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Viewing: Blog Posts Tagged with: One Crazy Summer, Most Recent at Top [Help]
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1. Two historical fiction books | Class #3, 2016

One Crazy Summer     No Crystal Stair by Vaunda Micheaux Nelson

One Crazy Summer by Rita Williams-Garcia

Supplemental readings:

  • Rita Williams-Garcia’s profile in July/August 2007 Horn Book Magazine
  • No Crystal Stair: A Documentary Novel of the Life and Work of Lewis Michaux, Harlem Bookseller by Vaunda Micheaux Nelson; illustrated by R. Gregory Christie

Historical fiction is a balancing act of storytelling and character development with real-world events. How do these different aspects interact in each of these works? How do the authors engage readers in both the lives of the characters and their time and place in history?

The post Two historical fiction books | Class #3, 2016 appeared first on The Horn Book.

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2. One Crazy Summer

williamsgarcia onecrazysummer 198x300 One Crazy SummerOne Crazy Summer by Rita Williams-Garcia
In the “crazy summer” of 1968, three black sisters set out from Brooklyn to Oakland, California, to reconnect with their estranged mother, an active member of the Black Panther political movement. How does Williams-Garcia balance historical events with the girls’ personal journeys? How do both these aspects of the historical novel interact?

share save 171 16 One Crazy Summer

The post One Crazy Summer appeared first on The Horn Book.

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3. Writers Against Racism: ONE CRAZY SUMMER by Rita Williams-Garcia

I’m so excited! I was asked to moderate SLJ’s Day of Dialog, which they host prior to  the opening of Book Expo America, on May 23; details to follow. Interestingly enough and later that day, I am hosting another panel at The Hewitt School: A Conversation About Books Pt2.

One of the SLJ panelists (hopefuls) is Rita Williams-Garcia.  (Coming events must cast a shadow because a month ago, I wrote a short post about my reaction to ONE CRAZY SUMMER.)

~~~~~~~

Don’t judge a book OR a mother by her cover.  Lessons I Learned after reading One Crazy Summer by Rita Williams-Garcia (Amistad/Harper Collins,  NY 2010).  And NO, I did not read the reviews or the award announcements until AFTER I read the book.

 

The book jacket says it all: a pensive looking black girl, wearing cornrows (like I used to wear), and a loving – or what appears to be – a mother, in the background – holding her baby tightly.  WOW! I thought.  I’m in for an adventure with some black folks I can relate to.  Little did I know that I would be catapulted back in time to the summer of 1968.  My birth year. Back to when technology, as we know it, was non existent.

One Crazy Summer by Rita Williams-Garcia (Amistad/Harper Collins,  NY 2010) was one book where I avoided reading the reviews. I wanted my pure reaction. 

Words, opinions, and thoughts from others have a tremendous  impact on me.  I might, however, have to change that because I can’t afford crying over a book, on a NYC subway train with no Kleenex available. People look at you strangely.

Such was the case, when I neared the ending of One Crazy Summer. I refused to give away the ’story’ per se but I will reveal just why this book is the perfect book for ALL grade school students.  In some schools, books by authors of color are not always checked out because of the demographics. Come on! Let’s teach our students HOW to relate to the characters!

1) Having four older sisters, I can relate to the love AND possessiveness Delphine felt for her two younger sisters. My sisters STILL think they mothered me.

2) Mothers! Wow!  Rita Williams-Garcia forces her readers to analyze the role of mothers. What does it mean and to whom? The children have a viewpoint. What is the extended family’s perception. And then there’s the mother. Why does she, or why do WE do what we do?  To what end? And from what experiences are the ingredients for motherhood?

3) I started out JUDGING Cecile. I actually hated her at times. I also hated myself because I saw some of me in her. As mothers, we are not always ‘on’ and we’re judged for that. Cecile gave herself permission to disappear leaving Delphine (in her mind) as the caretaker.  

One Crazy Summer is a book  that would indeed enhance a history curriculum in the middle grade years.  Are there any school teachers or librarians out there who are reading this with their classes?

Let me know.

Email me: [email protected]
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4. Congratulations, Newbery Honorees!

Congratulations to all the winners of the 2011 Newbery Awards! We at StorySleuths were so pleased that two of our 2010 focus books received Newbery Honors:  Jennifer Holm's Turtle in Paradise and Rita Williams Garcia's One Crazy Summer.

Both books feature fabulous characters, historical settings, and exciting plots. To celebrate the Newbery Honor awards, we have consolidated all of our postings, including author interviews, on both books here. We invite you to read our files for evidence of what makes Turtle in Paradise and One Crazy Summer such distinguished books.


Turtle in Paradise

  1. Creating Memorable Character Names
  2. Narrative Voice
  3. The Narrative Hook
  4. Chapter Beginnings
  5. A Word from Jennifer Holm
  6. Rooting for a Prickly Character


One Crazy Summer

  1. Writing from Your Own Experience
  2. Dialogue
  3. Bringing History to Story
  4. The Ticking Clock
  5. Antagonist
  6. Interview with Rita Williams-Garcia
  7. Guest Post: Attending to Your Audience (Monica Edinger)

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5. Writers Against Racism: ONE CRAZY SUMMER by Rita Williams-Garcia

My good buddy at Twitter, Carol Hampton Rasco, President and CEO of Reading Is Fundamental, Inc.,  sent me the following e-mail tonight:

“It is 9 p.m., has been a long day at the office and I suddenly realized there was no one left here at the Reading Is Fundamental Office with me to take the photo tonight;  I am out tomorrow through Monday on travel, and I didn’t want to forget to take a photo.  SO, I did a self portrait with the Blackberry camera (a first for me), and here it is, worn out look and all! 

I have just finished ONE CRAZY SUMMER by Rita Williams-Garcia, published by Amistad, an imprint of Harper Collins; recommended for ages 9-12, a great book!”

Thanks so much, Carol! 96 left to go!!! :)

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6. Guest post by Monica Edinger--ONE CRAZY SUMMER: Attending to your audience

Thinking about how engaging One Crazy Summer might be for teachers to read with children, StorySleuths asked master teacher and 2008 Newbery Committee member Monica Edinger to share her thoughts and experiences of reading the story aloud to her class. Her insights illuminate considerations we as writers would do well to heed. For more of her insights about books for children, reading, writing, teaching, and much more, check out her blog Educating Alice. (Photo is of Rosemary Brosnan and Rita Williams-Garcia with Monica.) This post may make you wish your children could be in Monica’s class!


When I received the ARC for One Crazy Summer around a year ago, I took a look at the flap copy and was immediately intrigued. The summer of 1968? Folks in Afros and black berets? A time and people that I’d yet to see much of in stories for the age group I taught --- fourth graders. Those I had encountered often felt overly earnest, their authors working hard to make connections to situations today, say linking the Vietnam War to our current engagements in Afghanistan and Iraq. Or they focused on familiar icons and events of the civil rights movement. This book looked different.

And so it turned out to be. During that first reading a year ago I fell completely in love with those three sisters, their story, and Rita’s poetic and elegant prose. Months later, after learning that I’d reviewed it for the New York Times, my fourth grade students asked me to read it to them. They were alert and insightful listeners --- laughing as Fern said yet again “surely,” curious about the Black Panthers (I showed them that photo of Huey with the shotgun), and moved (not upset) by the girls’ complex mother.

As I read and reread the book, on my own and to my students, I was progressively more and more impressed with Rita’s sensitivity for her intended audience. I've noticed that this is a particularly tricky thing for those writing for children. Some claim not to be aware of their audience while others seem too aware. Don’t you, I've ask some writers, think about your intended reader when writing? No, some of them answer, I only think about the story. But, I will persist, you clearly make decisions that affect that audience. You use one word instead of another. You consider what a young person will know or not know. Perhaps you do it unconsciously, but you do it. No, they will tell me, I just think about my story not about who will read it.

At the other end of the spectrum are those writers who over-think and over-focus on their young readers. These are writers who earnestly and always with the best of intentions, moralize and instruct all too obviously. One hilarious example is Lewis Carroll who talks down most cloyingly to his young audience in his Nursery Alice. 4 Comments on Guest post by Monica Edinger--ONE CRAZY SUMMER: Attending to your audience, last added: 7/13/2010
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7. INTERVIEW WITH THE AUTHOR: One Crazy Summer

The StorySleuths were fortunate to be able to ask a few questions of the amazing Rita Williams-Garcia. Busy with her work as a member of the faculty at the Vermont College of Fine Arts and dashing to and from the ALA conference, Ms. Williams-Garcia took time out of her busy schedule for us, and we thank her. And now, some words from Rita:

1. We always hear that when writing historical fiction it is challenging to keep from including each and every incredibly cool tidbit gathered during the research phase. Is there one particular piece of information that you really wanted to plug in but just couldn't find the place for?

For sure! Actually, there were many that went into my “Unused” folder. I made a deal with myself, that if I found a place for any one of them, in it would go. The other deal I made was to not fish around in the “unused” folder. I’d have to come upon a place in the writing that begged to have the material woven in. Now, 1968 was a huge year. I kept a diary of one line entries--truth told, too many TV Guide entries--and it was hard to pick, so I remained close to the “Free Huey” movement. I desperately wanted to include Angela Davis and couldn’t do it as naturally as I would have liked to. And there were so many historical events from my childhood. This meant my recollections of Dr. King’s assassination which lead to the Eric Starvo Galt aka James Earl Ray manhunt; hearing Bobby Kennedy’s speech at the Monterey Peninsula Airport and taking a picture with him; more specifics about the Vietnam conflict, and Eartha Kitt being removed as “Catwoman” from the TV show Batman because of her anti-war remarks at a luncheon with Lady Bird Johnson--could not be used in the novel. I could always feel myself reaching to make connections and I’ll tell myself to “stay on story.” It’s part of my work song.

2. Are there any characters that changed significantly since your original concept, and if so, how are they different? Are there characters that started out in the story but got cut?

This time around I didn’t have to cut any characters, but their roles did change. The most significant change was Fern. I always intended Fern to be Delphine’s baby. I had an image of her, and her role was to bring out Delphine’s maternal instincts while hampering Delphine’s carefree childhood. I had given her a sweet little soul and Miss Patty Cake. But then, Fern was also the reason or excuse for Cecile’s departure. Her sweetness doesn’t really work on Cecile who won’t leap up to get her a simple glass of ice water. And then I saw and understood why: Like Cecile, Fern insists on herself even at birth. That there is something in Fern that wants to fly off the handle in a rage (although this has to be understood in her fist banging), whereas in Cecile it is overt. I had to make a confrontation between Fern and Cecile. Fern is the undoing of everything.

Sister Mukumbu’s role had changed significantly from the plan. Originally, Sister Mukumbu was t

1 Comments on INTERVIEW WITH THE AUTHOR: One Crazy Summer, last added: 7/2/2010
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8. BRINGING HISTORY TO STORY: One Crazy Summer (Post #3 of 6)

Dear Allyson and Heather,

     I was drawn into One Crazy Summer partly because it's about the 60's, a time I vividly remember as a college student, participating in lunch counter sit-ins and voter registration in southeastern Tennessee. Although the Black Panthers were getting a lot of press for their political activities, I wasn't aware at the time that they sponsored social programs as well.
     So I was fascinated to read One Crazy Summer--not only as the story of three sisters and their relationships with one another and other members of their family, but also as a window into an organization that was far more complex and fascinating than I had realized at the time.
     In The Art and Craft of Writing Historical Fiction, James Alexander Thom clarifies the difference between historians and historical fiction novelists. He says,
[Historians] have to point backward from the present and, bearing the authority of their profession, declare what they believe happened back then. Those who read the prose of a historian understand that they are looking back.
But we novelists, and our readers, aren't looking back to the time. We are in that time, looking forward. We are living in the historical moment, through the vividness of our stories, and looking to the future to find our outcomes. (p. 28) 
     Williams-Garcia takes us back to be in that time by embedding clues to the period throughout the book.

1. Clues in narration: A clue to the time period can be as simple as a single word, like the word now superseded by "flight attendant": 
A stewardess rushed to our row. (p. 11) 

2. Clues in dialogue: Williams-Garcia also uses dialogue to give readers historical context for the story:
"How can you send them to Oakland? Oakland's nothing but a boiling pot of trouble cooking. All them riots. " (p. 5)
 3. Clues in description: Vivid descriptions clearly anchor the story in past time: 
We sat at one of the two long tables. The classroom was unlike any I had ever been in. Instead of pictures of George Washington, Abraham Lincoln, and President Johnson, there was a picture of Huey Newton sitting in a big wicker chair with a rifle at his side. (p. 69)
 4. Clues in internal monologue: Historical information is also shared with readers through internal monologue:
I knew he meant her, Cecile, when he said Inzilla. I didn't know some of those other names,. Only Huey Newton, the Black Panther leader, and Muhammad Ali, used to be Cassius Clay. (pp. 45-46)
 Thom says,
As much as you can, you must be like someone who has lived there, because you're going to be not just the storyteller but also the tour guide taking your readers through the past. (p. 154) 
Williams-Garcia is one awesome tour guide, using clues planted in narration, dialogue, description, and interna

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9. FINDING STORY: One Crazy Summer #1 of 6

Dear Heather and Meg,


I grew up in the suburbs of Connecticut, a white girl in a working-class family. Like every kid in my neighborhood I had a father who worked, a mother who stayed home, and I went to St. Agnes Catholic Church on Sundays. As an ice cream flavor I was vanilla. As salsa, I was mild. There was confidence and comfort that came from being a member of the majority, but also a certain blandness.

The books I read as a child were about girls much like me. As an adult looking back, how I wish that the librarian had been able to thrust into my book-crazy hands a copy of Rita Williams-Garcia's novel so that I could have read about someone whose experience was so different from my own. So that I could have better appreciated the trials of a child growing up non-white.

Reading this book as an adult I was struck by the way Delphine noticed her own blackness. At the airport preparing to fly to Oakland, for instance, Delphine notices the ratio of black to white people. “There weren’t too many of ‘us’ in the waiting area, and too many of ‘them’ were staring. I’d taken a quick count out of habit. Vonetta, Fern and I were the only Negro children” (p. 5).

This isn’t the only time Delphine counts the non-white faces. It’s something she and her sisters are confronted with on a daily basis as she describes here, when talking about their experience watching television: “The Mike Douglas show wasn’t the only place to find colored people on television. Each week, Jet magazine pointed out all the shows with colored people. My sisters and I became expert colored counters. We had it down to a science” (p. 118).

On finishing Rita’s novel I envied her blackness. I thought how much richer one’s pool of stories must be when one is a member of a minority. And I considered my misfortune at having a childhood which left me with no such stories to tell. If only I were black!

I came across a comic in the May 31 issue of The New Yorker (p.59) that made me think of Rita's book. It shows two men watching television, drinking a beer. One says to the other, “I actually saw ten gay characters on television this week—which almost balanced out the 2,174 straight characters I saw.” If only I were gay!

I recalled a lecture delivered by Mitali Perkins back in April at the Western Washington SCBWI conference. Speaking about multiculturalism in children’s literature, Mitali commented that whenever she walked into a room she immediately noticed how many other people of color there were. Often, she was the only one. If only I were Indian!

I considered--because I am not black, gay or Indian, am I forever denied the over-arching sense of being different, or on the outside? Can I never tap into that place for my stories? But then I thought of something—perhaps my experience seems bland to me because it is my experience. Perhaps even a whit

1 Comments on FINDING STORY: One Crazy Summer #1 of 6, last added: 6/10/2010
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10. One Crazy Summer/Rita Williams-Garcia: Reflections

A week ago today, I joined Catherine Murdock and Rita Williams-Garcia at the Philadelphia Book Festival—sat in the cold air before these brave folks and talked books and book making while the wind blew.  "Zumba for everyone," Rita signed my copy of One Crazy Summer, as I headed home.  A little joke that had crept up between us.

Today I read that signed book through, smiling bigly and longly, thinking with each page, and then with the next one, I have another perfect book to recommend.  I love when that happens.  I love adding a new title to my short list of books that I think everyone should read.  The books on my short list transcend categories because they are so well made, because they are wisdom and they are poetry and they are heart, because they are meaningful story.  Tween novel?  Teen novel?  Adult novel?  Does it matter?  I don't think it does, when the writing is this good.

One Crazy Summer tells the tale of three sisters who visit their long-ago-left-them mother in Oakland, CA.  Delphine, Vonetta, and Fern have made their trip from Brooklyn in a plane that does some wary warring with the clouds.  They've arrived to find a woman who hardly makes a show of knowing them.  They're sent to a camp sponsored by the Black Panthers.  They watch their mother (who has changed her name to something nearly unspellable) ink a press and roll out poems in a kitchen never used for cooking.  Delphine, only eleven, has to see her sisters through.  She has to understand just what this Black Panther business is.  She has to be older than she is, or does she?  Can she hold onto eleven?

My friend Susan Straight named her daughter Delphine, and so I smiled extra wide when I read these words in Summer.  Delphine is our narrator.  This is what she has to say about names:

A name is important.  It isn't something you drop in the litter basket or on the ground.  Your name is how people know you.  The very mention of your name makes a picture spring to mind, whether it's a picture of clashing fists or a mighty mountain that can't be knocked down.  Your name is who you are and how you're known even when you do something great or something dumb.

(Thank you, Kathye, for the photo.)

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