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Boom Snot Twitty: This Way That Way
by Doreen Cronin; 
illus. by Renata Liwska
Preschool   Viking   40 pp.
6/15   978-0-670-78577-3   $16.99   g

On the opening endpapers of this gentle story, the unfortunately named Snot (a snail) is happily gathering blueberries and putting them in a basket. The title page shows Boom (a bear) and Twitty (a robin) each preparing for…something; Boom is packing a beach bag while Twitty readies her hiking boots. By the first page they are all set to go, but Boom wants to go one way, and Twitty the opposite direction. “‘Hmmm,’ said Snot.” Boom had his heart set on the beach, and Liwska softens the edges of her delicate-colored illustrations to show that Boom is imagining the sand and sun, just as on the next pages Twitty is imagining hiking up a hill. Each is determined to get his or her own way; Snot, meanwhile, sets off to find someplace that will satisfy all of them. Liwska’s drawings give each creature and object a fuzzy quality that adds to the feeling of coziness. Cronin’s usual rollicking humor is less in evidence here than is her way with spare, child-friendly text. This story of friends disagreeing but finding compromise, through the zen-like wisdom of Snot, will satisfy and perhaps enlighten readers, too.

From the July/August 2015 issue of The Horn Book Magazine.

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Daylight Starlight Wildlife
by Wendell Minor; illus. by the author
Preschool, Primary   Paulsen/Penguin   32 pp.
5/15   978-0-399-24662-3   $17.99

In his signature representational artistic style — detailed, luminous, and pristine — Minor compares and contrasts diurnal and nocturnal animals. The opening double-page spread establishes the pattern. The creatures introduced are shown in a meadow, with half of them appearing in the daytime on the verso and the others bathed in soft moonlight on the recto. On the following pages, Minor depicts an animal (a butterfly, for example) or group of animals (such as woodchucks) active during the daytime hours; a corresponding illustration, most often on the facing page, shows a related animal or animals (such as a lunar moth or skunks) active at night. Minimal text echoes the movements in each of the gouache illustrations: “Chubby mother woodchuck and her cubs waddle out to munch in the meadow,” while in the nighttime counterpart, “Fearless mother skunk leads her litter through the field to find a midnight snack.” Diurnal animals are depicted first, then their nocturnal counterparts, except on the final double-page spread. Here, a horizontal illustration of nocturnal raccoons faces right to close the book, while below, daytime turkeys travel in the opposite direction. Readers have two options: either follow the raccoons and cut off the lights for bedtime, or follow the turkeys back to the beginning of the book and read it again. A list of “Fun Facts” about the featured creatures is appended.

From the July/August 2015 issue of The Horn Book Magazine.

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First Grade Dropout
by Audrey Vernick; 
illus. by Matthew Cordell
Primary   Clarion   32 pp.
7/15   978-0-544-12985-6   $16.99

“I can’t stop thinking about it. How everyone laughed and slapped their desks and stomped their feet. And pointed. At me.” The narrator’s social infraction? “I. Called. My. Teacher. MOMMY!!!” It’s a typical-enough blunder among kids new to school (“Don’t worry. It happens every year,” tosses off the boy’s teacher), but what kid in any new situation feels typical? Having suffered what he perceives as landmark mortification, the narrator concludes that dropping out of school is his only option. At soccer practice, where he assumes a calculatedly laid-back persona (“I put my hand on my hip, like someone who doesn’t care if other people laugh”), he tests the waters, telling his best friend, Tyler, that he’s quitting school. Tyler has no idea why — so minor was the narrator’s transgression in everyone else’s eyes. An even more teachable moment comes later, when Tyler laughs at his own derision-worthy slipup. Tyler’s grace is a revelation for the narrator, who leaves the story finally capable of the same. The book is a riot as well as an analgesic: Vernick’s tightly wound, age-appropriately self-absorbed narrator is hugely relatable, but young readers will also get that he’s overdoing it. Cordell’s frugally tinted pen-and-ink and watercolor drawings have a Jules Feiffer–like looseness that captures the narrator’s downward thought-spiral, epitomized by a spread of an imagined all-classmate marching band chanting “Ha! Ha!” and wearing hats that read “Mommy.”

From the July/August 2015 issue of The Horn Book Magazine.

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My Cousin Momo
by Zachariah OHora; illus. by the author
Primary     Dial     32 pp.
6/15     978-0-8037-4011-2     $16.99

Two squirrel siblings excitedly await a visit from their cousin Momo. Unlike them, he’s a flying squirrel — and once he arrives, they learn that the differences don’t stop there. Everything about Momo is foreign to the squirrel pups, from his perspective on superheroes (his costume: “Muffin Man!”) to the way he plays hide-and-seek and spoils their game of Acorn-Pong by eating the equipment. When the children make it known that they think Momo is no fun, Momo lets loose the waterworks. Feeling guilty, the kids apologize and learn the benefits of trying things “Momostyle” (even if they still like their way better sometimes). Once all is right in the world of cousinhood, Momo soars home, and the three squirrels can’t wait to see one another again soon. With thick lines, bold colors, pitch-perfect sound effects (“PUNT!”), and generous white space, OHora’s illustrations are vibrantly kid-centric. For example, the children’s conversations appear in speech bubbles, while the parents’ dialogue is only in the printed text. The squirrels’ tree-house décor, along with Momo’s striped sneakers and his tritoned athletic bands, emit a retro vibe, and OHora’s talent for capturing emotional facial expressions through seemingly simple brushstrokes is evident, loud and clear. Young readers will enjoy the silly culture clash; librarians and parents will delight in the lightly played theme of approaching the unfamiliar with an open mind.

From the July/August 2015 issue of The Horn Book Magazine.

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Firefly Hollow
by Alison McGhee; illus. by Christopher Denise
Intermediate   Atheneum   292 pp.
8/15   978-1-4424-2336-7   $16.99   g
e-book ed. 978-1-4424-9812-9   $10.99

A kindred spirit “understands the deepest dream of your heart,” Vole says to Firefly and Cricket. This trio of friends has big dreams: Vole dreams of sailing down the river to rejoin family and friends lost in a flood years before; Firefly dreams of flying to the moon; and baseball-loving Cricket yearns to be the best catcher since Yogi Berra. Vole has no community, and Firefly and Cricket feel like outsiders in theirs. The affectionate third-person narration follows each friend’s preparations for his or her quest, and when the time comes, Firefly does indeed shoot for the stars, Cricket makes the big catch, and Vole realizes he has not lost everything after all. McGhee has so ably created a believable world where dreams can come true that the entwined fates of a firefly, a cricket, and a vole (and their “miniature giant” friend Peter, a human boy) will move readers with its rightness. Where once they had sung “Take Me Out to the Ballgame” with abandon, Firefly now says, upon returning from her aerial adventure, “It’s not true, you know…That part in the song that says you don’t care if you never get back…I cared.” Fifteen full-color plates (only three seen) will embellish the finished edition.

From the July/August 2015 issue of The Horn Book Magazine.

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Playful Pigs from A to Z
by Anita Lobel; illus. by the author
Preschool, Primary     Knopf     40 pp.
7/15     978-0-553-50832-1     $16.99
Library ed. 978-0-553-50833-8     $19.99
e-book ed. 978-0-553-50834-5     $10.99

Twenty-six pigs wake up in their pen and decide to explore the countryside, running down the road and finding a field of “magical surprises”: brightly colored, freestanding letters of the alphabet. Lobel’s soft early-morning watercolors give way to bolder pages on which each pig is now clothed and standing upright. The entire alphabet, set in a distinctive condensed typeface, runs along the top and bottom borders while each pig interacts happily with a single tall, thin letterform (all are upper-case but i). Lobel uses a name-verb-letter structure (“Amanda Pig admired an A. Billy Pig balanced on a B”), with rolling hills below and plenty of white space behind the pig and letter. Repeat readers will spot an extra object beginning with the letter in question tucked into a lower corner. Gender roles are satisfyingly relaxed: Greta, a female soldier, guards the G, while on the  opposite page Hugo tenderly hugs an H. By the time Yolanda yawns and Zeke zzzs, evening has arrived and the pigs return to their pen in a mirror image of the opening spreads, once again unclothed and running on all fours. Dinner is followed by bedtime, with all twenty-six snuggled together cozily. This playful treatment creates a humorous, easygoing book that should relieve any anxiety about learning the alphabet.

From the July/August 2015 issue of The Horn Book Magazine.

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The Skunk
by Mac Barnett; illus. by Patrick McDonnell
Primary     Roaring Brook     32 pp.
4/15     978-1-59643-966-5     $17.99

A skunk shows up on the narrator’s doorstep and begins to tail him. Try as he might, our narrator just can’t seem to shake the skunk — “When I sped up, the skunk sped up. When I slowed, the skunk slowed” — despite dodging in and out of an opera house, a graveyard, and a carnival. Ultimately, however, our narrator does lose his unwelcome shadow, crawling down a manhole in an alley and establishing a new life in a new house in a new part of the city (the heretofore low-toned palette now bursting with blue and yellow). It’s not long, though, before he realizes everything’s not what it’s cracked up to be, and he leaves his own party to go off in search of the skunk, vowing to keep an eye on him to “make sure he does not follow me again.” McDonnell’s graceful and simple cartoonlike illustrations mitigate the notes of paranoia and obsession in Barnett’s deadpan text, particularly in their rendering of the posture, gestures, and expressions of the main characters. Barnett has had the good fortune to collaborate with illustrators — Rex, Santat, Klassen — who share his oftentimes offbeat sense of humor; his pairing with McDonnell seems as natural as any of them.

From the July/August 2015 issue of The Horn Book Magazine.

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Salsa: Un poema para cocinar / A Cooking Poem
by Jorge Argueta; illus. by Duncan Tonatiuh; trans. from the Spanish by Elisa Amado
Primary     Groundwood     32 pp.
3/15     978-1-55498-442-8     $18.95
e-book ed. 978-1-55498-443-5     $16.95

In this latest addition to his series of bilingual cooking poems (Arroz con leche / Rice Pudding; Guacamole), Argueta plays on the multiple meanings of salsa to create a mouth-watering musical recipe. The poem begins with a young boy telling the history of the molcajete and tejolote, the mortar and pestle traditionally made from the volcanic rock that forms from cooled lava and used to grind vegetables and spices. As the boy and his family prepare their weekly salsa roja, the child’s imagination runs wild. Ingredients become instruments — an onion is a maraca, tomatoes are bongos and kettledrums. Argueta’s use of onomatopoeia (prac-presh-rrick-rrick is the sound of the ingredients being ground in the molcajete) and detailed description of ingredients play on the various senses to convey the sounds, flavors, and feelings coming together as the boy’s family dances, sings, and cooks. Tonatiuh’s illustrations, rendered primarily in greens and reds, complement the two types of salsa mentioned in the poem. The earthy tones and Mesoamerican-inspired drawings suit the poem’s combination of the traditional elements of salsa-making with the modern scenes of a family cooking and celebrating. The lack of measurements may leave some readers perplexed (exactly how many tomatoes are needed?), but the more important message of love and family gathering to create something special shines through.

From the July/August 2015 issue of The Horn Book Magazine.

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Adolescence is a time of transition that for many teens is characterized by hurdles big and small. These new memoirs, written by and/or for young adults, and all recommended by The Horn Book Guide, offer teenage readers real-life stories of hardship and hard-won triumph.

—Katrina Hedeen
Associate Editor, The Horn Book Guide

Andrews, Arin  Some Assembly Required: The Not-So-Secret Life of a Transgender Teen
248 pp.     Simon     2014     ISBN 978-1-4814-1675-7
ebook isbn 978-1-4814-1677-1

YA With Joshua Lyon. The author, born female, suffered profound body dysmorphia until transitioning to male at age fourteen. Now seventeen, Andrews frankly discusses the physical and emotional challenges of his transition, activism, and very visible relationship with another transgender teen (Katie Rain Hill, author of Rethinking Normal, reviewed below). A “How to Talk to Your New  Transgender Friend” guide is appended. Reading list, websites.

Burcaw, Shane  Laughing at My Nightmare
250 pp.     Roaring Brook     2014     ISBN 978-1-62672-007-7

YA With brutal honesty, snarky humor, and a profound sense of absurdity, twenty-one-year-old wise-guy blogger Burcaw recounts the trials and tribulations of growing up with spinal muscular atrophy, with which he was diagnosed at age two. The conversational tone mixes information and personal anecdotes, putting a human face on a rare disability. An engaging, life-affirming memoir for teens.

DePrince, Michaela Taking Flight: From War Orphan to Star Ballerina
249 pp.     Knopf     2014     ISBN 978-0-385-75511-5
ebook ISBN 978-0-385-75513-9

YA With Elaine DePrince. This inspirational memoir traces Michaela’s journey from an orphanage in war-ravaged Sierra Leone through her adoption by an American couple to her rising ballet stardom (appearing in the documentary First Position; joining the Dutch National Ballet). Throughout, the daughter-and-mother writing team emphasizes how important optimism, love, and perseverance were to Michaela’s success. Striking textual imagery heightens the immediacy of Michaela’s experiences, whether tragic or triumphant.

Earl, Esther  This Star Won’t Go Out: The Life & Words of Esther Grace Earl
240 pp.     Dutton     2014     ISBN 978-0-525-42636-3

YA With Lori and Wayne Earl. John Green dedicated The Fault in Our Stars to Esther Earl, who, in her own words, “went through a life changing experience known as Thyroid Cancer.” This posthumous collection (with a moving introduction by Green) gathers her musings and drawings, which span her illness. Reflections by family and friends written both before and after her death at sixteen are also included. An ultimately hopeful offering.

Hill, Katie Rain  Rethinking Normal: A Memoir in Transition
264 pp.     Simon     2014     ISBN 978-1-4814-1823-2
ebook ISBN 978-1-4814-1825-6

YA With Ariel Schrag. The author lived as a male — suicidally depressed due to body dysmorphia — until transitioning to female at age fifteen. This candid, touching memoir relates her transition, activism, public relationship with another transgender teen (Arin Andrews, Some Assembly Required, reviewed above) and hopes for the future. “Tips for Talking to Transgender People” are appended. Reading list, websites.

Rawl, Paige  Positive: Surviving My Bullies, Finding Hope, and Living to Change the World
272 pp.     HarperCollins/Harper     2014     ISBN 978-0-06-234251-5

YA With Ali Benjamin. HIV-positive teen Rawl recounts her journey through discovery, bullying, suicidal despair, and activism, tying her story into larger messages about difference, acceptance, healing, and courage, with additional focus on her anti-bullying platform. Rawl is frank and likable; her memoir’s strong narrative arc and relatable emotional reference points make it a highly readable conduit to multiple timely issues. Abundant resources are appended.

Rose, Mary  Dear Nobody: The True Diary of Mary Rose
329 pp.     Sourcebooks/Fire     2014     ISBN 978-1-4022-8758-9

YA Edited by Gillian McCain and Legs McNeil. A posthumously published diary (supplemented by occasional letters and drawings) chronicles a troubled teen’s experiments with sex, drugs, and alcohol in the late 1990s; her conflicted relationship with her single mother; and her eventual decline and death from cystic fibrosis. A series of impressions rather than a shaped narrative, the book’s rawness and angst will nevertheless resonate with many teens.

Sundquist, Josh  We Should Hang Out Sometime: Embarrassingly, a True Story
290 pp.     Little, Brown     2015     ISBN 978-0-316-25102-0
ebook isbn 978-0-316-25101-3

YA Paralympian skier, motivational speaker, and video blogger Sundquist’s funny and endearing memoir chronicles his attempt to examine his romantic encounters after he realizes, at age twenty-five, that he’s never actually had a girlfriend. The resulting investigation — presented in a report-like format with footnotes, charts, and graphs — covers ten years of would-be relationships cut short by uncertainty, awkwardness, and misunderstandings.

From the July/August 2015 issue of The Horn Book Magazine. These reviews are from The Horn Book Guide and The Horn Book Guide Online. For information about subscribing to the Guide and the Guide Online, please click here.

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From the July/August 2015 issue of The Horn Book Magazine. For more speeches, profiles, and articles click the tag ala 2015.

The post 2015 Mind the Gap Awards: The books that didn’t win at ALA appeared first on The Horn Book.

Dan Santat is one of the hardest-working people in publishing. This is widely known among his followers on Twitter and Facebook, who often see him burning the midnight oil, and the editors and art directors at the several publishing houses with which he’s worked.

This is obvious in the number of books that bear his dynamic illustrations, in everything from picture books and chapter books to graphic novels. This is undeniable, because last year he created over five hundred pages of four-color illustrations.

This is unheard of.

But what Dan does isn’t just hard work. It takes a lot of guts too, a blind leap of faith that gave him the drive to sleep for only four hours a night for ten years, so that he could, time and again, turn in consistently great work — all while raising two young sons, Alek and Kyle, with his wife Leah, and taking care of a menagerie of pets.

Like Beekle, Dan Santat has been on a journey.

He was born in Brooklyn in 1975 to Adam and Nancy Santat, a Thai couple who immigrated to the United States in 1968. When he turned three, his parents moved the family to California, where they both eagerly awaited the day their only child would become a doctor.

When Dan graduated from the University of California, San Diego in microbiology, he found himself pulled by a calling that he’d had for many years but had never acted on. Rather than going on to dental school, he instead enrolled at the Art Center College of Design in Pasadena. There he saw something familiar — other students just like him who dreamed of a life filled with art. This is also where he met one of his closest friends, illustrator Peter Brown.

He then sailed through unknown waters and took on many different jobs, from texture artist and 3D modeler to concept art designer for video games, until he reached the children’s book world. In 2002, he met Scholastic editor Arthur Levine at a Society of Children’s Book Writers and Illustrators conference, which led to his first book, The Guild of Geniuses. Aside from developing a Disney animated television series, The Replacements, it was all books from there on.

Children’s book publishing is a strange place. The process is slow. It takes a lot of work. And most people don’t get paid very much.

In 2010, Dan was offered what most people would call a dream job. Google approached him, wanting him to become one of their Google Doodlers. Taking that job meant financial stability for his family. It would prove art school wasn’t a mistake. It would change his life.

He turned the job down.

It was not an easy decision, but he loved creating children’s books, and deep down, he knew he would look back and wonder “What if?” He also thought about the example he was setting for his sons and how he wanted them to also follow their dreams no matter how difficult. Determined to have no regrets, Dan became a work machine.

He took on as many projects as he could, always pushing himself to make the next book better. He woke up every morning at 6:30 to help his boys get to school and worked until 2 a.m. He illustrated over sixty books, and in 2014 alone, he had thirteen books published that featured his art. He drank so much coffee that he began roasting his own beans, even creating his own brand he called “Surly Asian Guy,” which he shared with friends, family, and colleagues. The coffee is bold, strong, and a touch bitter, but still quite pleasing — a little like Dan himself.

This grueling routine went on for years, and Dan assumed he could do it for more, but 2014 was rough. Family health emergencies led to hospitalizations, and multiple deadlines for big books left him with as few as twelve hours of sleep in an entire week. He was exhausted, and on his birthday last October he shared the following in a blog post: “I want and expect far too much than what I may be capable of. I’m thirty-nine and I feel tired.”

A few weeks later, The Adventures of Beekle: The Unimaginary Friend began to appear on year-end “best of ” lists. Minh Le at The Huffington Post blog named it the Best Overall picture book of the year, and in his review he wrote, “As with all great books, Beekle has an air of inevitability about it. As if somewhere out there is an island of perfect stories just waiting for the right person to come along and imagine it into being.”

Up until then, Dan was known for his action-packed illustrations, full of humor and high energy, as seen in books such as Oh No!: Or How My Science Project Destroyed the World, The Three Ninja Pigs, and Chicken Dance. Beekle’sstory reflected his softer side and was inspired by Dan’s first child, his son Alek. Like Beekle imagining his real friend, Dan had wondered, before Alek’s birth, what his child would look and be like. A few years later, on Alek’s first day of school, Dan eased his son’s worries about making friends. “All it takes is one,” he’d said, just as when Alice finally meets Beekle and his friendship opens up for her the possibility for more.

The name “Beekle” itself comes from Alek’s first word, an early attempt at “bicycle.” There’s a video of one-year-old Alek pedaling a tricycle at Christmas, cheerfully exclaiming, “Beekle!” At the time, Dan’s wife Leah said the name would make a great picture book character. Years later, “Beekle” became an unimaginary friend.

The book began as a very short script, a few black-and-white sketches, and one full-color sample. Beekle had one eye, a hat and scarf, and a story that hinted at journey and adventure. Since he’d written only one picture-book text, and that over ten years earlier, writing did not come quickly to Dan. He took an ambitious approach at first. At one point, the story was a metaphor for the creative process, a tale of how
an author and illustrator come together on a picture book. But then he took a step back and adhered to the old adage of “speaking from the heart.” The minute you meet Dan you can tell he’s a captivating storyteller and speaker, and he soon realized that all he had to do was take those words out of his mouth and put them onto paper.

Throughout the process, Beekle and his story changed. Dan believes that in character design, every single element must serve a purpose. So Beekle got two eyes, because there was no reason for him to have just one. Beekle became even more amorphous, an ambiguous blob, because he was meant to be dreamed up by a shy young girl who thought she didn’t deserve any imaginary friend, much less an awesome one. Like a white sheet of paper, Beekle represented possibility and imagination.

He was also bestowed with a crown; while Beekle was simple and indistinct, he was always a king in Alice’s mind. He got one of the cutest butts in picture books, because creative director Dave Caplan would exclaim, “Look at that tuchus!” every time he saw it, and Dan, ever a professional with publishers, aimed to please.

While Dan took out some of the layers of the story, he added much to the overall design and illustration. The endpapers feature various children with their imaginary friends, each one specifically paired with the child’s interests. In the front endpapers Beekle stands alone, and in the back, there he is with Alice. The case cover reveals a cruder Beekle, as though he were hand-drawn by a child — in this case, we imagine it was done by Alice. On the front cover and in the book we see that while adults never pay attention to Beekle, animals do. The colors embark on a journey too, from the psychedelic rainbow palette of the imaginary world to the dark grays and blues of the real world. As the sun sets, Beekle sits perched atop a bare tree waiting for his friend, the sepia tones in the background matching his melancholy, and when he meets Alice at last, the world blooms with bright color.

Though the story itself took a step away from being about the creative process, the message is still there, on the pages where Alice shares her drawings with Beekle — each one echoing the previous pages in the story. So he got that in there after all. Touché, Dan.

The Adventures of Beekle: The Unimaginary Friend is the culmination of hard work and hard-earned experience. With this book Dan felt he had finally reached his destination, which is why, for the first time in his career, he allowed himself a little hope. He thought that if all the stars were aligned, he might be in the running for a Caldecott Honor. That was all he could imagine.

When his cover appeared on that last Caldecott slide at the ALA Youth Media Awards, cheers erupted, and everyone, from the publishers he’s worked with to the large and loving community of authors and illustrators who’ve had his back for years, knew.

Dan Santat had done the unimaginable.

Dan Santat is the winner of the 2015 Caldecott Medal for The Adventures of Beekle: An Unimaginary Friend (Little, Brown). From the July/August 2015 issue of The Horn Book Magazine. For more speeches, profiles, and articles click the tag ala 2015.

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It is Friday afternoon and I’m sitting in a restaurant in Vancouver, B.C. In an hour, I will give my final talk of a two-day visit. In these two days, I’ve visited a number of schools in Vancouver — both independent and public. As I stood in front of each crowd, I was astonished by a thing I’ve not encountered for many years now — being the only African American in an otherwise incredibly diverse room. I kept thinking to myself — “We are all almost here.”

Almost.

At the Hudson Children’s Book Festival in May, a young white reporter asked me, How has the award changed your life? I looked at her a moment, then said, Which award? She fell silent, looking confused. I was not inclined to fill the silence. In Brown Girl Dreaming I write, “Even the silence has a story to tell you. Just listen. Listen.” So I listened to the space grow between us — knowing the answer she would give was not the answer I wanted to hear. I knew her answer was going to come from her own sense of what is important in the world as she knew it. I held up the book and pointed to the CSK seal on it, letting more silence sit between us before I began in (as my partner likes to refer to it) my Joho Manner, to calmly and quietly break things down for her.

The Coretta Scott King Honor Award was given to me for the first time in 1995 for my book I Hadn’t Meant To Tell You This, a story of two girls growing up in Chauncey, Ohio — one wealthy and black, the other poor and white. Both being raised by their fathers. Because the book dealt with issues of, among other things, a deeply flawed health care system, friendship across lines of economic class, and sexual abuse, I was stunned and so pleased that the committee had awarded this book. But in 1996, when my novel From the Notebooks of Melanin Sun was given an Honor, while I was still young and nervous and new to the world of young people’s literature, I just thought, “Wow!” I had never dreamed that a book with a gay mom would even get published, let alone win a CSK Honor Award. I realized then that there were some people in this world who had my back — some people letting me know: “We got you.” Both of these moments changed my life.

And again my life was changed when the CSK committee gave the Author Award to my book Miracle’s Boys in 2001. That year, we learned that employees at the hotel where the awards ceremony was to be held were picketing. When the CSK members refused to cross the picket lines and, instead, canceled the ceremony, I knew I had found my people. In the way of our people always finding a way to make a way out of no way, my publisher and other publishers came together and organized the CSK Tea that Bryan Collier, the CSK Award winner for illustration, and I spoke at. The morning before that tea, I learned I was pregnant with our daughter, Toshi. To stand in that room and be among new family and old family, a generation coming, kindred spirits and people who deeply, deeply believed in me, was life-altering. And the years after these awards, when the CSK committee chose Locomotion and Each Kindness as Honor Books — launching those books into the world with their blessing, believing deeply…in me — these events have forever changed my life.

The first time I read Rudine Sims Bishop’s writing and understood the work I was brought here to do, my life was changed forever. The first time Deb Taylor brought me to the Enoch Pratt Free Library, my life was changed forever. The first time I hugged Walter Dean Myers, sat beside Virginia Hamilton and basked in the warmth of her smile, snapped a photo with Tom Feelings, read Stevie by John Steptoe — my life was changed forever. Every time I get to be in a room with Dr. Henrietta Smith, my life is changed.

So while there are some who will try to find ways to erase the magnitude of this award, the amazingness of us and our work — there are many more who know the importance of our stories in the world. So to the Coretta Scott King committee who chose Brown Girl Dreaming as this year’s award winner, I say Thank You — you have, once again, changed my life. To my editor, Nancy Paulsen, who dug so deeply into the pages of this story and helped me to believe that there was some sense to this journey, and a purpose,  I say Thank You — you continue to change my life. And to my Penguin Random House family, whose passion comes through with every email and phone call and visit to the office and dinner and champagne toast — I say Thank You. To my past editor, Wendy Lamb, who said “Write what you want,” and my past agent, Charlotte Sheedy, who said “We need to find you a home” and found me Nancy Paulsen — I say Thank You. To my present agent, Kathleen Nishimoto, whose energy and dedication and joy just…just makes me smile — I say Thank You. To my single mom, who, during the Great Migration, somehow got four kids from Greenville to Brooklyn and made sure we were all educated — in memory, I say Thank You. To the Woodsons and the Irbys who are still on this planet and the ones who have moved to the next place, I say Thank You. And to my family — my amazing partner, my glorious children, the aunts and uncles (two of whom are on this stage with me—Chris and Jason!—and Kwame, when you come to Brooklyn, we’re gonna rope you in, too!), and to the rest of our village who change our lives by being here to help us through every single day — I say Thank You!

From left to right: Christopher Myers, Kwame Alexander, Jason Reynolds, Jacqueline Woodson, and Rita Williams-Garcia. Photo courtesy of Jason Reynolds.

I am deeply honored. We are here because of our ancestors and elders and the people who hold us up every day — thanks for helping all of us never forget them or the way each of us finds a way to make a way out of no way — every single day. Thank you so much, all of you who believe in Diverse Books, who believe in keeping young brown children — and all children — dreaming.

Jacqueline Woodson is the 2015 Coretta Scott King Author Award winner for Brown Girl Dreaming (Paulsen/Penguin). Her acceptance speech was delivered at the annual American Library Association Conference in San Francisco on June 28, 2015. From the July/August 2015 Special Awards issue of The Horn Book Magazine. Read editor Nancy Paulsen’s profile of Jacqueline Woodson. For more speeches, profiles, and articles click the tag ala 2015

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Photo: Marty Umans

One of the greatest joys of my career has been seeing Brown Girl Dreaming come to life and reverberate as it has been handed from reader to reader.

I have been lucky enough to work with Jacqueline Woodson for almost twenty years. She was the very first author I signed up when I became the publisher of G. P. Putnam’s Sons. Her lyrical writing sang to me. Her voice was so strong and clear and evocative. I also loved her spare style, how she could make magic happen with an economy of words. Since then I’ve edited six of her amazing picture books; Brown Girl Dreaming is the tenth novel we’ve worked on together.

I never know what I am going to get next from Jacqueline, and I am always happily surprised. The muse strikes her, and then she sends her stories to me at various stages in the creative process. Some of the picture books, such as Show Way and Each Kindness, were practically perfect and complete when I received them. The main challenge for those titles was finding the right illustrator. The early drafts of the novels usually come in with much of the story in place, but lots of holes to fill in. So I start by asking questions. I love every character and always want to know more. With Brown Girl Dreaming — a memoir in verse — boy, did I want to know more about a character I loved!

When I received the first draft of Brown Girl Dreaming in 2012, I knew I was holding something special in my hands. Many of the poems from the first section were already there, including the opening one, which begins:

I am born on a Tuesday at University
Hospital
Columbus, Ohio,
USA—
a country caught

between Black and White.

Right from the beginning, we know we are going to get a story that is deeply personal but also one that tells of a shared history—the racial divide that is part of America—and readers will experience it from the eyes of a child who has lived in the North and the South. And because of the book’s title, we know we are in the hands of a dreamer, a young girl who has hope and aspirations. She is an observant student of the world around her. I love how she contemplates who she might become in the future by her admiration of those who have come before her:

I do not know if these hands will become
Malcolm’s—raised and fisted
or Martin’s—open and asking
or James’s—curled around a pen.

Through Jacqueline’s eyes we see, and then feel, the terrible injustice that a dignified black woman, her beloved grandmother, had to live through on a daily basis:

We walk straight past Woolworth’s
without even looking in the windows
because the one time my grandmother
went inside
they made her wait and wait. Acted like
I wasn’t even there. It’s hard not to see the
moment—
my grandmother in her Sunday clothes,
a hat
with a flower pinned to it
neatly on her head, her patent-leather
purse,
perfectly clasped
between her gloved hands—waiting
quietly
long past her turn.

As we witness her grandmother’s ordeal, our hearts are broken by something we cannot fix. But we gain such insight into how families like Jacqueline’s figured out ways to fight back, ways to bring about the change the world so desperately needed:

This is the way brown people have to fight,
my grandfather says.
You can’t just put your fist up. You have to
     insist
on something
gently. Walk toward a thing
slowly.

But be ready to die,
my grandfather says,
for what is right.

As I read each draft of Brown Girl Dreaming — and, as Jacqueline says, there were so dang many of them! — I wanted more and more answers. I wanted to know about the love she felt for both her Southern and Northern roots and what it felt like to have a special place in her heart for each of them. I wanted to know what it was like when her mother bravely went off alone to search for a place to bring up her four children, a place that would offer them the most freedom and opportunity.

Looking for her next place.
Our next place.
Right now, our mother says,
we’re only halfway home.

And I imagine her standing
in the middle of a road, her arms out
fingers pointing North and South.

I want to ask:
Will there always be a road?
Will there always be a bus?
Will we always have to choose
between home

and home?

The book grew from three parts to five, as it became clear that more ground needed to be covered for the many facets of Jacqueline’s life. Please tell me more about your religion, I asked. What was it like to go door-to-door as a Jehovah’s Witness and have to introduce yourself to strangers? And in the telling, more stories emerged. Jacqueline’s grandfather (called “Daddy”), as it turned out, did not embrace organized religion. Her uncle, while in jail, converted to Islam. And in living through all this, Jacqueline
grew more open and empathetic to other people’s beliefs:

But I want the world where my daddy is
and don’t know why
anybody’s God would make me
have to choose.

One of the best parts of editing this memoir was learning about how storytelling was a part of young Jacqueline’s life. How she could hold her classmates rapt by repeating stories even before she learned to read. How she knew, early on, that there was enormous power in words:

I want to catch words one day. I want to
hold them
then blow gently,
watch them float
right out of my hands.

And so she has. Jacqueline’s words in Brown Girl Dreaming float off the page; they first linger and then stay even longer with the reader. When the thirty drafts were done, and Jacqueline and I both agreed at the same time that the story was complete, we had advance reading copies made. I gave out the first ones to librarians and educators at the Texas Library Association conference in San Antonio in early 2014. John Schumacher and Colby Sharp shared their copies with Paul Hankins and with Donalyn Miller, who wrote in a Nerdy Book Club blog post about reading the galley on her way home from the convention:

As I read, a silver thread flowed out of Brown Girl Dreaming, and twined up my wrist to my chest — connecting Jackie’s family to me and making them part of me. Following Colby’s scribbled brackets around lines and folded page corners like messages for me to find, he was with me in the book, too. That thread connects me to Jackie now, but it also connects me to Colby, Jillian [Heise], and everyone who will ever read Brown Girl Dreaming.

I love that Jacqueline’s writing has the power to connect us. It reminds us of so many universal parts of growing up: competing with siblings, feeling content in the heart of your family, being confused by a million messages coming at you, struggling to make sense of the senseless, and ultimately finding the power of your own voice. Reading a memoir like Brown Girl Dreaming reminds us that each of us has a voice and needs to find it in our own time; that everyone’s story is important; that we become stronger by dreaming our dreams and sharing our stories; and that books have the power to make the world a better place.

And so I thank Jacqueline Woodson, as well as all the librarians and teachers and booksellers who have worked to get this book into the hands of so many readers. You are all changing the world.

Profile of 2015 Coretta Scott King Author Award winner Jacqueline Woodson. From the July/August 2015 issue of The Horn Book Magazine. Read Jacqueline Woodson’s Coretta Scott King Author Award acceptance speech for Brown Girl Dreaming. For more speeches, profiles, and articles click the tag ala 2015.

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Table of Contents

Features

“Coretta Scott King Awards 2015″ by Deborah Taylor
“A group of established creators and some very intriguing newcomers.”

“Coretta Scott King Author Award Acceptance” by Jacqueline Woodson

“A profile of Jacqueline Woodson” by Nancy Paulsen

“Coretta Scott King Illustrator Award Acceptance” by Christopher Myers

“A profile of Christopher Myers” by Jason Reynolds

“Caldecott and Newbery 2015″ by Thom Barthelmess
“Some meaningful, curious, and thought-provoking juxtapositions.”

“Caldecott Medal Acceptance” by Dan Santat

“A profile of Dan Santat” by Connie Hsu

“Newbery Medal Acceptance” by Kwame Alexander

“A profile of Kwame Alexander” by Nikki Giovanni

“Wilder Medal Acceptance” by Donald Crews

“A profile of Donald Crews” by Nina Crews

“2015 Mind the Gap Awards”
The books that didn’t win.

Columns

Editorial
“What the Survey Doesn’t Say” by Roger Sutton
Diversity by the numbers.

Sight Reading
“Some Vacation: This One Summer” by Leonard S. Marcus
Thoughts on this one book, honored by both the Caldecott and Printz committees.

A Second Look
“It’s Like This, Cat” by Kathleen T. Horning
“The 1964 Newbery winner was difficult to select” — ah, do tell!

Books in the Home
“#WeGotDiverseAwardBooks” by Megan Dowd Lambert
Reflections on awards and allies.

From The Guide
“YA Memoirs”
A selection of reviews from The Horn Book Guide.

Reviews

Book Reviews

Departments

On the Web
July/August Starred Books
Impromptu
Index to Advertisers
Index to Books Reviewed

Cover © 2015 by Dan Santat. Page 2 art from Firebird. Illustration © 2014 by Christopher Myers.

The post Horn Book Magazine – July/August 2015 appeared first on The Horn Book.

Special Issue: Awards

Original cover art by 2015 Caldecott Medal winner Dan Santat.

Deborah Taylor, 2015 recipient of the Coretta Scott King/Virginia Hamilton Award for Lifetime Achievement, examines the winners and honorees of this year’s CSK Awards.

Jacqueline Woodson’s CSK Author Award acceptance speech.

Editor Nancy Paulsen’s profile of Jacqueline Woodson.

Christopher Myers’s CSK Illustrator Award acceptance speech.

Author Jason Reynolds’s profile of Christopher Myers.

Thom Barthelmess notices trends within the 2015 Newbery and Caldecott winners and honorees.

Dan Santat’s Caldecott Medal acceptance speech.

Editor Connie Hsu’s profile of Dan Santat.

Sight Reading: Leonard Marcus on This One Summer, honored by both the Caldecott and Printz committees.

Kwame Alexander’s Newbery Medal acceptance speech.

Poet Nikki Giovanni’s profile of Kwame Alexander.

A Second Look: Kathleen T. Horning rereads 1964 Newbery winner It’s Like This, Cat.

Donald Crews’s Wilder Medal Acceptance speech.

Nina Crews’s profile of her dad, Donald Crews.

Books in the Home by Megan Lambert: #WeGotDiverseAwardBooks.

2015 Mind the Gap Awards.

From The Guide: Young Adult Memoirs.

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