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By Hazel Rochman

Opposed to Borders: selling Books for a Multicultural global [Paperback]

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When Paula Fox in One-Eyed Cat describes the "little worm of mucus" where the eye had been in the injured cat, I shudder at the Page 14 physical image and at the sense of shameful secrets. When I read how Michael Nava in "Abuelo: My Grandfather, Raymond Acuña," imagined his abuelo to be what he needed him to be, I think again about the beloved mentors and role models I have half-known, half-created. The best stories don't set up heavily symbolic mythic parallels. Nor do they reduce the complex archetype to neat and tidy formula.

When I lived under apartheid, I thought I was privilegedand compared with the physical suffering of black people I was immeasurably well-offbut my life was impoverished. I was blind, and I was frightened. I was shut in. And I was denied access to the stories and music of the world. Groups like Ladysmith Black Mambazo were making music right there, and I couldn't hear them. I didn't know that in the streets of Soweto there were people like Nelson Mandela with a vision of nonracial democracy that would change my life.

Saints, Role Models, and Stereotypes The savage savage is a stereotype, but the noble savage is, too. " Michael Dorris, who acted as consultant for the Native American list in this book, said in a New York Times article about the depiction of Indians in the movie Dances with Wolves: "Readers and viewers of such sagas are left with a predominant emotion of regret for a golden age now but a faint memory. " Doris Seale and Beverly Slapin in Through Indian Eyes: The Native Experience in Children's Books, show how often Indians are presented as whooping savages in paint or feathers, or as cute, make-believe figures for kids to playact in costume, or as noble savages, generic and distant, as in dusty museum panoramas.

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