Is the Race Card Old School?

An It's Complicated! — Authentic Voices guest post by author, Mitali Perkins.

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When my book Rickshaw Girl (Charlesbridge) came out, one reviewer said I was “drawing on my cultural roots” to tell the story.

I winced when I read that line.

I was writing about Naima, the Muslim daughter of an impoverished rickshaw puller in Bangladesh. My grandfather was a Hindu landowner who exploited people like Naima. The rift between me and my character was almost as wide as a daughter of a slave-owner writing about the daughter of a slave. Sure, we’re both Bengali, so we share a language and other cultural commonalities. But why is race the primary authenticity card when it comes to granting storytelling permission? What about power, gender, class?

The bottom line is that all fiction crosses borders. Age: middle-aged people write about children. Gender: women write about boys; men write about girls. Class: suburbanites write about inner-city kids.

If we don’t write an imagined life, we craft memoir.

Does that mean anybody can write anything when it comes to fiction? It must, with caveats. Because what an author learns before the age of seven does matter in fiction.

"I Want to Write What I Know"

An It's Complicated! — Authentic Voices guest post by author, Bil Wright.

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“Write what you know!” Isn’t that what English teachers, writing instructors and even guest authors encourage beginning writers to do? Many young writers, eager to begin to unravel the mystery of how to tell a story “successfully” hold onto this advice as a foundation for their writing careers whether it be professionally, academically or writing for their own enjoyment. Certainly this adage provides a certain comfort level; writing about what is familiar almost guarantees, if nothing else, a level of credibility and even authenticity, doesn’t it? And certainly, for any writer wanting to make a deep connection with his/her reader, authenticity is a quality that is highly desirable. So then does that mean I should stay away from writing about topics or characters, indeed people who are less familiar to me? Perhaps I should not include them in my computer created world, lest I fall short of making them totally believable to my reader. Perhaps I should compile a list so that I’m careful to avoid these topics and characters as I proceed to tell my stories.

Authentically Me

An It's Complicated! — Authentic Voices guest post by author, Sharon G. Flake.

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Growing up I did not see the value in being my authentic self. I was skinny, long-legged, and shy with big rabbit teeth.  Some adults and kids even called me Olive Oyl (Popeye’s Girlfriend) —enough said?
 
I remember wanting to be like my neighbor Yolonda. She could wear a blanket and look red-carpet ready.  I on the other hand, could never quite make fashion work, even today.

By middle school comparing myself to others was a fine art.  There was the blond I sat next to who had the most exquisite handwriting. For years I tried to emulate it.  In high school there was Pam. She absorbed information like a sponge.  Earning high A’s with ease or so it seemed.  I would study until my brain froze, only to end up with a lack luster B or C.

Thank God for my freshmen college English class.  Before then, I do not recall feeling one-way or the other about writing. Yet somehow my professor lit a flame in me. No longer did I need to be a carbon copy of others, at least on paper.  My writing was opinionated, fearless, and political. I was determined to use my work to give voice to the powerless.  And because I loved the community I grew up in, I never hesitated to draw on its strengths, challenges and uniqueness.

First, Know Yourself

An It's Complicated! — Authentic Voices guest post by author, Diana López.

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“Write about picking cotton,” my family said when they heard I wanted to be a writer. “Write about how we used the fabric from flour sacks to make our dresses, and how Grandma hates fish because that’s all she ate during the Depression, since it didn’t cost anything for them to go fishing for food.”

Closely examine my family, or any family, and you’ll discover all the drama of a telenovela. Naturally, I wanted to write about being chastised for speaking Spanish, about living on a ranch in San Diego, about my grandmother being “Rosita the Riveter” during World War II. I tried to write those stories. But my only experience working the land comes from fifteen minutes in a field off Old Robstown Road where my parents showed us how to pick cotton. It was interesting to feel the texture, so unlike a T-shirt, which is what I had imagined.
 

My grandmother might have hated fish, but I loved it. We had a boat that we’d take to Laguna Madre, where we’d compete to see who could catch the most, the biggest, or the strangest. (Once, my brother caught a seagull when it chomped on the bait as he cast.) Back home, Dad filleted the fish in the backyard, the cats begging and fighting over scraps. Then, Mom used cornmeal batter to fry the fish, and we ate, delicately picking meat off tiny bones.
 

All this to say that my family’s experiences and the emotions associated with them are not exactly mine.

It Doesn't Have to Be True to Be Truthful

An It's Complicated! — Authentic Voices guest post by author, Alex London.

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Authenticity, that vicious guard-dog of truth, bedevils a teller of stories every step of the way. It is not enough to feel the truth of what you write or even to know it. The reader must feel you are right in the telling of it. An inauthentic voice can make even an honest memoir feel like a lie, while an authentic voice can make a whole pack of lies seem true. Just look to James Frey’s first book for proof of that.

In writing my YA debut, Proxy, I struggled with authenticity early on. As a gay man who was once a gay teen, I had no trouble with my protagonist’s sexuality. I well-remembered the unrequited longings, the suppressed desire for a kiss that sometimes broke out as rage, and the feeling, ever-present, that my sexuality did not define me and that I could not let the world tell me it did.

Syd, one of two main characters in Proxy, contains much of the truth of my own experience and the challenge there was the common challenge to all writing: to make sure I rendered him as vividly as I would want to be rendered myself. I had memories to draw on, fragmented conversations with my straight best-friend, felt truths that I could, with effort, put into words.

It's Complicated!: Authentic Voices Series Continues

One week down, one more week to go! 

Last week this It's Complicated! series highlighted authors who wrote brilliantly from outside of their perspectives including Graham Salisbury, Elizabeth Kiem, Walter Dean Myers, A.S. King, and Patricia McCormick. Some great takeaways?

A writer writes, and doesn’t really worry much about complaints, anyway. We’re seeking the dramatic and emotional intricacies of life wherever and however we can find them. Our job is to explore them, enlighten ourselves, and try our best to move our readers. We may all look different, but we are all intimately and infinitely connected. We are one. We are beings with parallel heartbeats. The only race out there is the human one.--Graham Salisbury, Parallel Heartbeats

My central characters all have some aspects of my personality. I don’t intend to write this way but it’s inevitable. I know I can use my personal view to create a character of depth, but I have to vary that character so that I’m not constantly writing the same book over and over again.--Walter Dean Myers, Character Development

My characters are me. I couldn’t write them if they weren’t. None of my characters are autobiographical, but every one of them is human and so am I. In the end, we all have too much in common to go on separating ourselves. We eat and we poop. We are born and we die. We struggle through. While diversity is a celebration of every type of human, I am most interested in that humanness that connects us.--A.S. King, What is Personal Perspective, Really?

What Is Personal Perspective, Really?

An It's Complicated! — Authentic Voices guest post by author, A.S. King.

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Writing outside of my “personal perspective” is easy because I am fascinated by human beings, and not particularly fascinated by myself.

And what is personal perspective? Is it the body I am in? This physical, sometimes smelly, sometimes sunburnt, sometimes arthritic shell? Is it the color of my skin? The house I grew up in? The amount in my parents’ bank account in 1984? Is it my family’s traditions during holidays? How often we went to church—or the fact that it wasn’t often? This question of personal perspective concerns me because it seems to be the thing a writer is supposed to transcend when he or she writes a novel. It’s also the thing a writer is supposed to plug into. It’s tricky like that.

When thinking about my characters and how they relate to me and more importantly, how they don’t relate to me, I find the dissimilar parts the least important. For example: I am not a young man. I never have been a young man. I am also not a child from a poor home, I’ve never lived in a trailer park, neither have I lived in a gated community of mini-mansions. So how do I write authentically from the point of view of a young man? How do I write authentically from the point of view of a poor girl who lives in a trailer park? A boy who lives in a mini-mansion?

Character Development

An It's Complicated! — Authentic Voices guest post by 2012-2013 National Ambassador for Young People's Literature, Walter Dean Myers.

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What I knew about the character I wanted to create was that he was based on the Moroccan hero Tarik ibn Zayad. In late April, 711, Tarik led his soldiers across what is now known as the strait of Gibraltar onto the Iberian Peninsula. My problem was to keep the book as time specific as possible while making it interesting to today’s young reader.

Knowing the subsequent influence of Islamic and Moorish culture in Spain, I decided to take the trip to the areas I would be writing about. I took my usual research assistants – my wife Constance and our son Christopher. We flew from Newark Airport to Malaga where we spent a few days checking out the food and staring at the people. Christopher noted that many seemed to be of mixed race.   We then rented a car and drove to Granada.   

Granada is flat out beautiful, and I knew I wanted to include the lush scenery in my book. So throughout the book I made references to the vegetation and thus gave Tarik a careful and interesting appreciation of the wonders of nature.  

Tarik, in my story, is on a mission of vengeance. His family has been killed by Visigoth raiders and he is angry. But, needing to control that anger I gave him martial arts training from two people, one who teaches him to fight and the other who teaches him self control.  His character is coming along nicely, thank you. 

Write What You Know

An It's Complicated! — Authentic Voices guest post by author, Elizabeth Kiem.

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Last month, as the release date of my Cold War thriller Dancer, Daughter, Traitor, Spy drew near, these were the things I worried about:
 

Would Russian readers question why I nicknamed Marina, my heroine, ‘Marya’ rather than the more usual ‘Marinka?’

Would American readers check Google earth and find that the building where Marya lives is not as close to the riverbank as I implied?

Would anybody notice that Marya flies out of Moscow on a Tupelov 134, which is actually an unmanned drone?

In other words I worried that readers might question the authenticity of my story, my setting, or my props. But it never occurred to me that I might be challenged on the authenticity of my character – a Russian ballerina with a psychic streak and a lot of family baggage.

Parallel Heartbeats

An It's Complicated! — Authentic Voices guest post by author, Graham Salisbury.

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Original Cover

New Cover

My second novel, Under the Blood-Red Sun (1994), is about the power of friendship as seen through the eyes of two young boys in Honolulu when Pearl Harbor is bombed. One is Billy, a white boy, who’d moved to Hawaii from California, and the other is his best friend, Tomi , a Japanese boy born and raised in the islands. I wrote the first draft of this novel from Billy’s point of view, figuring, well gee, I’m a white guy … I had to write it from Billy’s point of view.

But that first draft wasn’t working; the editorial letter said, in effect, “This novel has no heartbeat. Try again.”     

Wow.

So … should I start over, or chuck the three hundred pages and move on to something else? That may sound like a tough decision, but it wasn’t, because I realized that my problem was really quite simple: I’d written the book from the wrong point of view. This was Tomi’s story, not Billy’s.

But could I, a Caucasian, write a novel in first person from the point of view of a young Japanese-American boy? I had an audience of young readers that would very likely believe that I actually was Tomi, and must be Japanese. If they were to ever actually see me they might feel betrayed! And what about reviewers and other adults? “The nerve!”

June 2013 Census—Numbers We "Know"

On June 13, 2013, the Census Bureau released an article that was eye-opening, but not necessarily shocking. For the past few years many of us have understood that the make-up of our nation is changing and shifting. Publishing professionals have followed the many news articles published in the last year that raise the subject of the evolving population of our country and observed that children's books don't reflect that evolution. As industry professionals, we read and  we are listening. These issues are the very reason that CBC Diversity was formed. The CBC Diversity initiative was organized before the first controversial article with the tone of "wake up and see all the white kids on covers--not OK" in 2012 was written. The publishing industry gets it. But seeing change takes time (it takes about a year + to make a book) and it requires widespread collaboration from everyone involved in children's books (librarians, teachers, booksellers, agents, parents, writers, illustrators, etc.) to solve the problem.

That being said, sitting around Diversity Dialogue sessions where industry professionals come together in a safe environment to discuss how to "solve the problem" can be frustrating at times. We all "know" that there are a whole lot of, say, Latinos who need good mirror books, but reaching that audience is easier said than done. We "know" the market is there, but is it really? Stupid question, right? Of course it's there, but just so everyone is on the same page, here are some interesting tidbits directly from the June 13, 2013 Census Bureau report to really think deeply about.

What Is Authentic, and What Is Offensive?

Soho Teen is publishing a novel in August--Dancer, Daughter, Traitor, Spy by debut author Elizabeth Kiem--set in 1983. The novel begins on the day Leonid Brehznev dies, the same day the 17-year-old protagonist and prima ballerina, Marina Dukovskaya, loses her mother to the wiles of Soviet authorities. (Or apparently loses. There will be no spoilers in this blog post.) Marina and her father defect to the United States, where they take up residence in Brighton Beach, an area that was ethnically and socioeconomically mixed at the time.

The novel is written from Marina's first-person point-of-view. The author is a Russian scholar, fluent in the language, and has expertise in both Soviet-era Russia and the burgeoning 1980's Brighton Beach organized crime scene.  Her prose reads as genuinely as any I've ever read. I'm not alone in that opinion; it has already been recognized at BEA for its accuracy, honesty, and beauty by the ABA as one six Fall 2013 YAs in the "Celebrate with Indie Debut Authors." 

All that said, a passage included in the galley was struck from the final after an in-house debate. The passage reads: "The Q train dead ends in Brighton Beach, also known as 'Little Odessa' or 'Russia by the Sea.'  About a half a mile west of us, America begins, speaking English, Spanish, and Black."

An Ongoing Question, An Ongoing Discussion

Guest post by associate editor at Charlesbridge, Julie Ham.

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When Charlesbridge decided to host a diversity panel during this week’s Children’s Book Week, the onset of planning felt a lot like editing: asking the right questions was key. Who will speak well and honestly to this sensitive subject? Will the CBC partner with us? (Yes!) How will the panel contribute to this valuable, ongoing dialogue? Who will be in charge of buying the cheese? The crackers?!

I soon became preoccupied with one question that we think will come up during the panel discussion.

Can authors or illustrators write about or illustrate cultures and races different from their own? 

This question brought me back to a children’s literature graduate course I took about five years ago. We were examining Sold, a contemporary middle-grade novel about child prostitution in Nepal. We contemplated whether the author, Patricia McCormick (a white American woman), had the right to tell this story—one that falls outside her own experience and culture. As far as I could tell, no one else had written such a narrative for the middle-grade readership; I felt it needed to be told. Patricia had visited India and interviewed women and girls who had been sold to brothels, preparing herself to authentically tell this story as best she could. I felt confident that she had done her due diligence. I valued her choice to write about this subject matter and hoped her book would affect a diverse readership—a testament to the idea that the human condition—both good and bad—similarly touches all cultures, in all parts of the world. Maybe some of those diverse readers would be even closer to the book’s reality than Patricia was able to get through her research. Maybe they’d be inspired to tell their own stories.

Judging Covers

I’d like to use this blog post to do three things:

1. State the obvious
2. Preach to the choir while dancing on my soapbox
3. Host a love fest

The issue is book covers. Some will argue that I am “beating a dead horse.” But this horse is still very much alive – and pulling a lot of weight. So here goes...

STATING THE OBVIOUS

It’s a cliché, but true – people do judge books by their covers. This is especially true of young people who, in the age of Instagram and Facebook, are very image-focused. We all know book covers are our greatest sales tool. I believe book jackets are the single greatest determining factor of whether a kid will, or won’t, pick up a book. And when it comes to books featuring diversity characters and content, I believe a jacket’s power is doubly important in a book’s impact on readers – and in a book’s sales success.

Slam Poetry: Asking Authors to Get it Right

Below we'll show two clips of Rachel Rostad who, from her Facebook page, "is a sophomore at Macalester College, studying English, Anthropology, and Human Rights and Humanitarianism. She began slamming during her first year of college, and made the nationally ranked Macalester poetry slam team in 2012, when she was seventeen years old. That year, the team took 2nd place at college nationals. Now, a year and a half later, she is a two-time champion of the St. Paul Soapboxing Last Chance Slam and has performed her poetry across the nation".

The first clip is entitled: To JK Rowling, from Cho Chang.

Plain and Natural

When I joined this committee in January I jumped into the middle of a discussion that’s full of terms and ideas I need to think about.

As I read through various blog posts I was struck by the different points of view, even on the use of “diverse,” and "diversity.” For instance, Annie Schutte posted an interview with the Diversity Committee on the YALSA's The Hub blog and there were two comments: 

1. Hannah Gómez said: “We need to make a push to stop calling those books diverse books and multicultural books if want to emphasize that they are for everyone.”
2.  B.A Binns responded: “I have to disagree. The problem of discovery is difficult enough…We have to name them so we can find them.”

I noticed the way these words inspire unnatural phrases such as “coming from a place of a diversity,” “characters that don’t come from a place of diversity themselves.” Eeyike. Awkward. Aren’t we all Word People? Can’t we speak plainly? Do better?

Be Some Other Name

O, be some other name!
What's in a name? that which we call a rose
By any other name would smell as sweet;

I recently heard Pulitzer Prize-winning journalist Jose Antonio Vargas on On the Media with Bob Garfield talking about why he feels it is important to rethink and revise the nomenclature used to describe immigrants lacking the proper paperwork to live and work in this country. (Vargas “came out” as an undocumented immigrant in the New York Times Magazine in 2011.) Most media outlets, and indeed most people, use the term “illegal immigrants” or “illegal aliens” but Vargas is advocating for the use of “undocumented immigrant” because he finds it to be a more accurate term. In the interview he said, “My beef, such as it is, with the term “illegal immigrant” and “illegal alien” is the fact that they’re inaccurate and imprecise. To be in this country without papers is actually a civil offense, not a criminal one.”
 

Bob Garfield did not seem entirely convinced (you can read the transcript of the full interview or listen to the audio to get your own take on the exchange) and his push back led Vargas to articulate another aspect of his argument, one that resonated with me a great deal. He said, “Actions are illegal, not people. Can you imagine, like, hearing this word “illegal” and knowing that it refers to you, what that does to somebody?”

Building Your Reading Room

An It's Complicated! — Marketing & Sales guest post by Little, Brown Books for Young Readers School & Library Marketing Director, Victoria Stapleton.

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You have no idea how many, MANY times I have tried to reduce my thoughts on this very large topic to 600 words. You have no idea how many, MANY times I have cried thinking I needed to write 600 WORDS. And all of this while trying to make sure they are the right 600 words. What I have left are some observations from ten years of trying to do this work and do it respectfully. Please forgive me in advance if I have not managed to identify the correct words.

I approach the issue of diversity from the perspective of someone raised as a religious minority in the United States. A religious minority with very strong views (some of which it continues to hold today) about those who do not fit its paradigm. So I have a bit of experience being both outside and inside a dominant power structure. If you prefer a less political analogy, I spent of a lot of my early years negotiating my path between competing worldviews with their own claims to priority and attention.

The book I go back to over and over again when wrestling with these issues is A Room of One’s Own by Virginia Woolf. The book opens with the author confronting the great, massive, mustachioed, history of British Learning. It continues as a consideration of the writer’s struggle to assert the right to a reading and writing identity that is uniquely her own. Reading this book in my early teens was revelatory, giving me the permission to choose my own reading identity and communities. I did not have to be bound by the lists my school gave me, or the interpretation of books my teacher endorsed. I could begin to build my own reading room.

It's Not That Complicated!

An It's Complicated! — Marketing & Sales guest post by two-time Emmy winning journalist, former writer of Bowllan’s Blog at School Library Journal, and current Coordinator of Media Resources and Research at the Hewitt School in New York City, Amy Bowllan.

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We all know when you want proficiency in a foreign language, the best way for mastery is immersion – visit the country and live with the people, right? You are less likely to judge someone when you’ve walked in their shoes, read their books, and eaten their foods. This is why novelist Chimamanda Adichie in her TED Talk, The Danger of a Single Story , is a must see.

The single story creates stereotypes and the problem with stereotypes is not that they are untrue but that they are incomplete. They make one story become the only story. -- Chimamanda Adichie

Ironically, there are still teachers in this country who find it perfectly ok to ask a black child to act out a slave auction – the danger of a single story. There still are teachers who do not read books by authors of color because they feel those books do not coincide with their curriculum; again, the danger of a single story. Not too long ago, I hosted a forum at my school for librarians, publishers, and diversity directors. The guest speaker was a multiracial Canadian woman who basically got up and told her story. One of the librarians came to me afterwards and said, “Her presentation was geared more for kids.” My response? “If we are not willing to hear the stories of adults who are different from us, how will we be able to assess what is good for our young people.” You fill in the blanks.

Waiting for the Goods

An It's Complicated! — Marketing & Sales guest post by the Supervising Librarian for Children’s Services at the Oakland Public Library in CA, Nina Lindsay.

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I have little patience for: “brown people on covers don’t sell books.” My library’s community is hungry for brown people on the covers of their books.

Picture a Saturday afternoon at a library in Oakland CA. An 11-year-old and parent come in together to choose some reading. The librarian tries to find out what the child’s interests are, and what the parent’s secret agenda is, and provide a selection to choose from with a few books that speak to each. Often, if the family is not white, the parent’s very good secret agenda is for their child to read a book with a protagonist like them. If you are the 11-year-old, and your selection ends up looking like this:  

Or this:

What would you pick?