(Book Cover Source: WorldCat at http://www.worldcat.org/oclc/9945098&referer=brief_results accessed September 27, 2008)BIBLIOGRAPHY:
Goble, Paul. 1984. Buffalo woman. New York: Bradbury Press. ISBN 0027377202
2. PLOT SUMMARY:
Prior to beginning the actual folktale, on the copyright page, Goble has offered an explanation about the Great Plains tribal cultures in which this tale has its roots. It behooves the reader to take the time to read this background material, as it provides a context which deepens one's understanding of the significance a tale such as Buffalo Woman might hold for these societies. To the tribal way of thinking, Goble states, "These stories were not simply for entertainment; they had power to strengthen the bond with the herds, and to encourage the herds to continue to give themselves so that the people could live. It was felt that retelling the story had power to bring about a change within each of us; that in listening we might all be a little more worthy of our buffalo relatives."
The folktale begins with a young man who has already proven both his prowess as a hunter, as well as his reverence for that which he hunts. He is waiting by a stream for a sign of buffalo. He sees a buffalo cow slowly approaching the stream. Then, not knowing whether he fell asleep or what happened, the buffalo has been replaced by a beautiful young woman, with whom he instantly falls in love. She explains that she has been sent by the Buffalo Nation because of his good feelings for them, and she agrees to be his wife so that the love they share will be an example for both of their people to follow. Soon, they have a son named Calf Boy and their life together is good. However, the young man's family does not like his wife, calling her an animal, among other things. They drive her and her son away. As Buffalo Woman and Calf Boy begin their trek back to her people, the young man follows them, trying to convince them of his love. Twice, he rejoins them, only to have them warn him of the danger of pursuing them, and to find in the morning that they have disappeared again. As the young man reaches the Buffalo Nation at last, his son approaches to warn him of the ordeal he must face from his grandfather, the chief of the Buffalo Nation. He will be challenged with identifying his wife and son from among the multitude of buffalo. His son tells him he will help his father identify them by flicking his left ear and placing a cockle-burr upon his mother's back. Despite the threat of death, the young man is able to successfully complete the challenges, and the Buffalo Nation decides to make him one of them. He is covered in a buffalo pelt and isolated in a tipi for three days and nights, and then on the fourth day, he is transformed into a young buffalo bull through the buffaloes tumbling of him, squeezing the breath out of him, and breathing their new breath into him. This was celebrated as the wonderful day a mutually beneficial relationship between the People and the Buffalo Nation was forged that will last until the end of time. This relationship is identified as "the Creator's wish." The folktale closes with the final statement: "Mitakuye oyasin - We are all related."
3. CRITICAL ANALYSIS:
For a man who grew up in another country, Paul Goble brings a celebration and reverence of Native American traditions to his work, like that of one born to them. Two years after he left England and came to live and study in the Black Hills of South Dakota, he was the winner of the Caldecott Medal in 1979 for The Girl Who Loved Wild Horses. Thus, Goble's unique illustrative style had already received the highest accolade prior to his writing and illustrating of Buffalo Woman in 1984.
Buffalo Woman is not precisely of the "Pourquoi" folktale type, in the sense that this tale does not explain a natural phenomenon like why the tiger has stripes or how the elephant got its long trunk. However, it does seek to explain something of significance to the Native American culture. While one could argue that buffalo have no need whatsoever of humans, the same could not be argued that the tribes of the Great Plains did not need the buffalo. Thus, the significance of the explanatory nature of the tale lies in the spiritual, rather than physical relationship between the main characters of the humans and the buffalo. Messages about love and mutual respect are woven throughout. In case the reader has missed these more subtle messages, Goble ends the tale by summing up the theme very concisely for the reader with his "We are all related" concluding statement.
Traditional Native American folktale motifs are also present, such as transformations, talking animals, trickery, and the number four, as when the young man transforms on the fourth day. While one would like to think that the young man's love for his family was so strong, he could have identified them from the bonds of their relationship, the custom of trickery is such a well-known tradition in Native American tales that audiences have come to expect it.
Goble's illustrations serve to both establish the setting and enhance the tale. The pen and ink drawings of the Plains, painted with rich watercolors, dominate the pages. This perhaps explains why the first page of the tale has just a few drawings beneath the opening paragraph. Without this conscious, initial focus on the words, Goble's striking art is likely to distract the reader from the story. As one turns to the next page and finds dramatic illustrations, yet no words, one begins to understand that the art will play a significant role in the telling of the tale. The painstaking precision with which Goble has drawn the scenes seems to say, "Notice us - we are important and worthy of your attention." Thus, the reader's eye is drawn to the details, like the tiny ceremonial elements surrounding the young man, and the hunt scene portrayed on his robe.
As the story unfolds, the blues and greens of the prairie are replaced by the powerful reds and browns of the Buffalo Nation's world. Interestingly, the final page is white like the opening page of the story. Only a primitive drawing, like one might see on a cave wall or tipi, graces the page, with the heads and two legs of the facing buffalo making a heart-like shape. Like the opening page, the focus on the words on the final page seems to imply that it is ultimately the message in the tale that matters the most.
On a final note about the illustrations, given the precision with which Goble draws everything else, one can only conclude that the mere sketching of the humans' features was purposeful and symbolic. The humans' eyes are nothing more than a single line - as though they barely "see." This is in contrast to the warm, wide, human-like eyes of the buffalo who seem to see and know all. Even the prairie dogs have more human-like eyes than the Goble's people do. Thus, the features of the buffalo imbue them with a wisdom that the humans do not seem to possess.
4. REVIEW EXCERPTS:
The Horn Book Review: "The author-artist successfully combines a compelling version of an old legend with his own imaginative and striking visual interpretation."
Interracial Books for Children Bulletin: "As usual, the material is treated with respect, which is appreciated. Also as usual, the illustrations are lovely."
School Library Journal: "In text and illustrations, Goble's story exhibits a quiety simplicity, respect for nature and the power of love."
5. CONNECTIONS:
*Buffalo Woman would be a great way to launch a lesson about multicultural folktales. One could gather tales from other cultures and compare and contrast them, noting thematic, character, plot, and stylistic differences. Titles might include:
Conger, David, Yee, Patrick, Toth, Marian Davies, and Lyons, Kay.
Asian children's favorite stories: A treasury of folktales from
China, Japan, Korea, India, the Philippines, Thailand, Indonesia,
and Malaysia. ISBN: 0804836698
Mandela, Nelson. Nelson Mandela's favorite African folktales. ISBN 0393329909
Philip, Neil. Horse hooves and chicken feet: Mexican folktales. ISBN 0618194630
*One could also pair this title with other Native American folktales from different authors and illustrators, in order to compare and contrast the different styles and themes. Titles might include:
Bruchac, Joseph. Between Earth & sky: Legends of Native American sacred places. ISBN 0152020624
dePaola, Tomie. The Legend of the Indian Paintbrush. ISBN 0698113608
Oughton, Jerrie. How the stars fell into the sky: A Navajo legend. ISBN 0395779383
*Finally, Paul Goble has written and illustrated a number of outstanding Native American folktales. Launching a discussion comparing and contrasting styles and themes among his books would also be a terrific lesson. Titles might include:
Goble, Paul. Dream wolf. ISBN 0689815069
Goble, Paul. The gift of the sacred dog. ISBN 0020432801
Goble, Paul. The girl who loved wild horses. ISBN 0689845049
Goble, Paul. The great race. ISBN 0689714521
Goble, Paul. Star boy. ISBN 0689714998
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