¶ … Children's Literature: The Conflict between Indigenous and Modern Worlds As the world continues to evolve towards a more modern existence, many indigenous cultures are assimilating more and more into the larger society. Books like Scott Odell's Island of the Blue Dolphins and Jean Craighead George's Julie of the Wolves expose the conflict between modern and traditional cultures for native peoples. These two beautifully written children's tales describe the life of native people, close to the land and all the natural elements that are tied to it. Yet, it is clear from the works that this life is in direct conflict with a life of modernity. The modern world challenges traditional cultural identity in O'Dell's Island of the Blue Dolphins and George's Julie of the Wolves; the two authors are showing that because the two identities are so different, indigenous identities cannot exist within the constantly evolving modern context. Yet, this is not entirely negative, as the two female characters are allowed to transcend their traditional gender norms and become much more powerful and capable women who can fend for themselves and are no longer limited to their traditional gender roles.

Both works discuss the conflict that many native cultures have faced as they are influenced and pressured to assimilate into a more modern existence. The two books are essentially "something more than an anthropological document meant to engage our aesthetic sensitivities," they can help protect "tribal history from becoming lost to future generations" (Doughty & Thompson 14). The primary themes are related in that they show the struggle of indigenous cultures in a world which constantly demands assimilation. This is not an easily won struggle, as both female protagonists deal with the weight of staying out of mainstream culture for as long as they can. Throughout both works, Karana and Miyax constantly demonstrate their cultural knowledge, which is what allows them to live and thrive off the land for so long in isolation from the rest of society. The two characters are left to their own devices deep in the wilderness after the violent deaths of their families leave them with the choice to conform to a more modern existence or to run away and try to remain true to their traditional heritage on their own, in the absence of others to help them along the way. Here, both girls are faced with a choice, and both really struggle with what to do. Still, they owe their survival to their cultural heritage as their traditional knowledge allows the girls to survive in the harsh natural environment. Karana is constantly reminded of a deep connection to the land of her ancestors. This is best illustrated when she finds the cave with the figures of her ancestors. Here, O'Dell describes her experience: "each one had eyes fashioned of round or oblong disks of abalone shell, but the rest of their faces were blank. The eyes glittered down at me, moved as the light on the water moved and was reflected upon them. They were more alive than the eyes of those who live" (O'Dell 128). Her heritage is very much alive within her. She is fighting for her people's survival, because she is so invested in the traditional way of life. Miyax also shares this close connection with her heritage. She originally held a distain for conforming to a more modern standard of life. When called Julie, "she stomped her foot and told him her name was Miyax. 'I am Eskimo, not a gussak!'" (George 81). Therefore, Miyax shares Karana's deep connection to their indigenous identities.

The two girls also share a close relationship with the wildlife surrounding them in the wilderness, which comes from their cultural heritage and traditions. Their tribes have long lived in harmony with the land, which is something that is often not translated into modern cultures. From this traditional perspective, "humans are a part of, no superior to, the animal kingdom and so must recognize the significance of animals in the world" (Stewart 184). Thus, the two girls live in harmony with nature and the animals that surround them. O'Dell shows this with Karana's enjoyment of her natural surroundings. At one point, she thinks "I was happy to be home. Everything I saw -- the otter playing in the kelp, the rings of foam around the rocks guarding the harbor, the gulls flying, the tides moving past the sandspit -- filled me with happiness" (O'Dell 69). She seems content living with nature like her people...

It is this harmony with nature that allows her to survive for so long all alone on the island. Additionally, both girls show a close relationship with the animal life they share the earth with. Karana believes that "animals and birds are like people, too, though they do not talk the same or do the same things. Without them the earth would be an unhappy place" (O'Dell 57). She befriends animals like they are her kin. This happens even with the feral dogs that were originally a threat after killing her brother Ramo. Eventually, she makes friends with the leader and becomes their ally. After naming him Rontu, she becomes extremely close with her animal companion, showing her deep connection to nature that stems from her cultural traditions. This is also illustrated in George's work. The wolves, led by Amaroq, take in Miyax and help protect her in the harsh wilderness. Miyax also has a close bird friend named Tornait. Here, George writes that "she knew what she had to do. Live like an Eskimo -- hunt and carve and be with Tornait" (George 152). Her connection to nature through these animals strengthens her roots with her indigenous traditions that respected animals and nature much more than modern cultures do. It is this respect and admiration for nature, stemming from deeply engrained cultural heritages that allow the girls to survive for so long on their own. With this, the two authors are highlighting how much strength can be gathered from remaining true to one's indigenous cultural identity.
Yet, this traditional identity is also in danger because of the constant influence of the modern world, which both girls are exposed to. There is an innate conflict between traditional and modern cultural identities. Ultimately, this shows the affect of "transcultural interaction" which influenced native cultures around the globe (Marian 1). Exposure to modern societies has a luring temptation for many indigenous people, causing many to leave their cultural heritage to join the modern world. Eventually, both girls return to a more modern civilization, shedding a pessimistic light regarding the survival of more traditional, native cultures. Thus, both authors are illustrating the notion of the "vanishing Indian" (Stewart 182). As the modern world becomes more and more alluring, indigenous traditions are vulnerable to disappearing. Unfortunately, this is a pessimistic view, which in many ways does go with the traditional ending for many Native American stories that do not have the typical "happy ending" of Westernized folk tales (Stewart 184).

In the Island of the Blue Dolphins, Karana lasts a long time without falling to Western influence. Yet, towards the end of the book, her friendship with Tutok reinvigorates her desire to be with society. She thinks, "below me, Rontu was running along the cliff barking at the screaming gulls. Pelicans were chattering as they fished the blue water. Far off, I could hear the bellow of a sea elephant. But suddenly, as I thought of Tutok, the island seemed very quiet" (O'Dell 119). It is clear she desires human company, and that essentially means leaving her cultural heritage to travel to the mainland. Her choice to leave is illustrated with the symbol of the dress. O'Dell describes Karana's disliking for the modern clothing, but she reluctantly accepts it because she is willing to assimilate into modern culture; "the dress reached from my throat to my feet and I did not like it, either the color of it or the way it scratched it was also hot. But I smiled and put my cormorant skirt away in one of the baskets to wear when I got across the sea, sometime when the men were not around" (O'Dell 179). When she puts the dress on she is putting on a new, modern identity.

This symbol is repeated in George's work, but is tied to the concept of names rather than clothing. The name Julie is so foreign compared to Miyax. The assigning of English names shows how much mainstream culture is influencing native people. Here, George writes "they called her father Charlie Edwards and Miyax was Julie, for they all had two names, Eskimo and English" (George 80). They were called by their English names during the summer, when there were mainland tourists around. Yet, during the winter, they were able to go back to their true ethnic roots. This illustrates a connection with tradition, but one that is often put to the side to join in on a modern existence. In fact, Miyax is drawn to…