September 6, 2018 § Leave a comment
In our house, there is nothing like the last week of summer break to convince me that it’s time for my kids to go back to school. I enter into that final vacation week with a heavy heart, prematurely mourning our weeks of togetherness (my kids finally being at the ages where the balance is tipped more towards fun than exhausting).
And then—perhaps because we know our break-up is inevitable and we’re trying to make the case to ourselves—we turn on one another. We bark, we snap, we storm out of rooms. Neither child agrees to any game the other proposes (well, except Rat-a-Tat-Cat; thank goodness for Rat-a-Tat-Cat). Particularly telling: no one seems capable of losing themselves in a book anymore—chapters are abandoned before they are even a quarter completed. Suddenly, the lack of structure we previously relished seems precarious, foolhardy, even downright dangerous.
They need to go back.
Still, there is nothing easy about this month. We parents have to go through the Herculean effort of getting our bleary-eyed kids out the door, only to have them peak under someone else’s watch and then return home exhausted, cranky, and full of penguin problems. Meanwhile, our children face their own set of hurdles, like having to channel their pint-sized reserves of concentration for hours at a time.
But perhaps the greatest challenge for many children comes from the fact that they are about to be corralled into a room for seven hours a day with a dozen (or two) other children, many (or all) of whom are strangers. We take the set-up of modern schooling for granted, but when you get right down to it, it’s like a wayward science experiment: all these personalities hissing and popping, and no one wearing safety glasses.
Fortunately, there are two brilliant new back-to-school picture books to lend some empathy—or at least levity—to the subject of coming-togetherness. On the surface, We Don’t Eat Our Classmates and The Day You Begin couldn’t be more different; and yet, both cleverly tackle the daunting question of how we go about being ourselves in a classroom full of other selves.
Ryan T. Higgins’ We Don’t Eat Our Classmates (Ages 3-9) will emit no shortage of chuckles, but it will also resonate universally, because if your child doesn’t struggle with impulse control himself, chances are he’s in a classroom with someone who does. Every fall, like clockwork, my daughter comes home from school bearing a list of daily grievances done by one of the new kids in her class. He won’t sit still, he hits, he won’t listen, he won’t clean up…and so on. My kneejerk reaction to her persistent negativity—I hope you are being kind to this child!—is exacerbated by my fear that this is precisely how some perceive her older brother, who has his own unique relationship with impulsivity in the classroom.
And yet, just as predictably, at some point during the year, Emily does a 180. She stops complaining about said child and begins defending him. He is getting better, he was helpful today, he said a nice thing in class meeting, you should see how hard he tries. Bless the teachers who have paired my daughter up with these children on more than one occasion, letting her glimpse below the surface.
In the silliest of ways, We Don’t Eat Our Classmates asks its reader to imagine how frustrating and lonely it can feel when you are a kid who must wage a war against your very nature to conform to the conventional expectations of a classroom. If you remember author-illustrator Higgins from the Mother Bruce series (so, so, so funny), you know how talented he is at creating adorably down-trodden heroines, who dramatically pit themselves against the world and then bemoan the consequences of it. Penelope Rex, the heroine of We Don’t Eat Our Classmates might look the part in pink overalls and a pony backpack, but she has the monumental challenge of being the only T.Rex in a classroom of human children.
(Kudos to Higgins for casting his impulsive protagonist as a girl and for featuring a diverse classroom, complete with a girl in a headscarf and a boy in a kippah.)
T.Rexes get very hungry, and the 300 tuna sandwiches Penelope’s dad packs in her lunch each day do little to squash her propensity for the taste of young humans. And so, even while she wants more than anything for the other children to like her—to invite her to join their games on the playground and sit next to her at lunch—she keeps blowing it. She. can’t. stop. eating. her. classmates. The fact that she spits them out when reprimanded by her teacher does little to reassure her victims.
Always, the fun of reading Higgins’ books lies in discovering the humor he hides in his illustrations, and Penelope’s attempts to fit in are no exception. “She finger-painted some of her best work”; and yet, a glance at the illustration reveals she has painted a picture of a smiling child disappearing into the teethy jaws of a young dinosaur. “She even saved Griffin Emery a seat at lunch,” only closer inspection reveals that she is pointing at an empty spot on her plate.
Back home, a dejected Penelope sheepishly admits to her father that it’s possible “none of the children wanted to play with me” because she ate them (“maybe sort of just a little bit”). To which her father offers some advice: “You see Penelope, children are the same as us on the inside. Just tastier.”
Things do not improve until Penelope has an unpleasant encounter with the classroom pet, a goldfish named Walter with a carnivorous desire to chomp fingers (my mother would call this, “getting a taste of your own medicine”). “Once Penelope found out what it was like to be someone’s snack, she lost her appetite for children.” (And, no, I am not spoiling that illustration for you.) With her impulsivity somewhat tamed, Penelope begins to showcase a personality worth knowing, sharing a fondness for cooperative building, hiding and seeking, and the ability to laugh at herself.
If We Don’t Eat Our Classmates is about a child who comes out of the gate too strong, Jacqueline Woodson’s The Day You Begin (Ages 5-10), illustrated by Rafael Lopez, is about the experience of holding back, of fearing the judgment of others. Written as an ode to the child who feels like an outsider—“There will be times when you walk into a room and no one there is quite like you”—Woodson’s text was inspired by a poem from her award-winning memoir, Brown Girl Dreaming, and its lyricism enfolds the reader in a warm cocoon: I hear you, it says, and you deserve to find a place wherever you go.
While the second-person narrative is intended to address anyone who feels set apart—due to physical appearance, heritage, religion, socio-economic background, or something less tangible—four racially-diverse children feature throughout the book and lend some specific examples. One is intimidated by her classmates’ tales about the exotic vacations they took during summer break, since she spent her days caring for her little sister in their hot city apartment (“what good is this/ when other students were flying/ and sailing and/ going somewhere”).
Another just immigrated from Venezuela and worries how his accent will be perceived by his American peers (“because they don’t understand, the classroom will fill with laughter until the teacher quiets everyone”). Still another child dreads the questions she’ll get about the lunch her mother packed, rice and meat and kimchi (“too unfamiliar for others/ to love as you do”). The abstract image of a ruler figures into some of these pictures, perhaps not only alluding to the work of school days, but to the way we relentlessly measure ourselves against those around us.
For the fourth child, painted as a Caucasian boy standing on the sidelines of a playground, we get a hint of the offhand dismissiveness common when a group of kids used to playing together encounter someone new (“I don’t want him on our team./ You can watch./ Maybe you can have a turn later.”) This particular image no doubt rings a chord with both of my children, who have been forthcoming about their own anxiety in deciphering the rules of engagement on the playground, of not wanting to jump in for fear of betraying ignorance or inadequacy.
As the book continues, we witness subtle but significant transformations in the four children, as they take tiny but emboldened steps to put themselves out there: to invite a peak at their lunch, to point out a commonality, to share a story. “My name is Angelina and/ I spent my whole summer with my little sister…reading books and telling stories and/ even though we were right on our block it was like/ we got to go EVERYWHERE.”
What I love is that the emphasis here is on making a start. Nothing more. “There will be times when you walk into a room and no one there is quite like you until the day you begin.” Furthermore, Woodson makes clear to her readers that the power to make this start, to connect, resides in everyone.
All that stands beside you is
your own brave self—
steady as steel and ready
even though you don’t yet know
what you’re ready for.
Can I get this spread made into a poster for my children’s bedroom walls? Please?
We walk into unfamiliar settings, where we might encounter any combination of invisibility and judgment, but we never walk in alone. We have within us, not only a personality worth knowing, but the power to use this personality to bridge that uncomfortable gulf. We need only to begin.
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Books published by Disney Hyperion and Nancy Paulsen Books (review copy from Penguin Young Readers), respectively. All opinions are my own. Amazon.com affiliate links support my book-buying habit and contribute to my being able to share more great books with you–although I prefer that we all shop local when we can!
August 2, 2018 § 1 Comment
In my ongoing challenge to tempt my ten year old into inserting more literature into his self-chosen deluge of graphic novels, comics, and (understandably addictive) action-packed series by the likes of Dan Gutman, Stuart Gibbs, and Rick Riordan, I announced at the beginning of the summer that I would read Stacy McAnulty’s debut novel, The Miscalculations of Lightning Girl, aloud to him. He seemed generally unenthused with this proclamation (“Is this going to be a slow book?” he asked over furrowed brows, after he gleaned from the inside flap that there would be no spies, time travel, or epic battle scenes); but I was undeterred. You see, I’m not just used to this reaction. I’m also used to how well my plan works.
We weren’t but four nights in when the predictable happened: “Mommy, sorry to tell you this, but I actually read ahead last night after you left. And it gets really good. I kinda want to just read it on my own now.” And then I got to watch, delighted, as he carried the book everywhere for the next few days, reading it with the same gusto normally reserved for mythological monsters.
The best stand-alone novels do what most plot-driven series don’t even attempt: they allow the characters themselves—in all their glorious, complex humanity—to take center stage. More and more studies are linking reading literature to developing empathy, precisely because these rich character studies allow our child readers to glimpse the world through the eyes of another. When we inhabit, however briefly, the life of someone who looks or sounds different than us, who has a different background or orientation or set of circumstances, then it is that much harder to sit in silent (or not-so-silent) judgment when we meet someone similar in real life.
Reading realistic fiction shows our children that there is often a great deal more to people than meets the eye.
Of course, no highfalutin discussions about empathy are going to convince my ten year old to read more novels—hence, why I sometimes resort to sneaky tactics. That said, these sneaky tactics would never stand a chance if it weren’t for novels like The Miscalculations of Lightning Girl (Ages 10-14) and Kelly Yang’s equally spectacular Front Desk (Ages 10-14), both of which put their protagonists in super stressful, downright near impossible predicaments, and then let us watch them problem-solve their way out. JP might be developing empathy around learning differences and mental health conditions (Lightning Girl) and immigrant experiences (Front Desk), but all he cares about it is that these protagonists are as fascinating as they are unfamiliar.
Lucy Callahan, the twelve-year-old protagonist of The Miscalculations of Lightning Girl (Ages 10-14), has not been to traditional school since she was struck by lightning four years ago in a freak accident and developed acquired savant syndrome. She is now in possession of a “supercomputer brain,” capable of solving math operations instantaneously. And not only school math. Give her a date, and she’ll instantly rattle off what day of the week it falls on. Tell her your birthday, and she’ll instantly tell you your age, right down to the second. She also has synesthesia, meaning she sees numbers as different colors.
My son, being a math enthusiast, figured this was just about the coolest thing that could happen to a person…until he read on. Just because you can solve a math problem in a few seconds doesn’t mean the rest of middle school is as easily calculated. Still, Lucy’s grandmother, her sole caretaker, insists that Lucy give public middle school a try.
At the top of the list of problems whose solutions are not readily apparent to Lucy is her obsessive-compulsive disorder, a side effect of her lightning-damaged brain and the main reason she would prefer to pass her days in the germ-controlled, non-judgmental security of her bedroom, with a chat room of Internet math geeks as her only companions. How does a girl, suddenly forced to go to traditional school, explain to her classmates why she has to sit and stand exactly three times before settling into her desk at school? Or why she whips out Clorax wipes to sanitize her desk, her bus seat, and her classroom’s doorknobs?
Lucy may not be able to hide her OCD—for which she faces no shortage of teasing—but she decides she can hide the other thing that sets her apart: her genius brain. Fearful of being seen as any more of a “freak” than she already is, Lucy figures out exactly how many math problems she needs to get wrong on her weekly quizzes to fly just below the radar. She even begins to make friends. But what happens when we become liked or accepted for someone we aren’t? What are the trade-offs when we deny the very part of us that makes us special?
Ironically, Lucy gets closer to answering these weighty questions when she solves a more concrete problem, one she initially has little interest in solving at all. Paired with two classmates for a mandatory community service project, Lucy finds herself dragged into the pinnacle of germ-infested places—an animal shelter—where her peers are bent on helping more dogs find long-term homes before they are turned over to the city to be euthanized. Lucy, it turns out, is just the Lightning Girl to calculate the statistical probability for each dog’s adoption, before turning the results into social media campaigns to help the dogs that need an extra nudge. While applying her amazing brain power to the data, Lucy inadvertently stumbles upon one of life’s most gratifying conundrums: How does helping others to solve their problems actually serve to liberate our own?
Helping others becomes a self-affirming drive of ten-year-old Mia Tang as well, a girl with a seemingly endless list of problems to solve and the protagonist of Kelly Yang’s Front Desk (Ages 10-14). Mia’s family runs a motel in southern California, and Mia—when she’s not at school—gets to man the front desk. If having the run of an inn, which includes a pool and a tip jar, sounds like a pretty awesome gig for a pre-teen…read on. For one, Mia and her family are forbidden to use the pool. Or to have their own rooms (her parents sleep on the couch in the lobby). Or even to receive the full wages promised to them when they took the job.
Mia and her family are immigrants, based closely on Yang’s own family, who came to the United States from China in the 1980s as part of the most educated and skilled class of Chinese immigrants, only to find themselves reduced to menial jobs and a median yearly income of $8,000 (kudos to the fascinating Author’s Note at the book’s end). Why doesn’t Mia participate in gym class? She can’t risk injury, because her family doesn’t have health insurance. Why does she pocket her hamburger at school? To bring it back to her uncle, so he doesn’t have to dumpster-dive after his shift at the burger joint. As I witnessed Mia and her family trying to assimilate into American culture, while simultaneously making ends meet and harboring fellow immigrants, I could not stop thinking, My son has got to read this book. Everyone has got to read this book.
Fortunately, my son needed little coaxing on this one, owing to the novel’s fast pace and frequent brushes with police, loan sharks, and attempted assault. Still, Yang has done a commendable job of introducing young readers to an often grim reality through the eyes of a heroine who is anything but grim. Mia may not have the brain of a math genius, but she is exactly the energetic, resourceful, and kind problem-solver her family needs her to be. She not only looks for ways to improve the motel’s customer service, but she sets her sights on helping her community at large. Some of these challenges are easier than others. How do you wash hundreds of towels when the washing machine breaks? Throw ‘em in the bathtub, turn on the water, and start stomping. How do you help your family out of poverty? Enter an essay contest. How do you expose racial bias among the police force? Attempt to solve the whodunit yourself.
And yet, as with Lightning Girl, some problems confound even Mia, especially when they are influenced by layers of cultural bias. Why does it matter what brand of blue jeans she wears at school—or even that she wear blue jeans at all (instead of the pack-of-three floral pants that her mom sends her to school wearing)? Is the motel’s morally-bankrupt owner, the son of whom turns out to be Mia’s classmate, really as cruel as he seems? And when their relatives back in China report that they are all getting rich, why does Mia’s family refuse to leave America and go home?
If growing up is learning which problems you can solve, which are bigger than you, and which are better left unsolved, then The Miscalculations of Lightning Girl and Front Desk aren’t just entertainment. They can be read as how-to manuals for navigating the messiness, the cruelty, and the injustices that life sometimes deals. These stories give us bold, intelligent, complex girls as companions on this journey, and they remind us to look beyond the surface when we meet someone who seems nothing like us.
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Books published by Random House and Scholastic, respectively. Review copies purchased by me! All opinions are my own. Amazon.com affiliate links support my book-buying habit and contribute to my being able to share more great books with you–although I prefer that we all shop local when we can!
June 28, 2018 § Leave a comment
On our first full day of summer break, I was stopped at a red light when I heard what could only be described as vigorous huffing and puffing from the backseat. My son headed off my own curiosity, turning to his sister in the seat next to him. “What in the WORLD, Emily?”
“I am blowing the red light,” she replied matter-of-factly, between huffs. “To get it to turn green.”
Her brother, never one to pass up an opportunity for correction, pounced on this. “That is NOT what it means to ‘blow a red light,’” JP said. “It means to drive through the light when it’s red.”
There were exactly two beats of silence, as my seven-year-old daughter presumably took in this information. Finally, she spoke, her voice quiet but firm.
“I choose to live in a world with magic, JP.”
Cue eye roll from big brother, and a big smile from me. You see, while my youngest has always been a free spirit (“Your daughter lives in a world of her own,” my own mother is fond of saying), she has never had much patience for magic wands or fairy godmothers, for Tinker Bell or Cinderella’s mice. “I do not like fairies,” she is fond of telling me, though I am equally fond of reminding her that, while she may always trade in fairy wings for dinosaur costumes, she has also loved listening to me read The Night Fairy, The Cats of Tanglewood Forest, and Snow and Rose. Her fondness for Disneyworld’s rides aside, Emily seems to object to a gendered, princess-y, commercialized depiction of magic. What she actually loves is the idea that—upon close, quiet, intimate examination—the natural world might be found to be tinged with the supernatural.
In his final line of his final children’s book, The Minpins, Roald Dahl wrote:
And above all, watch with glittering eyes the whole world around you because the greatest secrets are always hidden in the most unlikely places. Those who don’t believe in magic will never find it.
Our job as parents might be to teach our children to brush their own teeth and pack their own *$%! lunches, but it is also to nurture the believer in them. If we accomplish nothing but that our children choose to see magic in the world, I think we can rightfully throw ourselves a party.
It is likely no coincidence that this backseat exchange between my kids took place on the heels of finishing two chapter books with my daughter. Perhaps if her older brother had been on the receiving end of Granted (Ages 8-11), by John David Anderson, and Bob (Ages 7-10), co-written by Wendy Mass and Rebecca Stead, he would not have been surprised by Emily’s newly-pronounced world view. The two storylines couldn’t be more different; and yet, in overlaying a touch of the fantastical onto real, everyday life, the books beg their readers to look more closely at the world around them, to question whether there might be more going on than meets the eye.
Granted opens with a question—“The last time you blew out your birthday candles, what did you wish for?”—and then, across 322 spell-binding pages, proceeds to give us a “backstage pass” as to what actually happens when we humans offer up a silent wish into the universe, be it by birthday candle or fallen eyelash or shooting star. If our wish subsequently comes true, it could be coincidence. Or it could be the daring, painstaking, high-stakes work of a fairy—work so essential, the feydom’s very existence depends on it.
Ophelia Delphinium Fidgets is a fairy, with hair “as cobalt blue as the flower she was born from.” She lives, as all North American Fairies do, in the Haven, a mostly secreted place teeming with tree-top houses and bowing to its own complex set of laws, orders, and ceremonies. From their earliest age, fairies are assigned a guild to which they dedicate their lives. In Ophelia’s case—owing to her speed, her meticulousness, and her generally type A personality—she has the most coveted job: she’s a certified field agent, otherwise known as a Granter, which means she will be called upon to move surreptitiously among humans on a mission to grant a particular wish. Each day, a lottery in the Haven decides which of the millions of human wishes from the past 24 hours will be granted. Unfortunately, the Haven’s supply of magic has been rapidly dwindling over the years, owing to fewer and fewer human believers.
On the morning the story opens, there is only enough magic to grant a shocking twelve wishes. The good news is that Ophelia is assigned to one of the wishes, a chance to put her training into action at last. The wish is for a new bicycle, made by an Ohio girl named Kasarah Quinn, whose previous bike was stolen.
Protocol requires that, in order for a wish to come true, the Grantor has to retrieve the wished-upon object—in this case, a nickel tossed into a fountain—before she (or he, because male fairies are just as prevalent, including Ophelia’s pink-haired BFF) sprinkles on the precious 100% pure fairy dust and utters the magic words. Ophelia has twelve hours (“tocks,” in fey speak) to complete her mission and get back to the Haven. She is not, under any circumstance, to become distracted by anything she sees or hears (beyond the supersonic ringing of the wished-upon object), or emotionally invested in any of the creatures she encounters.
When you are a pint-sized creature with delicate fairy wings, journeying hundreds of miles without being seen or crushed can present unlimited challenges (planes! trucks! automatic sliding doors!)—even when armed with a thermal flight suit, camouflage spray, and various miniaturized weapons cooked up by a team of Builders, Makers, and Alchemists. Even more, attempting to chase down a coin, which seems to change hands more quickly than we can say Ophelia’s full name, means that Ophelia becomes an unwitting pawn in several humans’ lives (and one adorably hapless dog’s). As Ophelia quickly discovers, the wealth of printed information about the human world, which she has poured over for years in the Haven’s Archives, doesn’t scratch the surface. As it turns out, humans (and dogs) have a unique knack for getting others to care for them. And where there is caring, there are complications.
Granted proved the perfect antidote for my fairy-skeptical daughter. In nearly every chapter, author Anderson manages to build up to a breathless cliff-hanger specific to Ophelia’s mission, while simultaneously disclosing fascinating new details about the inner-workings of the feyworld at large. Much like J.K. Rowling’s richly textured Hogwarts, it seems there is nothing that Anderson hasn’t considered. Several times while I was reading the book, I thought, “But wait…,” only to have this suspected hole filled by a subsequent chapter. (The book addresses, for example, what happens if someone were to wish for world peace…or for something criminal.)
Ironically, it is precisely her perfectly-ordered world that Ophelia begins to rebel against. By decree of fairy law, wish fulfillment must be arbitrary; and yet, aren’t some wishes more important than others? What are the consequences for valuing one person’s life over another? What should the role of magic be? And what if we’ve been doing something the same way for so long that we’ve forgotten how to question it? Ironically, it’s Ophelia’s passionate rebellion that might just be the key to rekindling the believer in all of us.
In Bob, a chapter book my daughter and I finished in two days (being both short and deliciously addictive), there may not be any wish-granting fairies, but there is a mysterious green creature wearing a clumsily-fashioned chicken suit, whose destiny turns out to be directly linked to the wish of an entire community. When ten-year-old Livy finds this creature, who calls himself Bob, in her bedroom closet at her Australian grandmother’s farmhouse, she doesn’t remember him from the last time she visited that distant continent, five years earlier. In fact, she doesn’t remember many specifics about her last visit. Bob, however, has spent the past five years shut up in a closet thinking of little else but Livy, wondering when she was going return and doing his best to stay entertained with only a LEGO pirate ship and a dictionary. (Pause. I always thought it was just me who found the name Bob amusing to pronounce when I was a child—the way it kind of blurts out of the mouth—until I caught my daughter giggling and repeating it the first few times I read it. Or maybe it’s genetic? No offense to any Bobs out there reading this.)
Who and what is this adorably eccentric Bob creature? Where did he come from, and where if not the closet is he supposed to be? Bob and Livy are equally puzzled. Bob initially worries he might be a zombie, but Livy quickly puts an end to that with the help of the dictionary. When Livy determines that no one else seems able to see or hear Bob, she questions whether he might be an imaginary friend from her younger years; and yet, how can an imaginary friend eat actual potato chips? Through chapters that alternate between Livy’s and Bob’s perspective, we begin to piece together a picture, not only of the individual backgrounds and personalities, but why their friendship was once so important to both of them—and why it still is.
Livy is a quiet, perceptive child, caught in that sticky gap between little kid and big kid. She’s too old to play with dolls—or is she? She’s too old to be nervous about her mother leaving her for two weeks with her grandmother—or is she? She’s too old to remember how Bob first came to live in her closet—or is she? Even the format of the book echoes this duality, with short chapters and the occasional sepia-toned illustration (beautifully rendered by Nicholas Gannon), exactly halfway between an early chapter book and a middle-grade novel.
Certainly, Livy is old enough to sense the sadness, worry, and helplessness in the adults around her, all of whom are struggling to support farms in the midst of a severe years-long drought. She feels equally powerless to help—that is, until the neighbor’s son goes missing. When Livy and Bob journey deep into the woods to search for the boy, they not only find him, they also discover that Bob is a clue to the drought plaguing the land. It’s a journey that no adult would understand or believe, but it’s a journey that reminds us readers that the natural world is rich with intrigue, with hidden currents, with a tinge of the supernatural. Whether Bob is real or a figment of Livy’s imagination may always be open to interpretation, but one thing is clear: occasionally, in life, there may not be a logical explanation for the amazing things we witness.
This summer, I invite you: choose a world with magic for your children. Grant some wishes. And maybe not just for them. I know a lot of adults who could use a little bit of magic right about now.
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Books published by Walden Pond Press (Harper Collins) and Feiwel and Friends (Macmillan), respectively. Review copies purchased by me! All opinions are my own. Amazon.com affiliate links support my book-buying habit and contribute to my being able to share more great books with you–although I prefer that we all shop local when we can!
June 21, 2018 § 3 Comments
Before I sing the praises of Jessica Love’s triumphant, must-read new picture book, Julián is a Mermaid (Ages 4-8), a story celebrating self-love and unconditional acceptance, I need to come clean on something that happened four years ago in our house.
In 2014, when my children were four and seven, a box arrived from Penguin Group. In the box was a stack of picture books for possible review; all except one were titles I had requested. “I’m going to throw in an extra book, which I bet you would love to write about,” my rep and good pal, Sheila, had told me. My kids did what they do every time a box like this arrives: they dragged it over to the sofa, climbed up next to me, and began pulling out books for me to read. When they pulled out I am Jazz, I didn’t recognize the title or the cover, so I figured it was Sheila’s pick. We dove in blind.
I am Jazz is Jazz Jennings’ autobiographical picture book, co-written with Jessica Herthel, about what it was like to grow up with “a girl brain but a boy body.” From the earliest ages, Jazz identified as a girl. More than simply dressing up as princesses and mermaids, Jazz would correct her parents when they would say, “You’re such a good boy,” responding, “No, Mama. Good GIRL!” In Jazz’s case, it was her pediatrician who identified her as transgender and encouraged her parents to stop cutting her hair and putting her in boy clothing. Eventually, her teachers at school allowed her to join the girls’ soccer team, and she found a group of friends who saw her, not as someone to be teased or feared, but as “one of the nicest girls at school.”
I could feel the intensity in the air as I read. My children bent so far over the pages that I had to ask them to sit back so I could see the words. “Have I just opened a can of worms?” I thought. “Are they even old enough to understand this?” These were actual questions that went through my head.
When I finished reading, I asked if they wanted to talk about the book. “Nope!” they chorused, pulling out the next title from the box. And so, I moved on. And I don’t just mean with the next book. Later that day, I tucked I am Jazz inside one of the cabinets in our office. Are you getting this? I hid the book. I justified my action: “This is a great book, but I’ll get it out in a few years when they’re older. When it’s more applicable to their life or to someone they know.” Yes. I actually thought these things.
The very next day, I walked into my four-year-old daughter’s room to find her paging through the book. How on earth she found it I will never know. She beamed at me: “Mommy, Jazz likes all the same things I do: dance, soccer, swimming, and the color pink!” “Yes,” I said. And then, a few days later, when I was tidying up her room, I hid the book. Again.
A few weeks later, we had friends over for dinner. Long after everyone had finished eating, the adults were still lingering at the table, when my son barged in carrying our children’s dictionary, trailed by his sister and friends. “We need to throw out this dictionary,” he pronounced, with his typical fondness for the dramatic. “It is missing words.”
“What word are you trying to look up?” one of the grown-ups asked.
Instantly, I knew that I am Jazz was circulating around our house again; and—based on the looks everyone was exchanging around the table—making for some pretty riveting conversations upstairs.
As they do more times than I could ever count, my children held a mirror in front of my face. They illuminated my shortcoming—in this case, a bias—which I wasn’t even aware I had. We shouldn’t save “issues books” for the moments the issues arise. Heck, we shouldn’t even label them as “issues books.” My children were intrigued by the idea of transgender, sure, but I have since realized that their interest in this book extends well beyond definitions. I am Jazz is just one more tale in a long line of tales about kids trying to make sense of who they are—a journey every child faces, at every age. Even more, I am Jazz celebrates that journey. Jazz is brave and animated and refreshing. She is who she is, and she doesn’t apologize for that. What child wouldn’t be fascinated by her?
It may have taken three tries, but I am Jazz finally got a prominent place on our bookshelves, and I’m proud to say that, years later, it still floats in and out of both children’s rooms regularly. My children talk about Jazz like they know her, like she’s their friend. “We read Jazz’s book in school today!” my ten year old announced with excitement earlier this year. “Can you believe there were some kids who had never heard of her?” He went on: “My teacher used to date someone who is transgender. That’s cool, don’t you think?” That my children think this is cool—and not weird or scary or confused—owes a great deal to reading I am Jazz when they did.
Published earlier this spring, Julián is a Mermaid also raises the subject of gender identity, though it does so with a subtlety and ambiguity that would likely not have been possible were it not for predecessors like I am Jazz. With mesmerizing illustrations, just 23 short sentences, and as much unspoken as spelled out, this picture book is visual storytelling at its best. Julián’s journey unfolds only over the span of a few hours; and yet, encapsulated in these hours is a multi-faceted glimpse into how high the stakes are when we risk being seen for who we really are.
When the story opens, Julián is riding the subway with his abuela and reading a book about a subject near and dear to his heart: mermaids. A moment later, as he looks up, three tall, svelte women dance into his car, sporting elaborate hair styles and identical aquamarine fishtail dresses. We don’t need text to tell us what Julián is thinking: mermaids in the flesh.
As Julián watches these women, he begins to picture himself as a mermaid, fantasizing silently about throwing off his clothes, growing a gold-tipped pink tail, and swimming alongside a school of brightly-patterned fish through water colored the same shade of aquamarine as the ladies’ dresses.
A large, intricately-designed indigo blue fish approaches him with a necklace offering. In these waters, Julián is not only joyful and uninhibited; he (she) is also adored.
As Julián and his abuela depart the train and walk home, Julián’s mind is still on the three ladies.
“Abuela, did you see the mermaids?”
“I saw them, mijo.”
“Abuela, I am also a mermaid.”
At this point, it’s impossible to decipher what the boy’s grandmother makes of all this. Her coiffed white hair and voluminous shape combine with pronounced, imposing facial features, mostly bent towards frowning. Her only response to Julian declaring himself a mermaid is to peer silently down at him—and then, on the next page, inform him that she is going to take a bath and that he should “be good” while she’s out of the room.
The three nearly wordless double spreads that follow—as Julián dramatically sheds his clothes, rigs up a headpiece from flowers and palm fronds, and tears down the white lace curtains to create a mermaid tail—are so ripe with expression, movement, and gorgeousness, we fall completely in love with this child (if we weren’t already). Heck, you don’t even have to like mermaids—my daughter reminded me that she doesn’t—to agree that this costume is nothing short of extraordinary. And, yes, there is make-up involved.
Cue dramatic tension, as the grandmother emerges from the bathroom, wrapped in her own white swathe, and stands staring at her grandson, who is now posing like a Greek goddess. As abuela turns silently and walks off the page, Julián’s big eyes stare after her intensely, worriedly. On the next page, his expression turns downcast. He lifts the end of his tail, as if seeing it for the curtain it is. He glimpses himself in the mirror, as if struggling to recognize himself. There is not a single word of text—and yet, our hearts are in our throat, watching this child question himself. (In an interview featured on the blog, Seven Impossible Things Before Breakfast, author-illustrator Jessica Love talks about the evolution of her art for this book, which she originally painted on a white background, until she realized that layering color atop of brown paper bags actually allowed her to infuse the facial features of her brown-skinned characters with greater emotion. The result is pitch perfect and absolutely stunning.)
But then, the grandmother returns—“Come here, mijo”—wearing a colorful headscarf and an indigo dress with a white pattern that will be familiar (to observant readers) from the earlier aquatic scene of Julián’s imagination. She holds out a pink beaded necklace, which Julian takes with a wide grin.
Once again, abuela leads him outside and down the street. She leads him straight into the heart of the Coney Island Mermaid Parade, a crowd of people wearing octopus tentacles and jellyfish headpieces, swishing and swaying in unapologetically bright fabrics and tall heels. “Mermaids,” whispers Julián.
At last, abuela’s face seems to soften into a smile, as she says the words Julián most needs to hear: “Like you, mijo. Let’s join them.”
As Julián marches alongside these kindred spirits, alongside his accepting abuela, we glimpse in him the same joy and freedom from his private fantasy earlier in the day. We are reminded of the power of being seen, of being loved, for exactly who we are.
A postscript: This has been a gut-wrenching week of news, as we listen to reports of refugee children being separated—ripped apart—from their families at our border and by our government. Children who may never see their loved ones again. Julián is a Mermaid is not a political book. It is not a book with a shove-it-down-your-throat message. But it is a profoundly touching story about the power—the fundamental necessity—of unconditional familial love. About how, under the gentle tutelage of love and acceptance, children can bask in the joy of childhood, can grow into adults to be proud of. Every child deserves this treatment.
Review copies by Penguin and Candlewick, respectively. All opinions are my own. Amazon.com affiliate links support my book-buying habit and contribute to my being able to share more great books with you–although I prefer that we all shop local when we can!
June 7, 2018 § 2 Comments
While I mostly discuss books that lend themselves to sharing aloud with children, I make exceptions around holidays and summer break to offer shorter write ups of middle-grade chapter books—ones you’ll want to put into the hands of your older readers and then get out of the way. (You’ll find past favorites here, here, and here.) Sitting on the Capitol Choices reviewing committee affords me ample opportunities to keep up with what’s current. Fortunately, for all of us with tweens, the well is especially deep right now.
Some (ahem, grown-ups) believe summer reading should be exclusively light and fluffy. I beg to disagree. Away from academic pressures and structured sports can be the perfect time for our children to embark on uncharted territory: to push outside their comfort zones; to dabble in different writing styles; to experience characters who look and sound nothing like them; and to contemplate—from the security of the page—some of the heavier lifting they might someday be called upon to do.
Once a tween reader myself, there was nothing more alluring than a plot synopsis promising a solid dosage of strife. Not because I was a particularly somber or morbidly-minded child (a flair for the dramatic, maybe), but because it was equally fascinating and reassuring to witness young characters dealing with really crappy situations—and emerging stronger, braver, and more compassionate. Author Kate DiCammillo once said her favorite thing about writing for young children is that you are morally bound to end your story with hope. When we read stories about the messiness of life, we are able to play out our own fears and insecurities, our own worst-case scenarios, with proof of resilience. And hope.
The novels discussed below (all brand new, with one exception) have at their center familial strife. Even on a good day, the family unit is a particularly fraught arena for tweens, caught as they are between still relying on their parents for everything and yet beginning to set apart their own identity. These are stories where, whether from loss or tragedy or poverty or cultural betrayal, the main character is forced to re-evaluate his or her place in the family. And to ask the sometimes devastating, if illuminating, questions that arise as part of that struggle.
What if you can’t rely on your family?
Just Like Jackie, by Lindsey Stoddard (Ages 9-13)
This eleven year old defies gender stereotypes at every turn—she’s fierce at baseball, can fix cars, and is unapologetically angry a lot—but that’s just part of the reason why both girls and boys (if my son’s enthusiasm is any indication) will spark to her. Robinson, named after the baseball legend, has never questioned the life she leads with her adoring grandfather on a maple sugar farm in Vermont, until she is assigned a family tree project at school. Robbie’s curiosity about what happened to her mother peaks at the same time her grandfather begins exhibiting signs of Alzheimer’s, leaving Robbie to wonder whether his reluctance to talk about the past is intentional or not. Robbie struggles to conceal the disorder of her home life from the outside world, including from her best friend and school counselor, who must go the extra mile to convince Robbie that she is not alone. (How refreshing to have a successful school therapist in middle-grade fiction!)
What if your family has to come together to survive?
The Night Diary, by Veera Hiranandani (Ages 10-15)
This gripping, stay-up-all-night story might be set during a period of history most American children know nothing about—the 1947 Partition of India, whereby India became independent of British rule and was abruptly split into two countries on the basis of opposing religions—but its theme of divisiveness feels eerily relevant given the current culture wars on our homeland. Twelve-year-old Nisha, whose late mother was Muslim but whose father is Hindu, is forced to flee her beloved home—formerly India, now Pakistan—to seek a new home across the border. In the soul-bearing diary entries she addresses to a mother she never knew, we learn about Nisha’s harrowing journey by foot and train alongside her brother, father, and grandmother, as well as the unanswered questions Nisha has about her parents and their past—secrets which, if not revealed, could compromise the family’s ability to bond together for survival. Alongside this unforgettable heroine, whose writing becomes an antidote to her paralyzing shyness, is a sensory-filled portrayal of Indian culture, with dishes described so tantalizingly, they’ll have your child begging to go out for Indian food (once they are assured of the family’s safe passage).
What if your family suddenly feels off kilter?
Rebound, by Kwame Alexander (Ages 10-15)
Kwame Alexander is unquestionably one of the greatest contemporary writers of rich male characters, and his trademark style of writing in free, fast-moving verse means that his stories are equally accessible to “reluctant readers,” as they are to those looking for nuance and depth. A prequel to Alexander’s Newberry-winning The Crossover (although equally powerful on its own), Rebound stars African-American Chuck “Da Man” Bell, back when he was just Charlie, a boy reeling from the death of his father and inexplicably angry towards his mother. When the mother decides to send Charlie to his father’s parents outside Washington, DC for the summer, he doesn’t know which is worse: leaving his pals Skinny and love-interest C.J. to read comics and eat Now or Laters without him, or having to live under his exacting grandfather’s thumb (“Hustle and grind, peace of mind…that’s my motto. You do what I say this summer, everything’s gonna be fine.”) And yet, during his days at the Boys and Girls Club, where his grandfather works, Charlie discovers a talent and love for basketball. As the rhythmic language mimics the bounce of the ball, Charlie gets his shot at a well-deserved rebound, courageously arcing between vulnerability and healing.
What if you feel invisible inside your family?
Ivy Aberdeen’s Letter to the World, by Ashley Herring Blake (Ages 10-15)
Twelve-year-old Ivy was already feeling uncomfortably sandwiched between the demands of her infant twin brothers and the aloofness of her teenage sister, when a tornado tears through her hometown and destroys her house and all its possessions, right down to her prized set of dual-tipped brush pens which she relies on to fill her visual journals. Displaced for the next year with her five family members in a tiny hotel room, all of whom seem too preoccupied by their own stress to notice hers, Ivy struggles to make sense of her own sexuality amidst the social landscape of middle school—mainly, that while her friends are suddenly boy-crazy, she thinks only about the mysterious new girl. Ivy finds a role model in the lesbian inn manager, who assures her that she needn’t rush to pin a label on herself, that life is one long journey towards understanding and embracing our complex individualism.
What if you lose the only family you know?
Hope in the Holler, by Lisa Lewis Tyre (Ages 10-14)
Wavie and her mother may have lived in a trailer park, but their life was rich in love. When the latter dies of cancer at the novel’s opening, Wavie steels herself to the assumption that she’ll never be happy again. Even worse, she is whisked away to her mother’s “backwards” Appalachian hometown by an aunt she never knew she had—and who, it becomes eminently clear, is only interested in Wavie for her late mother’s social security checks. Outside the aunt’s front door, however, Wavie finds a community of diverse, witty, big-hearted people, who belie the poverty that surrounds them and raise the question of whether family can exist where blood ties do not. Even more, Wavie’s charmingly compulsive drive to spread beauty wherever she goes, with her penchant for gardening, inadvertently lands her straight at the center of the town’s oldest mystery—which turns out to hold the key to her salvation.
What if your family betrays you?
Amal Unbound, by Aisha Saeed (Ages 10-15)
Twelve-year-old Amal’s parents may love her, but their love is powerless in the face of deep-rooted gender bias in rural Pakistan, where girls are treated as currency. When her parents rack up debts with their village’s corrupt landlord, they are forced to repay him by turning over Amal as an indentured servant, now forced to live a prisoner inside his gated mansion. With her position of servitude, Amal doesn’t just lose the company of her cherished family; she loses her chance at continuing her education and fulfilling her dream of becoming a teacher. Inspired in part by Nobel-Peace-Prize recipient Malala Yousafzai’s true-life fight for women’s education in Pakistan, Amal’s story becomes one of resistance, as she devises a daring plan for reclaiming the agency that has been taken from her and from those around her. You have to celebrate a story where the oppressed female protagonist professes in the closing pages, “I knew now that one person could hold many different dreams and see them all come true.”
What if you go looking for your family, the one you think you should have?
Gertie’s Leap to Greatness, by Kate Beasley (Ages 9-12)
This book isn’t new—you can read my post from December 2016—although it is just out in paperback. It also fits perfectly with the theme of familial strife. Gertie, our plucky fifth-grade heroine, is a girl of action in every sense of the word (she resuscitates a bullfrog with a turkey baster in the opening chapter). Unfortunately, her enthusiasm for solving the world’s problems also extends towards the mother who abandoned her when Gertie was just an infant—and whom Gertie is convinced she can “win back,” despite her living in a different city with another family. Suddenly, this isn’t just a fun and funny story about a quirky girl; it’s also a subtle primer for how to handle rejection from those who are supposed to love us—and how this rejection might even lead us to appreciate what has been right in front of our eyes the whole time.
Review copies provided by Harper Collins (Just Like Jackie), Penguin (The Night Diary, Amal Unbound, Hope in the Holler), Houghton Mifflin Harcourt (Rebound) and FSG (Gertie’s Leap to Greatness). Ivy Aberdeen published by Little, Brown. All opinions are my own. Amazon.com affiliate links support my book-buying habit and contribute to my being able to share more great books with you–although I prefer that we all shop local when we can!
May 17, 2018 § 8 Comments
Update published May 18, 2018: When I went to bed this past Wednesday night, scheduling my post to go live early the following morning, I had no idea I would be entering a media maelstrom. I had no idea that, just ten days earlier, allegations had surfaced about Junot Diaz and numerous instances of sexual misconduct. Some of my readers have asked how I could sing the praises of a book whose author may have exploited his power, particularly towards aspiring women writers of color. I am deeply sorry for offending, especially if I unintentionally implied that this new information about one of the most accomplished figures in the literary and academic world does not by necessity altar the discussion of his accomplishments. The truth is that I did not know about these allegations prior to publishing my piece below. Had I been aware, I would have stayed silent, even about a book as wonderful as Islandborn.
And yet, I will not pretend that I am not devastated. I am devastated personally, because Diaz has been a literary idol to me for my adult life, one of the most brilliant minds I have ever experienced. I am devastated for the Latinx community, for which Diaz has been a monumentally important voice, although there is inherent danger in tokenism (as stated astutely by this recent piece in the Washington Post). I am devastated that Diaz’s gut-wrenching autobiographical piece, published just one month ago in The New Yorker—about the destructive impact that his repressed sexual abuse as a child has had on himself and his adult relationships—will now be dismissed as a preemptive justification for forthcoming allegations and not a much-needed voice for the atrocious job our society does in supporting victims of abuse. I am devastated for Diaz’s own alleged victims, the latest voices to remind us that to be a woman today still means to fight for agency at every turn, often at the expense of physical and emotional scars. I am devastated for Islandborn’s illustrator, Leo Espinosa, whose incredible art for this book should have been Caldecott worthy, but is now sullied by its association with the person who wrote the words.
Above all, I am devastated for the children, especially the vibrant, brown-skinned, big-haired souls like Lola herself, who may now never find this book. Islandborn gives voice to an inclusive, celebratory perspective which is both critical and long overdue—and not just in the Latinx community. It is about discovering heritage. It is about the power of imagination and the quest for identity. It is about facing down Monsters. I love this book. My children love this book. And yet, I understand that it may be impossible to untangle a writer from his work. I will refrain from actively promoting my post any further, but because my post was written without knowledge of the accusations, I have decided against censoring it. I will leave the decision to seek out the book up to you.
Our family spent this past Spring Break in Belize, where the sights, sounds, and smells surpassed even our wildest imaginations. I will not pretend that we immersed ourselves in the local culture, since the time we spent outside resorts was carefully orchestrated by Belizean tour guides; but we did glean much by talking with these guides and drivers, asking questions about their backgrounds and their lives. Nearly all of these native Belizeans had at one point spent time working and studying in the United States—somewhere in the range of seven to ten years—and spoke of their experience with fondness. Many had expected to remain longer. “What made you decide to come back to Belize?” my children and I would ask.
The answer was always the same. Predictably accompanied by a triumphant smile.
“I was homesick!”
Even as they spoke about the poverty of their people, the bureaucracy of their government, and the turbulent threat of natural disasters, they spoke with greater affection about the warmth and the water. About the coral reefs. About the jaguars living in government-protected jungles. About the “perfect food chain” of the rainforest, whereby predator and prey were so well balanced that insect repellent was often unnecessary. About their big families, their festivals, and their food. The pull of these things was too strong.
When we meet people from other countries who are living in the States—driving taxis or working in kitchens or taking care of children—how often do we inquire about the places they’ve left behind? How often do we assume that, just because they’ve come here for a “better life” or a “better education” or “more opportunities,” the place they left is necessarily inferior, unattractive, unsafe, overcrowded? What if we encouraged our children to not only recognize the heritage of their immigrant classmates and neighbors, but to celebrate it, to help them carry it proudly inside them?
There is an abundance of things to love about Islandborn (Ages 5-9; Spanish version also available), a new picture book from two immigrants themselves: Pulitzer-Prize recipient Junot Diaz, originally from the Dominican Republic, and Colombia-born Leo Espinosa. Not the least of the treasures found in these pages is the American teacher who kicks off the story, presiding over a class where “every kid…was from somewhere else” (the George Washington Bridge in the background cues that this is upper Manhattan or the Bronx). Ms. Obi lovingly instructs her students to “draw a picture of the country you are originally from, your first country, and bring it in tomorrow,” an assignment that is greeted with cheers by everyone in the class. Everyone except the story’s young heroine.
Lola knows her family is from “The Island,” but she left there before she could make any lasting memories of her own. Dalia instantly announces she is going to draw pyramids; Matteo remembers a “desert so hot even the cactus fainted”; and Nelson—normally so distracted he has forgotten his name on occasion!—is already hard at work constructing a mongoose. Lola sits on the playground amidst all the chatter, channeling her “Abuela’s psychic”: she closes her eyes and puts her fingers on the sides of her head. Nothing comes.
Lola may be from an island, but she quickly remembers that she herself is not one. Her apartment is nestled in a vibrant community of Caribbean immigrants, which means she is surrounded by family and friends with memories aplenty from which she might draw. If there was ever an artistic representation of “it takes a village,” this story is it, as Lola goes on a journey to elicit information about her heritage from various folks, then uses her own powerful imagination to fill in the blanks. She doesn’t just record these memories of the Island on the pages of her sketchbook; she internalizes them. In time, she will even begin to feel the truth of her grandmother’s words: “Just because you don’t remember a place, doesn’t mean it’s not in you.”
We, as readers, begin a journey every bit as rich and magical as the one Lola is on, owing in large part to Espinosa’s impossibly gorgeous mixed-media illustrations, which pulsate on the page in colors most of us only dream about, spectacularly blending reality with memory and imagination. The urban landscape of Lola’s current life, with its muted reds and browns, becomes overlain with bright tropical foliage and exotic creatures, including “bats as big as blankets” (in the words of Lola’s cousin Leticia) and dolphins that “bow good night” during red-orange sunsets. The streets are filled with movement, as a street vendor selling empanadas describes to Lola an Island where “even in their sleep people dance,” and another tells her that “the people are like a rainbow—every shade ever made.”
Can we pause to reflect on how far picture book illustration has come? When I was young, I wished my bedroom walls could look like the colorful jungle scene Curious George (naughtily) paints, after climbing through the window of a stranger’s apartment in Curious George Takes a Job. To think what I would have thought if I’d been exposed to the likes of Espinosa’s art! Heck, I wouldn’t have wanted these illustrations on my wall; I would have wanted to climb into them. “I hope you are going to talk about the pictures,” my ten year old remarked to me this morning, when I told him what book I was writing about, “because they are A-MAZ-ING.”
Just because Islandborn’s illustrations are front and center doesn’t mean the narration is any less lovely. Junot Diaz has long been considered a master of language; and the lyricism in his debut picture book—an Island so alive it feels like “the inside of a drum”—is beautifully and perfectly suited to a child audience. Even more, Diaz crafts a young heroine whose curiosity, thoughtfulness, and persistence eventually make everyone around her share a piece of themselves. Lola not only celebrates their shared heritage, but she herself grows in poise and self-awareness through these exchanges. A man in the barber chair tell her about Island mangoes the “size of your head.”
“They make you want to cry?” Lola said. (She loved mangoes.)
“That’s it exactly!”
As Lola is swept along on this colorful current of beauty, she begins to wonder why anyone would leave such an Island in the first place. The ensuing conversations lay the groundwork for us to dialogue with our own children about the difficult choices facing immigrants and refugees. Lola listens to talk about the oppressive heat on the Island (“on you like five bullies”) and the terrible hurricanes, including one that blew through the Island when Lola was an infant, causing her mother and grandmother to take refuge with her under the bed (“Like the biggest baddest wolf of all! It huffed and puffed and blew thousands of houses into the sky!”).
The gravest insight comes from Mr. Mir, the elderly superintendent of Lola’s building, who originally refuses her invitation to talk about the Island. Later, when Lola again approaches him, he gently explains the reason for his hesitance. Long before Lola was born, “a monster fell upon our poor Island….For thirty years the Monster did as it pleased. It could destroy an entire town with a single word and make a whole family disappear simply by looking at it.” While Junot Diaz never names the island in question, lending more universality to his story, we assume from his own childhood that he writes about the Dominican Republic; the Monster, then, would be the dictator Rafael Leónidas Trujillo, whose bloody rule began in 1930. Like Lola, young readers won’t know or understand the specifics of Trujillo’s rein, but these details are not important for this story to resonate. The underlying message here is that one’s heritage is often a cross-section of beauty and hardship, love and pain.
Mr. Mir goes on to explain that, while the story about the Monster is important, so too is the story about the men and women who rose up to defeat it (“what a titanic battle that was.”). Mr. Mir himself might have been an original “slayer of monsters,” but he explains to Lola that she, as a descendant of the Island, is a “daughter of heroes.” The courage of her ancestors nestles like a seed inside her today. As Lola prepares to transfer all of these found memories—the good and the bad—into a collection of drawings she can show off at school, we realize that, as much as Islandborn celebrates heritage, it is also a tribute to the power of imagination as a way to connect with our community and ourselves.
Islandborn reminds that each of us comes from somewhere, whether we remember that place or whether it’s passed down to us through the bloodline of our ancestors. Delving into these histories, even nudging others to do the same, makes us more flavorful, more colorful, and more insightful about the world we live in. Perhaps we will even begin seeing through Lola’s eyes, overlaying exotic memories onto the patchwork of our daily lives. Perhaps we will even seek out such places on our own, as good as—or better than—stepping into these lush pages.
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Review copy provided by Dial Books for Young Readers. All opinions are my own. Amazon.com affiliate links support my book-buying habit and contribute to my being able to share more great books with you–although I prefer that we all shop local when we can!