action and drama to keep the story interesting. Show Mode fits this series and is a good read with strong and interesting characters who learn and grow from their mistakes. The quick moving plot keeps the story interesting and gives the reader a realistic glimpse into the world of performing.
Recommended.
Mary Harelkin Bishop is the author of the “Tunnels of Moose Jaw Adventure” series published by Coteau Books. She has also published a biography about Canadian Paralympic Champion Colette Bourgonje, entitled Moving Forward and a picture book version called Gina's Wheels. Her latest book, Mistasiniy: Buffalo Rubbing Stone (2016) deals with the relationship between a Cree boy and a boy of European descent as they get to know one another and realize the land is important to both of them. Currently she is an Instructional Consultant for Saskatoon Public Schools.
To comment on this title or this review, send mail to cm@umanitoba.ca.
QUOTE:
This short chapter book gives readers an interesting, and what might be an accurate, glimpse into the day-to-day life of the Inuit living in a winter camp on Baffin Island in the early 1600s. It is refreshing to read from the First Nations' perspectives about their first encounters with Europeans.
Riveria really did her homework as attested by the list of sources she used and by her willingness to seek experts' help in the development of this book as explained in an Author's Note near the end of the book.
CM . . . . Volume XIV Number 21. . . .June 13, 2008
cover
Tuk and the Whale.
Raquel Rivera. Illustrated by Mary Jane Gerber.
Toronto, ON: Groundwood/House of Anansi, 2008.
87 pp., pbk. & hc., $8.95 (pbk.), $15.95 (hc).
ISBN 978-0-88899-891-0 (pbk.), ISBN 978-0-88899-689-3 (hc.).
Subject Headings:
Inuit-Juvenile fiction.
Whaling-Juvenile fiction.
Grades 2-6 / Ages 7-11.
Review by Min So.
**** /4
excerpt:
Strangers couldn't be trusted. They weren't related by blood, or by marriage. They didn't bring news of friends and family in other camps. They could take things, break things—even hurt people. It was easy for strangers to do bad things to people because they didn't know anyone. And they could always just leave again.
Tuk and the people in his camp cautiously welcome strangers, or Qallunaat, who arrive on the biggest boat anyone has ever seen. Tuk's grandfather has predicted their arrival, and he advises that his people help them because, if they do so, the strangers will leave in peace. And what do these people want? Whale. Together the strangers and the men in Tuk's camp venture out onto the ocean to hunt the prized arvik, or bowhead whale.
This short chapter book gives readers an interesting, and what might be an accurate, glimpse into the day-to-day life of the Inuit living in a winter camp on Baffin Island in the early 1600s. It is refreshing to read from the First Nations' perspectives about their first encounters with Europeans. By taking their viewpoint, readers are able to understand how strange and disconcerting it was to meet these strangers. Riveria really did her homework as attested by the list of sources she used and by her willingness to seek experts' help in the development of this book as explained in an Author's Note near the end of the book. The realistic looking black and white illustrations bring to life the desolateness of where the camp is situated. One particular picture captures the excitement and danger of the whale hunt. The slow pace helps to build the suspense and slight tension between Tuk's people and the European whalers. While reading this story, readers cannot help but think about some questions: Can the strangers be trusted? Can they and Tuk's people work together to hunt for whale despite the language and cultural differences?
Highly Recommended.
Min So is an on-call children's librarian at Vancouver Public Library.
QUOTE:
entertaining blend of fact and fiction that transports readers to the Eastern Arctic of the early 1600s to witness the first meeting of two cultures.
Adept at deploying research, diversifying material, and engaging varied audiences, Rivera presents new, exciting, and thought-provoking content for middle readers.
Tuk and the Whale
by Raquel Rivera; Mary Jane Gerber, illus.
Raquel Rivera’s third book is an entertaining blend of fact and fiction that transports readers to the Eastern Arctic of the early 1600s to witness the first meeting of two cultures. This adventure story opens as Tuk, an Inuit boy, sees a ship for the first time.
Tuk’s people live off the land and sea, respecting and appreciating all the earth’s creatures. Because the Inuit are few and their hunters are fewer, they avoid taking risks like hunting Arvik, the clever and powerful bowhead whale. When European whalers arrive offering trinkets and tools in exchange for help securing a shipload of whales, the joint appeal of rewards and rare adventure is irresistible – even to some adults who realize the lures may well come at a cost. Although Rivera portrays the European “strangers” as a kindly lot, their presence upsets the Inuit community’s status quo, creating dissension and disappointment, and culminating in the book’s jarring closing line, “And now, Tuk had a knife.”
A five-chapter tale, Tuk and the Whale has large print, double spacing, and 12 black-and-white illustrations by Mary Jane Gerber, a couple of them fittingly evoking scrimshaw art. Adept at deploying research, diversifying material, and engaging varied audiences, Rivera presents new, exciting, and thought-provoking content for middle readers.
An author’s note, glossary, list of selected sources, and further reading recommendations add native studies resource value. However, adults should note that, while the selected sources attest to the depth of Rivera’s research, they are far too advanced for the book’s audience.
Reviewer: Patty Lawlor
Publisher: Groundwood Books/House of Anansi Press
DETAILS
Price: $15.95
Page Count: 88 pp
Format: Cloth
ISBN: 978-0-88899-689-3
Released: May
Issue Date: 2008-7
Categories:
Age Range: 8-10
QUOTE:
As a whole, Yipee’s Gold Mountain does contribute to the existing field of children’s and young adult literature with Rivera’s portrayals of characters of Chinese and indigenous heritage—a rare combination for any book in this genre.
CM . . . . Volume XXIV Number 30. . . .April 6, 2018
cover
Yipee’s Gold Mountain.
Raquel Rivera.
Markham, ON: Red Deer Press, 2017.
224 pp., trade pbk., $14.95.
ISBN 978-0-888995-550-9.
Subject Headings:
Western stories.
Apache Indians-Juvenile fiction.
Chinese Americans-Juvenile fiction.
Grades 6-11 / Ages 11-16.
Review by Huai Yang Lim.
*** /4
excerpt:
Back by the fire, I dumped the last of my tea into the kettle. I filled the tin cup and brought it over to the Indian. He was still awake, still watching. He sat up, very slow, and drank. He said something that I did not understand. Then he spoke again.
“You drink Anglo drink.”
The Indian spoke English!
“Tea? Yes, but tea is not foreigner drink.”
“I know tea.” He held the cup out to me. “Sugar?” I shook my head and he sighed. He took the cup back and drank it down He lay back on the ground. I gave him one of my blankets.
“You don’t speak Mexican. You not Mexican?” he asked.
“Chinese,” I told him and, all of a sudden, I was very tired—so tired, I couldn’t keep my head straight on my neck.
“Sleep,” I suggested to the Indian. But he was already snoring.
In the past two decades, much discussion and debate has been generated around the issue of representing communities who have been historically marginalized from mainstream society and excluded from predominant mediums of cultural dissemination, such as the mass media, literature, and pop culture. Both inside and outside the academic and publishing circles, a central point of contention has been the issue of who represents or speaks for the communities that get portrayed in fiction. This raises ethical questions about what obligation authors can or should have toward the communities that they represent in fiction, particularly when the community being represented has been historically disadvantaged, marginalized, and unrepresented in literature. This relates to the question of whether someone can represent that community with dignity and compassion in a way that does not misrepresent, trivialize, or homogenize those experiences. One viewpoint is that authors should not speak for others, particularly when others of that community can do so. However, others affirm that it is acceptable as long as the author is respectful and acknowledges the communities that are being represented.
This context is pertinent to Raquel Rivera’s young adult novel Yipee’s Gold Mountain because the two protagonists are Yipee, an American born person of Chinese descent, and Na tio, an indigenous boy. As Rivera comes from neither cultural background, this could raise critical questions about the ways in which she represents these characters. To a degree, Rivera does succeed in representing the Chinese and indigenous communities sensitively and avoids trivializing or whitewashing their experiences. Her portrayals of Yipee and Na tio will evoke reader empathy and identification since readers will identity with these feelings of being left out, lonely, or excluded from their community or peers. However, where it is potentially problematic is the extent to which readers can clearly see Rivera’s intentions in her work. Based on her novel, some readers may acquire a particular impression of Chinese and indigenous communities as a whole, when that may not be its intended effect. The novel’s approach to the subject matter is distinct and unique in a number of ways, but some shortcomings could detract from its positive impact.
The novel, itself, is crafted effectively in terms of its stylistic aspects and narrative technique. For the most part, the entire novel alternates between these two characters’ viewpoints, with one chapter focusing on Na tio’s perspective, followed by a chapter that focuses on Yipee’s perspective. Na tio’s story is told from a third person viewpoint, whereas Yipee’s story is told from a first person viewpoint. This narrative strategy allows the story to be told through the unique perspectives of the protagonists’ respective backgrounds and personalities, thereby providing a richer narrative that highlights the heterogeneity of personal experiences. The first person perspective may encourage more immediate empathy from readers because they can identify and imagine themselves from the perspective of the narratorial “I.” In contrast, the third person viewpoint may more likely instill a sense of separation between the narrator and reader. Although this could potentially create the effect of a disjointed story, Rivera’s novel does draw both narrative threads—Na tio’s and Yipee’s—together into a cohesive narrative.
The novel starts by depicting Na tio and Yipee with their own separate lives and communal circumstances. Because Yipee is about to lose her job with Mrs. Hall, she prepares herself to venture to Arizona to find work, possibly as a cowhand. As for Na tio, he feels inadequate and wants to prove himself as a warrior. However, eventually their paths cross when Yipee saves Na tio from a wolf and eventually travels together with him. From there, the story proceeds as a unified narrative that is conveyed from two different narrative viewpoints. Although it is clear which protagonist’s perspective is used in each chapter, some readers may find this slightly jarring because of the continual shifting between the first person and third person perspectives. As the book progresses, most readers may grow accustomed to this narrative style which rarely appears in children’s and young adult novels. Nevertheless, this narrative technique may prevent certain readers from becoming fully immersed in the story because attention is drawn to those narrative shifts.
The novel’s most positive aspect is that it does challenge the assumptions and stereotypes that people may have about the behaviour of indigenous or Chinese communities. This is exemplified most directly through Rivera’s representation of its Chinese and indigenous protagonists, Yipee and Na tio respectively. She conveys them as complex individuals with their own needs and desires rather than as caricatures, stereotypes, or one dimensional characters with simplistic motivations and reactions. Indeed, Rivera mentions in her interview that it is difficult to find historical examples of Chinese cowboys; instead, Chinese men and women appear constrained to specific occupations in the “Wild West”. As such, Yipee provides an alternative perspective on the history of Chinese immigrants by depicting her as a cowboy—an occupation that people may not typically associate with the Chinese community or with women in particular. In relation to this, Rivera portrays how the characters’ historical circumstances adversely impact their lives as economic and social barriers prevent them from integrating and participating fully in mainstream society. For example, the first chapter shows how these characters face barriers to financial mobility. Mrs. Hall praises Yipee for her diligent work ethic but affirms that she cannot keep her employed when white people are out of work. As a result, she asserts that she has no choice but to let her go.
Rivera’s representations of indigenous and Chinese communities are further enhanced by her portrayals of other characters, such as the indigenous man Goylah, which reveals how she avoids idealizing Na tio’s and Yipee’s lives within Canadian society. Although Goylah is working in the white community, he is not entirely content about his situation. Instead, he appears resigned to his current circumstances as he recognizes that this is necessary for his physical survival and that he can probably never return to his previous way of life. As a result, this conveys poignantly how the concrete realities of characters’ circumstances compel them to adapt, but that this comes at the expense of losing their connection with their cultural and communal heritage.
Other moments in the novel that challenge these assumptions and stereotypes are the white characters’ interactions with Yipee and Na tio. For example, readers are made aware of the stereotypes that the white characters hold against indigenous and Chinese people when a rancher asks Na tio if he is a “good Indian,” a question which draws attention to the fact that Indians have been historically regarded as heathens, immoral, and, therefore, untrustworthy. Despite her apparent goodwill towards Yipee, even Mrs. Hall harbours negative attitudes as she warns Yipee to watch out for the Apaches during her travels. Yipee, herself, has developed these same attitudes because she wonders whether any Apaches are hiding and watching her.
The book further challenges these assumptions and stereotypes by depicting other non indigenous and non Asian characters who behave in ways that have been associated with those two communities. For example, one of them skins the scalps of others for profit. There are also references to the reality of being female in that historical context, since one is vulnerable to being taken advantage of by men. At the same time, Rivera depicts some white characters positively, such as the ranch owner Jack who saves Na tio and Yipee from being hanged by the other ranch workers when they are blamed for the buster’s accident. These contrasting representations of white characters provide a more heterogeneous and realistic portrayal of the society in which the protagonists live.
The back of the book contains an interview with Rivera as well as her acknowledgements, both of which provide useful context about the motivations behind her portrayals of Na tio and Yipee. To an extent, these additional sections alleviate readers’ potentially negative impressions about her novel, particularly as the Chinese and indigenous communities have experienced extensive racism and discrimination historically in North America. Rivera mentioned in the interview that she wanted to convey an empowering representation of the Chinese community by depicting a Chinese girl in a non traditional role. At the same time, she stated that she would like to show the specific historical contexts that pertain to these two protagonists’ lives. The book’s acknowledgements show that she has conducted a significant amount of research and has consulted with knowledgeable people about her novel’s subject matter, which lend credence and authority to her fictional representations. For example, Rivera consulted people with historical expertise, people from the grassroots level, and scholarly publications about the Chinese community’s history in the United States.
However, where Rivera’s novel seems to fall a bit short is in its character development. Her novel could be stronger in terms of its cultural richness and the extent to which these contribute to these two protagonists’ characterizations. The plot, itself, is engaging as its intended audience will likely be drawn to these two characters’ experiences; furthermore, children’s and young adult stories may have a greater tendency to orient more heavily to a plot driven narrative, which, in itself, is not an issue. In this case, the two characters are each growing up in a specific cultural community and in a particular historical era that is characterized by racism and discrimination to those groups. For both Na tio and Yipee, few culturally specific details appear to be present that would identify Na tio as Apache or Yipee as Chinese. Na tio’s experiences and those of his community relate to activities that are characteristic of many indigenous communities, such as hunting, fishing, singing songs, making blankets, and so on. His perspective on his experiences and community’s history are touched on, but not extensively dealt with, apart from the fact that he feels he cannot be a great warrior like his father and that he feels like an outsider in his own community. The acknowledgements do indicate that Rivera has consulted with someone who has expertise on Apache heritage, and so the story would have benefitted from establishing a more explicit link to that heritage or otherwise providing some context for readers who are not knowledgeable with it. Explanatory notes, a glossary, or something equivalent might help to address this issue and would also be useful for teaching purposes since some students may lack familiarity with that cultural context.
Similarly, Yipee’s Chinese heritage does not seem to significantly inform her experiences or her perspective on them. The Chinese counterparts in her community, such as Crooked Mah and other adults, add some cultural depth, but these characters share things that readers may already know about Chinese immigrants. It is known that they have immigrated to Canada to become financially prosperous, as embodied by their reference to Canada as the “Gold Mountain.”
Furthermore, it seems that something has shifted in the narrative once Na tio finds out that most of his community has been killed by what appears to be white settlers, an explosion, and rock avalanche. From that point onwards, the novel appears to be more plot driven as less space is devoted to character development. Instead, a significant section of the remaining part of the novel focuses on Na tio’s and Yipee’s time on a ranch where they try to earn a living. However, the novel’s resolution does convey a positive outcome as it symbolizes a sense of reconciliation and healing between indigenous and white communities. This is exemplified when Yipee and Na tio find a young white girl named Mary who is the sole survivor of her family in unclear circumstances, whether it is an accident or murder. Despite Na tio’s grief around his community’s massacre at the hands of whom he believes to be the white population, he decides that they should take care of Mary, who has also grown attached to him and Yipee As a result, Na tio is able to move beyond his hatred of the white community in order to nurture the survival of another person from that same community.
Teachers could include this book in a social studies class as part of a historical unit about minority cultures or the development of the Wild West. As part of a literary unit, teachers could also encourage discussion about the two protagonists and ask students to consider the relationships between them and how they are developed. Similarly, students could delve into the prejudices, racism, and discrimination that permeate both of these characters’ experiences and how they are augmented by their gender as well. For example, Yipee’s having to hide that she is female shows the precarious nature of life for women in those times.
It would also be important to contextualize the characters’ experiences with the historical context of Chinese and indigenous communities as these inform their choices, actions, and perspectives. Historically, the Canadian literature scene of canonical texts has excluded these voices that fall outside the “settler narratives”. Works such as Yipee’s Gold Mountain are valuable as they validate alternative perspectives about those historical time periods, thereby providing more complex and heterogeneous representations of those eras. Therefore, teachers could also frame the work in relation to Chinese Canadian literature in children’s and young adult fiction, such as by considering how the work is indicative of contemporary developments in Canadian fiction that acknowledge the value of diverse experiences and viewpoints.
As a whole, Yipee’s Gold Mountain does contribute to the existing field of children’s and young adult literature with Rivera’s portrayals of characters of Chinese and indigenous heritage—a rare combination for any book in this genre. The book’s positive impact seems somewhat affected by the issues that I have discussed earlier, but it will prompt readers to reflect on their understandings of the Chinese and indigenous communities and will help to stimulate constructive discussion in the classroom. Although it is beyond the scope of this review, one question to consider is how writers from the Chinese and indigenous communities would narrate this story. Avoiding the trap of essentialism, this is an important question as it raises the issue of how much these communities are able to represent themselves in fiction and the extent to which the publishing industry, itself, has given these communities the opportunity to represent their own stories. Nevertheless, perhaps novels such as Yipee’s Gold Mountain will, at least, contribute to the step of encouraging more mainstream exposure and acceptance for these types of stories to be told and, subsequently, for more writers from those communities to be heard.
Raquel Rivera is a Montreal based writer who has received awards for her works. Her official website is at http://www.raquelriverawashere.com.
Recommended.
Huai Yang Lim has a degree in Library and Information Studies. He enjoys reading, reviewing, and writing children’s literature in his spare time in Edmonton, AB.