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In this post, Tu Books Publisher Stacy Whitman discusses why avoiding discussions of race with young people can do more harm than good.
Many African American parents already know what “the talk” is. It’s not the talk that many white parents might expect—we’re not talking about the birds and the bees. No, this “talk” is the one where black parents have to sit with their children and discuss how they might be perceived by the world around them: particularly police, but also teachers, neighbors, and friends who are not from their racial background.
Though the burden often falls on parents of color alone to discuss these issues with their children, in reality all parents should address race with their kids in a conscious and meaningful way. Communities are also seeking ways to address interpersonal racial issues, particularly in schools. Having the tools to know how to discuss racial matters is essential for children from all backgrounds.
Research has shown that the “colorblind” approach—teaching children that it is racist to acknowledge racial and ethnic differences—is doing no one any favors, and in fact can reinforce racist attitudes and assumptions, and especially reify systemic racism. “Black children know irrefutably that they’re black by the time they’re about 6 years old and probably earlier,” one article noted in our research. Do white children know they’re white? If not, how do they think of themselves?
At Lee & Low, we’ve always believed that even the youngest readers have the capacity to understand and appreciate difference—that’s why many of our children’s books address issues like racism and discrimination. But you don’t have to take our word for it: many experts, educators, and academics have done work on this topic as well and their recommendations can help point parents and teachers in the right direction.
Studies have also shown that not addressing difference does not make children colorblind—it only encourages them to absorb the implicit racial messages of American society. Children learn that race is a category even when parents try to teach them not to recognize race. Much like children learn to perform regional accents even when their parents are from another location, children learn how the larger society around them views race, via inference and transductive reasoning. “In other words, children pick upon the ways in which whiteness is normalized and privileged in U.S. society.”
“Nonwhite parents are about three times more likely to discuss race than white parents,” said a 2007 study. “It’s the children whose parents do directly address race — and directly means far more than vaguely declaring everyone to be equal — who are less likely to make assumptions about people based on the color of our skin.”
Many argue that “the talk” should happen far more often than once, and that parents shouldn’t bear the sole burden to teach their kids about race—that it is a community-wide issue.
Erin Winkler provides several ways for parents and teachers to address the biases that children might pick up, including discussing the issue in an age-appropriate way, with accurate information that doesn’t shame or silence children for having questions. They also suggest encouraging complex thinking and taking children’s questions and biased statements seriously—“When children are taught to pay attention to multiple attributes of a person at once (e.g., not just race), reduced levels of bias are shown,” the author notes, and suggests that the most important thing parents and teachers can do is to give children information that empowers them to be anti-racist.
One New York City-area school asked, “Can racism be stopped in the third grade?” They began a “racial affinity program,” in which elementary-age kids were sorted by racial groups for discussions of questions that “might seem impolite otherwise,” and to then come together as a school community to discuss these questions and experiences in a way that fosters greater communication. Parents and students are mixed on whether this program succeeded, with Asian students noting that the discussions of race still focused on the dichotomy of black and white, and some parents uncomfortable with the idea of discussing race at all. The administration notes, however, that many of their students of color needed this program—mandatory for all students—to combat microaggressions between students.
Allie Jane Bruce, the librarian at Bank Street School in New York City, has been discussing race, biases, and stereotypes with the students in her school for three years, using children’s book covers as a launching point. “I’m constantly delighted by the new discoveries kids make, and by the wisdom and insight already present in 11- and 12-year-olds,” Bruce noted in her most recent series of blog posts about the curriculum, which she has named “Loudness in the Library.” She notes especially that kids at this age tend to feel very uncomfortable with discussing race at first. “The fact that race-related conversations are so very fraught is a huge part of the problem. We must be able to communicate in order to solve problems that exist at interpersonal, institutional, and societal levels. If kids in 6th grade already have the inclination to stay silent in conversations on race, how much stronger will that inclination be in adults? And if we can’t talk about race and racism, how will things ever get better?”
Parents, what does “the talk” look like in your home? Teachers and librarians, how do you approach discussions about race with your students and patrons?
Stacy Whitman is Editorial Director and Publisher of Tu Books, an imprint of LEE & LOW BOOKS that publishes diverse science fiction and fantasy for middle grade and young adult readers.
This February, the Cooperative Children’s Book Center (CCBC) released its statistics on the number of children’s books by and about people of color published in 2014. The issue of diversity in children’s books received a record amount of media coverage last year, in large part due to the success of the We Need Diverse Books campaign. Many people were anxious to know if the yearly CCBC statistics would reflect momentum of the movement.
The biggest takeaway from the new statistics was positive: in 2014 the number of books by/about people of color jumped to 14% (up from 10% in 2013) of the 3,000 to 3,500 books the CCBC reviews each year. Though not as high as it should be, the number shows definite improvement.
But looking at this number alone doesn’t show the whole story. In 2012, we kicked off our infographic series with information about the diversity gap in children’s books. Here is the updated infographic, which reflects statistics through 2014:
Some observations based on the CCBC data and our infographic:
One good year is not a guarantee of long-term change. Although the statistics for 2014 were the highest they have ever been since the CCBC started keeping track in 1994, the key question is whether or not this momentum will be maintained. The second-highest year, 2008, hit 12%, but was followed by a decrease to 11% in 2009, and then down to 10% in 2010, where it stayed until 2014. In addition, one good year does not erase 20 bad years: the total average still hovers around 10%. It will take a sustained effort to push the average above 10% and truly move the needle.
The increase predates 2014’s big changes. The founding of We Need Diverse Books and last year’s burst of media coverage certainly brought the issue of diversity to the forefront, but they did not cause this particular increase. It takes several years to move a book from acquisition to publication. The books released in 2014 would have been acquired in 2012 or earlier—long before Walter Dean Myers’ New York Times editorial, which many credit with reigniting awareness of the diversity issue. This could mean that publishers were making a concerted effort to diversify their lists before 2014, and it was a happy accident that last year’s increase in demand coincided with an actual increase in supply. Or it could mean that 2014’s increase was just a blip on the publishing radar and not part of a larger trend.
Creators of color are still heavily underrepresented. For the first time in 2014, the CCBC released more detailed statistics. They categorized books as “about,” “by and about,” or “by but not about” people of color. Based on those numbers, we can also calculate the number of books that are “about but not by.” The chart below compares the number of books “about but not by” people of color (blue) with the number of books “by and about” (red) people of color.
In every category except Latino, more books are being published about characters from a particular culture by someone who is not from that culture than by someone who is. This disparity is most dramatic when it comes to books with African/African American content, of which only 39% were by African Americans.
In 2014, there were 393 books published about people of color, of which 225 (57%) were by people who were not from the culture about which they wrote or which they illustrated.
It’s disconcerting that more than half the books about people of color were created by cultural outsiders. Realistically, these numbers likely mean that there are more white creators speaking for people of color than people of color speaking for themselves. This problem may stem from a long history in which people of color have been overlooked to tell their own stories in favor of white voices. Authors and illustrators of color have a right to be wary of an industry in which they are still underrepresented, even among books about their own cultures.
This also raises questions about quality and cultural authenticity. Who is checking to make sure diverse books are culturally accurate and do not reinforce stereotypes? Are cultural consultants being routinely employed to check for accuracy? Are reviewers equipped to consider questions of cultural accuracy in reviews? Given that more diverse books are being created by cultural outsiders than insiders, these questions must be answered.
It’s worth celebrating that the number of authors and illustrators of color went up by 23% in 2014, but this does not lessen the urgent need to find ways to bring more talented creators of color into the publishing fold.
Some authors and illustrators of color have more freedom than others. For the first time in 2014, the CCBC also released statistics citing the number of published books by creators of color that did not have significant cultural content. This statistic is a measure of the freedom that people of color have to write or illustrate topics other than their own cultures. As the numbers show, this level of freedom varies greatly from culture to culture:
Why are Asian/Pacific American creators so much more free to create books without significant cultural content? Perhaps it is because they don’t have the same pressure to create books that will be eligible for certain awards. Latino and African American authors and illustrators often work with the prospect of the Pura Belpré Award and the Coretta Scott King Award (respectively) looming over them. These awards can sell thousands of copies of a book—no small drop in the bucket, even for a major publisher. For a book to be eligible for either award, it must be both by a person from the culture and contain significant cultural content. So Latino and African American creators may feel pressured to create Belpré- or King-eligible books instead of books without cultural content. These may also be the books that publishers are most likely to acquire. While awards also exist for Asian Pacific American and Native American literature, they carry less weight in terms of sales.
Or, perhaps, Asian American creators don’t feel this freedom at all, and the numbers aren’t telling the whole story.
Conclusion: What the CCBC numbers tell us are that things are looking up, but there is a lot of work left to be done. No one set of statistics tells the whole story, but the CCBC numbers offer a baseline for tracking the progress that has been made, and shows us how far we still have to go.
Amy Koester is the Youth & Family Program Coordinator at Skokie Public Library, where she selects fiction for youth birth through teens and oversees programming aimed at children through grade 5. She is the chair of the ALSC Public Awareness Committee, and she manages LittleeLit.com and is a Joint Chief of the Storytime Underground. Amy has shared her library programs, book reviews, and musings on librarianship on her blog The Show Me Librarian since early 2012.
There is a conversation happening on the Storytime Underground Facebook Group right now. It’s been going on for a few days, actually, and it seems to have started innocuously enough: with a question about folks’ thoughts on the Youth Media Award winners, asked by a person who expressed “major shock” and disappointment (via frown-y face emoticons) about one of the Caldecott honors. As I said; innocuously enough.
Some folks who added to the thread brought up the perennial gripe that not all the recognized titles seem to have much kid appeal; other voices jumped in to clarify that kid appeal is not part of the criteria for any of the major YMAs awarded by ALSC and YALSA. I find this argument annoying the same way I do a mosquito bite, because it pops up every year around the same time and is irritating but will disappear in a week. After all, there are awards that take kid appeal into account.
But. Then something ugly and uncomfortable popped up. People started talking about certain books not appealing to kids or their entire communities for one reason: because said certain books have diverse protagonists.
Things people have said*:
“Sometimes I pass on even well reviewed books because I know they just won’t circulate. There aren’t any Greek gods in it! I also have a difficult time getting uh, diverse books to circulate in my community. When I started my job and weeded the picture books a huge number of non circulating titles had POC on the cover. ‘Brown Girl Dreaming?’ That’s a hard sell.”
“You can have my copy then. Because it won’t circulate where I am.”
“I just know it’s going to be a hard sell.”
“We have a copy, but I can count the number of black patrons my library has in two weeks on one hand. It is rural, middle class, white West Michigan. The only black author that circulates…at all…is Christopher Paul Curtis and that’s because some teachers require it. It’s not just the race of the characters either. If our young patrons want sports fiction they are going to choose Mike Lupica or Tim Green. The crossover has not circulated even one time since we got it. It’s not like Kwame can’t write. Acoustic Rooster checks out frequently.”
After reading the full thread and seeing this build-up of negative dialogue specifically around diverse award-winning titles in collections, I responded:
“I find it extremely problematic to suggest that a library doesn’t need a book–award-winner or not–that features a minority protagonist on the basis that there aren’t many readers of that minority who use the library. To me, that suggests both a bias on the part of selectors as well as a lack of trust in the readers we serve. We know verifiably that young readers do not only want to read about characters whose lives are like their own, and keeping them from even having the option to try a book about a person who is different from them is bordering dangerously on censorship. If a particular child does not want to read a particular book, so be it; but, especially in a public library, children should have that option.”
I am going to expand on that a bit.
First, and frankly, I find the position “because we don’t have X readers in my library, we don’t need X books” to be racist. This position implies that we as selectors view diverse books as inherently less-than. If we argue that only black youth will want to read about black youth, we are really saying that the experiences of black youth have no relevance or meaning to youth of any other race. We are saying that the experiences of the youth in the books we do buy have broader relevance and resonance. That is the very definition of otherizing and making a particular perspective, experience, or group less-than.
The position that “because we don’t have X readers in my library, we don’t need X books” also denotes a fundamental lack of respect for the children we are supposed to be serving. It suggests that we think our young readers cannot handle, relate to, or be expected to understand an experience that does not mirror their own. Not collecting—and collecting but not promoting—titles with diverse protagonists projects the selector’s own bias onto the reader instead of letting readers freely encounter stories and information.
Also, I feel very strongly that if the excellent diverse books in your collection do not circulate, you are not doing your job of getting great books into the hands of readers. As librarians, we can sell any great book to the right reader. We can find the aspects of a title that will appeal to the range of readers we serve. Diverse books have the exact same appeal factors as the whitewashed majority of children’s publishing. So we can be professionals and make our readers’ advisory about appeal factors, or we can continue to always take kids interested in sports reads to Matt Christopher or Tim Green instead of to Kwame Alexander. But if we do the latter, we are part of the problem. If we omit diverse titles from our RA even though those exact same appeal factors are there, we are perpetuating a racist status quo.
I want to take a moment to step outside of what I have to say on this topic and share what some other professionals have said*:
“Good collection development policies should emphasize a variety of things, but one of them should most definitely be diversity. The goal of a public library is not just to serve as a mirror for our community, but to serve as an open door to the world, which includes giving our communities opportunities to walk in the shoes of characters very different from them. This, to me, is part of our education goals, to help our patrons gain a broad perspective of the world. If books don’t circulate there are things we can do to help promote circulation, including book displays, book talks, sharing book trailers and more. Yes, budgets are tight every where, but we should absolutely make sure that we actively are working to build diverse collections because it is an important part of helping us fulfill our primary mission to our local communities. And the idea that not one single person in our local communities wants or needs to read books that highlight diversity concerns me because it suggests that we don’t have enough faith in our kids to learn, grow and step outside of their comfort zones.”
“I think it is a PRIMARY JOB of librarians, specifically youth services librarians, to promote and encourage diversity in our collections, budgets be damned. After all, I spend way too much of my money on crap like Barbie and Disney princesses … which circulate like *gangbusters*. But if I went on just that, I’d have a very shallow collection.”
“The point: if the only way you know how to sell a book is ‘it’s got brown people’ then you might’ve missed the point of the story.”
“If you want to champion diversity in a place where people are resistant, sell the story, not the character’s color or orientation.”
“And I absolutely hate that people use the excuse ‘well, they just don’t circulate in my library.’ That speaks the the librarian’s failings.”
When it comes down to it, a major aspect of this topic is selection/collection development, and the fact that selection is a privilege. If you select materials for your readers, you are privileged to get to influence not only what children read, but what they have access to in the first place. And when I read arguments against including diverse titles, or questions about why we have to talk about this topic, it puts into sharp focus for me the fact that we have to recognize our privilege as selectors, and, more than likely, as white selectors for diverse readers.
If you find yourself thinking “I don’t need this title because we don’t really have many X readers here,” your privilege is showing. You have probably never had to open more than one or two books in a row in order to find a character who looks/speaks/lives like you do. That is privilege. And whether we intend it to or not, our privilege influences our thinking and our decisions. This is a problem because our decisions affect the capabilities of young readers to find books in which they can find themselves and in which they can meet new people.
Confronting our privilege is hard. It is uncomfortable. I am acutely aware that, because of my privilege as a white woman, I don’t have to write this post. No one would begrudge me for not speaking up on this topic publicly. In fact, it would probably be a lot easier, and I would seem a lot nicer, if I didn’t write this post.
But that course of action is no longer acceptable to me. I am no longer going to privately roll my eyes when professional colleagues make privileged statements about their exclusionary practices, or when reviewers ignore microaggressions in books for youth. I am going to say something, because ignoring it only lets it perpetuate. And when someone calls me out on something I say or causes me to think critically about my own practice, I am going to try really, really hard not to get defensive and to just listen and reflect and improve. It is hard. And I don’t need to do it.
Except that I do, because the ability of every child I serve to feel valuable and see themselves as a beautiful, complex individual is what hangs in the balance.
This is not about our comfort, or our personal convictions, or what we think we know definitively after doing this job a particular way for so many years.
It is about the children we serve. Every single one of them.
*Because these conversations have been happening in public forums (a public Facebook group and on Twitter), I feel that sharing direct quotations is not a breach of anyone’s privacy. I have made the decision to share these quotes without identifying the speakers, as my ultimate goal is constructive conversation about privilege in selection for youth libraries, not alienating or shaming members of the community.
Fortunately there are awards and grants out there help writers of color achieve their publication dreams.
We’ve created a list of awards and grants to help you get started!
New Voices Award – Established in 2000, is for the unpublished author of color for a picture book manuscript.
New Visions Award – Modeled after LEE & LOW’s New Voices Award, this award is for Science Fiction, Fantasy, or Mystery middle grade or YA novels.
SCBWI Emerging Voices Grant – This award is given to two unpublished writers or illustrators from ethnic and/or cultural backgrounds that are traditionally under-represented in children’s literature in America and who have a ready-to-submit completed work for children.
SLF Diverse Writers and Diverse Worlds Grants – These grants are new works and works in progress. The Diverse Writers Grant focuses on writers from underrepresented and underprivileged backgrounds, and the Diverse Worlds Grant is for stories that best present a diverse world, regardless of the author’s background.
The theme of the American Society of Criminology meeting this November is “Criminology at the Intersections of Oppression.” The burden of violence and victimization remains markedly unequal. The prevalence rates, risk factors, and consequences of violence are not equally distributed across society. Rather, there are many groups that carry an unequal burden, including groups disadvantaged due to race, ethnicity, socioeconomic status, sexual identity, place of residence, and other factors. Even more problematically, there is an abundance of evidence that there are marked disparities in service access and service quality across sociocultural and socioeconomic groups. Unfortunately, even today this still extends to instances of outright bias and maltreatment, as evidenced by ongoing problems with disproportionate minority contact, harsher sentencing, and barriers to services.
However, there is promising news, because advances in both research and practice are readily attainable. Regarding research, there are a number of steps that can be taken to improve our existing state of knowledge. To give just a few examples, we need much more research on hate crimes and bias motivations for violence. Hate crimes remain one of the most understudied forms of violence. We also need many more efforts to adapt violence prevention and intervention programs for diverse groups. The field has still made surprisingly few efforts to assess whether prevention and intervention programs are equally efficacious for different socioeconomic and sociocultural groups. Even after more than 3 decades of program evaluation, only a handful of such efforts exist. Program developers should pay more systematic attention to ensuring that materials that use diverse images and settings. However, it is also important to note that cultural adaptation means more than just superficial changes in name use or images.
Regarding practice, what is needed is more culturally appropriate approaches. In many cases, this means more flexible approaches and avoiding a “one size fits all” approach to services. Most providers, I believe, have good intentions and are trying to avoid biased interactions, but many of them lack the tools for more culturally appropriate services. One specific tool that can help is called the ‘VIGOR’, for Victim Inventory of Goals, Options, and Risks. It is a safety planning and risk management tool for victims of domestic violence. It is ideally suited for people from disadvantaged groups, because, unlike virtually all other existing safety plans, it has places for social and community issues, financial strain, institutional challenges, and other issues that affect people who experience multiple forms of disadvantage. The safety plan does not just focus on physical violence. The VIGOR has been tested with two highly diverse groups of low-income women, who rated it as better than all safety planning they had received.
The VIGOR also offers a model for how other interventions can be expanded and adapted to consider the intersections of oppression with victimization in an effort to be more responsive to all of the needs of those who have sustained violence. With greater attention to these issues, there is the potential to make a real impact and help reduce the burden of violence and victimization for all members of society.
Dr. Hamby attended an Author Meets Critics session at the ASC annual meeting yesterday morning. The session was chaired by Dr. Claire Renzetti, co-editor of the ‘Oxford Series of Interpersonal Violence’.
Emily Chiariello is a Teaching and Learning Specialist with Teaching Tolerance. She has 15 years’ experience as a classroom teacher, professional development and curriculum designer in public, charter and alternative school settings, as well as with non-profit organizations. She holds a master’s degree in philosophy and social policy and is certified in secondary social studies.
Here she discusses Teaching Tolerance’s new curriculum tool, “Project Appendix D,” that empowers educators to identify texts that both meet the demands of the Common Core Standards and reflect the world in which our students live. This blog post was originally posted at the Teaching Tolerance blog.
by Emily Chiariello
Does the Common Core limit what texts teachers can use? While many people think so, we don’t. Teaching Tolerance believes it is possible—and important—to choose texts that are both rigorous and relevant. Read on to learn about a new approach to text selection: Appendix D: A Tool for Selecting Diverse Texts. This exciting project goes beyond the resources offered in Appendices A and B and offers a new world of possibilities within literacy instruction.
Appendices A and B
Teachers are expected—per the CCSS’s Appendix A—to select more complex texts, teach more nonfiction and ask more text-dependent questions. But do they feel less empowered to choose readings about social justice or to locate texts that reflect the identities and histories of their students and communities? We’re concerned the answer is yes. We know that teachers want texts that mirror their students’ lives. And to achieve equitable outcomes, the Common Core must be implemented in culturally responsive ways that address social emotional learning as well as academic goals. Yet, this kind of implementation is not happening in most districts.
At first glance, one might think that the “Reader and Task” portion of the text selection model in Appendix A makes room for culturally responsive instructional decisions. Instead, there’s only a brief and bland mention of “reader variables”—motivation, knowledge and experiences—ultimately eclipsed by the other two measures: hard Lexile scores (quantitative) and subjective interpretations of meaning and purpose (qualitative).
And then there’s the stark imprint of privilege found in the gaps and silences of Appendix B, a list of “text exemplars” that meet the aforementioned approach to text complexity, quality and range. Too many publishers—and districts, too—have interpreted the text exemplars listed in Appendix B as a required reading list.
Woefully few examples of cultural relevance can be found in “Common Core-aligned” materials and trainings, including Appendix B. Jane M. Gangi, professor of education at Mount Saint Mary College, has analyzed Appendix B and found that, of the 171 texts recommended for children in K-5, only 18 are by authors of color, and few reflect the lives of children of color and children in poverty.
We believe that educators—teachers, librarians and literacy specialists—who work in classrooms every day are in the best positions to identify texts that engage diverse students.
That’s why we’re excited to share our new project: Appendix D: A Tool for Selecting Diverse Texts.Traditionally, tools that support text selection have focused on quantitative and qualitative measures only. But Appendix D promotes a multi-dimensional approach to text selection that prioritizes complexity as well as critical literacy and cultural responsiveness.
Appendix D empowers educators to rely on their knowledge of their students, rather than a prepopulated lists of titles, when selecting texts. The tool walks users through four distinct—but interconnected—text-selection considerations: complexity, diversity and representation, critical literacy, and reader and task. And it’s an editable PDF, allowing folks to document, save and share their text-selection process. (Be sure to download to unlock the editing capabilities.)
So, why a tool and not a list? There are commendable lists out there. Gangi and the Collaborative for Equity Literacy Learning (CELL) assembled an alternative list of multicultural titles, but they are not leveled for teachers to assess text complexity. Others, like publishers LEE & LOW, work to bring more diversity and representation into classroom libraries, and to the task of text selection. However, none of the lists we’ve investigated encompass texts that are both culturally relevant and meet the Common Core’s requirements for complexity. And, unless it is dynamic, any list of diverse books is only as diverse as the person—or people—who made it.
We hope the TT community will use Appendix D to help us grow a dynamic and diverse list of texts based on the four considerations and on the diverse needs of our students. We’ve started with the titles currently found in Perspectives for a Diverse America, our new anti-bias curriculum. In the months to come, as you use the Appendix D tool in your own practice, think of which complex, culturally relevant titles you think your fellow social justice educators would want to know about—and be on the lookout for an invitation to submit your texts to the ever-growing, ever-changing TT community list!
Paulo Freire wrote that, when we read words, we read the world. Don’t we owe it to our students to consider them when choosing those words?
In August we wrote to you about the death of Michael Brown in Ferguson, Missouri. Our publisher said then that the matter of representation was urgent; now, four months later, we see that urgency for what it is: a matter of life or death. Michael Brown’s name now sits alongside new names like Eric Garner, Tamir Rice, and Akai Gurley. How many more names will need to be added before things change?
Protests around the country remind us that we are not in a post-racial society, that inequality is still here. This can be a harrowing reminder, but it is also an important teachable moment for young people. How do we put current events in context and help young people engage in today’s big questions?
In difficult moments, books are often a good starting place for conversation. Books that touch on history can be read with fresh eyes in light of current events. For example, in Love to Langston, author Tony Medina describes when a seventh-grade Langston Hughes in 1914 peacefully protests his teacher’s segregation of black students to one row in the classroom. Even when he is expelled, Hughes fights for what he knows is right and his community joins beside him. The teacher is forced to integrate the classroom:
I am the darker brother.
They send me to eat in the kitchen
When company comes,
But I laugh,
And eat well,
And grow strong.
I’ll be at the table
When company comes.
Say to me,
“Eat in the kitchen,”
They’ll see how beautiful I am
And be ashamed—
I, too, am America.
How will today’s children be impacted and awakened as activists by images of and participation in the protesting in Ferguson, New York City, and around the nation? In what ways will this moment and experience affect our children’s lens by which they view the world and influence their life’s purpose or calling? What art will they create to express this moment and themselves?
A photo from one of the recent protests in New York City.
One of the most uncompromising, unflinching, page-turning books I have read in a long time. It is a harrowing story that forces you to confront and challenge many important issues; gender, poverty, race and class to list but a few. Mireille is visiting her Haitian parents in Port-au-Prince with her American husband and baby son […]
This is an incredible exploration of grief, family and identity and the pressures of expectations that come from each. The book opens with a death, one that nobody else knows about yet, the death of Lydia Lee; middle child of Marilyn and James and sister to older brother Nathan and younger sister Hannah. Lydia’s death […]
In celebration of MLK Day today, we wanted to share two perspectives from Lee & Low staff members on why you should see Selma, the new movie based on the life of Martin Luther King, Jr. Much has been said about the lack of Academy Award nominations for the movie, but nevertheless moviegoers are uniformly in agreement that Selma is one of the best movies of the year. It offers a meaningful historical context for current events and a springboard for deep discussion, making it a valuable learning experience as well as a straight-up great movie.
Here’s why we think seeing Selma is one of the best ways you could spend MLK Day:
Jason Low, Publisher: The director of Selma, Ava DuVernay brings the audience a lean, gritty fight for voter rights during the civil rights movement. The depiction of Martin Luther King, Jr. is especially poignant. The name Martin Luther King, Jr. is a household name and a holiday. His name is the stuff of legend. But what many fail to realize is that Martin Luther King, Jr. was a man with faults and insecurities just like everyone else. The film does not shy away from King’s marital problems caused by his infidelities or self-doubt and indecision resulting from the battle fatigue and weight of leadership when so much is on the line. DuVernay’s King is so human that we fear for his life even during the quieter scenes because humans are vulnerable and these were dangerous times.
Conversations between President Lyndon B. Johnson and Martin Luther King, Jr. are riveting. The political needle was just as difficult to move in 1965 as it is today. The Voter Rights Bill was as messy an issue as any US president would have to face. The bill was steeped in violence and racism and Johnson’s instinct to postpone action was derailed when John Lewis and Reverend Hosea Williams tried to lead a march of six hundred protestors over the Edmund Pettus Bridge. The nonviolent protestors were savagely beaten by state police and news cameras captured a brutal, bloody war for all Americans to see.
I brought my family to see this film. Bearing witness to the bravery it takes to protest nonviolently for equal rights was (to me) the chance to see history at its most heroic. Although fifty years has passed since Selma took place, the film feels eerily current. Protests over police killings of unarmed black males are happening all over the country and continue to be front-page news. Watching a film like Selma is difficult, but all the more reason to see it. Great movies will move you, make you feel something and Selma does all of these things very deeply.
Rebecca Garcia, Marketing and Publicity Assistant: During Common’s acceptance speech for the Golden Globe for Best Original Song, he said, “Selma is now.” Even though the Selma to Montgomery Marches were fifty years ago, this film reminded me that the Civil Rights Movement was a hard battle and took a long time to take effect.
David Oyelowo does an excellent job as Dr. Martin Luther King, Jr. Dr. King in this movie struggles with self-doubt, isn’t the perfect husband, and even makes decisions that have other leaders in the Civil Rights Movement question his leadership skills. But this is the Dr. King we all need to see. He’s human and flawed, but is still inspiring and courageous.
While watching the movie, I was reminded of the many protests happening around the country in the wake of the Ferguson and Staten Island grand jury decisions. Change doesn’t happen overnight. Change is an arduous and bitterly long process. Selma serves as a reminder of what has been accomplished and what we still need to accomplish. Selma doesn’t hold back when it comes to the violence faced by protesters.
Ava DuVernay presents us with a flawed, realistic and ultimately human Dr. King. While David Oyelowo does amazing justice to Dr. King, I felt that the talented actresses in the movie (Carmen Ejobo, Oprah Winfrey, and Lorraine Toussaint to name a few) weren’t utilized to their full potential. Even so, Selma is a relevant and timely film that everyone should see. Take tissues with you.
Yesterday was the ALA Youth Media Awards, or the “Oscars of Children’s Literature” as they’re sometimes called. It was a big day for diversity. Diverse books and authors were honored across the board and we couldn’t be happier.
Little Melba and Her Big Trombone, written by Katheryn Russell-Brown and illustrated by Frank Morrison, received the Coretta Scott King Honor for Illustration. Little Melba follows the life of famed trombonist, composer, and arranger Melba Liston who broke through racial and gender barriers to become one of the great unsung heroes of jazz.
Pat Mora, author of Water Rolls, Water Rises/El agua rueda, el agua sube and many other award-winning titles, won the 2016 May Hill Arbuthnot Honor Lecture Award! This award recognizes an author, librarian, or children’s lecturer who will then present a lecture at a winning host site. In addition to her writing, Pat Mora is also a literacy
advocate. She created Día, a day that celebrates children and the importance of reading.
Congratulations to all the titles honored at the ALA Youth Media Awards!
The month of February is a time when many communities pause and celebrate the great contributions made by African Americans in history. At Lee & Low we like to not only highlight African Americans who have made a difference, but also explore the diverse experiences of black culture throughout history, from the struggle for freedom in the South and the fight for civil rights to the lively rhythms of New Orleans jazz and the cultural explosion of the Harlem Renaissance.
We put together a list of titles – along with additional resources – that align with 7 core values and
themes to help you celebrate both Black History Month and African American culture all 365 days of the year.
It’s important to remember that heritage months, like Black History Month, can encourage a practice of pulling diverse books that feature a particular observed culture for only one month out of the year. To encourage a more everyday approach, we developed an 8-step checklist for building an inclusive book collection that reflects the diversity of the human experience. Teaching Tolerance also offers some helpful solutions to connect multicultural education with effective instructional practices and lists insightful “dos and don’ts” for teaching black history that are applicable to any culturally responsive curriculum or discussion.
How do you celebrate during Black History Month? Or, better yet, how do you help children discover the cultural contributions and achievements of black history all year long? Let us know in the comments!
Veronicahas a degree from Mount Saint Mary College and joined LEE & LOW in the fall of 2014. She has a background in education and holds a New York State childhood education (1-6) and students with disabilities (1-6) certification. When she’s not wandering around New York City, you can find her hiking with her dog Milo in her hometown in the Hudson Valley, NY.
A heads up to our blog readers that we have two great sales happening now to celebrate Black History Month!
We’re offering 25% off two Black History Month collections on leeandlow.com through the end of the month. Kick-start your Black History book collection or mix things up with great books that can be used all year long.
Both collections offer biographies of great leaders who excelled in many different fields including writing, politics, music, and the culinary arts and will appeal to a wide range of readers.
If we conclude that the conditions in North Lawndale and black America are not inexplicable but are instead precisely what you’d expect of a community that for centuries has lived in America’s crosshairs, then what are we to make of the world’s oldest democracy?
One cannot escape the question by hand-waving at the past, disavowing the acts of one’s ancestors, nor by citing a recent date of ancestral immigration. The last slaveholder has been dead for a very long time. The last soldier to endure Valley Forge has been dead much longer. To proudly claim the veteran and disown the slaveholder is patriotism à la carte. A nation outlives its generations. We were not there when Washington crossed the Delaware, but Emanuel Gottlieb Leutze’s rendering has meaning to us. We were not there when Woodrow Wilson took us into World War I, but we are still paying out the pensions. If Thomas Jefferson’s genius matters, then so does his taking of Sally Hemings’s body. If George Washington crossing the Delaware matters, so must his ruthless pursuit of the runagate Oney Judge.
School Library Journal came out with their Diversity Issue a few months ago and it’s been on my “to read” pile since then. Their lead article Children’s Books: Still an All-White World? tells a depressing tale of under-representation of black children in US children’s books (they are the only ethnic group mentioned, I am presuming this goes doubly so for groups with smaller representation in the US) and ends with a call to action for librarians to make sure they are creating a market for these titles to encourage more books by and about all kinds of people.
I grew up in a Free to Be You and Me sort of world where my mother actively selected books for me to read with a wide range of ethnicities represented. I had dolls representing many backgrounds. My mother wrote textbooks where there were strict rules about being inclusive and representative and, living in a small town, I assumed this was the way the rest of the world worked. Not so. Reading this article drove home the point that while I may have been a young person during a rare time of expansion of titles and characters of color, that expansion slowed and the situation is still stagnant even as the US is becoming more diverse than ever. Another article in the Diversity Issue highlights research which indicates that “the inclusion of these cross-group images encourages cross-group play“. Sounds like a good thing. We should be doing more.
The audacity I see in the ending of Snowpiercer comes not just from its framing of revolution as something that must smash the logic of the system, but also from the way it shows that system to be not just hierarchical in terms of class, but of also being fundamentally racialized.
First, there is the inescapable fact that most of the people who have been saved from the apocalypse are white and English speaking. Even the people at the back of the train, though more diverse than the people in the front, are predominantly white and English speakers. All of the positions of highest power in the train are positions held by white English speakers, and the ultimate positions of power are held by white men and passed on to white men (Wilford to Curtis).
As Curtis moves closer and closer to the front, the white supremacy becomes obvious. There's the classroom, where the vast majority of students are very white (and often blonde), with a few Asians in there (the pre-apocalypse notion of Asians as educational high achievers is thus replicated in the train), and one black girl (at least that I saw). The overall effect is of lily-whiteness, with a few special people added.
The people at the dance party are almost entirely white.
The people who apparently stepped out of The Great Gatsby are white.
The women getting their hair styled are white.
It's worth noting, too, how so much of what we see in the front cars evokes the old white world, a world of the 1920s-1950s — an America before the successes of the civil rights movement, of women's liberation struggles, of gay liberation, etc. (The car where everyone is taking drugs evokes even earlier ideas. It's like an opium den, a powerful force in the orientalist imagination of the yellow peril in the 19th and early 20th centuries, and a setting with plenty of cinematic history.)
Early in the film, Curtis tells Edgar that once they get to the front of the train, things will be different. "But how different, really?" the film asks at the end. "Know your place!" Mason (Tilda Swinton) tells the rabble. Curtis learns what his place is from Wilford: the place of the white patriarch.
That system cannot be reformed. It will do no good to have somebody else in charge of the engine. The logic of the system must not be reformed, it must be defied and destroyed.
And thus the ending, which stops the train's circular journey and potentially annihilates the last remnants of humanity.
The system is so corrupt, so incapable of reform, that what is known to be left of humans is worth destroying rather than continuing along the same tracks.
If there is to be a future for humanity, it looks like this, the new Adam and Eve:
They might be destroyed by the cold, white world. They might be a meal for the white polar bear. But maybe, somehow, they will survive and discover or create a new world, a world where humans are on a different journey, subject to a different system, not oppressed by the cold, unbearable whiteness.
Let America be America again. Let it be the dream it used to be. Let it be the pioneer on the plain Seeking a home where he himself is free.
(America never was America to me.)
Let America be the dream the dreamers dreamed— Let it be that great strong land of love Where never kings connive nor tyrants scheme That any man be crushed by one above.
(It never was America to me.)
O, let my land be a land where Liberty Is crowned with no false patriotic wreath, But opportunity is real, and life is free, Equality is in the air we breathe.
(There’s never been equality for me, Nor freedom in this “homeland of the free.”)
Say, who are you that mumbles in the dark? And who are you that draws your veil across the stars?
I am the young man, full of strength and hope, Tangled in that ancient endless chain Of profit, power, gain, of grab the land! Of grab the gold! Of grab the ways of satisfying need! Of work the men! Of take the pay! Of owning everything for one’s own greed!
I am the Negro, servant to you all. I am the people, humble, hungry, mean— Hungry yet today despite the dream. Beaten yet today—O, Pioneers! I am the man who never got ahead, The poorest worker bartered through the years.
And torn from Black Africa’s strand I came To build a “homeland of the free.”
Who said the free? Not me? Surely not me? The millions on relief today? The millions shot down when we strike? The millions who have nothing for our pay? For all the dreams we’ve dreamed And all the songs we’ve sung And all the hopes we’ve held And all the flags we’ve hung, The millions who have nothing for our pay— Except the dream that’s almost dead today.
O, yes, I say it plain, America never was America to me, And yet I swear this oath— America will be!
Out of the rack and ruin of our gangster death, The rape and rot of graft, and stealth, and lies, We, the people, must redeem The land, the mines, the plants, the rivers. The mountains and the endless plain— All, all the stretch of these great green states— And make America again!
The following is a note from our Publisher, Jason Low, published in this month’s e-newsletter:
It’s been a hard few weeks for those of us following the news out of Ferguson, Missouri. While the exact details of Michael Brown’s death remain unknown, we can already see how this latest incident fits into a larger narrative in this country in which people of color are routinely discriminated against and subject to violence based on the color of their skin. Healing and change cannot begin until we as a country acknowledge the role racism plays not just in events like Michael Brown’s death, but in the everyday lived experiences of the 37% of America that is not white.
From a distance, it can seem like our book-filled corner of the world doesn’t have much to do with Michael Brown’s death, but we know better. The need for more diverse books and better representation is urgent. Poor representation doesn’t just damage self-esteem and confidence of children of color, it also perpetuates a skewed version of society as a whole. How can true equality ever exist if we are literallynot even on the same page? Promoting diverse books is about creating a safer space for all children.
There are no easy ways to teach children about what’s happening in Ferguson, but here are couple links we’ve come across that help illuminate the issues and, perhaps, let us find teachable moments:
This year’s Emmys had an unfortunate lack of diversity. But, never fear! Fall 2014’s TV season is about to start and there are some amazing diverse offerings on the horizon.
Grey’s Anatomy, Shonda Rhimes’s medical drama returns for its eleventh season.
Elementary, starring Jonny Lee Miller and Lucy Liu as a modern day Sherlock Holmes and Joan Watson, returns.
Sleepy Hollow normalizes POC characters as leads in a fantasy-world setting, in which their POC-ness isn’t an “issue” but definitely a part of who they are as characters. It tackles historical issues like slavery head-on (for example, Ichabod’s reaction to Abbie being a cop), and it centers Abbie’s experience as the hero of this tale.
Ultimately, it’s epic and funny and fascinating—it tells a good story.
Scandal, Shonda Rhimes’s political thriller, returns with Kerry Washington as Olivia Pope.
Fresh off the Boat is the first sitcom starring Asian Americans since Margaret Cho’s All American Girl in 1994. There are 18.9 million Asian Americans in the US. It’s time to see some positive representation!
Black-ish, starring Tracee Ellis Ross and Anthony Anderson, follows a middle-class African American family in a mostly-white neighborhood.
Selfie looks fun and funny, a fresh take on My Fair Lady, with a nicely diverse cast across the board.
Cristela, “in her sixth year at law school, is finally on the brink of landing her first big (unpaid) internship at a prestigious law firm. However, she’s a lot more ambitious than her traditional Mexican-American family thinks is appropriate.”
How to Get Away with Murder stars two-time Oscar nominee, Viola Davis, as “the brilliant, charismatic and seductive Professor Annalise Keating, who gets entangled with four law students from her class “How to Get Away with Murder.””
Jane the Virgin is a retelling of Venezuelan soap-opera Juana la Virgen staring Gina Rodriguez.
Survivor’s Remorse, produced by LeBron James, follows Cam Calloway, a young basketball prodigy who is thrust into the limelight after getting a multi-million dollar contract with a professional team in Atlanta.
Galavant is about a dashing hero, determined to reclaim his reputation and his “happily ever after” from the evil King Richard. Karen David stars as Isabella. It’s unclear from the previews what role Isabella will ultimately play overall, but Karen David is the top-billed woman in the cast, so we have hopes her character will be important!
Gotham, WB’s new origin story on Batman and several villains, will have Jada Pinkett Smith in the role of Fish Mooney. Zabryna Guevara will star in the role of Sarah Essen.
Have we missed any? Let us know in the comments what diverse shows you’re looking forward to this fall!
Hadrian’s Wall has been in the news again recently for all the wrong reasons. Occasional wits have pondered on its significance in the Scottish Referendum, neglecting the fact that it has never marked the Anglo-Scottish border, and was certainly not constructed to keep the Scots out. Others have mistakenly insinuated that it is closed for business, following the widely reported demise of the Hadrian’s Wall Trust. And then of course there is the Game of Thrones angle, best-selling writer George R R Martin has spoken of the Wall as an inspiration for the great wall of ice that features in his books.
Media coverage of both Hadrian’s Wall Trust’s demise and Game of Thrones’ rise has sometimes played upon and propagated the notion that the Hadrian’s Wall was manned by shivering Italian legionaries guarding the fringes civilisation – irrespective of the fact that the empire actually trusted the security of the frontier to its non-citizen soldiers, the auxilia rather than to its legionaries. The tendency to overemphasise the Italian aspect reflects confusion about what the Roman Empire and its British frontier was about. But Martin, who made no claims to be speaking as a historian when he spoke of how he took the idea of legionaries from Italy, North Africa, and Greece guarding the Wall as a source of inspiration, did at least get one thing right about the Romano-British frontier.
There were indeed Africans on the Wall during the Roman period. In fact, at times there were probably more North Africans than Italians and Greeks. While all these groups were outnumbered by north-west Europeans, who tend to get discussed more often, the North African community was substantial, and its stories warrant telling.
Perhaps the most remarkable tale to survive is an episode in the Historia Augusta (Life of Severus 22) concerning the inspection of the Wall by the emperor Septimius Severus. The emperor, who was himself born in Libya, was confronted by a black soldier, part of the Wall garrison and a noted practical joker. According to the account the notoriously superstitious emperor saw in the soldier’s black skin and his brandishing of a wreath of Cyprus branches, an omen of death. And his mood was not further improved when the soldier shouted the macabre double entendre iam deus esto victor (now victor/conqueror, become a god). For of course properly speaking a Roman emperor should first die before being divinized. The late Nigerian classicist, Lloyd Thompson, made a powerful point about this intriguing passage in his seminal work Romans and Blacks, ‘the whole anecdote attributes to this man a disposition to make fun of the superstitious beliefs about black strangers’. In fact we might go further, and note just how much cultural knowledge and confidence this frontier soldier needed to play the joke – he needed to be aware of Roman funerary practices, superstitions, and the indeed the practice of emperor worship itself.
Why is this illuminating episode not better known? Perhaps it is because there is something deeply uncomfortable about what could be termed Britain’s first ‘racist joke’, or perhaps the problem lies with the source itself, the notoriously unreliable Historia Augusta. And yet as a properly forensic reading of this part of the text by Professor Tony Birley has shown, the detail included around the encounter is utterly credible, and we can identify places alluded to in it at the western end of the Wall. So it is quite reasonable to believe that this encounter took place.
Not only this, but according to the restoration of the text preferred by Birley and myself, there is a reference to a third African in this passage. The restoration post Maurum apud vallum missum in Britannia indicates that this episode took place after Severus has granted discharge to a soldier of the Mauri (the term from which ‘Moors’ derives). And has Birley has noted, we know that there was a unit of Moors stationed at Burgh-by-Sands on the Solway at this time.
Sadly, Burgh is one of the least explored forts on Hadrian’s Wall, but some sense of what may one day await an extensive campaign of excavation there comes from Transylvania in Romania, where investigations at the home of another Moorish regiment of the Roman army have revealed a temple dedicated to the gods of their homelands. Perhaps too, evidence of different North African legacies would emerge. The late Vivian Swann, a leading expert in the pottery of the Wall has presented an attractive case that the appearance of new forms of ceramics indicates the introduction of North African cuisine in northern Britain in the second and third centuries AD.
What is clear is that the Mauri of Burgh-by-Sands were not the only North Africans on the Wall. We have an African legionary’s tombstone from Birdoswald, and from the East Coast the glorious funerary stela set up to commemorate Victor, a freedman (former slave) by his former master, a trooper in a Spanish cavalry regiment. Victor’s monument now stands on display in Arbeia Museum at South Shields next to the fine, and rather better known, memorial to the Catuvellunian Regina, freedwoman and wife of Barates from Palmyra in Syria. Together these individuals, and the many other ethnic groups commemorated on the Wall, remind us of just how cosmopolitan the people of Roman frontier society were, and of how a society that stretched from the Solway and the Tyne to the Euphrates was held together.
Who would have thought a 5k race could nearly lead to an arrest? I guess if you’ve been reading my blog long enough, you’ve figured out I can blunder my way into anything.
So it was Sunday when I ran a 5k for a benefit. The issue was not the run, I breezed through that with a typical mediocre time. The problem was that my daughter was one of the benefactors of the event and we needed to stay a long time after. A run on humid day for one who sweats profusely can lead to smells that disgust even my dog. I needed a change of clothing before I could reenter society.
Unlike most of my life, I planned ahead and brought a few towels along with a change of clothes. The race was held in an upscale shopping center that didn’t seem to accommodate porta-potties or any other proper facilities for a sweaty runner to disrobe. I couldn’t traipse through a fine dining establishment, dripping along the way and my planning stopped just short of a reconnaissance walk to find a bathroom.
Here’s where things went awry – the only thing I could think of was the back seat of the mini-van. No problem, I had towels that could allow me to be properly covered the entire time. When I got in the backseat, I looked around and noted I was in full view of the patio of three crowded restaurants. Again, no problem, the windows are tinted.
My problem? The key fob. Some people butt-dial and make innocuous phone calls. Not me. No, that’s not nearly stupid enough. No, I butt-press both sliding doors to the van open while I’m well into the disrobed portion of the clothes change. Fortunately, my posterior wasn’t into multi-tasking and didn’t hit the panic button.
There I sat, wide-eyed under a towel wondering why my display coincided with the dismissal of church leaving a sea of blue-haired ladies waiting for tables at the nearby restaurants. Members of the local fire department, who were standing by in case of a race emergency, took note of me also and began speaking into their radios. The police couldn’t be far behind.
I fumbled for the elusive key fob, cursed myself for laying it on the seat, and closed the doors. In a matter of seconds, I threw on my new set of clothes and wound my way through the gaggle of old women with my head held high. During the rest of the afternoon, I kept a paranoid eye out for the long arm of the law that was sure to be clamped on my shoulder at any minute. But it never came. The firemen must have been phoning friends to laugh about my situation and not alerting the police.
In today’s day and age, these things aren’t ever over. Someone could have been fast on the draw with video and my hiney might be splattered on Youtube. Until then, let me give you some advice – if you are doing something dicey in your car, know where your key fob is at all times. Those things are evil!
One hundred years ago today, far from the erupting battlefields of Europe, a small German force in the city of Tsingtau (Qingdao), Germany’s most important possession in China, was preparing for an impending siege. The small fishing village of Qingdao and the surrounding area had been reluctantly leased to the German Empire by the Chinese government for 99 years in 1898, and German colonists soon set about transforming this minor outpost into a vibrant city boasting many of the comforts of home, including the forerunner of the now-famous Tsingtao Brewery. By 1914, Qingdao had over 50,000 residents and was the primary trading port in the region. Given its further role as the base for the Far East Fleet of the Imperial German Navy, however, Qingdao was unable to avoid becoming caught up in the faraway European war.
The forces that besieged Qingdao in the autumn of 1914 were composed of troops from Britain and Japan, the latter entering the war against Germany in accord with the Anglo-Japanese Alliance. The Alliance had been agreed in 1902 amid growing anxiety in Britain regarding its interests in East Asia, and rapidly modernizing Japan was seen as a useful ally in the region. For Japanese leaders, the signing of such an agreement with the most powerful empire of the day was seen as a major diplomatic accomplishment and an acknowledgement of Japan’s arrival as one of the world’s great powers. More immediately, the Alliance effectively guaranteed the neutrality of third parties in Japan’s looming war with Russia, and Japan’s victory in the Russo-Japanese War of 1904-05 sent shockwaves across the globe as the first defeat of a great European empire by a non-Western country in a conventional modern war.
In Britain, Japan’s victory was celebrated as a confirmation of the strength of its Asian ally, and represented the peak of a fascination with Japan in Britain that marked the first decade of the twentieth century. This culminated in the 1910 Japan-British Exhibition in London, which saw over eight million visitors pass through during its six-month tenure. In contrast, before the 1890s, Japan had been portrayed in Britain primarily as a relatively backward yet culturally interesting nation, with artists and intellectuals displaying considerable interest in Japanese art and literature. Japan’s importance as a military force was first recognized during the Sino-Japanese War of 1894-95, and especially from the time of the Russo-Japanese War, Japan’s military prowess was popularly attributed to a supposedly ancient warrior spirit that was embodied in ‘bushido’, or the ‘way of the samurai’.
The ‘bushido’ ideal was popularized around the world especially through the prominent Japanese educator Nitobe Inazo’s (1862-1933) book Bushido: The Soul of Japan, which was originally published in English in 1900 and achieved global bestseller status around the time of the Russo-Japanese War (a Japanese translation first appeared in 1908). The British public took a positive view towards the ‘national spirit’ of its ally, and many saw Japan as a model for curing perceived social ills. Fabian Socialists such as Beatrice Webb (1858-1943) and Oliver Lodge (1851-1940) lauded the supposed collectivism of ‘bushido’, while Alfred Stead (1877-1933) and other promoters of the Efficiency Movement celebrated Japan’s rapid modernization. For his part, H.G. Wells 1905 novel A Modern Utopia included a ‘voluntary nobility’ called ‘samurai,’ who guided society from atop a governing structure that he compared to Plato’s ideal republic. At the same time, British writers lamented the supposed decline of European chivalry from an earlier ideal, contrasting it with the Japanese who had seemingly managed to turn their ‘knightly code’ into a national ethic followed by citizens of all social classes.
The ‘bushido boom’ in Britain was not mere Orientalization of a distant society, however, but was strongly influenced by contemporary Japanese discourse on the subject. The term ‘bushido’ only came into widespread use around 1900, and even a decade earlier most Japanese would have been bemused by the notion of a national ethic based on the former samurai class. Rather than being an ancient tradition, the modern ‘way of the samurai’ developed from a search for identity among Japanese intellectuals at the end of the nineteenth century. This process saw an increasing shift away from both Chinese and European thought towards supposedly native ideals, and the former samurai class provided a useful foundation. The construction of an ethic based on the ‘feudal’ samurai was given apparent legitimacy by the popularity of idealized chivalry and knighthood in nineteenth-century Europe, with the notion that English ‘gentlemanship’ was rooted in that nation’s ‘feudal knighthood’ proving especially influential. This early ‘bushido’ discourse profited from the nationalistic fervor following Japan’s victory over China in 1895, and the concept increasingly came to be portrayed as a unique and ancient martial ethic. At the same time, those theories that had drawn inspiration from European models came to be ignored, with one prominent Japanese promoter of ‘bushido’ deriding European chivalry as ‘mere woman-worship’.
In the first years of the twentieth century, the Anglo-Japanese Alliance contributed greatly to the positive reception in Britain of theories positing a Japanese ‘martial race’, and the fate of ‘bushido’ in the UK demonstrated the effect of geopolitics on theories of ‘national characteristics’. By 1914, British attitudes had begun to change amid increasing concern regarding Japan’s growing assertiveness. Even the Anglo-Japanese operation that finally captured Qingdao in November was marked by British distrust of Japanese aims in China, a sentiment that was strengthened by Japan’s excessive demands on China the following year. Following the war, Japan’s reluctance to return the captured territory to China caused British opposition to Japan’s China policy to increase, leading to the end of the Anglo-Japanese Alliance in 1923. The two countries subsequently drifted even further apart, and by the 1930s, ‘bushido’ was popularly described in Britain as an ethic of treachery and cruelty, only regaining its positive status after 1945 through samurai films and other popular culture as Japan and Britain again became firm allies in the Cold War.
Headline image credit: Former German Governor’s Residence in Qingdao, by Brücke-Osteuropa. Public domain via Wikimedia Commons.
November is Native American Heritage Month! Native American Heritage Month evolved from the efforts of various individuals at the turn of the 20th century who tried to get a day of recognition for Native Americans. In 1990, President George H.W. Bush approved a resolution that appointed November as Native American Heritage Month. You can learn more about Native American Heritage Month here.
For many years, Native people were silenced and their stories were set aside, hidden, or drowned out. That’s why it’s especially important to read stories about Native characters, told in Native voices. Celebrate Native American Heritage Month with these great books by Native writers:
Quiet Hero by S.D. Nelson – Ira Hayes grew up on the Gila River Indian Reservation in Arizona. When he was in his late teens, World War II raged, and Ira Hayes joined the Marine corps. Eventually they were sent to the tiny Japanese island of Iwo Jima, where a chance event and an extraordinary photograph catapulted Ira to national awareness and transformed his life forever.
Crazy Horse’s Vision by Joseph Bruchac, illustrated by S.D. Nelson – Crazy Horse, whose childhood nickname was “Curly,” defies traditional custom and risks his own life by running away, up to the hills, to seek a vision.
Jim Thorpe’s Bright Path by Joseph Bruchac, illustrated by S.D. Nelson – While Jim Thorpe struggled at school, he excelled at sports. He later went on to win several Olympic medals.
Home to Medicine Mountain by Chiori Santiago, illustrated by Judith Lowry – Two Native American brothers are sent to a strict, government-run boarding school. There, they are forced to speak English and to unlearn their Native American ways. Inspired by their dreams of home and the memories of their grandmother’s stories, the boys embark on an adventurous journey from the harsh residential school to their home in Susanville, California.
Sky Dancers by Connie Ann Kirk, illustrated by Christy Hale – John Cloud’s father is in New York City, far away from their Mohawk Reservation, building sky scrapers. One day, Mama takes John to New York City and he sees his Papa high on a beam, building the Empire State Building.
Kiki’s Journey by Kristy Orona-Ramirez, illustrated by Jonathan Warm Day – Kiki is a city girl that calls Los Angeles her home. Her family left the Taos Pueblo reservation when she was a baby, so it doesn’t feel like home. How will it feel to revisit the reservation?
Stories for Teens
Rattlesnake Mesa by EdNah New Rider Weber, photographs by Richela Renkun – When EdNah’s beloved grandmother dies, she is sent to live on a Navajo reservation with a father she barely knows. Once EdNah finds herself getting used to her new life, she is sent to a strict government-run Indian boarding school.
Wolf Mark by Joseph Bruchac – When Luke King’s father, a black ops infiltrator, goes missing, Luke realizes his life will never be the same again. Luke sets out to search for his father, all the while trying to avoid the attention of the school’s mysterious elite clique of Russian hipsters, who seem much too interested in his own personal secret
Killer of Enemies by Joseph Bruchac – In a future where technology has failed, Lozen has been gifted with a unique set of abilities magic and survival skills that she uses to hunt monsters for the people who kidnapped her family. As the legendary Killer of Enemies was in the ancient days of the Apache people, Lozen is meant to be a more than a hunter. Lozen is meant to be a hero.
Rose Eagle by Joseph Bruchac – Several years before Killer of Enemies, the Lakota are forced to mine ore for the Ones, their overlords. Rose Eagle’s aunt has a vision of Rose as a healer. She sends Rose on a quest to find healing for their people.
What other books by Native American authors and illustrators do you recommend?