Thursday, May 9, 2013

Topic: Socio-Economic Status

Pam Muñoz Ryan is a Mexican-American author.  She was born in 1951 in California.  She was originally encouraged to begin writing by a professor she had in graduate school.  This push led her to completing numerous award-winning books, such as Esperanza Rising and Becoming Naomi León.  Pam enjoys writing main characters that are strong female protagonists.  She considers Eleanor Roosevelt and Amelia Earhart to be her personal muses.

 Esperanza Rising tells of a girl name Esperanza whose life is drastically changed by the murder of her father on her birthday.  The murderer asks Esperanza's mother to marry him in hopes of taking the family's fortune.  The mother refuses and she and Esperanza sneak out of Mexico to America, where they hear they will be safe and have a job.  They are taken to a labor camp made up of small houses with multiple families living in each house.  Esperanza must face the fact that her old life of having servants wait on her and getting whatever she wants is over.  What's terrific about this story is that it was inspired by the life of Pam Muñoz Ryan's grandmother.

 Children's books to accompany Esperanza Rising:
Those Shoes by Maribeth Boelts
Harvesting Hope: The Story of Cesar Chavez by Kathleen Krull
Happy Like Soccer by Maribeth Boelts
The House on Dirty-Third Street by Jo S. Kittinger
Mama is a Miner by George Ella Lyon
Tia Isa Wants a Car by Meg Medina

Discussion Questions:

  • What are your thoughts and feelings on Jeremy's actions in Those Shoes?
  • How would you discuss the themes "wants" and "needs" in a classroom setting?
  • How would you use Harvesting Hope with Esperanza Rising?
  • How would you discuss power relations and agency in both Harvesting Hope compared to Esperanza Rising?
  • What do you think of the illustrations of House on Dirty-Third Street?  Do they enhance the story?  If so, how?
  • Do you think the reactions of the neighbors/community members provides a realistic solution to the problems facing the little girl and her mom?
  • Do you like the writing style of  Happy Like Soccer and does it fit with the story?  Why or why not?
  • What do you make of Sierra's parents?  Would kids have questions about the unique family structure (Sierra being raised by her aunt)?
  • Did you feel sorry for the characters or hopeful for them in Tia Isa?  
  • Do you think most readers would think about institutional power (e.g. global economic forces) when reading this book or would their attention be focused mainly on the immediate characters and their quest?
  • In Mama is a Miner, what did you think of the poem on the right-hand side of some pages?  Did it add or detract from the story?
  • If children do not have mothers who need to work, would they be able to relate and enjoy this book?  How could we help them understand it if their life experiences were very different?
Resources: 
American Psychological Association, Socioeconomic Status http://www.apa.org/topics/socioeconomic-status/index.aspx
ALA Hunger, Homelessness and Poverty Task force http://www.hhptf.org/resources
Teaching for Change http://www.teachingforchange.org
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Topic: Asian American Literature

Lisa Yee was born and Raised near Los Angeles.  In High School, she ditched class to go to the library
She held a wide variety of jobs, including working for Disney (got to be Mickey once!).  She has published 10 novels (Millicent Min came in 2003).  Lisa Yee was first "discovered" by Arthur Levine, editor of the Harry Potter series.  Fun facts are that she travels with a stuffed Peep.  You can check out her website and blog at these links.

Her website: www.lisayee.com
Blog: lisayee.livejournal.com


Millicent Min is the story of a girl genius.  While she is only 11 years old, she is already attending college classes.  She does not exactly fit in with her peers, so after meeting a nice girl named Emily, Millicent decides to hide the truth from Emily and not tell her she is a genius.  As can be expected, this decision causes much tension between Millicent, Emily, and Sanford -- the boy Millicent is tutoring.  Millicent Min is a funny book that reminds us why children's literature is so wonderful.



Children's books to accompany Millicent Min Girl Genius:
The House That Baba Built by Ed Young
Summer Days and Nights by Wong Herbert Yee
A Hmong Family by Nora Murphy
The Name Jar by Yangsook Choi
Journey Home by Lawrence McKay, Jr.
Dia's Story Cloth by Dia Cha



Discussion Questions

  • What do you think of the illustrations and what they lend to The House that Baba Built?  What sense did you get from the ending?
  • Summer Days and Nights is a melting pot book.  What pros and cons do you see to it?  Does the rhyming add to or detract from the story?
  • In A Hmong Family, do you agree with the introduction's assertion that the book wasn't attempting to debate refugees?  In other words, did they accomplish their goal of not politicizing the story?
  • From the pictures alone, what sense do you get of the Hmong culture?  Is it portrayed in a positive, negative, or neutral light?
  • In what ways, either in the text or illustrations, is the story of the name jar realistic?
  • How do you think Mai might feel as a Vietnamese American in Vietnam in the story Journey Home?
  • Why might it be important for Dia's Story Cloth to be in a collection?

Awards:
Lisa Yee won the Asian American Literary Award, which is issued by the Asian-American Writers workshop since 1998.  To be eligible: the book must be written by someone of Asian descent living in the US. The book must have been first published in English.

Resources:
Asian Pacific American Award for Literature www.apalaweb.org
To honor and recognize works related to the Asian/Pacific American experiences or cultures
For books published in USA or any of its territories or in Canada.

Batchelder Award www.ala.org/alsc/awardsgrants/bookmedia/batchelderaward
Presented by the ALSC.  Named for the Mildred Batchelder.  The award is for an American publisher, recognizes the most outstanding translated work of the year.

For Asian Literature that is great for American audiences check out Asian Festival of Children's Content (afcc.com/sg/_2013) The year 2013 will be their 5th year.  Each year focuses on a different country in Asia.  The festival presents three awards through the National Book Development Council of Singapore: the SingTel Asian Book Award, The Hedwig Anuar Children's Book Award, and The Scholastic Asian Book award.
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Topic: Gender Literature

Amy Ignatow is the author of the Popularity Papers Series.  She was born September 15th, 1977 in Huntington, NY.  She attended SUNY Oneonta, but later transferred to Moore college of Art and design.  Her occupations have included: teacher, farmer, florist, short-order vegan cook, and ghostwriter for internet personal ads.  She gave Popularity Papers a long title because she thought it would be funny.  So far, she has written 5 books.

Here are some statistics on gender:
A Flroida State University study examined almost 6,000 children's books that were published between 1900 and 2000.  It was discovered that males make up 57% of central characters each year with female central characters making up only 31%.

The Popularity Papers: Research for the Social Improvement and General Betterment of Lydia Goldblatt and Julie Graham-Chang is about two friends struggling to find their way through life and the 5th grade.  They share their thoughts, fears, joys, and more in a diary they pass back and forth and draw pictures.  The diary we see as readers lets us explore their lives and see the complexities of what friendships are made of.

 Children's Books to Accompany The Popularity Papers:
Dahlia by Barbara McClintock
A Fire Engine For Ruthie by Leslea Newman
Once Upon a Cool Motorcyle Dude by Kevin O'Malley
The Paper Bag Princess by Robert Munsch

Discussion Questions:

  • How would you consider Charlotte's agency throughout the book?
  • Do you believe Charlotte is true to her identity? 
  • Compared to Dahlia, how would you describe Ruthie's agency and identity in A Fire Engine for Ruthie?
  • What are your perceptions of gender stereotypes in Once Upon a Paper Bag Princess?
  • Do all fairytale books need a marriage for a happily ever after?
  • What traditional and non-traditional gendered messages do you see in this book?
  • How do you view Ronald's character in The Paper Bag Princess?  How does he challenge traditional stereotypes?
  • It is been over 20 years since The Paper Bag Princess came out.  Why do you believe that there has not been more feminist fairy tale picture books published?

Resources

  • Amelia Bloomer Project. http://ameliabloomer.wordpress.com/about/  Recommendations for feminist literature for birth though 18.  They strive to present well written, strong feminist books.  Fiction and nonfiction, the books must affirm positive roles for girls and women.  Must be accurate and stand on their own.  Must have a copyright of current year. Published in US.  ameliabloomer.wordpress.com
  • Girls Inc. http://www.girlsinc.org/resources/p3-3.html Inspiring girls to be strong, smart and bold. Resources give books for girls.  Some fiction and nonfiction. They have a Latina resources for girls list.  No Africa-American feminist lit for girls, though.

Don't forget the boys

  • Guys Read http://guysread.com by Jon Scieska (rhymes with fresca) geared towards boys from boys.  Many different genres.
  • Boys Read. http://www.boysread.org/index.html  Developing a new generation of literate men.  Trying to educate boys and those around boys.  Offer workshops.




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Tuesday, March 26, 2013

Helpful Multicultural Literature Websites and More

This is a hefty post filled to the brim with hyperlinks!  Don't let it overwhelm you; instead, let it take you to new worlds of ideas!  For your ready-reference, all semester I have been collecting some useful websites for all things related to children's multicultural literature. 

(This list is updated often -- whenever I come across another fun link.)

Awards

Must-Reads

Lesson Plans

Book Review and Storytime Sites

Helpful Organizations/Publishers

Author Resources
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Representing Asian and Asian-American Children's Literature



           We are shaped by our culture.  From early on, we are constantly watching and listening to what’s going on around us and using that information to interpret how we can and should react to the world around us.  What our culture teaches us is a think that is hard to unlearn.  Why, you ask, might you want to unlearn your culture?  A specific cultural view can be a dangerous thing to have.  Narrow viewpoints lead to discrimination and stereotypes.  When you stay within your own cultural view, you do not see multiple perspectives for how things can be done or how others react to your own culture.  You become trapped in your own cultural bubble.  As librarians and teachers, we need to promote a broadening perspective on cultural views by supporting children’s books that present various viewpoints.
            With this idea of a need for various perspectives, I will look at Asian children’s literature.  Asians, historically, were unrepresented.  Weimin Mo and Enju Shen say in their essay “Accuracy is Not Enough: The Role of Cultural Values in the Authenticity of Picture Books” that “Asian cultures and Asian Americans were once the least represented in picture books, but much progress has been made…” (Fox,199).  For years, books that featured Asians or Asian Americans showed them as people who all looked like.  The books had racist sentiments and grouped all Asians together, discounting the fact that Asia is large continent, not a single country.  Asian cultures today are becoming better represented, but there is still a long way to go. 
Writers of Asian children’s literature, as well as illustrators, must do their best to present an accurate and authentic description of the culture.  Librarians and teachers should review children’s books and critique them on their accuracy (did the writer do enough research?  Are they accurately representing a single culture and not promoting stereotypes?) and critique them on their illustrations (did the illustrator study the culture enough?  Do the colors or style of the clothes match the time period of the book?).  It might be that the author has done their part to produce a children’s book worthy of display in a library for its cultural accuracy, but the illustrator did not.  In this case, the librarian or teacher needs to make a call on whether the book stereotypes the culture or if the illustrations are slight enough that the librarian or teacher (more likely the teacher) can talk to the children about why the illustrations are inaccurate.  It may not always be the case that we are able to let the child know the drawings are inaccurate, though.
            Weimin Mo and Enju Shen, say that culture “influences the way we view ourselves, society, and human relations and interactions.  It determines our assumptions about social behaviors or customs and reflects what we value and believe to be true” (Fox, 98).  We grow up with these assumptions and sometimes they carry over into our adult life, into our work.  Mo and Shen say, “Authors and illustrators are not immune to this influence and it has been reflected in their picture books” (Fox, 199).  It is dangerous to take a multicultural book at face value.  Librarians and teachers need to keep in mind the culture that the author grew up in and what their aim is.  I have written about aim and intent before, but I bring it up again because it matters, but not as much as the follow through of the aim.  Authors may have good intention to portray Asian cultures accurately, but if they have a narrow perspective without enough research, their intent is unjustified.  Mo and Shen, along this line, say, “Cultures also affect each other.  They constantly absorb each other’s values, attitudes, and beliefs; sometimes, they actively clash” (Fox, 201).  This could come in the form of author’s good intent.  However, it also could lead to the creation of new stereotypes when cultures clash and that is the last thing we want our children’s literature to do.  Cultural experience and research are the only ways to gain insights into what a culture is really like and how best we can portray them (Fox, 203). 
            Currently, a lot of cultures are summed up by their folklore.  We view folktales as accurate representations of the culture historically instead of treating it as we do our own – as fiction or fictional stories that may have been somewhat derived from history.  Either way we do not see our own (Eurocentric) folklore as a historical text of who were once were and how we once acted.  Wo and Shen say, “Several studies indicate that folktales represent an extremely high percentage of multicultural picture books” (Fox, 203).  Libraries need to ensure that our collections avoid promoting folklore as historical accuracy.  Picture books that tell an accurate story “constitute a rich cultural resource to support us in understanding, respecting, and appreciating ourselves and others” (Fox, 211). 
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Monday, March 25, 2013

Topic: Homelessness, Immigration, and Refugee Literature

Frank Cottrell Boyce was born in 1959 and is a British novelist.  He has worked with movie director Michael Witerbottom and wrote the Millions (which became a movie), as well the sequel to Chitty Chitty Bang Bang.  Most recently, he has caught the attention of many as the writer of the opening ceremony for the 2012 Summer Olympics.

Frank Boyce is also the author of The Unforgotten Coat, a fantastic novel, so short it could be called a novella, about a Mongolian family who have come to England.  Two brothers, Chingis and Nergui, say they are being chased by a demon and must always stick together.  They befriend a girl at their new school, Julie (the narrator), and she becomes their Good Guide, leading them through the ins and outs of school life.  Hanging out with the two brothers leads Julie to research Mongolian culture, but eventually she realizes how little she really knows.  This is a story with great twists and wonderfully outspoken characters.


Children's books to accompany The Unforgotten Coat:
Fly Away Home by Eve Bunting
A Shelter in Our Car by Monica Gunning
Everything You Need to Know About Living in a Shelter by Julie Parker
Voices from the Field: Children of Migrant Farm Workers Tell Their Stories by S. Beth Atkins
Landed by Milly Lee


Discussion questions:

  • How would a child react to this book?
  • How could you use it to compare a historical vs. "current" point of view?
  • What is gained from the photos/illustrations?
  • Could you use this book to combat stereotypes?
  • How would you use this in a classroom/program setting?
  • How does Landed fit with immigration stories and stereotypes today?
  • How do you feel about the way A Shelter in Our Car relates homelessness and immigrationz?  What is it teaching?  What isn't it teaching?  How does the author's note help?

Much of the resources from this post come directly from Casey Ince and her presentation called "Homelessness, Immigration, and Refugees in Children's Literature."

Organizations:
Hear Us

Hear Us is a unique, effective national nonprofit organization dedicated to giving voice and visibility to homeless children and youth. One of the missions of the organization is to produce poignant films and books that are used by educators, social service personnel and other audiences to call attention to the invisible crisis of millions of families with children and young people who struggle without a place to call home.


BRYCS provides national technical assistance to organizations serving refugees and immigrants so that all newcomer children and youth can reach their potential. They strive to increase information-sharing and collaboration among refugee-serving and mainstream agencies at the local, state, regional, and national levels resulting in a more coordinated and effective service system for refugee children and youth The also facilitate knowledge building and dissemination for the field of refugee child welfare, building an institutionalized memory for years to come.


Other books of interest:

A Family of Five or Six Written by Pat Van Doren and illustrated by Wanda Platt

Homelessness happens in many ways-Michael and his family landed in a tent following a powerful storm. Family separation, struggles of "camping" without prospects of going home, and difficulties of doing school work at a picnic table are just some of the authentic experiences of this family. What makes Family even more realistic may be found inside. Young students from Carrollwood Day School in Tampa, FL provided artwork and collaborated on the story, sharing valuable insights from their 5th and 6th grade perspective. (Ages 5+)

Where Can I Build My Volcano? by Pat Van Doren and illustrated by Wanda Platt
Young Susan and her mom end up homeless the way so many families do—losing their humble home, grasping onto a friend or family member to stay with, sleeping in a car, then turning to the dreaded shelter. Day-to-day ordeals unfold for Susan both in school and at the shelter. Her world reflects the reality of so many young kids in similar situations—coping with the anxiety of not having a home of their own.(Ages 5+)

The Can Man by Laura E. Williams and illustrated by Craig Orback
After watching a homeless man collect empty soft drink cans for the redemption money, a young boy decides to collect cans himself to earn money for a skateboard until he has a change of heart. (Age 6+)

Rich: A Dyamonde Daniel Book by Nikki Grimes and illustrated by R. Gregory Christie
Free is excited about a local poetry contest because of its cash prize, but when he and Dyamonde befriend a classmate who is homeless and living in a shelter, they rethink what it means to be rich or poor. (Ages 6-9)

At the Sound of the Beep by Marilyn Sachs
Mathew and Mathilda Green run away to San Francisco and take refuge in Golden Gate Park. But no one is safe in this haven for the homeless, because someone is murdering the people who call it home. And unknowingly, Mathew and Mathilda are being drawn into the world of the killer. (Ages 8-12)

It's Our World, Too! Young People Who Are Making a Difference: How They Do It - How You Can, Too! by Phillip M. Hoose
Containing more than a dozen accounts of children who have worked for everything from racial equality to world peace, this book demonstrates how youth have fought for what's right, then offers ideas about how to get involved. (Ages 10+)

We are Americans : Voices of the Immigrant Experience by Dorothy and Thomas Hoobler
A history of immigration to America, from speculation about the earliest immigrants to the present day.Personal stories, writings, and anecdotes appear in sidebars throughout and excellent-quality, black-and-white archival photos and reproductions highlight the text. (Ages 10+)

Additional Booklists and Resources:
A list of 30 children’s books that relate to refugees and immigrants from a child’s point of view. Booklist includes a summary of each book and target reading level.

Online activities and resources designed to help students be aware and better understand the issues surrounding immigrants and refugees.

A list of books, resources and curriculum about homelessness and related topics. All of the children’s books are identified by reading level and give a short summary of the book



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The Truth About Stereotyping


Upon reading chapter 5 “Stereotyping and the Politics of Representation” of Mingshui Cais book Multicultural Literature for Children and Young Adults, Reflections on Critical Issues, it struck me how some of the pro-stereotype arguments were ones I have used in the past.  I do my best to not stereotype people, especially in my writing (I have a degree in Creative Writing from the University of Wisconsin-Madison), but I have thought before, “well, the stereotype only exists because it is based on truth.  It wouldn’t exist in the first place unless that’s how it started.”  This is not the best view to take.  In fact, it is highly flawed.  Mingshui Cai’s fifth chapter discusses why.
Similar to my naive thinking, Cai gives the says, “When stereotypes in books for children and young adults are criticized, a typical argument put forward in their defense is: Aren’t some people in real life like that?  It implies that if the images exist in reality, it is then legitimate to present them in literature” (Cai, 74).  What he is saying here is that some authors use the excuse that if you’ve seen a stereotype once, it is okay to reuse it, it is a legitimate way to represent a character.  It therefore reinforces the stereotype and creates an “other” identity for the group being portrayed.  Cai says, “It should be acknowledged that stereotypes are partially true, but partial truth is not the whole truth” (Cai, 74).  And therein is where the danger lies.  Partial truth is not the whole truth.  A partial representation is not the whole representation. 
A stereotype is created when a person or group is referred to in a specific way over and over and over.  Without this repetition, a portrayal cannot become a stereotype—it is not an overused representation.  It is only one form of a whole story and the group can be seen in many other lights.  When repetition occurs, though, the group is seen in only that one way.  From then on, anyone in the group can be connected to the overused representation, whether the circumstance that created the stereotype applies to them or not.  This is all theoretical and vague, so I’ll give an example.  A cop eating a donut.  One story about a copy eating a donut is not a stereotype, but if another author decides to use that representation in their story to portray cops, the dangerous cycle begins.  When the stereotype is created, even a cop who does not like donuts is grouped with cops who do.  That example is on the “lighter” side of stereotypes that exist.  Most stereotypes promote violence and segregation between groups (the idea of “the other”).  For instance, the stereotype that all black men are dangerous is absurd and completely untrue.  The stereotype has just lumped a whole race together without considering the quality of the individuals.  Cai says it best when he says, “The reason why partial truth can be imposed as reality is because the people who impose it hold the power over representation through control of the media and the publishing industry” (Cai, 75).  Those in control have the power to promote or tear down stereotypes.  We should stop encouraging them and start looking at why the stereotype was created – most likely as a form of control – and why the stereotype has continued. 
This week many of my classes talked about stereotyping.  In my intro to cataloging class, we discussed social injustice.  One slide was on stereotyping.  It brought up the idea of Barbie and how stereotypes can have a hyper and hypo affect.  There is bad stereotyping and "good" stereotyping.  By good I do not actually mean good, but rather something unreachable.  Something so good that no woman (or at least not most women) can achieve.  On this slide contained the over makeup-ed, ultra thin, perfectly-busty-and-curvy-in-all-the-right-places Barbie.  That's when I realized that stereotypes exist in so many other ways that I've never thought of.  The media creates stereotypes that, for the most part, are “invisible” or subliminal.  We see them so often they start to become “the norm” for how we see ourselves and others.  Barbie is one of many.  There is a long way to go before we can actively identify what is a stereotype and what is real.
This week, ironically, on top of so much discussion in classes on stereotyping, a friend and future art teacher came in while I was working at the reference desk and brought up the idea of good stereotyping in a positive (or rather funny) way.  The way she talked about her cooperating teacher, to her, portrayed him in a stereotypical old, out of touch, laughing-at-his-own-jokes type of guy that she interpreted as a positive stereotype.  She used the term “stereotype” herself and talked about it as if stereotypes had a good side.  This thought provoking idea of “good” stereotypes led me to do some research.  In an article called "There's No Such Thing as a Good Stereotype," by Eric Horowitz, Eric says,
Because positive stereotypes seem relatively harmless, they are less likely to arouse skepticism and more likely to be accepted.  Yet at the core of every positive stereotype there remains the toxic idea that group differences are biological, genuine, and static.  The same idea resides at the core of all negative stereotypes.
Horowitz’s reflection on “good” stereotyping should strike a chord when you think of “good” stereotypes like “Asians are good at math.”  In a way, it is a compliment.  In reality, it creates the boundary within which “the other” exists. 
            With a quick final note on children’s books, I would suggest that librarians and teachers choose carefully what books they select for children.  It is important that the books we choose portray people as individuals, not as stereotypes.  And remember, Africa is NOT a country!





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Wednesday, March 13, 2013

Topic: Disability Literature

Harriet McBryde Johnson was born in 1957 in North Carolina.  She spent most of her life, though living in South Carolina.  She died in SC in 2008.  She had a B.A. in History, a Master's in Public Administration, and a J.D. (Juris Doctorate) in Law.  She was a strong disability rights activist and was very outspoken on topics such as euthanasia of children with disabilities and the Terri Schiavo case.  She specialized, though, in aiding people with disabilities who couldn't work receive social security.  Harriet herself was disabled.  She had a neuromuscular disease and used a wheelchair.  She was not confined by the wheelchair, though.  She did not let it define her.  Because of her activism, she was named, in 2003, Person of the Year by New Mobility Magazine.

Harriet wrote 15 works between 1998 and 2008, when she died.  Some of the titles include "Too Late to Die Young: Nearly True Stories from a Life," "Wheelchair Unbound," "Not Dead at All: Why Congress Was Right to Stick Up for Terri Schiavo," and "Alas for Tiny Tim, He Became a Christmas Cliche."  Accidents of Nature was her only young adult novel.

Accidents of Nature was a truly insightful young adult novel for me.  Having a sister with disabilities myself, I am always wondering what she is thinking and how she sees the world.  While I am still unable to discern exactly what my sister is thinking, Accidents of Nature certainly has given me clues.  Jean, a girl with cerebral palsy, thinks of herself as a normal girl.  She goes to a normal high school, has friends, goes to clubs, etc.  Her perspective on the world is completely changed after her parents send her to a 10-day camp for people with disabilities.  There, she meets a number of people, namely Sara, who show her the world of the "crips" in terms of how people view them and how they are treated.  The book takes place in the 1970s, so it is easy to see some of the things that have changed since then and what has stayed the same.

Children's books to accompany Accidents of Nature: 
Russel is Extra Special by Charles A. Amenta, III
Andy and His Yellow Frisbee by Mary Thompson
Helen Keller, A Life in Pictures by George Sullivan
Rainbow Joe and Me by Maria Diaz Strom
The Handmade Alphabet by Laura Rankin
Susan Laughs by Jeanne Willis

Discussion Questions:
(Things to keep in mind when reading picture books:)
Who is the intended audience?
Does the book help us to understand the disability or generalize with stereotypes?
What are the hardships, if any, that are portrayed?
What kinds of things would you discuss with children from this book?
What is the overall tone of the book?
Would you use this book in your collection or classroom?

The Handmade Alphabet
  1. How would you "read" this book to a classroom? 
  2. Is it more of a one-on-one read?
  3. Who might be the intended audience?
Susan Laughs
  1. Does the fact that you are unaware of Susan's handicap until the end of the book change the way children might interact with the book?  
  2. Should you make children aware of the "twist" prior to reading this book?
Rainbow Joe
  1. How would Cai classify this book?  (Consider the race of the characters)
  2. Is it helpful for children when issues of race and disability occur in the same book?  Why?
  3. How would children respond to this book?
Other books of interest:
Waiting for No One by Beverley Brenna
My Brother Charlie by Holly Robinson Peete
Just Because by Rebecca Elliott
Close to Families by John Bauer
WonderStruck by Brian Selznick
Mockingbird by Kathryn Erskine
The Running Dream by Wendelin Van Draanen

Publishers of interest:
  • http://www.disabilitiesbooks.com This publishing company was started by Stanley Klein who recognized that the experts in the field of disabilities was actually people with disabilities and their parents.  Most of the books he publishes are written by people with disabilities and by parents with children who have disabilities.
  • http://www.inclusion.com/inclusionpress.html They have a motto, "Together we're better, All means All, and Inclusion means WITH not just IN."  They support a lot of branches that being "inclusive" covers, including John and Connie O'Brien Books, that help create full lives for people with disabilities the world over.
  • http://jasonandnordic.org  Turtle Books by Jason and Nordic fill the missing gap in children's lit.  Their books are easy to read talk honestly about what it's like to be a child with disabilities.
  • http://www.albertwhitman.com  This company has been around since 1919 and are known for their books that help kids understand disabilities and disease.  From asthma and allergies to living in a wheelchair and fight off cancer, they  have a growing collection of books designed to educate and enlighten, often in fun ways and always in ways children can understand.

 Awards for :
  • Dolly Gray Children's Literature Award.  This award is given to recognize authors, illustrators, and publishers of high quality fictional and biographical children, intermediate, and young adult books that appropriately portray individuals with developmental disabilities.
  • Schneider Family Book Award.  The Schneider Family Book Award honors an author or illustrator for a book that embodies an artistic expression of the disability experience for child or adolescent audiences.

 Websites of interest:
  • www.newmovility.com  New Mobility encourages the integration of active-lifestyle wheelchair users into mainstream society, while simultaneously reflecting the vibrant world of disability-related arts, media, advocacy, and philosophy.
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Saturday, March 9, 2013

Topic: African/African-Caribbean Literature

Nnedi Okorafor is an African American writer.  Though American-born, she and her family constantly traveled back and forth between America and Nigeria, which she referred to as her "muse." She discovered her passion for writing while in college.  Some of her influences are Stephen King and Clive Barker.

Nnedi wrote Akata Witch, a fantasy novel that takes place in Nigeria.  Some have compared it to Harry Potter as it has similar plot lines and details.  For example, two girls and two boys pair up to learn juju and (they are witches) and must improve their knowledge and skills so they can defeat an evil villain.  The connection to Harry Potter stops there.  Akata Witch will hold you captive as you read.  This group of kids must put aside their differences -- for which there are many -- and find advisors for when they reach the next level of juju.  In the meantime, a serial killer is out there killing young children and this group of four friends are the only ones who can stop him.  The main character, Sunny, is African and has lived in the States, however, she has "white" skin, something passed down genetically from her grandmother.  Sasha is from the States and is somewhat looked down upon for is seeming inauthenticity.  Chichi lives in the equivalent of a "mud hut" as her mother considers knowledge more valuable than money.  Orlu comes from a "normal" family and is more or less the glue of the group.
Together, the four overcome their differences and learn to understand the world in a new way.

Children's books to accompany Akata Witch:
Caribbean Dream by Rachel Isadora
Under the Moon and Over the Sea by John Agard
For You Are a Kenyan Child by Kelly Cunnane
Ashanti to Zulu by Margaret Musgrove
Jamari's Drum by Eboni Bynum and Roland Jackson
14 Cows for America by Carmen Agra Deedy
Toussaint L'ouverture: The Fight for Haiti's Freedom by Walter Dean Myers

Discussion Questions:
Under the Moon and Over the Sea

  1. Several poems had racial subtext.  For example, "Once the Wind" could be interpreted as different cultures coming together.  Are there other examples of poems that have racial subtext?  Are there other subtexts you picked up on?
  2. Every poet comes from and African-Caribbean background (whether born in the Caribbean, having parents who are Caribbean, or moved to the Caribbean), though most have moved to places like the UK, US, or Canada.  Sometimes their Western Backgrounds pour into the poems (for example, in "Anancy," Miss Muffett is referenced).  How do these obviously non-Caribbean references hinder or enhance your reading of the poems and/or the collection as a whole?  Were there other examples that stuck otu to you as not quite fitting?
  3. What are your impressions of the traditional poems and proverbs included?
Caribbean Dream
  1. I feel that the draw of this book is in its illustrations.  How do the illustrations represent African-Caribbean culture?
  2. The author is a white New Yorker who used to be a ballerina and now has a career in illustration.  Does this change your opinion of the book's authenticity?
  3. What do you think Cai would say about this book?  What about some of the authors that have talked about authenticity/accuracy in Fox?
General questions:
  1. Some stereotypes of Africa view Africa as being primitive, harsh, and dangerous.  Do these picture books promote these stereotypes?  Why or why not?
  2. Do the books promote sameness and universal themes or look at the differences in cultures and what makes Africa/African Caribbean unique?
  3. How is power depicted in the story?  Is it depicted at all?
Other books of interest:
(for older readers)
Nelson Mandela by Laaren Brown
Aya by Marguerite Abouet
Kings and Queens of West Africa by Sylviane Anna Diouf
Out of Bounds by Beverley Naidoo
Chanda's Secrets by Allan Stratton

(for younger readers)
Babu's Song by Stephanie Stuve-Bodeen
Seeds of Change by Jen Cullerton
I lost my tooth in Africa by Penda Diakite
Africa is not a country by Margy Burns Knight
Here comes Our Bride by Ifeoma Onyefulu
Ikenna Goes to Nigeria by Ifeoma Onyefulu
One Hen by Katie Smith Milway

Awards for Akata Witch:
  • Locus Award Finalist.  The Locus Awards was established in the early 1970s and is given to readers of Locus Magazine.  Readers choose the winner through the magazine's poll yearly.
  • Andre Norton Award nominee.  This is an annual award given by the Science Fiction and Fantasy Writer of America (SFWA) group to the author of the best young adult or middle grade science fiction or fantasy book published in the US.
  • Amazon.com Best Book of 2011.  Every year Amazon.com selects the most popular books, including Editor's Top Picks, Hugo Award Winners, and Edgar Award Nominees as ways of determining a winner.
  • 2011 YALSA Best Book of the year.  YALSA awards honor the best teen literature each year.
  • Children's Africana Book Award.  Established in 1992, this award encourages the publication of accurate, balanced, children's materials on Africa, recognizes literary excellence, and acknowledges research achievements of outstanding authors and illustrators.
Websites of interest:
http://www.nnedi.com -- Nnedi's personal website
http://www.africaaccessreview.org/aar/index.html -- Read reviews and essays
http://www.facebook.com/pages/who-fears-death-the-movie/184313018245938 -- See Facebook for a trailer of Who Fears Death based on the Nnedi's book of the same title

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Saturday, March 2, 2013

Topic: Mixed Race Literature

Sundee T. Frazier grew up with a large imagination.  She was always curious about what would happen if she stuck olives up or nose or imagined bits of broken glass to be diamonds.  She wanted to be many things when she grew up, but a writer never was one of them.  She didn't think about writing as a career until, in college, she had a final project that required her to write and illustrate a children's story.  And that's how it all began.

Sundee comes from a mixed race background of an African-American father and a white mother.  Coming from a mixed race background, she says on her website (http://www.sundeefrazier.com/about.php), has greatly influenced the way she sees the world and the way she writes.  Her parents were married one year after the Supreme Court outlawed any remaining laws (in 1968) in 16 states that prohibited mixed race couples from marrying.

Here's a little background in anti-miscegenation laws.  All anti-miscegenation laws ended in 1967, as ruled by the Supreme Court.  This is partially due to a mixed race couple who, after one week of marriage, were thrown in jail.  This caused an uproar and the Supreme court case found it unconstitutional to separate married couples.  Skipping to 2000, in this year, the census included a section where you indicate multiple races, instead of having to choose just one race.  Choosing one race, stems back to the "one drop rule" where if you had any ancestors who were black, you were considered to be black as well, no matter how light your skin color.  So by 2000, people were able to choose more than one race.  At this switch, 9 million Americans have self-identified themselves as having more than two races (2.9% of the population).  This statistic is probably higher.

Sundee's book The Other Half of My Heart is a book about twin sisters, but they are unlike most twins you will ever meet.  They have mixed raced parents and it so happened that one of the girls, Minnie, was born "white" while her sister, Kyra, was born "black."  The story debates the identities of the girls. It is told through Minnie's perspective.  The girls are sent to live with their grandmother for about 10 days for a Black Pearl pageant.  Minnie questions whether she will fit in or not, reasoning that though she has "white" skin, she has a black mother, so she is "black" as well.  Whether or not you are a twin, it is easy to identify with the theme of identity and place.  It is easy to find yourself asking, "Do I belong _____?" (fill in the blank with whatever problem, this race, this group, this club, these friends, this x).

Children's Books to accompany Other Half of My Heart:
Am I a color? by Heidi Cole
How My Parents Learned to Eat by Ina Friedman
My Two Grannies by Floella Benjamin
This Next New Year by Janet S. Wong
Two Mrs. Gibsons by Toyomi Igus
Jalapeño Bagels by Natasha Wing
Black is Brown is Tan by Arnold Adoff

 Discussion questions:
My Two Grannies:

  1. How does Alvina's race fit into the book?
  2. Does Alvina address her race at all?  Does she lean towards one culture more than another?
Am I a Color, Too?
  1. Think about the illustrations.  Do they fit the subject?  In what ways?  
  2. The little boy in the story questions his color.  What are the pros and/or cons of identifying with a color?
  3. What do you think about the rainbow theme?
How My Parents Learned to Eat:
  1. Do you think the book simplifies the topic of relationships between two people of different races?  Think about the line "I don't even know if we like the same food.  And if we don't, we'll go hungry" (8).
  2. What are some of the difficulties that exist today between interracial couples?  Does the issues of learning how to eat still exist as a hinderance or are there other examples you can think of?
  3. Do you think a child could easily relate to this book?  In what ways?
General questions:
  1. Do you think the books do a good job of authentically representing each of the cultures that make up the families?  How do each of the books succeed or fail in achieving cultural accuracy?
  2. How might you, as an educator/librarian/parent use (any or all of) these books to bring awareness to/start discussion about mixed race people and families?
  3. Do any of the books present stereotypes or potential problems/red flags?
  4. How are the different cultures represented in the books (through illustration and/or text)?
  5. What is each book's overall message/statement about mixed race families?
  6. Who do you think makes the best audience for each book: a cultural insider or a cultural outsider?  Why?
Other books of interest:

The Color of Water: A Black Man's Tribute to his White Mother by James McBride
Half+Half: Writers on Growing Up Biracial + Bicultural by Claudine Chiawei O'Hearn
What Are You? Voices of Mixed-Race Young People by Pearl Fuyo Gaskins


Websites of interest:
CCBC Book list http://www.education.wisc.edu/ccbc/books/detailslistbooks.asp?idbooklists=143
Sundee Frazier -- http://thebrownbookshelf.com/2008/02/19/sundee-frazier/
Intermix UK-- http://www.intermix.org.uk/homepage/homepage_default.asp
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Thursday, February 21, 2013

Topic: African-American Literature

Walter Dean Myers was born August 12th, 1937, in Wester Virginia, but grew up with Herbert and Florence Dean.  His biological mother had given him up, and he never discovered why.  Growing up, he loved Basketball, but had trouble in school, so at the age of 17, he joined the army.  One of his brothers had joined as well, but tragically was killed on first day of duty in Vietnam.

Today, Myers' son, Christopher, illustrates his books and even writes some of his own.  Myers is currently National Ambassador for Young People's Literature.  Most of his writing, he says, is about his teen years, not knowing who he was, not knowing how to navigate this world.  He has been quoted saying, "Reading is not optional."  Though he has a few children's picture books (more for older elementary level), most of his works are on heavier topics, such as Vietnam, jail, school shootings, etc.

This he has many terrific works, I'm going to share my thoughts on his book, Monster.  Monster is a polysemic book.  No, the "author is not dead", folks.  If this means nothing to you, I will explain.  Roland Barthes first introduced the idea of "the author is dead."  The meaning behind this is that there is no original text because everything that's written has already been written and everything that's been said has already been said.  Nothing is new, it's all simply in how we rework our language.  This idea of the dead author does not hold true for all books (if any actually).  Everything can interpreted in different ways by different people.  A polysemic text is one that has no determinate meaning.  The reader produces meaning.

With that all clear, I shall continue.  Monster is a polysemic text.  You struggle throughout the novel to determine whether teen Steve Harmon is innocent or guilty of a crime he is on trial for.  You get Steve's view the whole time and yet you are still left confused as to what he really thinks or what his actions were.  He lies, he tries to tell the truth, he's innocent, he's guilty.  Everything is somewhat up in the air.  This heavy story is more appropriate for older teens as the content and meaning of the novel can be difficult to grasp.  It is in the style of a screenplay, which helps make it a very quick read.

Awards:

  • Nominated for the 1999 National Book Award for Young People's Literature.  The National Book Award for Young People's Literature is one of four annual National Book Awards, which are given by the National Book Foundation to recognize outstanding literary work by US citizens.
  • Won the Michael L. Printz Award in 2000.  The Michael L. Printz Award annually honors the best book written for teens, based entirely on its literary merit, each year.
  • Named a Coretta Scott King Award Honor in 2000. The Coretta Scott King Awards are given annually to outstanding African American authors and illustrators of books for children and young adults that demonstrate an appreciation of African American culture and universal human values.

Other books of interest by Myers: 
Sunrise Over Fallujah
Shooter
Autobiography of My Dead Brother
Hoops


Another author of interest:
Angela Johnson was born June 18th, 1961 in Tuskegee, Alabama.  She began her career in 1989 and was inspire by her babysitter, Cynthia Rylant, to start writing, as Cynthia had spotted much potential in Angela.  As she knew people in publishing field already, it was rather easy for her to dive in.  She's now published over 40 books.  She prefers to write contemporary realism.  She respects criticism from kids.  You can watch an interview with her here.

Angela Johnson's novel If You Come Softly is an option for accompanying Myers's Monster.  Johnson's novel tells the story of two high schoolers, a female Jewish girl and an African American boy who meet and fall in love.  The story has a twist ending.  Overall, this is a terrific story of two teens who feel like the world is telling them to stay away from each other while their hearts are telling them otherwise.  The novel illustrates the struggles that accompany couples of different races.

Awards:

  • Won Coretta Scott King Award 
  • Won Ezra Jack Keats Book Award.  The Ezra Jack Keats Book Award is given annually to an outstanding new writer and new illustrator of picture books for children.
  • MacArthur Fellows Genius Grant.  The MacArthur Fellows Program awards unrestricted fellowship to talented individuals who have shown extraordinary originality and dedication in their creative pursuits and a marked capacity for self-direction.

Books of interest by Johnson:
Picture and young adult books.
Sweet Smell of Roses


Other authors of interest:
Sharon Draper was born August 21st, 1952 in Ohio.  She is a professional educator as well as an author.  She is actively engaged with the YWCA of Cincinnati.

Awards:

  • Coretta Scott King Award

Books of interest by Draper:
Copper Sun
Tears of a Tiger
Out of My Mind 
November Blues
Romiette and Julio 


Children's books to accompany Monster and If You Come Softly:
Nappy Hair by Caroivia Herron
I Too Am America by Langston Hughes, illustrated by Bryan Collier
Other Side of the Fence by Angela Johnson.  Try comparing it to "Mending Wall" by Robert Frost.

Discussion Questions for The Other Side and I, Too, Am America:

1.  How would you classify each book and why?
2.  Do you think these books represent "good" multicultural literature?  Why or why not?
3.  How would you use these books?
4.  What do you think of the illustrations in terms of whether they enhance, support, or detract from the story?
5.  Both books are written and illustrated by African Americans.  Does this impact your view of how authentic these books are?

Specific to The Other Side
1. The illustrator portrays the characters (of all races) as dressing similarly, and the author has them speak similarly.  Does this contribute to assimilationist perspectives?
2.  Mama tells Clover not to play with the other children, yet teaches her not to stare.  What do you think about the contradiction there?
3.  Is the ending satisfying?
4.  Is there a moral to this story?  Should there be?  (Relate to how this book should be used with children).

Specific to I, Too, Am America
1.  What does the collage style of art contribute to the text?
2.  What is the symbolism of the porter throwing the papers and things off the back of the train?  (This is addressed in the illustrator's note.)
3.  What images of African Americans are presented in the text?  Are they reflected in the artwork?  Are they positive or negative?
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Topic: Native American Literature

Louise Erdrich comes from a German and Native American heritage.  She has written many books on Native American cultures.  etc. etc.  More info on Louise.  Daily Beast interview with Louise.

I enjoyed Birchbark House.  It has been likened to books like Laura Ingalls Wilder's Little House on the Prairie series.  It has a few pictures scattered throughout the book and reads at a somewhat slow pace and easy reading level.  There are, however, some Ojibwa terms included, but not to worry, there is a handy translation key in the back of the book with a pronunciation guide.

Birchbark House covers many topics such as growing up, loss of loved ones, survival, familial bonds, origins, and more.  The story is set in 1847, so it gives you a peek into what life was like for this specific Native American tribe, the Anishanabe.  What I enjoyed the most was the reality of the book.  The fights between the siblings, whether it was over feelings of anger masked as hate or as jealousy over a beautiful older sister.  I thought it was refreshing to see the struggles of the family because most children's books will not show you the complexity of sibling relationships.  Most children's books show the loving, kind siblings who do no wrong to each other.  This book show a more realistic version, that of Omakayas, the main character, getting frustrated by her annoying little brother, Pinch, and later in the novel developing a quiet, unspoken awareness of how her love for her brother has grown.  While slow at times, this book delivers when it needs to.  Winter comes and you are sent on a roller coaster of emotion as the family battles disease and depression.  I would recommend this book.  It has also been brought up to me that it would be a good idea to recommend at the same time as the Laura Ingalls Wilder books.  This would surely provide for good discussion between the two similar experiences.

Awards
  • Anisfield-Wolf Book Award.  The Anisfield-Wolf Book Award recognizes books that have made important contributions to our understanding of racism and our appreciation of the rich diversity of human cultures.
  • National Book Award.  The National Book Award are given to one book (author) annually in each of four categories: fiction, nonfiction, poetry, and young people's literature. 
  • National Book Critics Circle Award.  The National Book Critics Circle Award is given for the finest books published in English.
Children's books to accompany Birchbark House:
Powwow Summer by Marcie Rendon
Jingle Dancer by Cynthia Leitich Smith
The Good Luck Cat by Joy Harjo
Dreamcatcher by Audrey Osofsky
House of Bark: Tipi, Wigwam, and Longhouse by Bonnie Shemie

Discussion Questions:

 1.  Do the illustrations in either book perpetuate stereotypes of indigenous tribes (Dreamcatcher and House of Bark)?
2.  How might you use either book to discuss stereotypes with your readers (Dreamcatcher and House of Bark)?
3.  In Dreamcatcher, do you think the author provides an authentic representation of the Ojibew culture?  Why or why not?
4.  What cultural values or themes might an insider identify with from the texts?
5.  What universal themes might an outsider identify with from the texts?

Websites of interest:
  • www.theways.org The ways is an ongoing series of stories from Native communities around the central Great Lakes.  This online resource for 6-12 grade students features videos, interactive maps, and digital media exploring contemporary Native culture and language.
  • American Indians in Children's Literature (AICL) provides critical perspectives and analysis of indigenous peoples in children's and young adult books, the school curriculum, popular culture, and society.
Other authors of interest:
Debbie Reese is tribally enrolled at Nambe Pueblo in New Mexico.  A lot of her writing explores the ways in which Native Americans are displayed in children's books.


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Saturday, February 9, 2013

Crossing Borders


            Mingshui Cai, in Multicultural Literature for Children and Young Adults: Reflections on Critical Issues (2002), discusses the idea of crossing borders by discussing similarities among different cultures.  He begins, “Many multicultural books are designed to help children connect to other cultures by showing the similarities among people of different cultural backgrounds” (120).  Until I read this in chapter 7, I was rather under the same impression.  As a child (or even sometimes as an adult) it is easy to pass over the complications of life and think of the basics:  We are all human.  We all must eat, bathe, sleep.  We all have our happy moments, we laugh, our struggles, we cry, and our tipping points.  We are human no matter what language or color, no matter our height or our food preference, our religions or our habits or disabilities (or abilities).  The basic idea being, “Despite some differences, human beings are basically the same.” (120).   So since we are all human, why should it be a bad idea to allow children’s literature to portray this "healthy" view of the world?  How can it be a bad thing to show our similarities?  Wouldn't it help erase stereotyping, racism, sexism, etc.?  If we are all similar, are we not all equal?
           Mingshui Cai thinks differently.  There are borders that exist between people.  Three types, in fact, are described by Cai: physical, cultural, and inner borders (117).  It makes sense to think, though, that simply showing kids through literature that we all have similarities will not help us overcome all of these borders.  The borders simply are too great and complex to be resolved in a 20-30 page picture book.  The example I will draw on is from My Best Shoes by Marilee Burton.  
 This is a simple children's book that has a fun, innocent rhyme to it.  It displays a number of multiracial children wearing different shoes and explains why they wear those shoes.  It is not about showing Native Americans in moccasins or Chinese in sandals, but rather, it is considered a culturally neutral book.  It is not about the race of the children, but instead about showing kids how we all wear shoes and sometimes like walking around in bare feet.  
              Books that only discuss our similarities, such as this one, can prove harmful to an extent.  While it is great to portray our humanness, we must not forget that our difference also prove to be reason for celebration.  Books that focus only on our similarities give us a false idea that the world is "always a nice place" (122).  It oversimplifies the fact that true border crossing is difficult.  
             Let's look back at the borders mentioned: physical, cultural, and inner.  The physical border is just that: the line, for example, between the United States and Mexico.  The cultural border is one where perhaps someone has lived in another country for a few months or years and better understands the culture.  The inner border has more to do with the mind.  You cross this border when you truly understand that culture, more than just in a tangible way.  With a book like My Best Shoes, you aren't really allowed to cross any borders.  You are stuck in the oneness of the world.  
              An ideal world would be one where we automatically understand and can accept other cultures; where their traditions, habits, and customs are realized and respected.  Books on human similarity would be perfectly acceptable and encouraged.  As it stands now, though, this type of literature is by no means sufficient stock on library shelves.  It has its place, but it also has its gaps.
              Perry Nodelman, in chapter 7 of Multicultural Literature, distinguishes between truly multicultural books and theoretically multicultural books (122).  He explains that real multicultural books "insist...on the real and deep-seated emotional and intellectual differences between people of different cultural backgrounds and demand a real tolerance hard to achieve, rather than proclaiming as most theoretically multicultural books currently do that people are basically the same" (122).  Nodelman's distinctions are critical to the collections development librarian.  There must be a balance in the selection process.  We must look for books that are not just theoretically multicultural, but ones that display emotional and intellectual differences.  If we are all the same, we will not grow; we will not learn.  It is foolish to assume that one single culture knows all and should be used as the "exemplar" to other cultures.  In the collection process, we should analyze whether the multicultural children's book puts on a "similarity veil" or if it will teach the reader about another culture.  Does it face the issues head on or does it step around the cultural differences to show only the "fun" aspects of that culture?  Nodelman says, “It’s easy to tolerate someone like yourself, less easy to tolerate some quite truly different” (122).  
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