We're thrilled to welcome Paola Santos on the blog to discuss her upcoming book, How to Eat a Mango with illustrations by Juliana Perdomo. What was your inspiration for How to Eat a Mango? My inspiration for How to Eat a Mango was my abuelita, my grandmother, and everything it means to return to my roots in Venezuela, the country I was born and raised in. I remember my Abuelita, sitting in the backyard of our house, completely immersed in the experience of eating a mango. Every time she offered me one, I would refuse, but I also remember watching her and wishing I liked them as much as she did. In Venezuela, the matriarchal presence is crucial. Mothers and grandmothers are the center of the home. My Abuelita lived with us. She had a strong character and was always bustling around the house. Abuelita wasn't as sweet as Carmencita's grandmother, the protagonist of my book. Still, every time she ate a mango, it was like watching a poem in motion: her delight, eyes closed enjoying every bite, hands bathed in pulp, her fingers and teeth opening the mango skin. I love that memory! In those days, however, mangoes meant work for me, picking them up when they fell heavily from the tree, breaking and scattering across our yard. The rancid smell of the sun-drenched rotten mangoes was a sensory assault. The ripest ones were squashed, becoming a feast for the bugs waiting for something to eat. But it wasn't all unpleasant. There were moments when I enjoyed watching the come and go of our neighbors, acquaintances, or even some occasional passersby who would take away bags of mangoes. That act of sharing and community has been a memory that has also been imprinted in my mind. Today, mangoes have taken on a different meaning for me. The memories of work or foul smells have been replaced by nostalgias, nostalgia for knowing I won't enjoy those moments with my abuelita again, and the nostalgia for knowing that perhaps I won't be able to return to my country and see it prosperous and full of dreams like in the memories of my childhood. Please tell us about your writing process. How long did it take you to write and sell this book? I had never thought about this! First, I daydream and search through the nooks of my memory and emotions for what filled me and made me reflect when I was a child. After that, I crawl under my sheets and write in my notebook. I let the words come to me in an endless mix of Spanglish without looking at grammar or spelling rules. I let out, first, what I remember and then loose ideas that could serve as the foundation of a story. This part is very intuitive. When I finally have a picture of the structure and the beginning/end of the story, it's time to go to my computer. There, I shake off my ideas, remove the excess, and write them down. Ready to subject them to a long rewriting process that varies with each story. In this process, I evaluate the technical aspects, the rhythm, and the musicality (which I love to apply to my manuscripts) and the layers that can add depth. After that, I rely on the help of my fabulous critique partners, who help me see things that have gone unnoticed. Then comes the best part, working with my agent in a back-and-forth of ideas that bring out the best in each of my words. Phew, it's a long process, which tires me out just writing about it. "How to Eat a Mango" was four years in the making, from the initial idea to its publication, which is slowly approaching! The moment that helped me find this memory was in 2021, during Tara Lazar's Storystorm, which I'm sure most of you are familiar with. That specific exercise was about exploring How-to's. Immediately, the image of my abuelita eating a mango came to mind, and I couldn't let it go. Right away, I started working on it, dedicating approximately a year to the process I described above until my agent and I considered it ready and started the submission process. The waiting period after that varies from one manuscript to another. With "How to Eat a Mango," I consider myself lucky. In 2022, a month after starting the submission process, Neal Porter Books made me an offer. The book will finally be released on July 16, 2024. This year! I cannot wait to see it out in the world and connect with readers. I hope you enjoy reading it! What are your favorite illustrations in the book? All of them are my favorites! Now, if I had to choose, I would choose the moment when Abuelita speaks to Carmencita about the sensation of tasting a mango. The first time I saw this illustration by the talented Juliana Perdomo, I cried. Seeing the joropo, the national dance of Venezuela, I felt the same as Carmencita. My heart seemed to beat with the stomping, the movements of the skirts, the sounds of the cuatro and maracas. It was an indescribable experience. But what moved me the most was how well the emotions of my words were conveyed in it. The music, the sweetness, and the culture are palpable in this spread. What’s the one thing you want children to take away from your book? I hope they take away a deep sense of respect toward nature and family and how they connect with every aspect of our lives. With this story, I wish young readers would slow down, pay attention to their surroundings, and treasure the moments that make their lives unique and fantastic. My goal with this book is to build a bridge between these moments and the present so they can create future memories. Paola Santos is a children's book author born and raised in Venezuela. After moving to Canada, she found the courage to share the words and stories that had long been enclosed in her imagination. Her stories are now woven with her culture, experience in a new country, hope, happiness, and diversity. Paola holds a bachelor's and a master's degree in Literature and Children's Literature and Reading Promotion. Her debut picture book, How to Eat a Mango (Holiday House), illustrated by Juliana Perdomo, will be released on July 16, 2024.
You can learn more about Paola here. Twitter & Instagram: @pgsantosb. To preorder How to Eat a Mango visit here. Interior from How to Eat a Mango. Text copyright © 2024 by Paola Santos. Illustrations copyright © 2024 by Juliana Perdomo. Reproduced with permission from Holiday House Publishing, Inc. All Rights Reserved. What was your inspiration for Dear Muslim Child? Sometime in 2018 or 2019, I wrote a manuscript titled "Dear Black Child," and shortly after, I wrote the first iteration of "Dear Muslim Child." Both of these manuscripts were love letters I wrote watching my children. It came from a deep need to affirm their identity as Black Muslim children. Please tell us about your writing process. How long did it take you to write and sell this book? My publishing journey began as a self-published author, and I thought I would self-publish Dear Muslim Child one day, so I kept working on the manuscript for years. This book took so long to get right because I was so afraid to write something that would fall short of the goal of motivating and affirming Muslim children. It was also intimidating because I wanted to write about Islam and faith in the most precious and loving way. And so I kept returning to this manuscript repeatedly, never feeling it was ready. Then, in 2020, I signed a two-book deal with HarperCollins, and I was grateful to finally bring both these books to life with the help of my amazing editors. What are your favorite illustrations in the book? Ahh, it's such a hard question! Aya did a phenomenal job, and each page is stunning. But if I had to pick one, I would say the spread about the hijab. I was in awe of how Aya decided to draw all the different ways women observe the hijab. I was also glad it included a niqabi woman because this is seldom represented. What's the one thing you want children to take away from your book? I hope each child who reads Dear Muslim Child feels the warm embrace tucked inside each of the lines of the book. I want them to be proud of who they are, even when it's hard sometimes. Dear Muslim Child is a call to practice your faith out loud and with pride. And to the adults reading this to their children, I pray these words heal parts of your inner child who needed to hear these words. Do you have any tips for pre-published authors? Believe in your story and keep writing even when it's been months and years. It's ok to come to put some manuscripts aside while you continue to grow and learn. My biggest takeaway is that it takes time, and it's hard to wait for your moment, but if you keep walking towards that dream one day, it will be yours. Keep investing in your craft and immerse yourself in the writing community wherever you are. What's next for you? I am working on more picture books and dabbling in the world of novels in verse, which I have fallen in love with recently. I hope to be back with more book news and book celebration! *****************************************************************************************Dear Muslim Child By Rahma Rodaah, illustrated by Aya Ghanameh 9780063091993 / $19.99 hardcover On sale: February 6, 2024 Ages 4-8 / Grades pre-3 Balzer + Bray / HarperCollins DESCRIPTION:“A heartfelt love letter urging Muslim children everywhere to courageously embrace the tenets of their faith. . . . Nurturing, encouraging, and necessary.”--Kirkus Reviews From the author of Dear Black Child, this is a love letter to Muslim children that celebrates their faith and encourages them to take their rightful space in the world. Dear Muslim child, Do you know the meaning of Nur? Nur means light. Allah is light upon light. Keep walking toward that light. Gentle lyrical text and engaging illustrations depicting children and adults from a wide variety of ethnicities grace this joyful testament to the tenets of Islam and to each child’s worth and value. BIO:Rahma Rodaah was born and raised in Hargeisa, Somaliland. At the age of eight, her family immigrated to Canada where she still resides today. She is a mother of four children and enjoys reading and coming up with silly bedtime stories. She is also the author of two self-published picture books and firmly believes that children need to be able to identify themselves in the books they read. You can visit her online at rahmarodaah.com. SOCIAL MEDIA: Instagram: Balzer + Bray/Harper: @harperids Rahma Rodaah: @rahmarodaah Facebook: Balzer + Bray/Harper: HarperKidsBooks Rahma Rodaah: Rahma Rodaah Twitter/X: Balzer + Bray/Harper: HarperKids Rahma Rodaah: @RahmaRodaah Threads: Balzer + Bray/Harper: @harperkids Rahma Roddaah: @rahmarodaah We're so excited to feature an interview with Margaret Greanias on her latest book, How This Book Got Red, illustrations by Melissa Iwai. KLiC: What was your inspiration for How This Book Got Red? MG: When I was growing up, I had the sense that my family didn’t quite belong–even though my brothers and I were born and raised in the US. I finally realized the reason why I felt this way, and it was such a big aha moment for me. I wanted to share this aha moment with readers in How This Book Got Red–the realization of the far-reaching impact that positive representation in books/media can have on those who were formerly absent or negatively represented in the books and media everyone consumes. KLiC: Red’s struggle with writing is reminiscent of human writer struggles LOL. Please tell us about your writing process. How long did it take you to write and sell this book? MG: I will generally get a story idea and will open a Notes document and capture any thoughts I have related to the story–plot, character, jokes, etc.,–including a story pitch. Once I feel like I have a good handle on the story, I will turn it into a first draft using my notes to help get over that first draft hump. For “How This Book Got Red,” it took about 16 months between when I first wrote this story to when we sold it. This included writing the story in two completely different ways–one meta which was widely subbed and rejected and the traditional narrative which was published. KLiC: What are your favorite illustrations in the book? MG: My favorite illustrations, hands down, are the ones of the panda town. I love them because comparing the two represents the aha moment I talked about earlier—showing the impact of representation on Red the red panda and the rest of the panda town. KLiC: What’s the one thing you want children to take away from your book? MG: I want children to know that their stories are important, and others need them and will find value in them. I also want caregivers to understand why it’s so important for their children to read books and consume media that have positively portrayed characters that look like their child (especially main characters). And how important it is for their children to read diversely so they learn and can better relate to even those who don’t look like them or share their culture. KLiC: Do you have any tips for pre-published authors? MG: I know it sounds cliché but write what you love and what speaks to you. Each story requires an investment of time, energy, and emotions so make it worth it! Plus if the story gets published, that story will be with you for a very long time–you’ll be talking about it and promoting it A LOT. It’s much easier if you love your story and have a strong connection to it. Take your time to learn the craft. Publishing moves sooooo slowly. Taking some time to learn and develop craft is well worth it. And, when you’re ready, you’ll have a stockpile of manuscripts and the craft to be able to continue creating publishable stories. Margaret Greanias is a children’s book author who writes books to delight children, including MAXIMILLIAN VILLAINOUS (Running Press Kids, 2018), AMAH FARAWAY (Bloomsbury Kids, 2022), HOOKED ON BOOKS (Peachtree Publishing, 2023), and HOW THIS BOOK GOT RED (Sourcebooks Jabberwocky, 2023). The daughter of Taiwanese immigrants, she lives in the San Francisco Bay Area with her husband, three children, and a fluffle of dust bunnies.
To read a previous interview with Margaret, about her 2022 book, AMAH FARAWAY, click here. To learn more about Margaret, visit her website here. Carole: Jeffery and I are an award-winning mother-son team. We are excited to introduce our third collaboration, Kin: Rooted in Hope. The verse novel is a powerful family saga spanning enslavement and freedom. My first-person poems combine with Jeffery’s stunning scratchboard illustrations to conjure the voices and visages of our ancestors and their contemporaries. We reimagine their lives at the same Maryland plantation where a young Frederick Douglass was enslaved. From scraps of history, we tell a story that is at both painful and empowering, personal and universal—from the first glimpse of our ancestors’ names in a 1771 inventory to our 2016 homegoing to West Africa. Here, we discuss Kin, its backstory and our roots. Carole & Jeffery: Why was it important to tell this story? Jeffery: Kin is our story of our own family’s roots. However, there are countless stories like this that deserve to be told. Carole: Absolutely! When the Civil War erupted, there were 4 million African descendants enslaved in the United States. Imagine all the untold stories. I felt obligated to my ancestors and to their offspring to pass this story on. Jeffery: Why did you fictionalize the story? Carole: Despite my research, mysteries remained. My ancestors were barred from reading and writing, and the enslavers deemed Black lives unworthy of documentation. So, I fabricated details and revived once-marginalized voices to compensate for omissions and unknowns. Kin’s characters share first-person accounts of life at Wye House, Maryland’s largest enslavement plantation, and in all-Black, Reconstruction-era villages. In the process of conjuring those voices and recreating the milieu, I forged ties with my forebears. Readers will also hear from a retriever, furnishings and the Chesapeake Bay. Carole: What did you aim to achieve with the artwork? Jeffrey: I wanted to render high-contrast portraits and atmospheres with a dynamic sense of emotion while at the same time evoking the past. My illustrations have the feel of vintage prints. Jeffrey: What was your research process? Carole: Years before conceiving this book, I was piecing together my family’s saga. As a young adult, I visited the grounds of Wye House. In 1998, a new historical marker in Unionville—honoring the 18 veterans of the U.S. Colored Troops who co-founded the village—led me to my great-great grandfather Isaac Copper. A passage from Frederick Douglass’s autobiography describing another Isaac Copper immersed me deeper into the past. That research produced my great-great grandfather’s military discharge papers. Once I decided to write a verse novel, I toured Wye House (which is a private home, not a museum) and the burial ground for the enslaved. I scoured the enslavers’ ledgers and studied material culture, the landscape and archeological reports. I also searched databases of slave ships and of the plantation’s enslaved residents. Carole: What challenges did you face in creating the illustrations? Jeffery: There weren’t many reference photos. That meant I had to imagine some elements and to use models including family, friends and, for one illustration, myself. I also had to find references for the landscape from various archives. Carole: Describe the artistic medium? Jeffery: Scratchboard is a subtractive medium in which artists use metal instruments known as nibs to scratch the surface off the top of the scratchboard paper to reveal lightness underneath. Scratchboard is a very meticulous design and execution process. One illustration may drawn up to three times before the final illustration is scratched. That is also true of digital scratchboard which I used for the first time in this book. Carole: Do you have a favorite illustration? Jeffery: My favorite is paired with the poem “The Rachel Speaks of Captain Richard Bruff.” My wife Bre’Anna modeled for that illustration. Jeffery: Do you have a favorite poem? Carole: My favorites are the question poems that aim to pinpoint my ancestors’ African roots. Although I went back seven generations to 1771, I still long for answers. As for the illustrations, I have so many favorites that it’s hard to choose just one. I really appreciate Big Jacob, the Gardener because I know how long you have practiced drawing hands. But Young Isaac reminds me of you, Jeffery, in Copperville as a boy, at our pond and at the creek. Carole: When did you first become aware of our family’s history on the Eastern Shore? Jeffery: My grandfather, who grew up there, showed me the one-room schoolhouse he attended across the road from our house. He also told me about community Christmas celebrations during his Depression-era childhood. But he didn’t discuss slavery with me. How about you? Carole: When I was a child my family would visit Copperville, the hamlet co-founded during the Reconstruction by my great-great grandfather Phillip Moaney. His portrait hung on the wall in the homestead. I would later learn that Phillip had been enslaved at Wye House—the same plantation as a young Frederick Douglass. As an adult, I heard about another great-great grandfather Isaac Copper, who co-founded nearby Unionville with other veterans of the U.S. Colored Troops. Jeffery: What discoveries surprised you most? Carole: In the Wye House plantation ledger, some enslaved people had surnames. By 1771, my fourth great grandparents, Isaac and Nanny Copper, were already in colonial Maryland. Local lore is that my great-great grandfather, Isaac, was called “the Royal Black” because he descended from African royalty. What if I had known that when we visited West Africa in 2016? Carole Boston Weatherford has written many award-winning books for children, including You Can Fly illustrated by her son Jeffery; Box, which won a Newbery Honor; Unspeakable, which won the Coretta Scott King award, a Caldecott honor, and was a finalist for the National Book Award finalist; Respect: Aretha Franklin, the Queen of Soul, winner of the Coretta Scott King Illustrator Award; and Caldecott Honor winners Freedom in Congo Square; Voice of Freedom: Fannie Lou Hamer, Spirit of the Civil Rights Movement; and Moses: When Harriet Tubman Led Her People to Freedom.
Carole lives in North Carolina. Visit her website at CBWeatherford.com. Jeffery Boston Weatherford is an award-winning children’s book illustrator and a performance poet. He has lectured, performed, and led art and writing workshops in the US, the Middle East, and West Africa. Jeffery was a Romare Bearden Scholar at Howard University, where he earned an MFA in painting and studied under members of the Black Arts Movement collective AfriCobra. A North Carolina native and resident, Jeffery has exhibited his art in North Carolina, Georgia, Maryland, and Washington, DC. Visit his website at CBWeatherford.com. -- You can purchase Kin: Rooted in Hope here. KidLit in Color author Gabriele Davis is pleased to reveal the cover for her debut picture book, PEACHES, published by Abrams and illustrated by Kim Holt. It will release in May 2024. PEACHES is a lyrical, intergenerational story inspired by Gabriele’s father and his love of homemade peach cobbler. It narrates a milestone moment in a young girl’s life as she assumes a poignant family tradition. It celebrates joy, perseverance and how those we love live on in us. Gabriele feels lucky to have been perfectly matched with artist Kim Holt, who skillfully conveys these themes as well as the loving bonds between family members in this story. Here, Gabriele chats with Kim about her illustrations. I am delighted with your gorgeous illustrations for PEACHES. They are so full of warmth and heart! What inspired your artistic approach to this book? KH: When PEACHES was presented to me, I immediately said yes! I had randomly done some sketches the year before of my grandmother and me baking and wanted to do art around that relationship. I stored those ideas away, and when this came up, I used them as a starter guide for my sketches and reflected on my relationship with my grandmother when illustrating the story. I love using lots of color in art. In reading the story of PEACHES, I wanted the characters to stand out with pops of color. The peaches themselves are a central character, so I chose colors that were more complementary to each other. I wanted everyone to be able to stand alone in a scene and complement each other when they were together. Did you have to do any visual research? KH: I always do extensive research for each book. Even though I have baked pies, I spent a lot of time researching techniques for making peach pies and cobblers. I wanted to see the process, what counters look like, and the arrangement of ingredients. I also wanted to see the differences in approach between adult and child baking. Is there anything in particular about this story that resonated with you? KH: This story touched me deeply because I spent so much time with my grandmother, Vivian Garnes, and, for a time, lived with my grandparents. She gave me my foundation for cooking and my love for others. She taught me how to make my first pie from scratch, so the memories were there. Food can express love, especially when you take the time to prepare someone their favorite dish. Anyone who knows me can tell you I love food, recipes, cooking, and peach cobbler :). What do you hope children take away from your drawings? KH: I hope children will relate and see themselves in the moments captured. I hope they notice the details and spend time with each page looking for more. Thanks for putting your heart into this book, Kim! Can you share what’s coming up next for you? KH: The books I illustrated that are coming out are Justice Ketanji: The Story of Supreme Court Justice Ketanji Brown Jackson and The Bronx Is My Home. KIM’S BIO: I am fascinated by capturing moments in time. In particular, I love painting special moments of joy, wonder, and quiet struggles and hearing the conversations and memories they stimulate for people of all ages. I am a painter and illustrator who strives to capture these moments in my artwork, and whether young or old, I want people to see themselves. I have had a passion for art and drawing from an early age and found great inspiration growing up directly across from the Brooklyn Museum. I have a BBA in Marketing from Howard University and a BFA in Animation from the Academy of Art University. My passion is creating energetic, expressive work full of personality, typically incorporating a vibrant and fresh color palette. I make art and live in the Washington D.C. metro area with my husband and two dogs, Sugar and Spice. See more of my work online at: www.kimscollectionofstuff.com IG: @kimholt As a child, Gabriele longed to see families like hers reflected in the books she read. Now she gets to make that happen for other underrepresented readers. Gabriele holds an MA in magazine journalism and has worked as a children's magazine editor and freelance writer. She lives in the Northwest Hills of Connecticut where she tutors, teaches yoga, bikes and writes. She enjoys creating works that inspire children to laugh, love, discover their inner strength, and feel seen. Peaches, releasing in May 2024, is Gabriele's debut picture book. Her second picture book, Our Joyful Noise, will follow in Fall 2024.
Learn more about Gabriele and her books at www.gabrieledavis.com. Twitter: @GDavisBooks Instagram: @iamgabrieled A Juneteenth Conversation With Tonya Abari and Alliah L. Agostini Are you looking for children's books about Juneteenth? Be sure to check out two titles from our very own Alliah L. Agostini, illus. by Sawyer Cloud (The Juneteenth Story) and Tonya Abari, illus. by Tabitha Brown (Let’s Celebrate Juneteenth). We sat down with these authors in a brief conversation about commemorating Juneteenth. 1. How did learning (or not learning) about Juneteenth as a child impact your knowledge of this history as an adult? AA: I’ve always known about Juneteenth because my Buffalo, NY community has long celebrated it- but my knowledge of the depth of the history behind it and its evolution is something that eluded me until I started research for The Juneteenth Story. Juneteenth was never discussed in any of my history curriculums from elementary through graduate school. TA: I did not learn about Juneteenth until my early twenties. That’s right. All of public K-12 and undergrad, and not a single mention of Juneteenth (*shaking my head emoji*). It wasn’t until a chance trip to Houston that I gained knowledge of Juneteenth by witnessing several local celebrations. I quickly began researching and knew that I’d devote more time incorporating additional education for myself and my (at the time) future family. 2. What Juneteenth traditions do you have/have you started with your own family? AA: My grandfather helped start the Juneteenth Festival in Buffalo, NY in 1976, so I grew up going to and even helping out with the festival. It was celebrated annually in Martin Luther King Jr. Park on the east side of Buffalo, and it was huge - it has been touted as the third-largest Juneteenth festival in the world. I fondly remember going to the festivals, watching the parades, and gorging on barbecue chicken, hot dogs, and sno-cones. After I left Buffalo for college, I remember not being able to find any large festivals in the other cities where I lived after, and I realized how special our celebration truly was. Now that the holiday has broader awareness, I’ve enjoyed barbecuing, blasting my Juneteenth playlist, making crafts, and going to local festivals with my family. TA: Since we didn’t celebrate Juneteenth growing up, I’m the official tradition starter for my family. We begin the day with reflection and education — reading books, watching documentaries, whatever we can get our hands on. This year, we are participating in a walking tour where we’ll get to know more about Nashville’s Black history. My oldest selects a Juneteenth recipe and we make it as a family with our midday tea (my husband is Nigerian, so jollof has made its way to every celebration including Juneteenth, ha!). In the past decade, we’ve attended citywide celebrations, barbecues, and enjoyed a nice spread at home. One of these years I’d like to make it back to a rodeo, just like the one I saw in Texas in my 20s. 3. What is your favorite dish associated with Juneteenth? AA: Red sno-cones!! I love their crunchy, sweet, icy goodness. I occasionally even helped sell sno-cones at our festival, so they are very nostalgic to me. TA: Hibiscus tea is a favorite in our household. The flower is bright red, flavorful, and native to Africa. The formerly enslaved also incorporated this tea in the first Juneteenth celebrations. We like to remix the teas, adding peppermint or lavender — and the tiny humans dress up for our “Noonteenth” tea parties (Alliah, can you dig the mashup?). AA: Noonteenth?! I LOVE IT! 4. What do you most enjoy about Juneteenth celebrations beyond food? AA: The vibe. The many sights, sounds, feels and smells of Juneteenth create a sensorial vibe like no other. From the multi-colored Afrocentric clothing worn by attendees and sold by vendors, to the many hair textures and styles, to the smell of barbeque smoke and incense, to the bass coming from speakers and shouts of drill teams and other paraders, there’s nothing like it. TA: The keeping of our history is so important. Through these traditions, we celebrate and live in our joy. We have endured unimaginable circumstances, and still we thrive. It’s beautiful to see folks coming together to honor that. 5. What have you found most eye-opening in your conversations with others about Juneteenth since it became a national holiday? AA: I’ve found the sense of guilt that so many people, especially African-American people, have about not knowing about the holiday, to be really sobering. So many of us feel almost deceived and willfully undereducated, but the reality is this lack of knowledge is the direct consequence of curricula that excluded so much of our [Black] history. It’s not our fault- we didn’t know what we didn’t know! But now that we do know, we can use this as an opportunity to right these wrongs and teach ourselves and the next generation, and fight for continued access to books and curricula that tell our story- even when certain forces *a-hem* attempt to suppress access. TA: I have to admit that I felt so guilty for not knowing about Juneteenth. And an even bigger secret is that I felt guilty writing a board book about it knowing that I did not commemorate Juneteenth until adulthood. But upon deep reflection, I knew I wanted to write a book that introduced babies and toddlers to the significance of Juneteenth — the same way that I was introduced to it. You’re absolutely right. I felt deceived! But the untold and undertold [Black] history is not my fault. And now that I know better, I’m certainly doing better. 6. As the holiday becomes less ‘novel’, what message do you hope remains in the mind of those who celebrate? AA: I hope people continue to keep the roots of Juneteenth at the forefront. This holiday celebrates the delayed emancipation of generations of enslaved African-descended people, the people who toiled and built this country under a brutal, racist, inhumane system. Holidays tend to be diluted, commercialized, and generalized with time. Let us not forget who and what is at the core of this celebration. TA: You took the words right out of my mouth, Alliah. To add, I just saw a post online from a banner in SC that advertised Juneteenth with non-Black folks at the center and er um…no, no, no. It’s also cool that big corporations like Walmart now carry Juneteenth merch, but it’s important to remember to support Black-owned businesses, especially on Juneteenth. I’ll repeat: Let us not forget who and what is at the core of this celebration. AA: Amen! For additional Juneteenth reading recommendations for young readers, check out these lists:
Today on the blog Alliah L. Agostini is thrilled to have the opportunity to chat with KidLit in Color member Alyssa Reynoso Morris, debut author of Platanos are Love (and as you will learn, much, much, more!). ALA: Alyssa, you have a very busy 2023, but I’m very excited about your debut, Plátanos are Love. Can you tell us a little about your inspiration for the book? How much of this story is taken from your own experience? ARM: Plátanos are Love was based on my childhood experience cooking in the kitchen with all three of my grandmothers. Cooking was how they showed me they loved me. It was also a time for us to talk about school and life. We would cut and fry and dice and mash while sharing stories and making plans for the future. My abuelas have since passed but Plátanos are Love is my way of keeping them, their memories, and their love alive. ALA: I love how you managed to weave in the multi-generational and historical importance of platanos to Dominican culture - why was this important to you as you molded the narrative? ARM: I have always been interested in how our history impacts our present, which is an interest imbued in me by my abuela Nona (one of the abuelas that influenced this book.) My interest in history makes its way into all my stories, but it really is the HOOK of this book. I wanted to show that plátanos - a food many Dominicans eat everyday - is not just a food we love, it is one we are able to enjoy because of the resilience of our African ancestors. ALA: Your book is dedicated to your three abuelas for teaching you the magic of storytelling and food. What wonderful lessons. Did/do they have any signature dishes that bring you particular joy? Which ones can be found in Plátanos are Love? ARM: I LOVE THIS QUESTION! They each had their signature dishes and all could be found in Plátanos are Love. If anything it was HARD to pick only a few of their dishes because they could all cook up a storm and because plantains are such a versatile food. Some signature dishes I was not able to include in the text are mofongo, alcapurria, pastelon, yaroa, and many more. ALA: I love books like this one that use onomatopoeia beautifully. What’s your favorite sound word? ARM: I love onomatopoeia and alliteration. These are some of my favorite literary techniques. My favorite sounds in the English version of the book is “CRUNCH MUNCH” but my favorite sound word in Spanish is “MACHUCA” which means “to mash.” It is just so much fun to say. I had so much fun translating my book into Spanish. The Spanish version Los Platanos Son Amor will come out in 2024. ALA: Are there any Easter eggs readers should look out for as they read the book? ARM: OHH YES!!! Great question! The amazingly talented Mariyah Rahman included real pictures of both our families in the illustrations. ALA: What is your favorite way to eat plátanos? This is a big point of debate in our family. ARM: Asking me to pick my favorite way to eat plátanos, is like asking me to pick my favorite book… Ahhh. I can’t! I am sorry to disappoint you, because it depends on my mood. When I want salty and crispy I eat tostones. If I have time and want something more filling then I make mofongo or mangu. If I want something sweet, I eat maduro. If I want plátanos but don’t want them to be the star of the dish I will eat it in pastelon, which is basically like lasagna, but instead of noodles we use plantains cut into thin slices. ALA: You provide three delicious recipes in the back of the book. Are you a big chef? If so, what’s your favorite thing to cook? ARM: I am NOT a chef, but I can cook. On a scale of 1-10, 1 being an amateur and 10 being pro-chef; I am a solid 7. I love making meals that remind me of my abuelas. I feel like they are hugging me as I cook. I love making dishes from my culture and sharing them with others. I also enjoy trying out new recipes from other cultures because I love to learn and believe in celebrating our cultural diversity. ALA: What do you want readers to take from Plátanos are Love? ARM: I want them to know that they are loved. I want them to have pride in their roots, culture, and recipes. I want them to know about the resilience of their ancestors. I want them to know that they matter and that their stories and experiences matter. ALA: You have two more books coming out right? Would you mind telling us a little bit about them? ARM: Yes of course! On October 24th, 2023 my second book The Bronx Is My Home comes out, and my third book Gloriana Presente: A First Day of School Book comes out in 2024. The Bronx Is My Home is a picture book celebration of hometown pride including the history, landscape, cuisines, cultures, and activities unique to this vibrant community. Welcome to the Bronx, New York, where you can see bodegas and businesses bustling on every street, taste the most delicious empanadas in the world, smell the salty sea air of Pelham Bay, and pet horses at the Bronx Equestrian Center. From sunrise to sunset, Santiago and Mami have many treasures to enjoy in their neighborhood on a beautiful Saturday, including colorful birds on the Siwanoy Trail and fresh cannolis on Arthur Avenue. This energetic and joyful family story offers both a journey through and a love letter to this special borough. The Bronx Is My Home is a triumphant celebration of hometown pride, as well as a heartfelt invitation to all, for readers of My Papi Has a Motorcycle by Isabel Quintero, illustrated by Zeke Pena, and Saturday by Oge Mora. My third book Gloriana Presente: A First Day Of School Book is a bilingual picture book that features a Dominican American girl overcoming anxiety and finding her voice in the classroom. ALA: While many picture book authors are fairly prolific, there tends to be a common thread throughout most of our work - what would you say is consistent throughout yours? ARM: I love this question. All my books are very different. Plátanos are Love is lyrical and poetic. The Bronx Is My Home gives off non-fiction sightseeing vibes. Gloriana Presente: A First Day of School Book is character and plot driven with a struggle the main character has to overcome. The themes that can be found in my books are family, pride, resilience, and joy, but if I were to sum up what strings all of my books together in one word it would have to be LOVE. Plátanos are Love is a LOVE letter to plátanos, my culture, my family, and my ancestors. The Bronx Is My Home is a LOVE letter to The Bronx and a reminder to kids from the BX that they can be whatever they want to be. Gloriana Presente: A First Day of School Book is a LOVE letter to my Abuela, to immigrants, and to those who struggle to find their voice. I want my audience to feel loved by my books so they go out into the world and spread it far and wide. We can all use more love in the world. ALA: Where can readers find you, and most importantly, how can they best support your work?
ARM: Please find me on my website which is www.alyssaauthor.com as well as on Instagram and Twitter at @AReynosMorris. The best way to support my work and authors is by ordering our books and/or requesting our book at your local library. After you read our stories, please review them. It helps to boost and share our stories. I also do author visits and am open to media appearances so hit me up. KidLit in Color author Valerie Bolling was excited to have the opportunity to chat with her KidLit in Color sister Tameka Fryer Brown about her latest book, THAT FLAG, which released a week ago on January 31. Tameka, you’ve been on roll! At the end of last year, we welcomed your books, TWELVE DINGING DOORBELLS (illustrated by Ebony Glenn) and NOT DONE YET: SHIRLEY CHISHOLM’S FIGHT FOR CHANGE (illustrated by Nina Crews), and now we get to celebrate THAT FLAG (illustrated by Nikkolas Smith). What’s your one-liner to describe your newest release? Thank you so much, my dear sister! THAT FLAG is a story about best friends divided over the meaning and significance of the Confederate flag. How did this book come to be? I wrote THAT FLAG after the murders of nine church members in Charleston, SC by a 21-year-old white supremacist whose social media showed him posing with a weapon of war and a Confederate flag. I, like so many others, was angry at the atrocity, and distressed by the subsequent debate as to whether the Confederate flag was indeed an emblem of hate…or merely a symbol of Southern pride. I decided to write a picture book about that flag, as opposed to a story for older children, because the longer we wait to share these kinds of truths with our kids, the more embedded the influence of racism will be in their hearts. We can’t keep doing the same old, same old and expect this societal plague to disappear on its own. We must all be intentional about doing our part to dismantle white supremacy. Writing books for our future adults, leaders, and changemakers is mine. Tameka, all you’ve said is so true. We must be intentional about fighting racism and other types of oppression, and the truths we share with children are a part of this necessary work. Can you tell us a bit about your publication journey? Though THAT FLAG was first written in 2015, the book didn’t sell until 2020, after the nation’s so-called “racial reckoning.” I now consider that delay divine providence, because I could not imagine a more perfect illustrator than Nikkolas Smith or editor than Luana Horry to help bring this story to life, and I wouldn’t have had the opportunity to work with either of them had it sold earlier. What a wonderful shout-out to your illustrator and editor who are both deserving. What changed about THAT FLAG from acquisition to publication? The main thing that changed was giving Ms. Greyson a more active role at the story’s climax. Originally, the plot involved a direct conversation between Keira and Bianca about the origins of the Confederate flag, but my editor suggested that for this story, it might be better to have an adult character shoulder the responsibility of doing the educating—not a Black child. It was very insightful feedback, so I gave Ms. Greyson that role in the story, which makes all the sense in the world as she is their teacher! Yes, teachers play an important role in children’s lives, and I think Luana’s suggestion “to have an adult character shoulder the responsibility of doing the educating” was a smart one. What did you learn that you didn’t already know as you did research for this book? Through research I did for the backmatter, I learned about the original Stars and Bars version of the Confederate flag, namely how it was a source of confusion for the Confederacy on the battlefield because it looked so much like the American flag. Subsequently, there were several battle flag designs used by various Confederate units, including the one we most often call the Confederate flag today—also known as the Dixie or Rebel flag. It was also eye-opening to read Alexander Stephen’s Cornerstone Speech, as well as re-read the Declaration of Causes of Seceding States, both of which are listed in the book’s Recommended Reading section. Those documents clear up a lot of misinformation about the main reason behind the Civil War, much of which came as a result of the Lost Cause Myth, which is something I learned more about as well. Thanks for giving us a bit of a history lesson and sources we can read to find out more. Share your thoughts with us about the illustrator Nikkolas Smith. I actually remember how excited you were when you told me that he would illustrate this book. Do you have a favorite page or spread? I am a ginormous fan of Nikkolas’s art and artivism! I was already familiar with his work because of his many viral Sunday Sketches, so when Luana asked what I thought about approaching him to illustrate, I was like, “YEEESSSSSS!!!!” Nikkolas’s work is stunning and brave and, per his stated purpose as an artivist, inspires so many people to seek positive, societal change. I was and still am honored that he chose to be part of this project. Of course, I can go through each page and point out all the fabulous things about Nikkolas’s artistic choices, but from an emotional standpoint, I think the last spread is my favorite. It embodies all the hope I have in the power of truth—both the telling and embracing of it. How do you hope young readers will experience this book? What suggestions do you have for parents and teachers who read this book to children? After reading THAT FLAG, I hope young readers will feel enlightened by the more holistic sharing of history, empowered to ask their hard questions, and emboldened to speak out for what they believe is right. To parents and teachers, I’d say familiarize yourselves with the backmatter and information found in the suggested resources, which will be very helpful in answering the insightful questions kids are sure to have. Most of all, just be honest. Honesty is the best way to engage kids about everything, including the more odious aspects of our history. Yes to honesty! Children need to know the truth of our history, just as adults do. What book(s) can we look forward to next from you? My next book is YOU ARE: ODE TO A BIG KID. It will be illustrated by the phenomenal Alleanna Harris and published by FSG in 2024. It’s a lyrical ode to growing up and believing in yourself. I’ve seen the sketches and oh my heart! I know it’s going to be a beautiful book, Tameka, with your lyrical language and Alleana’s gorgeous art! For more about Tameka Fryer Brown and her books, connect with her in the following ways: Website: tamekafryerbrown.com Instagram: @tamekafryerbrown Twitter: @teebrownkidlit Facebook: @tamekafryerbrown.author TAMEKA FRYER BROWN is a picture book author who writes to sow seeds of self-love, pride, connectivity, and inclusion in the hearts of children. Her books have won awards like the Charlotte Zolotow Honor Award and the Anna Dewdney Read Together Award, and have been honored on best book lists by NPR, Parents Latina Magazine, the Cooperative Children’s Book Center, New York Public Library, Bank Street College, The Little Free Library, and more. Tameka’s picture books include Brown Baby Lullaby, Twelve Dinging Doorbells, Not Done Yet: Shirley Chisholm’s Fight for Change, and That Flag. She is also a member of the Brown Bookshelf, WINC, and BCHQ. tamekafryerbrown.com
As a Black Panamanian, I grew up confident and fully aware of who I am and my racial and cultural background. But it wasn’t until I was asked, “What are you?” that I realized I didn’t know how to explain what I’d always known. When I asked my mother about it, she told me, “Tell them you are a Black Panamanian” (which I knew). But that response only worked when I was a child. The older I got, the people who asked that question wanted more, and I found myself also needing more-- in terms of understanding fully. My debut novel, Sincerely Sicily, was born solely from this experience. Loosely based on many of my experiences growing up, the main character Sicily Jordan embarks on a self-discovery journey to fully understand, for herself, how she is Black with a Panamanian cultural background. In addition to her self-identity journey, Sicily experiences hair discrimination from an unexpected relative and deals with plenty of new experiences involving a new school, friendships, and her first crush. As the publishing industry continues to push for diversity in children’s literature, I have seen a slight improvement. But there are still cultures and countries that lack representation, including Panama. With that, I felt compelled to tell my story and do my part by filling this void. Mainly because I think readers desire to read about something new and different. And readers of Panamanian descent can finally relate first-hand and enjoy seeing their culture displayed in fiction. Overall, I hope all readers can take a few things away from Sicily’s story. The first is the difference between race and culture. This message is conveyed in a scene when Sicily is doing research and realizes that while her ancestors are from Africa and the Caribbean, her parents were born in Panama, and she was born in the US. The cultures changed, but the racial makeup of her family did not. Thus, displaying to the reader that race and culture are not dependent on each other; the two can mutually exist, as one has nothing to do with the other. The next takeaway would be gaining the confidence to advocate and stand up for oneself. Through Sicily’s example of resolving a hair discrimination conflict with her abuela, my hope is for that interaction to be a blueprint for young readers on how they, too, can express their feelings to adults constructively and appropriately to gain resolution. Sincerely Sicily was indeed a labor of love, written to appeal to the targeted audience, but people of all races, ages, genders, and cultures will be able to find a few relatable elements of the story that will entice them to keep on reading. Born to parents who migrated from Panamá, Tamika has always taken a particular interest in writing themes that explore her Black Latina identity. Because of her passion for spreading knowledge of Black Panamanian culture, Tamika has been featured on various websites, podcasts, and panels.
When she is not writing, Tamika is somewhere cozy online shopping, sipping lemon ginger tea and reading, or listening to a podcast. Read more at TamikaBurgess.com Glenda Armand - ALL ABOARD THE SCHOOL TRAIN and ICE CREAM MAN Interview by Gabriele Davis Hi, Glenda! Congratulations on your TWO new picture books releasing this month: ALL ABOARD THE SCHOOL TRAIN and ICE CREAM MAN! Both books are captivating and eye-catching. Can you give our readers a brief overview of each and the inspiration behind them? Thank you! I am excited about both books, though their beginnings were quite different. ICE CREAM MAN is about a free-born black man in pre-Civil War America who had the self-confidence, creativity and initiative to overcome overwhelming odds to become a successful inventor and entrepreneur. Augustus Jackson also happened to work as a chef in the White house, serving under three presidents! I had not heard of Augustus Jackson until my editor asked me if I would co-author a book about him with Kim Freeman. Kim gets credit for “discovering” Jackson. Once I learned about him, I knew that he checked all the boxes as to the kind of person I like to write about. ALL ABOARD THE SCHOOLTRAIN is much more personal. However, I do have to thank Isabel Wilkerson for writing THE WARMTH OF OTHER SUNS. In her epic narrative about the Great Migration, Wilkerson shares an anecdote about children in 1920s rural Mississippi forming a “walking train” to get to their one-room schoolhouse. That inspired me to ask my mom if she had had a similar experience having grown up during that era in rural Louisiana. Her eyes lit up as she recounted to me the basic elements of what became this story. I love that ALL ABOARD THE SCHOOL TRAIN was inspired by your mother’s childhood experience and that you got to include some wonderful family photos in the back matter. What was your family’s response to this book? Can you speak to how writers can tap into their own family histories for inspiration? I certainly hadn’t planned on using my family’s pictures in the book. That was my editor Tracy Mack’s idea! Her vision for my cute little story transformed it into a 48-page work of true historical and cultural meaning. I am honored that it received a starred KIRKUS review. My family helped me remember certain facts and provided pictures. In that sense, it was a group project! My Mom would be very proud. To aspiring writers, I would say that the first place you look to for stories is home. By “home” I mean your own life and family, where you grew up, what books you read, what fascinates you. Take the inspiration you find there and see where it leads you. It could take you to another world. For instance, Suzanne Collins, who loves Greek mythology, was at home flipping the TV between the Iraq war and reality TV shows when she got the inspiration to write The Hunger Games. You’ve authored other picture book biographies. Having been both a history teacher and a librarian, it’s no surprise that you love writing books spotlighting the stories and accomplishments of people who deserve a wider audience. What do you hope readers will take away from these books? You are right. I enjoy introducing my readers to unsung heroes. IRA’S SHAKESPEARE DREAM is about Ira Aldridge, who was a contemporary of Augustus Jackson and who, like Jackson, was born free. Aldridge became a world-famous Shakespearean actor, noted for his portrayal of Othello. In SONG IN A RAINSTORM, I introduce readers to Thomas Wiggins who, born enslaved, blind and autistic, went on to find fame and fortune as a musical prodigy. I would like children to know about the diversity of the African American experience. Both ALL ABOARD THE SCHOOL TRAIN and ICE CREAM MAN have great kid-appeal. Ice cream and children are a natural combination, and you draw readers through both books with catchy refrains. Can you share your tips for making stories engaging and relatable for young readers? You know, I had not thought about how they both have refrains. I do like to write in rhyme, so any chance I get, I will do so. Also, when I write picture books, I imagine them being read aloud by a teacher, parent or librarian. Kids like to participate in the story and love repeating a catchy refrain. It keeps them engaged and it helps with their memorization skills. I am a proponent of having kids memorize poems and songs and even times tables (I know that dates me.). It’s exercise for the brain. I enjoyed the fascinating details you include in the afterword for ICE CREAM MAN. Kids will be surprised to learn that people once ate bizarre ice cream flavors like Parmesan Cheese and Asparagus! What research tips can you offer writers interested in crafting fascinating picture book biographies? I like to give lots of details in the afterword that I hope the adult reader will find helpful in sharing the books with children. Kids like weird and amazing facts. If the facts also have a yuk factor, all the better. So I would say to new writers, find some fascinating detail about your subject that children will find interesting. I like to begin the bio with an anecdote from the subject’s childhood that immediately draws the child in. Both Keisha Morris and Keith Mallett do an amazing job of bringing your stories to life with their illustrations. I especially like how Morris captures the joy of the school train winding through town and how Mallett conveys the pride Jackson takes in bringing sweet treats to his community. How involved were you in the visual development of these books? Did you include many illustration notes in your manuscript? Were you able to provide feedback on rough sketches? Yes, I was involved to some extent with the illustrations, and both artists were a delight to work with. I saw sketches along the way, making suggestions that were well-received. For instance, Thelma in SCHOOLTRAIN, is inspired by my mom. When Keisha, who loves cats, gave Thelma a pet cat, I asked her to change the cat to a dog. Mom was a dog person. For ICE CREAM MAN, Keith had to make sure not to show ice cream being eaten from a cone. Ice cream cones were not invented until 1904! You have referred to school libraries as “the heart of the school.” What is it that makes school libraries so vital? In the library, students can come and relax, play board games, maybe work on a puzzle. It’s a place where everyone fits in and you can be yourself. And, of course, it’s a place to read. I love helping a student find a book. I have to get to know the student and make that connection. When a student tells me he or she doesn’t like to read, I just say, “You haven’t found the right book yet.” Whether the right book is Gone With the Wind or Captain Underpants, I just want the student to become a reader. You have another book releasing in 2023. Would you like to offer readers a preview of this book? Any other titles on the horizon? Sure! I have a book being released by Crown Books in May, THE NIGHT BEFORE FREEDOM, about Juneteenth. I mentioned that I enjoy writing in rhyme. The story follows the same meter as Clement C. Moore's The Night Before Christmas. And I am very excited that this will be my first rhyming picture book. Thanks for taking the time to chat with me, Glenda! I look forward to reading much more of your inspiring work in the future! Thank you so much, Gabriele. I enjoyed it. And congratulations on your upcoming books! I look forward to reading them! Glenda Armand has had a long career as a teacher and school librarian. She enjoys writing picture book biographies that inspire children to read, learn and dream big. Glenda lives in Los Angeles and has a son and daughter. When not writing or practicing the piano, she tends a garden full of roses and succulents. Drop by her website at glenda-armand.com or connect with her on Twitter: @GlendaArmand.
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