How to use this Page

The innovative in-school writing program for children, Poetry Inside Out (PIO), developed by San Francisco’s Center for the Art of Translation, is the first creative writing program for kids in which translation plays an essential part. Sixth-grader and Poetry Inside Out student Maggie Gallagher won the 2008 Grand Prize (grades 4-6) in the prestigious national River of Words contest for environmental poetry and art. Her poem, “To Speak with the Dead” was selected by former U.S. Poet Laureate Robert Haas. She accepted her award in May at the Library of Congress.

The Berkeley, CA-based River of Words contest attracts more than 10,000 entrants nationally and internationally. The program also awards young artists; winners, chosen by children’s book illustrator and writer Thatcher Hurd, can be viewed at an online gallery .

River of Words: Young Poets and Artists on the Nature of Things, edited by Pamela Michael (founder of River of Words) with an introduction by Robert Haas, was published in 2008 by Milkweed Editions; it features winning poetry and art from the contest over the years.

The Center for the Art of Translation also sponsors the Literary Translation Project, which helps “to preserve and promote the cultural heritage of diverse communities by bringing world literature—both contemporary and classic—to new audiences.” Two Lines is their annual anthology of new English translations of poetry and fiction from more than 50 languages and countries. Their World Library project, begun in 2007, produces an annual anthology focusing on one region, language or tradition.

Three other Poetry Inside Out students were finalists this year in the River of Words contest. PaperTigers celebrates these two wonderful San Francisco Bay Area organizations for their inspired work with children and their support of multicultural writing for all ages.

BibliophiliaOriginally uploaded by Stefanie Ryan Photography

YA author Justine Larbalestier posted a lovely rant on her blog called Cranky about what it’s like to be a YA author whose edgy books have something in them that one person or another objects to–bits of darkness or pain, language, etc. Larbalestier’s post is entertaining and informative, and I think it’ll interest not only other YA writers, but also readers.

Larbalestier blows away the myth that YA writers write bleak/dark/edgy YA fiction–or fiction that has some drugs, sex, or swearing–just to be shocking, or for marketing. She writes: “Newsflash: the inclusion of swearing and sex and drugs and the other things that render YA books less than squeaky often, nay, usually, has the opposite effect. Book clubs won’t pick them up, Wal-mart and Target won’t stock them, nor will many school libraries, and lots of conservative parents won’t let their teens buy them.” Of course, some edgy YA books do sell well, as Larbalestier pointed out, but “The YA writers I know think long and hard about including anything “controversial” because nine times out of ten it will reduce their sales, not increase them.”

I really like Larbalestier’s honesty. And I find it strange that some people would attack edgy YA fiction. We need all kinds of books–light and dark, funny and sad, fantasy and reality–and readers are free to choose what appeals to them, what they need at the time. There are teens right now going through painful experiences, to varying degrees. Some will want to turn to a voice that understands them, a book that offers them validation, lets them know they are not alone, and others will want to turn to something that takes them completely outside their world and experience. Both are valid.

I went through some pretty awful abuse growing up–and books were the safest place I could turn to. Books saved me. Edgy realistic AND fantasy. I needed them both. And I know I hope that other teens, now, find that same place to turn to–books. So Larbalestier’s rant makes me feel good on many levels. As a reader. As a writer. Thank you, Justine!