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LEE & LOW BOOKS celebrates its 25^th anniversary this year! To recognize how far the company has come, we are featuring one title a week to see how it is being used in classrooms today and hear from the authors and illustrators.

Today, we are celebrating Chess Rumble, which explores the ways this strategic game empowers young people with the skills they need to anticipate and calculate their moves through life.

Featured title: Chess Rumble

 Author: G. Neri

 Illustrator: Jesse Joshua Watson

Synopsis: In Marcus’s world, battles are fought everyday—on the street, at home, and in school. Angered by his sister’s death and his father’s absence, and pushed to the brink by a bullying classmate, Marcus fights back with his fists.

One punch away from being kicked out of school and his home, Marcus encounters CM, an unlikely chess master who challenges him to fight his battles on the chess board. Guarded and distrusting, Marcus must endure more hard lessons before he can accept CM’s help to regain control of his life.

Awards and Honors:

• Quick Picks for Reluctant Young Adult Readers, American Library Association (ALA)
• Notable Books in the Language Arts, National Council of Teachers of English
• Lee Bennett Hopkins Promising Poet Award, International Reading Association (IRA)
• Top Picks for Reluctant Readers, BoysRead.org

G. Neri, an award-winning filmmaker whose work has earned him several honors. Inspired by his editor, Jennifer Fox, who had wanted to do an urban chess story for years and finally saw the possibility of making it come to life through him, Neri dove into the project with unbridled enthusiasm. “I loved the idea of using chess strategy as a way to approach life. I had dealt with a few teens who had come from troubled pasts and had difficulty finding an outlet for their inner struggle. So the idea of pairing a kid like this with a chess mentor who did not back down came naturally. It was a very organic process, and I let the characters tell me their stories.”

Neri hopes that readers will come away from Chess Rumble “think[ing] about their lives and the choices they make before they make them.” Pressed to continue, Neri says, “I hope they are intrigued to play chess, and maybe start thinking about acting on, instead of reacting to, negative situations. Acting considers what can happen if you make one choice versus another. Reacting just responds impulsively to the problem instead of thinking ahead three steps and maybe making a better choice.”

Resources for teaching with Chess Rumble: 

• Chess Rumble Teaching Guide, from LEE & LOW BOOKS
• 6th Grade Novel Study Unit featuring Chess Rumble from ReadWorks

Watch the trailer:

You can purchase a copy of Chess Rumble here.

For more titles about different experiences with bullying and peer pressure, check out our Bullying/Anti-Bullying Collection here.

Have you used Chess Rumble? Let us know!

Celebrate with us! Check out our 25 Years Anniversary Collection.

Tiny Stitches: The Life of Medical Pioneer Vivien Thomas is the compelling story of Vivien Thomas, an African American surgical technician who developed the first procedure used to perform open-heart surgery on children. In this interview, author Gwendolyn Hooks discusses the legacy of this medical pioneer and what inspired her to write about a man whose research helped to save countless lives.

What inspired you to write about Vivien Thomas?

A friend’s grandson was diagnosed with tetralogy of Follet. She watched the movie Something the Lord Made which is the story of Vivien Thomas. She loaned me the movie and the rest is history! He is a hero. He did so much and so few know his name. I saw his portrait at Johns Hopkins Hospital and felt him saying “Tell my story.”

In what way is Vivien Thomas a relevant role model for young readers today?

Vivien is a strong role model for young people even after all these years. Sure he was disappointed and mad after he lost his money when his bank closed during the Great Depression. Vivien was tough and resilient. He put aside his college dreams and found a way to support himself. A door closed, but he opened another. I think one of his messages to young people would be to find that other door.

What did you find most surprising in your research of Thomas’s life?

Even as a young boy of 13, his mind was on his future. He worked afterschool and summers with his father. Other boys were playing sandlot baseball and I’m sure Vivien did on occasion, but he was passionate about earning money and putting it to good use. He bought his school clothes and deposited the rest in a savings account.

Is there a fact about Thomas that you didn’t get to put in the book?

Before Vivien found the job at Vanderbilt, he worked for a contractor. One time he had to repair a wooden floor. He repaired it, but it wasn’t his best work. His boss could tell where he laid the new wood and told him it wasn’t acceptable. Vivien did it over and the second time, it was seamless. He learned a lesson that day that he never forgot. Do your best work the first time. In medicine there might not be a second time.

The most painful parts of Tiny Stitches, for us, were the scenes in which Thomas encounters the injustices of racism in spite of his achievements. Why was it important for you to write about these realities, and what do you think young readers can learn from them? 

I wanted readers to know he didn’t lead an easy and carefree life. Despite your intelligence and achievements, there are some who will never give you credit for it. It’s important to know who you are, what you are capable of and never let anyone tell you otherwise.

Vivien Thomas was not given the credit he deserved for his leadership in “blue baby” operations until 1971, how do you think Thomas must have felt once he received recognition?

He was overjoyed that the Old Hands Club asked him to sit for his formal portrait (the one in Johns Hopkins Hospital) and planned a formal recognition ceremony. That and the honorary degree, the faculty appointment were all appreciated by Vivien. He had such a generous spirit. I’ve talked with a former surgical resident who remembers his generous spirit even after his contributions were ignored. I think it’s only human to feel discouraged, but those feelings did not deflate his love of research.

What advice would you have for young readers about following their dreams in spite of obstacles?

If an obstacle is placed in your path, veer left or right, but keep going. Keep stretching and moving forward. Read books, especially biographies, and learn how others did it. Vivien prepared himself for his dream. He was an excellent student. Study. Join organizations in your school or community. This is a perfect way to learn about careers you never knew existed and perhaps find a mentor.

What do you hope readers will take away from Vivien Thomas’ story?

I hope readers and especially young ones will remember that dreams and goals can change, but your life won’t if you don’t go after new ones. If Vivien did it with all that was set against him, you can do it now.

Learn more about Tiny Stitches: The Life of Medical Pioneer Vivien Thomas here.

Gwendolyn Hudson Hooks was born in Savannah, Georgia. Her father was in the Air Force, so Gwen and her family moved a lot when she was a child. Her first stop in every new city was the local library where she got her new library card. Gwendolyn is the author of many books, including Bebop Books’ Can I Have a Pet? and Lee & Low’s Tiny Stitches. Gwen now lives in Oklahoma City, Oklahoma, with her husband and their three children. Visit her online at gwendolynhooks.com.

LEE & LOW BOOKS celebrates its 25th anniversary this year! To recognize how far the company has come, we are featuring one title a week to see how it is being used in classrooms today and hear from the authors and illustrators.

Today, we are celebrating Richard Wright and the Library Card, an inspirational story for children of all backgrounds. This book shares a poignant turning point in the life of a young man who became one of this country’s most brilliant writers, the author of Native Son and Black Boy.

Featured title: Richard Wright and the Library Card

Author: William Miller

Illustrator: Gregory Christie

Synopsis: The true story of the renowned African American author Richard Wright and his determination to borrow books from the public library that turned him away because of the color of his skin.

Awards and Honors:

• Notable Children’s Book, Smithsonian
• Honor Book, Society of School Librarians International

Other Editions: Did you know that Richard Wright and the Library Card also comes in a Spanish edition?

Richard Wright y el carné de biblioteca

Purchase a copy of Richard Wright and the Library Card here.

Resources for teaching with Richard Wright and the Library Card:

Richard Wright and the Library Card Teacher’s Guide

Learn more about Richard Wright:

• Richard Wright Biography
• Native Son by Richard Wright
• Black Boy by Richard Wright

Additional LEE & LOW titles by William Miller:

• Zora Hurston and the Chinaberry Tree
• The Bus Ride
• Frederick Douglass and the Last Day of Slavery
• A House by the River
• Joe Louis, My Champion
• Night Golf
• The Piano
• Rent Party Jazz

Have you used Richard Wright and the Library Card? Let us know!

Celebrate with us! Check out our 25 Years Anniversary Collection.

This year’s Tony Awards will be broadcast on Sunday, June 12, 2016. We posted our first infographic and study on the Diversity Gap in the Tony Awards in 2013. In 2014, we did a brief follow-up post. In 2015-2016, there was such a pronounced uptick of diverse productions on Broadway that we felt it was worth updating our infographic and taking another look at diversity in the theater industry.

This year, Broadway megahit Hamilton—which almost exclusively stars actors of color—broke Tony records with a whopping 16 nominations. Add to that nominations for The Color Purple, Eclipsed, and Shuffle Along, and we’re in a year where conceivably all the main acting Tonys could go to people of color.  But is this year’s diversity a sign of lasting change, or an anomaly? To find out, we touched base again with award-winning writer, actor, and director Christine Toy Johnson to get her take on the current state of diversity in theater. Welcome, Christine!

1. With the critical and commercial success of Hamilton, do you feel that this play will have a “rising tide lifts all boats” effect on theater and will result in more opportunities for diverse actors and actresses?

Of course that’s the great hope. The thought that has been repeated and repeated year after year—that audiences will not buy tickets to see a show in which the lead storytellers are not household names or who are people of color, or that audiences won’t buy tickets to see a show that is about people of a cultural background other than their own—is now irrelevant. Try to buy a ticket to Hamilton.

Still, I don’t think we’ve seen the end of our challenges, by a long shot. I think that we, as a nation, are at this profound crossroads of sorts. On one hand our society has become more inclusive than ever in our laws and policies. On the other hand, it has become more divisive than ever with fear based hate rhetoric making it clear that many view inclusion as a threat to the status quo, instead of an opportunity to expand and enrich the status quo. Even in the most subtle and subconscious ways, I think that this trickles down into every corner of our lives, including how we make art, how it’s perceived, and how it’s produced. I think we should celebrate this season with a cautious optimism, and use it as inspiration to keep working toward raising that tide and lifting those boats!

Here’s a link to a piece I wrote about Hamilton that expands on some of my thoughts on the show’s impact.

2. While years of vigilance and activism has been a contributing factor in more diverse casting, what has been your take on why so many productions in 2016 were diverse?

I think it’s been the perfect storm of programming and casting that happened to converge this season. From most reports, next season does not look nearly as diverse. So though I’d love to think this season is so diverse because the tide has changed for good, I think it’s diverse because the tide has turned for some creative teams and/or this is the year they’re getting their shot and we’re lucky enough to see the fruits of their labor right now.

3. Obviously, diverse decision makers are key to hiring and casting more diverse casts. Has there been an increase in diversity among directors, playwrights, and producers in theater? Are there new creators breaking into Broadway who we should be aware of?

It pains me that some people have assumed that the lack of diversity and inclusion on Broadway is due to the lack of directors, playwrights, and actors of color, or to the lack of female directors, playwrights, and actors. We exist! But the truth is, it has not been an even playing field. Of course this is multi-layered, as is every other issue we’re discussing here. Taking a chance on someone who hasn’t had an opportunity to have a big commercial success yet is of course full of great financial risk. But I think this becomes a vicious circle. How do you get the opportunity to have a commercial success if you aren’t allowed the opportunity in the first place?

I also think that on a deeper level we are running up against a problem of narrowed perceptions, which lead to what certain producers expect writers of color to be writing about. And if we don’t fit their expectation or profile for us then we’re just not part of their equation. And while there might be a half dozen (or more) shows per season that fail that are written by/directed by/starring all Caucasian teams, there is never an assumption that the reason they failed was because there was a Caucasian team behind it or a Caucasian story line. But if the numbers are poor for a show featuring a non-Caucasian cast/writer/director, many will be quick to make an assumption that these kinds of stories/writers/directors/actors just don’t sell tickets and aren’t worth the risk.

There are so many writers of color who deserve to break through in a bigger way than they already have: Timothy Huang, Adam Gwon, Nikkole Salter, Leah Nanako Winkler, Jason Ma, Lloyd Suh, to name just a few. As for Asian American producers, I know there are several who are doing great stuff on Broadway, especially Lily Fan and Jhett Tolentino.

4. Following Hollywood’s #Oscarssowhite controversy, do you know if there are any efforts underway to recruit more people of color to join the various organizations that are eligible to vote on Tony Award nominees? (Note: this year, according to our research, the Tony Awards Nominating Committee was 86% white and 70% male).

Tony voters are largely made up of the elected leaderships of various arms of the industry (i.e. Dramatist Guild, Actors’ Equity Association, SDC, etc., as well as many producers and presenters) and I do believe that there is an ongoing effort to diversify those memberships. But it goes beyond that, since we are talking about the Tony nominators and voters coming from within those ranks. In other words, yes, it’s great to increase the diversity of these memberships, but it’s not a simple solution to increasing the make up of Tony voters or Tony nominators.

5. More diverse casting and storylines will result in more diverse theater audiences. Seems to us this is an opportunity for the theater industry to grow. Do the powers that be really get it or is 2016 an anomaly when it comes to the spike in diverse productions?

We have been having this same discussion for more than a decade, citing the same philosophies and reasoning. I can only hope that the numbers this year help to reinforce the idea. Time will tell.

CHRISTINE TOY JOHNSON is an award-winning writer, actor, director, and advocate for inclusion. Member: Dramatists Guild Council, Actors’ Equity Association Council (and national chair of the union’s EEOC), Asian American Composers and Lyricists Project (founder), Executive Board of Alliance for Inclusion in the Arts, founding steering committee member of AAPAC. She is also an alumna of the BMI Workshop and a member of ASCAP, AEA, and SAG-AFTRA.

Today is Wangari Maathai’s birthday! Wangari Maathai was the first African woman, and the first environmentalist, to win the Nobel Peace Prize. Seeds Of Change: Planting a Path to Peace, which tells Wangari’s story, continues to be one of the most popular books that we publish!

In honor of Wangari Maathai’s birthday and upcoming Earth Day later this month, here’s a list of the many fantastic resources and ideas available to educators who are teaching about Wangari Maathai’s legacy and using Seeds Of Change: Planting a Path to Peace:

Elementary School:

• In teaching standard 9 of the ELA Common Core, have students analyze two biographies about Wangari Maathai to build knowledge and compare the authors’ approaches. The Southern Poverty Law Center’s Teaching Tolerance Project created a lesson for students to compare a Wangari Maathai biography with Dr. Seuss’ The Lorax.
• School Library Journal’s “Curriculum Connections” e-newsletter features a lesson plan using Seeds Of Change to explore what it means to be a global citizen.
• Kid World Citizen shows teachers how to teach cause and effect with Seeds Of Change.
• Lee & Low Books’ classroom guide includes teaching tips, interdisciplinary activities, and a range of literal to inferential questions.

Middle School and High School:

• Seeds Of Change won the American Library Association’s Coretta Scott King/John Steptoe Award for New Talent in Illustration in 2011. The Committee Chair and Book Jury have prepared activities and discussion questions for Seeds Of Change in the 2011 Discussion Guide for Coretta Scott King Book Awards, P. 20-21.
• Have students read and discuss author Jen Cullerton Johnson and illustrator Sonia Lynn Sadler’s joint interview with Lee & Low, which covers the environment, their travels, and Wangari Maathai’s achievements.
• After introducing Wangari Maathai with Seeds Of Change, delve deeper with the Speak Truth To Power human rights education curriculum, a project of the Robert F. Kennedy Center for Justice and Human Rights. They present an in-depth exploration on Wangari Maathai, the Green Belt Movement, and sustainability issues.
• In teaching standard 7 of the ELA Common Core, have students evaluate how Wangari Maathai is presented in a documentary compared to the Seeds Of Change biography. PBS’s documentary on Wangari Maathai and the Green Belt Movement, Taking Root: The Vision of Wangari Maathai, contains a classroom section full of video modules, handouts, and lesson plans.

What did we miss? Let us know how you are using Seeds Of Change in your classroom!

Purchase a copy of Seeds of Change here!

Further Reading:

Remembering Wangari Maathai

Planting Seeds of Change Around the World

Compiling Rigorous Thematic Texts: Books Set in Kenya

Reading for the Earth: Ultimate Earth Day Resource Round Up

Book List: 11 Children’s Books About Human Rights

10 Great Women of Color Whose Stories You Should Know

School Library Journal: Inquiry and Integration Across the Curriculum: Global Citizenry

Kid World Citizen: Introduce Kids To Nobel Peace Prize Winner Wangari Maathai: “Mama Mati”

Jill Eisenberg, our Resident Literacy Expert, began her career teaching English as a Foreign Language to second through sixth graders in Yilan, Taiwan as a Fulbright Fellow. She went on to become a literacy teacher for third grade in San Jose, CA as a Teach for America corps member. She is certified in Project Glad instruction to promote English language acquisition and academic achievement. In her column she offers teaching and literacy tips for educators. 

According to the National Institute of Mental Health, Post-Traumatic Stress Disorder (PTSD) is a disorder that develops in some people after they’ve witnessed a shocking or traumatic event. People experience shock after traumatic events, but those who don’t recover from the initial shock are more likely to develop PTSD. After a distressing or upsetting event, it’s important to seek support.

While literature cannot take the place of a support group or therapy, it can help us process grief and trauma. Teens are not immune to PTSD, and several YA novels explore this disorder in different ways: through fantasy, dystopia, or realistic fiction. Some are from the perspective of the person suffering, while others explore what it’s like to be a family member or friend.

Here is a list of four young adult books that deal with PTSD:

Trail of the Dead by Joseph Bruchac – In the follow-up to Killer of Enemies, Apache teenager Lozen protects her family and friends as they travel in search of refuge in a post-apocalyptic world. Though Lozen has only taken the lives of others to protect herself and her family, the killings take a toll on her spirit and Lozen finds herself with what her people call “enemy sickness,” another name for PTSD. With the support of her friends and family, she is healed in a ceremony that reflects the traditional healing of her Apache ancestors.

Purchase the series here.

The Impossible Knife of Memory by Laurie Halse Anderson – Hayley Kincaid and her father have moved around a lot in the past five years due to his job working on the road. They return to his hometown so that Hayley can have a shot at a normal life. However, after her father’s tours in Iraq, he developed PTSD. Hayley isn’t sure if being in her father’s hometown will help with his PTSD, or push him over the edge.

Melting Stones by Tamora Pierce – Evvy and
Rosethorn are sent to the island of Starns to help residents with a dormant volcano. While there, Evvy has flashes of a war from which she recently escaped.

Fallen Angels by Walter Dean Myers – After his dreams of attending college fall through, Perry, a teenager from Harlem, decides to volunteer for the service and joins the Vietnam War. Perry and his platoon are sent to the front lines and come face-to-face with the horrors of war. Perry begins to questions why black troops are given the most dangerous assignments and why the U.S. is in Vietnam at all.

Resources:

National Institute of Mental Health: Post Traumatic Stress Disorder

National Institute of Mental Health: Helping Children and Adolescents Cope with Violence and Disasters: What Community Members Can Do

PTSD Alliance

PTSD: National Center for PTSD

American Academy of Pediatrics: Promoting Adjustment and Helping Children Cope After Disaster and Crisis

Read More:

Why I Love to Read Sad and Dark Books to Children (and You Should Too)

Talking to Kids About Current Events and Conflicts

Turning to Story After the Sandy Hook Shooting

Connecting Teens with the Authors They Love

What are some other YA novels that deal with PTSD? Please share in the comments.

World Water Day is March 22^nd. It’s an internationally recognized day to celebrate water and those who labor in water, started by the United Nations in 1992. The first World Water Day was celebrated in 1993.

Explore the importance of water with LEE & LOW’s Water Collection:

Cycle of Rice, Cycle of Life by Jan Reynolds – On the island of Bali in Southeast Asia, rice farmers follow the cycles of the water and the soil in order to plant rice.

Buy Here.

Everglades Forever, written Trish Max and photographed by Cindy Karp – Explore the Everglades, the majestic wetlands located in Florida alongside a fifth grade class.

Buy Here.

Giving Thanks, written by Chief Jake Swamp and illustrated by Eric Printup – For as long as anyone can remember, Mohawk parents have taught their children to start each day by giving thanks to Mother Earth. The Thanksgiving Address has been adapted for children by Chief Jake Swamp.

Buy Here.

I Know the River Loves Me/Yo sé que el río me ama by Maya Christina Gonzalez – A young girl named Maya goes to visit her friend, the river. In this gentle story, the river takes care of Maya and Maya takes care of the river.

Buy Here.

Rainbow Stew by Cathryn Falwell – On a rainy day, three children go into their Grandpa’s garden to pick colorful vegetables for rainbow stew.

Buy Here.

The Woman Who Outshone the Sun/La mujer que brillaba aún más que el sol, written by Alejandro Martinez and illustrated by Fernando Olivera – In this Zapotec legend, Lucia Zenteno walks into a village in Central Mexico. Some of the villagers say that her long, dark hair blocks out the sun; others say that it outshines the sun. The frightened villagers banish Lucia and the river goes with her.

Buy Here.

The Mangrove Tree, written by Susan L. Roth and Cindy Trumbore, illustrated by Susan L. Roth – People in the small village of Hargigo in Eritrea were unable to grow enough food for themselves and their animals. With the help of Dr. Gordan Sato, a scientist, they plant mangrove trees and transform their impoverished village into a self-sufficient one.

Buy Here.

Vanishing Cultures: Amazon Basin by Jan Reynolds – Explore the lives of the Yanomama people that live in the Amazon River Basin through the eyes of Tuwenowa and his family.

Buy Here.

Vanishing Cultures: Frozen Land by Jan Reynolds – Explore the lives of the Inuit people through the eyes of Kenalogak, a young girl, who helps her father with building an igloo, and goes ice fishing with here brother at night.

Buy Here.

Buy the full collection here.

More Resources

World Water Day

7 End-of-year Field Trips and Book Pairings That Your Students Will Love (But Won’t Break the Bank)

Reading for the Earth: Ultimate Earth Day Resource Roundup

Book and Activity Suggestions to Match Your Summer Adventure: National and State Parks!

Book and Activity Suggestions to Match Your Summer Adventure: Beaches!

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!

Perseverance, Determination, & Grit

• Etched in Clay: The Life of Dave, Enslaved Potter and Poet
• Frederick Douglass: The Last Day of Slavery
• George Crum and the Saratoga Chip
• In Her Hands: The Story of Sculptor Augusta Savage
• Knockin’ on Wood: Starring Peg Leg Bates
• Little Melba and Her Big Trombone
• Night Golf
• Ray Charles
• Richard Wright and the Library Card

Leadership & Courage

• Game, Set, Match, Champion Arthur Ashe
• Joe Louis, My Champion
• The Last Black King of the Kentucky Derby
• Paul Robeson
• Seven Miles to Freedom
• Seeds of Change

Teamwork & Collaboration

• Rent Party Jazz
• Juneteenth Jamboree
• Sweet Music in Harlem
• The Legend of Freedom Hill
• The Piano
• Up the Learning Tree
• Drumbeat in Our Feet
• The Secret to Freedom

Responsibility & Commitment

• Dear Mrs. Parks
• Game, Set, Match, Champion Arthur Ashe
• John Lewis in the Lead
• The Bus Ride

 Optimism & Hope

• Catching the Moon: The Story of a Young Girl’s Baseball Dream
• Zora Hurston and the Chinaberry Tree
• As Fast as Words Could Fly
• Howard Thurman’s Great Hope

Compassion & Love

• Children of Long Ago
• DeShawn Days
• I and I Bob Marley
• Love to Langston
• Love Twelve Miles Long
• Mama’s Window
• Sweet Potato Pie

Passion & Pride

• i see the rhythm
• The Palm of My Heart: Poetry by African American Children
• Black All Around!
• Drummer Boy of John John
• Going Back Home

Discussion questions when reading and learning about core values:

1. How does/do the character(s) show (core value)?
2. What positive effects are associated with having/showing (core value)?
3. How do you show (core value)?
4. How can you work towards having/showing (core value)?
5. What core values do you think are important to apply in our classroom? Why?

Further reading on teaching core values with students:

• How to Choose Books for Core Value Study
• How to Teach Core Values to Kids Meaningfully

Looking for additional resources for teaching Black History? Check out these lesson plans, videos, and tips:

• African American History Month from the Library of Congress
• Anti-Defamation League: Black History Month
• African American History from ArtsEdge, an education program from the Kennedy Center
• ASALH: A Century of Black Life, History, and Culture
• Guide to Black History Month Teaching Resources from EDSITEment, a project of the National Endowment for the Humanities
• Black History Month Lessons & Resources from the National Education Association
• Celebrate Black History Month from The New York Times’ The Learning Network
• Black History Month resources for the classroom from PBS NewsHour
• Black History Month from Reading Rockets
• Black History Teaching Resources from Smithsonian Education
• African American History Month from TeachingHistory.org
• Remembering Cortez Peters from Lee & Low
• Why Remember Bill Traylor? from Lee & Low
• Why Remember Florence “Baby Flo” Mills? from Lee & Low
• Why Remember Arthur Ashe? from Lee & Low
• Why Remember Toni Stone? from Lee & Low
• Why Remember Robert Smalls? from Lee & Low

Veronica has 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.

February is Black History Month. The origins of Black History Month began with historian Carter G. Woodson launching Negro History Week in 1926. Woodson felt that teaching African American history was essential for the survival of the African American race.

In 1969, students at Kent State University proposed expanding Black History Week to Black History Month. The first Black History Month was celebrated a year later. In 1976, Black History Month was recognized by the federal government and has been celebrated ever since.

Today, heritage months can be a double-edged sword. On one hand, relegating culturally diverse books to specific months of the year can mean these books are overlooked the rest of the year. It can also separate Black history from American history, when in fact black history is American history.

On the other hand, we are still working to undo a long history in which the achievements and contributions of people of color were routinely ignored. Having a special time of year to highlight these achievements can help fill in the gaps in our history.

Our opinion? Black History Month isn’t a time for once-a-year books; the books you use this month should be in your regular rotation. But Black History Month is a good time to give your collection of African American titles a little extra love–or updating, if it needs it.

LEE & LOW is proud to offer a number of different Black History Month collections. Check them out below:

Black History Month Collection, Grades K-2

This paperback collection features a mix of historical fiction and biographies from African Americans who excelled in arts and politics for young readers.

Featured Books:

Love Twelve Miles Long, written by Glenda Armand and illustrated by Colin Bootman – Frederick Douglass’s mother travels twelve miles late at night to visit him in another plantation. Mama recounts why every step of the way is special to her.

Knockin’ On Wood, by Lynne Barasch – Clayton “Peg Leg” Bates, a legendary 20^th century tap dancer, lost his leg in an accident at the age of twelve. He taught himself how to dance, first with crutches and then later with a peg leg.

Purchase this collection here

Black History Month Collection, Grades 3-6

This collection explores the lives of great African Americans with a wide range of picture book biographies and historical fiction books for young readers.

Featured Books:

Little Melba and Her Big Trombone, written by Katheryn Russell-Brown and illustrated byFrank Morrison – This award-winning biography follows the life of Melba Liston, a trailblazing musician and a great unsung hero of jazz.

Ira’s Shakespeare Dream, written by Glenda Armand and illustrated by Floyd Cooper -Ira Aldridge dreamed of being on stage one day performing the great works of William Shakespeare. Due to little opportunity in the United States, Ira journeyed to Europe and through perseverance and determination became one of the most respected Shakespearean actors of his time.

Purchase this collection here

Black History Month Collection, Grades 7-12

This collection is perfect for a wide range of middle to high school level readers. Readers will be able to explore the history of African American music, Civil Rights, and sports.

Featured Books:

i see the rhythm, written by Toyomi Igus and illustrated by Michele Wood – This book explores African American music throughout history, starting with its roots in Africa.

I and I Bob Marley, written by Tony Medina and illustrated by Jesse Joshua Watson – This book of poems explores the life of famous musician Bob Marley.

Purchase this collection here

Black History Month Special Collection This collection features a mix of award-winning hardcover and paperback biographies of great African Americans at a range of reading levels.

Featured Book:

Love to Langston, written by Tony Medina and illustrated by R. Gregory Christie – Fourteen original poems explore the life of Langston Hughes, one of America’s most beloved poets.

Purchase this collection here

Black History Month Paperback Collection

This collection features hand-picked award winning books, available in paperback.

Featured Book:

In Her Hands, written by Alan Schroeder and illustrated by JaeMe Bereal – Augusta Savage enjoyed sculpting with clay, despite her stern father thinking it was a waste of her time. To pursue a career as an artist, Augusta leaves everything she knows behind and journeys to New York.

Further Reading:

Who Is Ira Aldridge?

Remembering Cortez Peters

Why Remember Bill Traylor?

Why Remember Florence “Baby Flo” Mills?

Why Remember Author Ashe?

Why Remember Robert Smalls?

Why Remember Toni Stone?

Storyline Online: Catching the Moon

Seven Core Values to Celebrate During Black History Month

Why You Should See Selma

Katheryn Russell-Brown on the Research Behind Little Melba and Her Big Trombone

Protesting Injustice Then and Now

Resources for Teaching About Wangari Maathai and Seeds of Change

Three Ways to Teach Etched in Clay

The Origins of the Coretta Scott King Award

More Resources

Twelve Months of Books

The Problem with Ethnic Heritage Months

African American History Month (Library of Congress)

Since its release, the Diversity Baseline Survey (DBS) has become the most visited blog post we have ever produced. The DBS has been widely read and written about, and has opened up a renewed interest in how to improve staff diversity in the publishing industry. In our first piece, Behind the Scenes of Publishing’s First Diversity Baseline Survey, we covered the methodology and obstacles we faced conducting the survey. In this piece we will shed light on what happens next—and what’s already happening to improve the numbers.

We surveyed a handful of the publishers and reviewer journals that participated in the DBS and asked them what initiatives they are planning or already have in place to make diversity a priority in their organizations. Here are some of the responses we received back:

Kiera Parrott, Reviews Director, School Library Journal and Library Journal: Participating in the survey was the first concrete and actionable thing I could do to be part of the solution. Even though I had a fair guess on the demographic makeup of our reviewers (most of them were recruited from ALSC committees, and that group is rather homogenous), I wanted actual numbers. My hope was that the statistics would help me pinpoint exactly where we needed to grow and develop.

The next steps after the survey have been 1) intentionally recruiting more diverse reviewers, and 2) developing diversity/cultural literacy training for our existing reviewers. Sometime in mid-2016, I’m launching a special course just for SLJ reviewers on diversity and cultural literacy. We anticipate this course beginning sometime in late Spring/early Summer.

Editorial note: Kiera also gives a much more detailed report on her progress diversifying her reviewer pool in an interview she gave at the Reading While White blog.

Jason Low, Publisher, Lee & Low Books: While many are aware of our 25-year mission to publish award-winning diverse books, we currently have several other initiatives in place.

To start, since the DBS was all about staff diversity, Lee & Low can firmly state that we practice what we preach. Lee & Low hires diversely and as a result our staff is very diverse. Overall 69% of our staff identifies as people of color (PoC). Departmentally the company breaks down like this: editorial: 50% PoC; marketing/publicity: 75% PoC; sales: 50% PoC; Operations: 100% PoC. We have fluent Spanish speakers in editorial, marketing/publicity, and sales.

Staff Diversity Training: Last year we sent a number of LEE & LOW staff members from different departments to an “Undoing Racism” workshop, held by the People’s Institute for Survival and Beyond. We decided to do this workshop because even with LEE & LOW’s focus on diverse books, we felt that our staff would benefit from specific training in anti-racism concepts.

Author Award Contests: We sponsor two author awards for unpublished writers of color. Our New Voices Award is in its 17th year. The New Voices Award has launched the careers of 14 authors of color (with the work of three more authors currently in development), and we have given honor awards to another 11 authors. In 2013, we launched the New Visions Award, an award for unpublished authors of color who write middle grade and young adult novels.

Diversity in Publishing Internship: To address the lack of opportunities for diverse staff in publishing, we converted our paid internship program to one that is for diverse candidates only. Our internship program is designed to give candidates the kind of publishing experience and exposure they would need to consider a career in publishing.

Lee & Low and Friends Scholarship: In partnership with the Center for the Study of Children’s Literature at Simmons College, we have established a scholarship to increase diversity at the graduate school level. The Lee & Low and Friends Scholarship provides opportunities for students of color to enroll in the most prestigious children’s literature graduate program in the United States.

Diversity Gap Series: We published a series of eight studies that include statistics and interviews illustrating that the lack of diverse representation is a society-wide problem. The subjects covered so far: The Tony Awards, The Emmy Awards, The Academy Awards, The children’s book industry, The New York Times Top 10 Bestseller List, US politics, Sci-Fi and Fantasy Films, and Silicon Valley.

Angus Killick, Vice President/Associate Publisher, Macmillan Children’s Publishing Group and Monique Patterson, Editorial Director, Romance and Executive Editor, St. Martin’s Press: Macmillan established a Diversity & Inclusion Council this year aimed at promoting a broader representation of differences—gender, race, ethnicity, religion, sexual orientation, physical ability, age, gender identity and expression, family status, economic background and status, geographical background, and perspective in the workforce and the books we produce. The Council steers Macmillan’s diversity and inclusion efforts, and 1) determines priorities for programs and activities aimed at enhancing diversity in our books and authors and in our recruitment and retention efforts; 2) oversees sub-committees established to focus on individual priorities; 3) measures the results of our initiatives; and 4) reports back to the larger organization.

We’ve formed a number of sub-committees and each is involved in projects. For example, the Outreach Committee is creating a Publishing Ambassador Kit, so any employee can visit a middle or high school and talk about careers in publishing—not just in editorial, but in marketing, production, finance, IT. The Recruiting and Retention committee worked with We Need Diverse Books to expand our Intern pool this past summer and has expanded recruiting efforts to schools outside the tri-state area. The Acquisition and Marketing Committee is developing strategies for editors and imprints to broaden submissions both from the one-on-one meetings of editors and agents and from outreach to organizations such as the Asian American Writers Workshop or historically black colleges and their writing programs. Also, our Council is looking into participating in events such as the Harlem Book Fair and the LGBTQ Graphic Novels event. We have also reached out to the AAP and Young to Publishing to find ways to expand on what already exists. Macmillan joined other publishers in September in a baseline survey on our workforce and added several questions of its own to measure awareness and attitudes about Diversity and Inclusion.

We are in the early stages of exploring what will increase and sustain diversity in our books, our readership, and our workforce. We have much to learn, but look forward to continuing our efforts.

Vicky Smith, Children’s & Teen Editor, Kirkus Reviews: I’m not sure you can call an intention an initiative, but we are working hard to describe race and ethnicity accurately when we see it in the books that we review, as well as sexual orientation, gender identity, and disability. We hope that by including that information in our reviews our readers will be able to make the most responsible purchasing decisions for their homes and libraries. I am also actively recruiting reviewers of diversity (for lack of a better term), who will provide a variety of lenses into the literature.

Paige Mcinerney, Vice President Human Resources, Penguin Random House: Our commitment to fostering diversity is reflected in our day-to-day workplace conduct, as well as by how we continue to find, develop, and publish a wide range of authors from many different cultural backgrounds, across all genres, for diverse audiences of readers everywhere.

At Penguin Random House, we have a robust, paid Internship Program. In recruitment for this program, we actively work with several diversity partners with whom we have longstanding and productive relationships. These include, among others, The Posse Foundation, Prep for Prep, and beginning in 2016, the United Negro College Fund in partnership with the Association of American Publishers. We work with these groups on all internship recruitment and also commit to filling a percentage of our internship openings with qualified candidates from these organizations.

Some of our divisions have employee groups that meet regularly to discuss how to maximize the potential of our diversity-related books, and how to make sure that their division is working toward as much inclusiveness as possible.

This spring, Penguin Young Readers is sponsoring (in a partnership with We Need Diverse Books) a writing contest that will award a publishing contract to a previously unpublished author who self-identifies as a person of color or non-Caucasian.

Karen Lotz, President and Publisher, Candlewick Press: As an independent publisher, we’ve always understood that it’s our authors and illustrators who set us apart. Our roster of creators includes new and established talents from all backgrounds who themselves are committed to ensuring that ALL readers will be able to see themselves and the people they love reflected in the pages of—and on the covers of—the books they read. On the corporate level, from the covers of the Candlewick advertising catalog to our featured titles at conventions and shows, we consistently and consciously make choices to feature characters from many different backgrounds; we choose to illustrate characters of different backgrounds not just in the ‘issues’ books but across the board, to better depict society as a whole. We hope this creates an open and inviting atmosphere where authors and artists from diverse populations will feel welcome to publish. We understand, furthermore, that the economic support and financial offers we make to artists and authors and the quality we invest in producing each and every title are important to attract all authors and artists, certainly including those from diverse backgrounds.

And finally, we are very proud of the recognition our books have come to receive from outside groups, including recent NAACP Image and Honor Awards; Stonewall Awards and Honors; Pura Belpré Awards and Honors; and Coretta Scott King Awards and Honors. We are particularly grateful this year to the Coretta Scott King Committee for their bestowal of the John Steptoe New Talent Award to Ekua Holmes for Voice of Freedom: Fannie Lou Hamer, because at Candlewick we really work very hard to try to discover new talent and give brand-new creators of children’s books a graceful and rewarding entry into the world of children’s publishing.

This same commitment to creating a welcoming environment extends to our staffing. In recruiting, we make every effort to reach out to educational institutions and organizations whose goal is to cater to diverse populations. We have a special art resource coordinator on staff whose role is exclusively dedicated to seeking new talent from art schools and programs; she communicates wherever she goes that Candlewick welcomes artists from diverse backgrounds and with diverse interests. Throughout their careers, we support and encourage all of our staff to continue their participation in diversity studies, panels, and educational programs, including the CBC’s diversity program efforts and other local and national opportunities, including WNDB initiatives. We support our authors when they wish to do the same. We also work very closely with First Book and Jumpstart, as well as other literacy organizations whose goals include getting high-quality and appropriately representational books into the hands of all children—regardless of their families’ compositions, backgrounds, or economic situations.

Marina Tristán, Assistant Director, Arte Público Press: We obviously work to promote Latino books and authors, but we also try to promote books by other minority writers and publishers via our social media pages and in conversations with teachers and librarians.

In regard to hiring, we don’t honestly have any initiatives per se in place, but we do have a very diverse staff—mostly Latino/Hispanic—because we feel it’s important to employ a bilingual/bicultural staff.

Learning from the UK
There’s no way for us to predict how the United States publishing industry will tackle the diversity problem and how successful these initiatives will be. But looking at efforts similar to our own is a useful exercise. The DBS has precedence in a publishing diversity study conducted in the United Kingdom in 2014. The United Kingdom study had a scope larger than the DBS. In the UK they surveyed 66 publishing companies of all sizes, 49 literary agencies, and 536 authors. They spoke with authors, publishing professionals, and Human Resources heads. Earlier this year, we wrote about 6 key findings from that study. Recently we reached out to Danuta Kean, one of the planners of the survey, and asked her about the status of their research.

“After the United Kingdom Survey concluded the findings were launched at the London Book Fair with a major press conference that was attended by over 100 people,” Danuta said. “Coverage in the national and trade press was extensive. All the major publishers expressed shock, but feedback among BAME authors and staff was very good: the report was true to their experiences and there was relief that it was being addressed in a hard-hitting manner. It has put diversity on the agenda.

“Spread the Word [the organization which created the study] has now met with HarperCollins and Penguin Random House and is establishing schemes to improve the situation with them. HarperCollins is the best: John Athanasiou, its head of people, has been a driver for change and asked me to present to the main board. He has also established a company-wide diversity forum and had a conference for staff to address issues raised in the report. The diversity firm, Equip, ran a poorly attended workshop at which I spoke. The feedback and enthusiasm was good, but I question the drive to bring about lasting change.

“Goldsmiths University held a diversity in the media day at which I presented our findings. Discussions have been held at three literary festivals, on national and digital radio, and diversity hashtags have been promoted on Twitter—the latest is #diversitydecember. Spread the Word also hosted a training and awareness day for BAME people interested in publishing and writing. More initiatives and meetings are planned for next year, and we raising funding for follow-up research.”

While the time and the scope of the survey did not allow us to document all inclusion initiatives, we encourage publishers, reviewers, and others to add commentary to the comments section below. What is your company or organization doing to address this problem?

Read also: Behind the Scenes Of Publishing’s First Diversity Baseline Survey and Where Is the Diversity in Publishing? The 2015 Diversity Baseline Survey Results

For press inquiries or permission to reprint, please contact hehrlich[at]leeandlow[dot]com.

By now it’s no secret that publishing suffers from a major lack of diversity problem. Thanks to years of research by the Cooperative Children’s Book Center, we have ample data to confirm what many readers have always suspected: the number of diverse books published each year over the past twenty years has been stuck in neutral, never exceeding, on average, 10 percent.

Countless panels, articles, and even conferences have been dedicated to exploring the causes and effects of this lack of diversity. Yet one key piece of the puzzle remained a question mark: diversity among publishing staff. While the lack of diversity among publishing staff was often spoken about, there was very little hard data about who exactly works in publishing.

At the beginning of 2015 we decided to conduct a survey to establish a baseline that would measure the amount of diversity among publishing staff. We believed in the power of hard numbers to illuminate a problem that can otherwise be dismissed or swept under the rug. We felt that having hard numbers released publicly would help publishers take ownership of the problem and increase accountability. We also felt that a baseline was needed to measure whether or not initiatives to increase diversity among publishing staff were actually working.

Our Diversity Baseline Survey took a year to complete. The results include responses from 8 review journals and 34 publishers of all sizes from across North America. Here are the results:

View a slideshow of the DBS survey results

Methodology and Response Rate
The Diversity Baseline Survey (DBS) was sent to 1,524 reviewer employees and 11,713 publishing employees for a total of 13,237 surveys deployed. The response rate was 25.8 percent. This is on par with the average for online surveys and actually a bit higher than the norm, given the sensitive nature of the questions.

In 2015, Publishers Weekly included some staff diversity questions in their annual Salary and Compensation Survey. They deployed their survey to 5,800 subscribers and had a response rate of 7.3 percent. Therefore, the DBS should yield a much more comprehensive picture of diversity in the publishing community.

The DBS was deployed directly from each publisher or review journal. A link was sent to all staff from a member of each publisher’s or reviewer journal’s human resources or executive team, often with an introduction explaining why the company was participating. Some companies even wanted to add additional questions to their surveys. The results provided here are only for questions that appeared in every survey.

The surveys were completely anonymous, and companies did not have direct access to the results. All data was analyzed and aggregated by Dr. Sarah Park Dahlen and Nicole Catlin of St. Catherine University in St. Paul, Minnesota, to ensure anonymity for individual employees.

Although our response rate was good, we still wonder: who didn’t take the survey, and how might that influence the results? With a survey of this kind, there is most likely some degree of selection bias. In other words, people who self-identify as diverse may have been more likely to take the survey. If that was the case, it would mean that our results portray publishing as more diverse than it actually is.

No voluntary survey can ever be 100 percent accurate, and no survey that asks questions about personal identity can ever be anything but voluntary. Even so, the results of the DBS offer a strong snapshot of the makeup of the publishing industry.

Notes and Analysis: What the Numbers Tell Us

Race:
According to the survey, just under 80 percent of publishing staff and review journal staff are white. The rest are comprised of Asians/Native Hawaiians/Pacific Islanders (7.2 percent), Hispanics/Latinos/Mexicans (5.5 percent), Black/African Americans (3.5 percent), and biracial/multiracial people (2.7 percent). Native Americans (0.5 percent), and Middle Easterners (0.8 percent) of publishing staff.

While all racial/ethnic minorities are underrepresented when compared to the general US population, the numbers show that some groups, such as Black/African Americans, are more severely underrepresented. This mirrors trends among children’s book authors. In 2014, just 2 percent of the books tracked by the Cooperative Children’s Book Center were by black authors. Latinos were similarly underrepresented in both places.

Creating the list of ethnicities for a survey such as this was a real challenge. The racial breakdown we offered was based on the US census, with a few adjustments. For our first survey, we felt that this was the best way to break things down because it presented familiar categories that respondents had seen before.

But no list can accurately depict the complexity of this question. Within each category, there are so many different groups, and people self-identify in a wide variety of ways. The census groups White Americans, European Americans, and Middle Eastern Americans together. The census is not quite sure what to do with Latino and Hispanic people, who may or may not identify as white. And it certainly does not know how to handle the differences among Asians, Pacific Islanders, and South Asians.

We received more than 50 write-in comments for this question from people who did not feel that any of the options offered adequately represented them. Some identified as Jewish or European instead of white. Many specified that they were South Asian and didn’t feel that the overall Asian category was specific enough. And several simply called themselves “Human” and wondered why we cared so much about this. One block of data was compromised when the survey link was shared with outside spammers, which made a portion of the surveys ineligible for inclusion. These incidents and answers are all telling because they allude to the wide scope of attitudes toward this issue and how deeply the question of race resonates with people, in both positive and negative ways.

Gender:
The survey reveals that publishing is about 78.2 percent women or cis-women and 20.6 percent men or cis-men. These numbers may help explain why some feel that children’s book publishing skews toward female readers. Among executive and board member positions this disparity evened out a bit, with approximately 40 percent of executives and board members identifying as men or cis-men. This reflects the reality that males still ascend to positions of power more often, even in female-dominated industries.

The gender question also reveals that about 98.7 percent of publishing staff identify as cis men or women. This means that they identify with the genders they were assigned at birth. How does this compare with the general population? We don’t really know. For many reasons, we don’t have a good count of the percentage of the general population that is transgender. That being said, the small number of transgender, gender-nonconforming, intersex, and other gender-fluid people in publishing points to the need for publishers to make sure that books on these topics are being examined for cultural and scientific accuracy by experts before they are published.

Sexual Orientation:
According to the survey, about 88.2 percent of publishing staff identify as straight or heterosexual. This may be the category in which publishing is most on par with the general population, though we can’t know for sure.

Beyond the labels we offered, many respondents added their own labels that they felt better represented them. Quite a few identified as “queer.” Others wanted to know why we were asking for such personal information at all. Overall, this question got one of the lowest response rates of the survey, an indication, perhaps, that many people did not feel comfortable sharing this information. We decided to include this question because we wanted to acknowledge this aspect of diversity, and if we didn’t include it, this segment of the workforce would remain uncounted and invisible.

Disability:
The survey reveals that about 7.6 percent of publishing staff identify as having a disability. We defined disability broadly in the survey, so this does not give us an indication of the types of disabilities that are represented.

One interesting result: when broken down by department, design had a significantly higher average rate of disability (18 percent), followed by book reviewers (12 percent). Perhaps this is because there are more freelance design and reviewer jobs that can be done from home even when mobility is limited. Providing opportunities to people with disabilities may be an underappreciated benefit of creating more freelance positions in publishing.

Department:
The DBS results offer the opportunity to filter responses by department, giving a better picture of how diversity breaks out throughout an organization. More than one hundred thirty people wrote in comments for this question, listing departments or sub-departments beyond those listed in the survey. Because the survey was administered to companies ranging from just a few employees to several hundred or more, some departments or roles were left out. The next version of the survey will have an expanded list that is more inclusive to account for some of the staff who had to write in departments this time around.

An interesting result was the high response rate from editorial staff, who made up nearly 20 percent of survey respondents. This compares to less than 10 percent of respondents from marketing/publicity and 13.5 percent from sales. Since these ratios do not seem to match the overall breakdown by departments in publishing, we wonder if staff in some departments, such as editorial, were more likely than others to respond. If so, why? Are editorial staffs more on board with diversity initiatives than staff in other departments?

Here are the numbers:

Board Members and Executive Positions
Without a doubt, board members and those in executive positions make up the highest level of decision makers on the corporate ladder. Board members and executive positions are: 86 percent white, 59 percent cis-women, 89 percent heterosexual, and 96 percent able bodied/without a disability.

Editorial
Editorial is the next most important department when it comes to the in-house staff closest to generating actual books. Editorial staff is: 82 percent white, 84 percent cis-women, 86 percent heterosexual, and 92 percent able bodied/without a disability.

Marketing and Publicity
These are the departments that promote the books. Staff members in marketing and publicity are: 77 percent white, 84 percent cis-women, 87 percent heterosexual, and 94 percent able bodied/without a disability.

Sales
Members of the sales team are the ones out there pounding the pavement and knocking on doors to sell front list and back list titles. Sales people are: 83 percent white, 77 percent cis-women, 90 percent heterosexual, and 94 percent able bodied/without a disability.

Reviewers
Reviewers often have a direct influence on what readers buy. Reviewers are: 89 percent white, 87 percent cis-women, 91 percent heterosexual, and 88 percent able bodied/without a disability.

What’s next?
Does the lack of diverse books closely correlate to the lack of diverse staff? The percentages, while not exact, are proportional to how the majority of books look nowadays—predominately white. Cultural fit would seem to be relevant here. Or at least in publishing’s case, what is at work is the tendency—conscious or unconscious—for executives, editors, marketers, sales people, and reviewers to work with, develop, and recommend books by and about people who are like them.

So, we have our baseline numbers. What are the next moves? In future posts we will discuss initiatives already in place that will hopefully move the needle toward more diversity. We will also look at a similar publishing diversity survey that was conducted in 2014 in the United Kingdom. And we will be working on designing DBS version 2.0, which we hope will include the publishers who either didn’t hear about the survey or opted out the first time.

We also hope that the DBS will lead to more “Diversity 102” conversations about what publishers can do, including improving retention and staff training. How can company cultures be more welcoming for diverse staff? Do diverse staff members feel comfortable voicing their opinions? Are systems in place to make sure all staff are trained and well versed in diversity issues?

Publishing is not alone when it comes to having a lack of diversity problem. All media, including film, television, and theater, are having similar conversations about diversity. It is plain to see that our society as a whole has a problem. We believe we are at a crucial time right now. We all have to decide if the country in which we live is better off if we conduct our lives separately or together. The diversity problem is not the responsibility of diverse people to solve. It is a problem for everyone to solve. Now that the Diversity Baseline Survey is completed, the real work toward changing the status quo begins. It is not going to be easy. Knowing where we stand and establishing a baseline was the first step. Knowing the baseline numbers gives us a way to measure progress going forward, but only our actions can change things for the better.

Read also: Behind the Scenes Of Publishing’s First Diversity Baseline Survey

For press inquiries or permission to reprint, please contact hehrlich[at]leeandlow[dot]com.

New York, NY—January 15, 2015—LEE  & LOW BOOKS is proud to announce that Lisa Brathwaite of Stone Mountain, Georgia, is the winner of the company’s sixteenth annual New Voices Award. Her manuscript, Show and Tell: The Story of Eunice Johnson and the Ebony Fashion Fair, is a picture book biography of Eunice Johnson, African American publishing executive and founder of the Ebony Fashion Fair. Since childhood, Eunice had a passion for fashion. She enjoyed sewing her own clothes and took pride in her original style and immaculate technique. As an adult, she and her husband founded Ebony, a magazine that celebrates African American life and culture. And in 1958, Eunice created the Ebony Fashion Fair, a fund-raising event that quickly evolved into a nationwide tour that showcased high fashion for the African American audience and challenged accepted standards to embrace beauty in all forms.

Lisa Brathwaite is a cultural engagement advisor with Welcoming America and a volunteer with Dress for Success Atlanta. As a young girl, Lisa was interested in fashion and found Ebony a source of encouragement and confidence. She became enamored with Eunice Johnson’s journey and was inspired to write about this great businesswoman and fashion icon. Lisa will receive a prize of $1,000 and a publication contract.

LEE & LOW BOOKS is also proud to announce that Li Yun Alvarado of Long Beach, California, has been chosen as the New Voices Honor winner for her manuscript A Star Named Rosita: The Rita Moreno Story, a picture book biography of film and theater star Rita Moreno. A native of Puerto Rico, Rita immigrated in 1936 to the United States, where she discovered her talent for performing. She rose to Hollywood stardom and became a pioneer for Latina women, overcoming barriers and stereotypes to win an Academy Award for her role in the musical West Side Story (1961). As a young Puerto Rican performing arts student in New York City, Li Yun Alvarado was deeply affected by Rita Moreno’s story and was motivated to write about Rita’s inspirational work for a new generation of readers and performers. Li Yun will receive a prize of $500.

Congratulations to Lisa Brathwaite and Li Yun Alvarado!

ABOUT THE AWARD: Established in 2000, the New Voices Award is an annual award given by LEE & LOW BOOKS to an unpublished author of color for a picture book manuscript. Past winners include It Jes’ Happened: When Bill Traylor Started to Draw by Don Tate,  winner of the Ezra Jack Keats New Writer Award Honor, Bird by Zetta Elliott, an ALA Notable Book, and, most recently, Juna’s Jar by Jane Bahk, a Spring 2015 Junior Library Guild selection.

The award was established to combat the low numbers of authors of color in children’s book publishing and to help new authors break into the field. LEE & LOW BOOKS is committed to nurturing new authors. The company has introduced more than one hundred new authors and illustrators to the children’s book world and 68% of authors and illustrators published by LEE & LOW BOOKS are people of color. For more information, visit our New Voices Award page.

Authors of color who write for older readers are encouraged to learn about our New Visions Award for middle grade and young adult manuscripts as well.

Our new children’s book, Ira’s Shakespeare Dream, tells the incredible story of Ira Aldridge. When we’ve shown this book to readers, we get one of two responses:
1) “I’ve never heard of Ira Aldridge.”
2) “You have a book about Ira Aldridge??! That’s so wonderful!”

The truth is, bringing Ira’s story to new readers is one of our great joys as a publisher. His is a story of phenomenal talent and determination, of someone who was truly born to do what he did. Too often, history has let the achievements of black people fall through the cracks–especially when they take place outside the narrative of slavery and civil rights. If you look at the African American biographies that appear most often, so many of them are focused on names we already know: Martin Luther King, Jr., Rosa Parks, Frederick Douglass. While it is important to remember these people and their achievements, acknowledging the contributions of black people in other arenas–art, music, science, and in this case, Shakespearean acting–is equally important. 

So: who was Ira Aldridge?

Ira Aldridge was born July 27, 1807, in New York City. As a child, he attended the African Free School, a school established for the children of free African Americans and slaves. During that time, Aldrige would observe plays from high up in the balcony of the Park Theatre.

Ira always loved Shakespeare. His acting career began in his teens, where he acted at the African Grove Theatre, the first resident African American theatre in the United States. Ira dreamed of performing Shakespeare one day on the stage of the Park Theatre. But black actors were not welcome there.

Ira’s father, a church minister, tried to dissuade his son from pursuing acting. He encouraged him to become a minister or teacher, but Ira was determined to pursue his dream. At the age of 17, Ira headed to England as a valet for another actor to try his hand at acting. There, he found work running errands for small theaters and became an understudy for other actors.

When Ira finally got his chance to debut, his performance was met with mixed reviews. While some praised his acting, others did not like seeing a black actor onstage playing “white roles.” But Ira was not discouraged. He worked hard, studied acting, and gradually became known for his talented performances in a variety of roles. Later on, he toured United Kingdom, spending many years performing the lead roles in Othello, Macbeth and Richard III. Ira was most famous for his role as the titular Othello, which he first played at the age of 26. He was the first black actor to play Othello on the English stage.

Despite the fame he gained, Ira never forgot the plight of the enslaved African Americans in the United States. He would sometimes come out at the close of his performances to sit on the edge of the stage, preaching to the audience about the injustice of slavery. He used his performances to raise money to send to abolitionists fighting to end slavery in the United States.

Ira Aldridge toured around Europe and earned great acclaim for his performances. In 1858, the duke of Saxe-Meiningen granted him knighthood. He is the only African American actor listed among the 33 actors honored with plaques at the Shakespeare Memorial Theatre at Stratford-upon-Avon. The theater at Howard University in Washington, DC is named after him.

Learn more about Ira Aldridge in Ira’s Shakespeare Dream, written by Glenda Armand and illustrated by Floyd Cooper. Additional resources:

Read an interview with author Glenda Armand
View and download the free Teacher’s Guide

Recently, we sent a number of LEE & LOW staff members from different departments to an “Undoing Racism” workshop, held by the People’s Institute for Survival and Beyond. The People’s Institute is an organization that “is a national and international collective of anti-racist, multicultural community organizers and educators dedicated to building an effective movement for social transformation.” The workshop, jointly taught by a white leader and a leader of color, was a three-day intensive that covered everything from a history of race and racism to the power dynamics at play today in various systems. Participants were encouraged to reflect on their own experiences and identities, as well as to listen deeply as others shared.

We decided to do this workshop because even with LEE & LOW’s focus on diverse books, we felt that our staff would benefit from specific training in anti-racism concepts.  “Even though Lee & Low’s mission is to address the lack of representation of marginalized groups through publishing diverse books, the workshop hammers home how deep institutional racism goes,” said publisher Jason Low. “The intimate setting also makes issues of racism more personal. Instead of reading about racism in the paper or online you are hearing firsthand experiences, from a person sitting three feet from where you are sitting.”

The recent problems found in books like A Fine Dessert and The Hired Girl, along with long-standing problems in publishing in general, indicate that now more than ever, publishing staffs need diversity training. While the burden of mistakes can be placed on the author and illustrator, in truth publishers share an equal part of the responsibility in making sure that the books they produce are accurate and do not reinforce harmful stereotypes.

Racial insensitivity and stereotypes making it past the editorial process are expensive mistakes–in terms of both cost and impact–but they are avoidable. Below is our staff’s reaction to the workshop, plus a follow-up meeting we held in-house. Our plan is to hold monthly meetings on racism and diversity moving forward. (Note: Answers have been condensed and edited for length.)

1. What did you learn that you did not know before attending the workshop?

Stacy Whitman, Editorial: I didn’t know some of the history before. For example, I knew about indentured servitude (I actually had a couple ancestors who were indentured), but I didn’t realize the way that indentured labor and slavery were wedged against each other, and the way whiteness was created out of that time period. I had known that church had been used as a way to keep slaves in line, and I had known about slave rebellions, but hadn’t realized how those pieces fit together with indentured servitude and creation of a status of whiteness.

Jessica Echeverria, Editorial: One of the biggest takeaways was how the deeply-entrenched history of racism in this country is never really taught in school. This was clear from some of the participants’ reaction in learning that race was a social construct. I think back to my own education growing up in Florida, and the topics of race and racism were not examined until I was in college. And even then, they were courses I elected to take and not required for all students. So yes, racism stems from ignorance, but we should be aware that this ignorance was purposeful.

Hannah Ehrlich, Marketing: One of the main things that the workshop showed me was that having open conversations about race is just really, really hard – and rarely do we white people get it right the first time. While I had thought about white privilege before, I hadn’t really thought much about the internalized superiority that white people have absorbed over generations and generations. Because of that, even when we want to be allies, often racial conversations end up with us in a defensive stance, trying to define why we are “good” white people instead of accepting our own complicity in an unfair system and spending our time listening. Conversations that center whiteness are the default, and it takes a lot of hard work to move past that. It was moving to see this play out over the course of three days, and definitely made me more aware of how, as a white person invested in racial justice, I can be a better ally by letting go of the need to define myself as “not racist.”

Louise May, Editorial: There was a good presentation of theories on the origins of institutional racism. I had not before seen the information put together this way. It was quite impactful.

Jill Eisenberg, Literacy & Sales: The workshop and follow-up discussions with my colleagues have encouraged me to examine how adults present history and historical people/groups to children. Much of the workshop was spent exposing the historical narrative of America as racist and capitalistic. I was particularly disturbed about the lack of recognition and respect Native peoples had (and have). Our presenters showed us that this explicit invisibility is even written into our Constitution (Article 1, Section 2).

Rebecca Garcia, Marketing: The facilitators asked the group how many of us were gatekeepers. I had to think about it for a moment before I raised my hand. Having never thought of myself as a person with power, it was shocking to discover that I am a gatekeeper. Before that, I thought of editors as gatekeepers. After all, they’re the ones who decide what books to acquire. But since I regularly disseminate all kinds of information through social media, of course I’m a gatekeeper. Information is power.

Veronica Schneider, Literacy & Sales: Being in literacy & sales and working at a diverse children’s publisher, I think I was aware of my role as a gatekeeper. Reflecting in the workshop, however, showed me just how strong of a gatekeeper position I maintain. I choose what kind of information reaches others-from educators to children-as I develop questions and activities for our teacher guides and carefully align Lee & Low books to schools’ curricula. Conversations with educators may begin with them sharing their needs in terms of thematic units or student reading levels, but then I take that information and decide which books would ultimately work best for various academic and social-emotional reasons. Diversity is certainly an issue that is close to our hearts here at Lee & Low, but how we approach and communicate this information to others is different based on your department and on an individual basis.

Additionally, the systemic nature of racism is a powerful concept that although I was aware of, is all the more apparent once analyzed in depth. Tracing the roots of racism to highlight the gaping holes in our knowledge in history was both eye opening and frustrating. Why aren’t we being taught this in schools? Why aren’t we openly having these discussions?

Keilin Huang, Marketing: The idea of being a “gatekeeper” really resonated with me. The LEE & LOW Facebook page has over 7,300+ likes, and whenever I post anything, I’m choosing and determining what those 7,300+ people will see. It was a realization of power that I had never thought about in-depth, and it’s a tool to use in the undoing of racism.

2. How will you apply what you have learned from the workshop to your job at Lee & Low?

Stacy, Editorial: Editorially, I’m continuing to interrogate my biases and assumptions. Thinking about further ways I can include voices of color in the projects I work on, and continuing to seek out more authors of color. Thinking about how I contribute to systemic bias, and how I can counteract it.

Jessica, Editorial: Further inspired by the workshop, I plan to continue working on books that will hopefully fill in the gaps of what’s not being taught in school. I keep thinking about Texas and the new textbooks that have whitewashed parts of US history.

Hannah, Marketing: The workshop has definitely made me more aware of my own whiteness, and how that affects the dynamics among our staff, with our authors and illustrators, and with other people we work with. It has encouraged me to examine my own culture and the lens through which I see the world – what am I missing? What am I not getting? Because I work in marketing and publicity, a big part of my job involves communication, and it’s worth exploring how racial dynamics affect that communication. Are we using language that reinforces institutionalized racism?  Am I being a good ally personally, and is Lee & Low being a good ally as a company? These are all things that are important for us to consider in our work.

Louise, Editorial: The workshop reinforced my commitment to the need to acquire diverse stories that accurately represent stories from an insider point of view.

Jill, Literacy Specialist: We at Lee & Low Books publish and offer many books by and about Native peoples. It is critical to show that Native peoples aren’t just “were,” but also “are.” Our students need to read stories about and by Native peoples in recent times, not just suspended in a simplistic time capsule whether a folktale without additional background knowledge and proper context or a “by the way” side blurb in a history textbook. As I work closely with schools and organizations serving children, I want to make sure that the books we do have get in front of students before they internalize and perpetuate racist views on American history. These topics need to start early and often.

Veronica, Literacy & Sales: When speaking to schools, educators, teachers, nonprofits, and other organizations, we need to make sure to not only consider their requests and needs but to be clear/open about the different ways in which our titles can enrich + open their world.  I need to keep stressing the importance of windows + mirrors concept in my work. This means showing non-diverse (mostly white) schools that diverse books have a place there, too.

Keilin, Marketing: One of the leaders said that as advocates of eradicating racism, everyone needs to constantly question the institution of racism. Even with little or no knowledge of something, supporters of undoing racism seek out information and learn as much as they can about a certain institution. They ask questions. They listen. As someone who works in children’s book publishing and has a means of reaching thousands of people every day, this really struck a chord with me. People who want to undo racism don’t always claim to be experts, rather they are proactive in their fight. They don’t stand off to the side and hope that things will magically be fixed. It takes effort, as all of us at LEE & LOW know, and that is something I will continue to strive to do both at work and personally.

3. What do you hope to continue to learn about and explore in post-workshop meetings with fellow Lee & Low staff?

Stacy, Editorial: How to know what I don’t know, and how to share that knowledge with others in a way that they’ll listen. I guess this has been my quest, editorially, all along, but the process of the workshop in particular was interesting because while it was emotionally draining, everyone in the room was listening. Everyone was participating (even the slightly weird woman who wouldn’t shut up) and working through their resistance. There was a range of resistance, of course, but the process worked to get people talking and listening.

This applies to how marketing is already thinking about audience with social media and other sales channels—who we need to discuss the importance of diversity with before introducing our books.

Jessica, Editorial: I’m excited to see how our discussion will produce new and valuable content for our readers.

Hannah, Marketing: I look forward to talking more in the future with staff members about challenges we face in our respective departments. How does editorial handle a historical manuscript that uses language we deem problematic? How does sales handle administrators who don’t think their students would be interested in diverse books? Discussing these challenges as a company will help make us stronger and more aware of the issues that we face in our work, and it will allow us to develop company-wide policies to address difficult questions.

Louise, Editorial: It would be interesting to discuss what we can do to move ourselves further to toward being a “Fully Inclusive” institution.

Veronica, Literacy & Sales: Increase the sharing of articles and books about racism. Come up with ways to address problems that are occurring in the news/present day and how Lee & Low can be part of the solution.

***

Has your company undergone staff diversity training? If so, we’d love to hear about what worked and what didn’t in the comments section below.

Exciting things have happened with the Diversity Baseline Survey since our last update!

The Diversity Baseline Survey gathers statistics on publishing staff and reviewers in four major categories:

1) Gender
2) Race/ethnicity
3) Sexual Orientation
4) Disability

These categories will be further broken down by department. The goal is to have all major review journals and publishers—from small, to mid-size, to large— participate in this project. If we are serious about trying to address the lack of diversity in the publishing world, this is the very first step we need to take. Sharing our numbers as an industry will not only clue us in to important patterns that may be missing, it will also show that we are committed to change.

Since our last update, several new publishers have joined the survey, including Bloomsbury, Lerner Publishing, Chronicle Books and Abrams. More small publishers have joined, including Clean Reads, Dancing Lemur Press, L.L.C., and Owlkids Books. Macmillan, one of the “big five” publishers, has also joined. You can see the full list here.

All in all, almost 30 publishers and 8 major review journals will be administering the survey. This is huge.

This week, a supporter created the hashtag #BigFiveSignOn to encourage more publishers to join the survey, including the rest of the “big five” publishers (HarperCollins, Simon & Schuster, Penguin Random House, and Hachette), in advance of the mid-September deadline. We were thrilled to see the hashtag trending on Monday! Check out some great media coverage of the campaign from around the web:

“Diversity Matters: Lee & Low Push for Diversity in the Publishing World” at BookRiot
“Diversity Survey Deadline Nears” at Publishers Weekly
“Why I’m Asking that the #BigFiveSignOn” at SC Write
“The Page is a Mirror…Or Is It?” at Jamie Ayres’ blog
“Why #Bigfivesignon? #WNDB” at Coloring Between the Lines

Over at Change.org, our petition encouraging publishers to join the survey is now at almost 1,900 signatures. Have you signed yet?

The deadline for joining the survey is September 15, 2015. Help us encourage remaining publishers to join by spreading the word on social media using hashtag #bigfivesignon and by signing the petition!

Read our previous update on the Diversity Baseline Survey.

Learn about why we are asking publishers to join our Diversity Baseline Survey.

Sign the Petition.

Summer is here in full force. It’s the perfect time to curl up pool- or beachside with a good book! Look no further than our new spring and fall releases!

Finding the Music/En pos de la música

When Reyna accidentally breaks her abuelito’s old vihuela, she travels around her neighborhood trying to figure out how to repair it. In the process, she discovers her grandfather’s legacy. Written by Jennifer Torres and illustrated by Renato Alarcão.

Sunday Shopping

Evie and her grandma go shopping every Sunday. They put on their nightgowns, open up the newspapers,  and turn on their imaginations. Written by Sally Derby and illustrated by Shadra Strickland.

Poems In The Attic 

A young girl finds her mother’s poems written when her mother traveled around in a military family. The young girl writes her own related poems. Written by Nikki Grimes and illustrated by Elizabeth Zunon.

Ira’s Shakespeare Dream

Ira Aldridge dreamed of acting in Shakespeare’s plays. Because of a lack of opportunity in the United States, Ira journeys to England to pursue his dream of becoming an actor. Written by Glenda Armand and illustrated by Floyd Cooper.

Maya’s Blanket

Maya has a blanket stitched by her Grandma. The blanket later becomes a dress, a skirt, a shawl, a skirt and a headband. This story is inspired by the Yiddish folk song “Hob Ikh Mir a Mantl” (“I Had a Little Coat”). Written by Monica Brown and illustrated by David Diaz.

New from the Tu Books imprint:

Ink and Ashes

Claire Takata discovers her deceased father’s connection to the yakuza, the Japanese mafia, and puts her and her family’s lives in danger. Written by Valynne E. Maetani.

Trail of the Dead

In this sequel to the award-winning Killer of Enemies, Lozen and her family, on the run from the tyrants who once held them hostage, embark on a journey along a perilous trail once followed by her ancestors, where they meet friends and foes alike. Written by Joseph Bruchac.

This year marks our sixteenth annual New Voices Award, Lee & Low’s writing contest for unpublished writers of color.

In this blog series, past New Voices winners gather to give advice for new writers. This month, we’re talking about writing prompts and what gets the creative juices flowing.

Linda Boyden, author of The Blue Roses, New Voices Winner 2000

Prompts are all around us. When I do school visits, I refer to the place where our imaginations live as the “Cosmic Goo,” and urge them to wander outside looking and listening to the wonders that spark our imaginations to awake. Nature is a never-ending source of writing inspirations. Because I am a voracious reader, I glean phrases from the books I devour. Since the end of 2011, I have written a poem a day as the means to jump-start my prose writing. I use many of the phrases I’ve underlined in the books I own for my daily poetry prompt.

Paula Yoo, author of Sixteen Years in Sixteen Seconds, New Voices Winner 2003

My favorite writing prompt is to write from the point of view of an animal. It’s a writing exercise I teach in my writing classes as well. I love this writing exercise not only because I’m an animal lover and Crazy Cat Lady (ha) but because it forces you to think from the point of view of someone who is definitely NOT YOU. You have to know and embody the nature and physicality of the animal character, and it forces you to look at story and emotion with a new perspective. It’s a great exercise for point of view writing, and it helps me when I do write another children’s book because I am very conscious of writing from a child’s perspective, which is so different from mine as an adult.

Glenda Armand, author of Love Twelve Miles Long, New Voices Winner 2006

I don’t need much to prompt me to write. Usually I have the opposite problem. I need to a compelling reason to stop writing:

It’s past midnight and I have to substitute teach in the morning.

Clothes are mildewing in the washer.

The fridge would be empty if not for egg whites and ketchup.

On the other hand, a writing prompt for me would be an early morning after a good night’s sleep: My mind is clear.

My thoughts are flowing.

My coffee is steaming.

My computer is calling.

I answer the call.

Pamela Tuck, author of As Fast As Words Could Fly, New Voices Winner 2007

I don’t really write from prompts, but what I try to use as a guideline for all my writing is the use of sensory details: Seeing, Hearing, Feeling, Smelling and Tasting. It’s not always relevant to include all of these details, but it’s good to include at least 3 within a scene. If I feel that I can’t move forward in a story, I’ll “step inside” my character and try to figure out what “I” am seeing, hearing, feeling, smelling or tasting at that point. If my character is neutral, then it’s time to rewrite the scene.

Jennifer Torres, author of Finding the Music, New Voices Winner 2011

I enjoy finding and thinking about interesting writing prompts, but I don’t have a favorite. I have to confess, when it comes to writing prompts, I usually don’t get past the “thinking about it” stage. However, I used to work for a daily newspaper, and I learned from that experience how valuable it can be to cultivate a habit of writing – in a structured way – every day. And I turn to newspapers, sometimes, when I’m stuck or need a place to start. Headlines can make for some pretty great prompts. Direct quotes are even better – like an overheard piece of conversation. Here’s one that helped me pull FINDING THE MUSIC into focus: “He wanted to rest in peace, but with music.”

If you’ve been following us for a while, you know that over the past few years we’ve released a series of infographics about the diversity gap in different industries including publishing, film, television, theater, and politics. Our infographic studies were designed to give people who were unfamiliar with issues of race and gender a sense of how deep the diversity problem goes in the United States and how entrenched these issues are in every facet of media. Our latest infographic, The Diversity Gap in Silicon Valley, is our first study that reports on a bigger question: What comes after the numbers are established? Once we acknowledge the diversity gap, what can we do to close it?

The tech industry presents a unique model for this. After Pinterest engineer Tracy Chou asked, “Where are our numbers?” hundreds of companies, both large and small, chose to release the diversity statistics of their staffs in a transparent way. Although the numbers showed a lack of diversity, after they were revealed there was a flurry of activity across the industry to address the problem. We were encouraged to see the brightest and the best minds in technology confronting a decades-old problem with pragmatism, budgets, and goals.

Given this, we were inspired to create our own baseline survey in the hopes that it could serve as a catalyst for the same kind of movement within the publishing industry. The Diversity Baseline Survey we’ve proposed would be the first of its kind for US publishers. It involves creating statistics that do not yet exist by measuring staff diversity among publishers and review journals in four areas: gender, race, sexual orientation, and disability.

There is precedence for a survey like this, not only from the tech industry, but also from the publishing industry in the United Kingdom. Both industries ran surveys as recently as 2014. Even large publishing houses, such as Hachette UK, HarperCollins, and Penguin Random House UK, were among the publishers who participated in the British survey. Hopefully, this is a good sign that these companies might extend their participation to the US version of the survey.

In the past, publishers have usually put the responsibility on readers for the lack of diverse representation in books. The extremely dated adage that “diverse books do not sell” has become a belief that has reached mythical proportions. While it’s important for readers to support diverse books with their dollars and voices, it’s equally important for publishers to self-reflect on how they can do better on their end. We must acknowledge that one factor contributing to the lack of diverse books is the lack of diversity among the people who edit, market, review, and sell the books. Surveying our staffs and reporting on our findings would give us a starting point, not to point fingers or assign blame (especially since most media industries face similar problems) but to bring clarity to the problem so we can understand it better, attempt to correct it, and measure whether or not we are improving.

Publishers, the onus is on us to move forward. Many publishers have said that they support We Need Diverse Books and the movement for more diverse books, but words are not the same as action. If we are serious about increasing the number and quality of diverse books, it is essential for us to be transparent about our own challenges. By surveying our staffs and sharing our numbers, we can work together to put in place sustainable programs that will increase diversity among publishing staffs in the long-term.

Here are some ways you can help:
Sign the petition. We consider transparency in the publishing industry both a social and economic justice cause. If you agree, stand up and be counted. Your name in support of this effort will be used to convince publishers to join this effort.

Place a comment in the comment field of School Library Journal’s article about the survey. Public commentary about this issue from educators, librarians, reviewers, editors, authors, and illustrators helps put a face to this problem. Many of the gatekeepers/decision makers do not understand the problem, but words can make a difference and change people’s minds.

Ask your publishers to sign on. If you are an author or illustrator, contact your editors and other publishing contacts and encourage them to participate in the survey. Your voice in support of this effort can make a difference.

Subscribe to Lee & Low’s blog or social media channels. Understanding the issues is important, but the complexity surrounding issues of race and gender can be daunting. We discuss these issues on a daily basis. Learn through reading and engagement in a safe place to ask questions and stay current on the issues.

Today is what historians speculate is William Shakespeare’s birthday. Shakespeare was born in Stratford-on-Avon, England in 1564. Shakespeare is arguably the most well-known playwright of all time, and his works have been produced and acted in for the past 400 years!

Ira’s Shakespeare Dream, written by Glenda Armand and illustrated by Floyd Cooper, follows the life of Ira Aldridge, who was known as one of the greatest Shakespearean actors of the 19^th century.

As a young boy in 19^th century New York City, Ira Aldridge greatly admired the works of Shakespeare. He wanted nothing more than to act in Shakespeare’s plays against his father’s wishes.

Ira later set sale for England, where he ran small errands for theaters. He was also hired as an understudy. Ira got his big break acting when a fellow could not perform. However, he was not well received. He had little training and critics felt that he should not take roles from white actors.

Through his determination and perseverance, Ira Aldridge went on to become one of the most well known Shakespearean actors of his time, especially for his role as Othello. Ira Aldridge’s name is inscribed on a bronze plaque in the Shakespeare Memorial Theatre, in Stratford-on-Avon, Shakespeare’s birthplace. He is the only African American among the thirty-three actors to have achieved this recognition.

Ira’s Shakespeare Dream will be out this June.

April is National Poetry Month! All month long we’ll be celebrating by posting some of our favorite poems for Poetry Friday. For our third Poetry Friday post, we chose Song in my Heart by Tony Medina, illustrated by Jesse Joshua Jackson from I and I Bob Marley.

Song in My Heart

I am the boy

From Nine Miles

The one sing

Like three little birds

In a reggae style

The one blessed

By Jah

To travel miles

Across the world

With my island girl

Guitar in hand

And my dreads

A twirl

With music

In my belly

And songs

In my heart

Healing the world

With my reggae art

Keeping you always

Like a song

In my heart

 Let us know what poems you’re reading in the comments section!

March is Women’s History Month! It’s never a bad time to learn about the contributions that women have made and continue to make. In honor of Women’s History Month, we’ve put together a list that features some of our favorite historical ladies and great fiction for children and older readers!

History:

1. Little Melba and Her Big Trombone – this award-winning book follows the life of Melba Liston, a trailblazing trombonist, composer and arranger and one of the unsung heroes of the Jazz age.
2. Shining Star: The Anna May Wong Story – Anna May Wong was the first Asian American film star.
3. Seeds of Change – Wangari Maathai was the first African to win a Nobel prize for her
   environmental work in Kenya.
4. The Storyteller’s Candle – Pura Belpre, was the New York Public Library’s first Latina librarian.
5. Catching the Moon – Marcenia Lyle, was always interested in baseball. She grew up to play professional baseball for the Negro Leagues.
6. In Her Hands – Augusta Savage was a renown sculptor of the Harlem Renaissance.
7. Zora Hurston and the Chinaberry Tree – A story of the childhood of Zora Neale Hurston inspired by her autobiographical writings.
8. Irena’s Jars of Secrets – Irena Sandler, a Polish social worker helps to smuggle children out of the Warsaw ghetto during WWII.
9. Hiromi’s Hands – Young Hiromi Suzuki is determined to become a chef in the male-dominated sushi world
10. Dear Mrs. Parks – Rosa Parks, the “Mother of the Modern Day Civil Rights Movement,” answers letters from students.

Fiction

Younger Readers

1. The Hula-Hoopin’ Queen – Kameeka wants to beat her rival Jamara in a hula-hoopin’ contest, but she has to help her mother prepare for their neighbor, Miz Adeline’s birthday.
2. Juna’s Jar – When Juna’s best friend Hector moves away without saying good bye, Juna uses her special kimchi jar to search for him until she finally is able to say bye.
3. Shanghai Messenger – Xiao Mei visits china to meet her extended family. Her grandmother Nai Nai wants her to remember everything she sees.
4. Abuela’s Weave – Esperanza goes with her abuela to the market to help Abuela sell her traditional Mayan tapestries.
5. Drum, Chavi, Drum! – Chavi was born to drum. Even though everyone tells her drumming is for boys, she is determined to play her favorite drums, the tumbadoras, at the festival.
6. Kiki’s Journey – Kiki returns to the Taos Pueblo reservation she left when she was a baby.
7. Juneteenth Jamboree – Cassie who has just moved to Texas, learns about the importance of June 19^th, or Juneteenth, through a family celebration.
8. Tashi and the Tibetan Flower Cure – Tashi’s grandfather, Popola, is sick, so she gathers family and friends to try a traditional flower cure from his village.
9. The Legend of Freedom Hill – Rosabel, who is African American, and Sophie, who is Jewish, become friends. When Rosabel’s mother, a runaway slave gets captured by a slave catcher, Rosabel and Sophie put their heads together to free her.
10. My Diary From Here to There – Amada moves with her family in Mexico to Los Angeles, California.

Older Readers

1. Under the Mesquite – Lupita, the oldest of 8 siblings, struggles to keep her family together in the wake of her mother’s cancer.
2. Summer of the Mariposas – A retelling of The Odyssey set in Mexico.
3. The Tankborn Trilogy – A trilogy about genetic engineering and forbidden love.
4. Cat Girl’s Day Off – Natalie must use her Talent talking to cats to stop a high profile celebrity kidnapping.
5. Rattlesnake Mesa – After EdNah’s beloved grandmother dies, she is sent to live with her father on a Navajo reservation, and then to an Indian boarding school.
6. Ink and Ashes – Claire opens the door to her deceased father’s path and finds a family secret that could kill her.
7. Killer of Enemies – 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.
8. Rose Eagle – In this prequel to Killer of Enemies, we join Rose Eagle as she goes on a quest to find healing for her people.
9. Tofu Quilt – Yeung Ying, a young girl who grows up in 1960s Hong Kong, aspires to become a writer, against the conventions of society and family members.

Silicon Valley has been the darling of the US economy for decades. Creativity, leadership, risk taking, and hard work are all attributes of American innovation at its finest. Though lauded as a true meritocracy by the business world, the truth is that Silicon Valley that suffers from a similar lack of representation among women and people of color as other industries. In our past Diversity Gap studies of the Academy Awards, the Tony Awards, the Emmy Awards, the children’s book industry, The New York Times Top 10 Bestseller List, Sci-Fi and Fantasy Films, and US politics, we have shown that there is a disturbingly consistent lack of diversity across the boards.

Those who worked in Silicon Valley knew the industry had a diversity problem. But exactly how big the problem was, was anyone’s guess. That’s when Tracy Chou, an engineer at Pinterest, stepped up and asked a key question: Where are the numbers? She argued that in an industry obsessed with analytics and data, there was no baseline for evaluating the diversity problem and thus no way to track improvement. She wanted to know how many women were working at tech companies, especially in engineering. And she offered Pinterest’s numbers to start.

Then something revolutionary happened—more tech companies came on board and offered their numbers. Soon it wasn’t just small and mid-size companies, it was Apple, Google, and Facebook. In all, more than two hundred tech companies of all sizes have now publicly released statistics about diversity among staff—a bold display of transparency. In response, several companies have stepped forward with solutions, Google has offered to pay for 1,000 women to take coding classes, and Intel has committed $300 million to diversifying its workforce in three to five years. While Silicon Valley has many of the same diversity problems as everyone else, it is addressing the problem in very real and practical ways from which other industries (like publishing) can learn a lot. We spoke to three tech industry professionals and a diversity expert for their thoughts:

Kimberly Bryant is Founder and Executive Director of Black Girls CODE, a non-profit organization dedicated to “changing the face of technology” by introducing girls of color (ages 7–17) to the field of technology and computer science with a concentration on entrepreneurial concepts.

Rosalind Hudnell, Vice President Human Resources, Chief Diversity Officer, Intel Corporation, was recognized in Black Enterprise magazine’s 2011 list of “Top Executives in Diversity.” This recognition places Rosalind in an elite group of diversity officers and vice presidents that are considered to be the nation’s highest-ranking and most influential executives leading corporate diversity initiatives.

Leah Smiley is President and Founder of The Society for Diversity, the #1 professional association for diversity and inclusion. With 15 years of corporate human resources experiences and more than 10 years of experience in diversity, Smiley has served over 400 members and thousands of non-members through the Society for Diversity since 2009. She also has extensive training and consulting experience in every sector, allowing her to obtain publicity in traditional, and social, media outlets throughout the world.

Tracy Chou is a software engineer and tech lead at Pinterest, currently on the monetization team; she was previously at Quora, also as an early engineer there. With initiatives in the workplace and the community, Tracy works actively to promote diversity in the tech industry and has pushed for greater transparency and discussion on the topic with a Github project crowdsourcing data on women in software engineering. She was named Forbes Tech 30 under 30 in 2014 and recently profiled in Vogue for her work.

THE PIPELINE SOLUTION

Jason Low: Let’s start with Kimberly Bryant and Black Girls CODE. Kimberly, why don’t more parents and teachers encourage girls to pursue and excel in STEM subjects and careers? Where does this gender bias come from and why does it persist?

Kimberly Bryant: There are many issues why parents of students from underrepresented communities don’t encourage their girls to pursue STEM subjects and careers. Some of the reasons are culturally based and rooted in the perception of the industry as a male dominated and female “unfriendly” field. These parents are more apt to direct their girls into career fields that are perceived as safer or more welcoming to women (such as medicine, healthcare, teaching, etc). So the stereotypes influence parental guidance. These communities of parents are also unaware of the opportunities, which exist in a more broader section of STEM fields. In this case the lack of exposure to STEM careers is a large driver in parents lack of focus on these opportunities for their girls.

In terms of educators the issues seem to be a bit different. There is still quite a bit of implicit bias exhibited by educators throughout the K–12 pipeline and beyond which reveals itself in some educators becoming the defacto “gate keepers” to a career path in tech for girls. These educators whether willingly or unwillingly carry perceived biases into the classroom which manifest in both explicit and implicit messages which tell female students that they are not equipped to pursue more rigorous STEM study. We’ve heard many cases where girls are discouraged from pursuing classes in technology and science and instead steered into a less rigorous curriculum path. This gender bias is present throughout our society so it also reveals itself in this way in the classroom. There is a perception that one is “born” with talent innately to pursue rigorous study in the field rather than fluidity in STEM subject matter being a learned skill.

JL: I noticed that there is a NY chapter of Black Girls CODE. I read that BGC has worked with 3,000 girls so far and has a goal of working with a million girls. In order to make a dent in the lack of gender and ethnic diversity in technology will it be necessary to have a Black Girls CODE chapter in every major city? What will it take to replicate the Black Girls CODE model across the country?

KB: We do believe it will be necessary to have a Black Girls CODE chapter in multiple cities across the US in order to reach our goal of teaching one million girls of color to code by 2040. In fact we try to model our organization as the “girl scouts of technology” with this very idea in mind—our organization must become widely available and synonymous with girls of color in tech in urban, rural, and suburban communities across the nation in order to reach this goal. It’s a daunting task to say the least but definitely achievable as we continue to seek support for our growing list of chapter across the country and internationally as well. It will take many additional partners stepping up to support this work across multiple sectors including philanthropic entities, government, and corporate partners to make this reach possible. Yet even if we reach this goal we will only reach a fraction of the girls from underrepresented communities that will compose our population demographics by the year 2040, which highlights the fact that this is not a problem that one organization alone can solve. We stress the need for coding to be taught in all schools in addition to the work that organizations such as Black Girls CODE is doing in the non-profit sector.

JL: There have been a number of recent articles that show that 41% of women leave technology mid career as opposed to 17% of men. This is an equally troubling trend given that organizations like yours are working so hard to make qualified women available for the industry to hire. What are some basic solutions to retain the future pipeline of women coming into the industry?

KB: When we look at the issue of diversity in tech today the issue is often described as a “pipeline” problem. In most cases when this terminology is used it directs the focus to the K–12 sector as representing the tech pipeline. I believe this is an incorrect description of the tech pipeline. If we describe the tech pipeline as more circular and encompassing in this analogy it would incorporate the K–12 segment, post-graduate students, and career women in technology. In this description of a much broader pipeline I believe it becomes very clear that we have leaks in every conceivable segment of this pipeline. With attrition rates for both women and minorities at such high levels it really is indicative of a much more endemic issue in tech culture and structure than simply an early pipeline issue. So although the work of orgs such as Black Girls CODE can go far in terms of front-loading the pipeline, we are preparing these students to go on to careers in technology. If the companies that meet them when they begin their careers are not culturally sensitive to valuing and supporting the career growth and needs for a diverse pool of employees then we will continue to see the high attrition numbers described above. There is a need for some serious analysis and transformation of corporate culture to create more nurturing environments for women and people of color if we truly want to see the diversity numbers improve. One key facet of this transformation specifically is to see broader representation of women and minorities across all levels of the corporation (from the board room to entry level) and then a transformation in corporate culture to a more diverse and culturally sensitive environment.

THE DIVERSITY INVESTMENT

JL: Next up is Rosalind Hudnell. Rosalind, for many years, technology leaders would always state that the industry was a true meritocracy and that the applicants of color and women candidates were simply not out there to hire. Being that Intel is now leading the charge to diversify its workforce, what kinds of programs, partnerships, and/scholarships will Intel be investing in to develop future diverse applicants who will be interviewing for jobs in technology in 3-5 years?

Rosalind Hudnell: Intel has a long-standing history of diversity and full inclusion work and we’ve learned a great deal over the last decade. We intend to apply these learnings in a more intentional way to achieve our diversity goals in hiring, but also in retaining and growing our people, especially women and under-represented program. Research shows that there is a significant dropout between year 1 and year 2 of engineering programs. When we learned this, we launched our Stay With It engineering program. We believe that we can shift students to staying with these careers if we share more of why these careers matter and make a difference while also providing an environment that inspires and gives practical hands on experience with role models and mentors. People connect with what they see and believe for themselves.

JL: $300 million is a substantial investment on Intel’s part toward diversity. What are the advantages of having a more diverse workforce? How will having more equal representation in Intel’s ranks result in better products and a more successful company?

RH: The business case for diversity and inclusion has been widely researched and proven. We believe that full inclusion, without artificial barriers or bias, is critical to Intel’s long-term business success and essential to achieving our vision of creating the world’s best smart and connected technology. Doing so will help us better reflect our customers, consumers and global marketplace. Creating an inclusive culture that consistently leverages the full range of all our employees’ perspectives and capabilities is critical to innovation and achieving our business objectives.

CONFRONTING THE LACK OF DIVERSITY

JL: Now some questions for Leah Smiley. Leah, past and current diversity efforts have mostly been driven by people of color and have largely excluded white people. Last year, you wrote some observations/advice regarding Google’s diversity efforts. “Make current staff part of the solution” was one of your tips. Please expound upon this for us.

Leah Smiley: It’s important to include current staff when transforming the cultural fabric of an organization. But I admonish you to proceed with caution because the knee-jerk reaction can be worse than inaction.

Often times, an organization will gather all of the diverse people and take a lot of pictures for marketing purposes, or they will promote a person from an under-represented group to the role of Chief Diversity Officer. These are examples of knee-jerk reactions—and should be avoided at all costs.

A better approach would be to: (1) clearly define the purpose of the diversity officer role (i.e., how does it correspond to organizational goals); (2) seek to fill the position with smart people who have the skills to accomplish intended results—regardless of race/gender/etc.; (3) create high-profile and high-potential diversity councils or employee resource groups to support the diversity officer role.

Diversity discussions must be led by all people and they can’t exclude divergent thoughts or beliefs. Education and training can always supplement any person who fulfills the role, but there is no substitute for credibility. Placing smart people in the Chief Diversity Officer role (regardless of their differences or similarities) allows the organization to effect genuine change without sacrificing professional integrity.

JL: Addressing inequality issues is often times referred to as necessary but “messy work”. What are some of the most ideal factors that can make diversity work (a) successful (b) sustainable, and  (c) lasting?

LS: I once presented an employee benefits presentation where I was tasked with delivering the bad news: your benefits are changing, your cost are going up and you’re not getting a raise. I did so many of these talks in the past that I could deliver a great message with my eyes closed. But one tech group didn’t receive my message too well. Although they were highly compensated, in comparison to every other meeting I facilitated, these employees went bananas! I didn’t know where I went wrong. When I talked to my boss afterwards, he schooled me about ignoring the elephant in the room. The bigger issue was that the company was in financial trouble, and the benefits were just one of many that had recently changed for the worse. In my arrogance, I proceeded with a “business as usual” attitude, and things went very wrong quickly.

In the same way, addressing “inequality” can be messy if you are not dealing with the bigger issues, which may include, but are not limited to:

(1) Perceptions of management (i.e., Is management too lax? Is the management team akin to the “good ‘ole boys club”?)

(2) Communication (i.e., Was this person hired because he is black or because he is the best qualified for the job? Why was the Office of Diversity created in the first place?)

(3) Informal rules (i.e., Is hiring based on “who you know” or is there a formal process? Is discipline informal or are there written policies?)

DIVERSITY ACTIVISM MEANS EVERYONE

JL: The last question is for Tracy Chou. Tracy, your initiative to create a gender baseline for the Silicon Valley’s workforce was an important first step toward improving representation. One question: Pinterest’s diversity numbers among tech workers has grown from 13% to 20%. This news, along with Intel’s recent announcement of committing $300 million dollars toward diversifying their workforce is great news for diversity. What do you think the future looks like for addressing this issue and are you encouraged?

Tracy Chou: The first part of addressing this issue, which is already underway, is heightened awareness and sensitivity to it. We still have a long way to go on this front, though. In the immediate future, we’re still working towards broad-based awareness, a more nuanced understanding of pipeline and retention issues, cutting across gender, race, and other lines, to drive a deep commitment to change. It’s not enough for PR to pay lip service to change and throw some money around. It’s everyone’s job to care and to ensure that change is effected at all levels. To that end, the next part of addressing this issue is an orientation towards outcomes; we need to try different approaches, learn which ones work and which ones doesn’t, and iterate. This will all go much faster if we are honest with each other and willing to work together. In the same way that publishing statistics on current demographics has been critical to establish a broad baseline and thus our starting point, continued transparency on the various strategies and tactics being deployed, and their efficacy, is important for us as an industry to figure out the right direction to go and how to accelerate our movement in that direction.

I’m generally very encouraged by the heightened discourse on diversity issues in the past year; it’s starting to reach prominence even in mainstream media. I see momentum and I am hopeful we can capitalize on it.

—

Special thanks to all who contributed. More to come.

Read more Diversity Gap studies on:

The Tony Awards
The Emmy Awards
The Academy Awards
The children’s book industry
The New York Times Top 10 Bestseller List
US politics
Sci-Fi and Fantasy Films

Further resources on how to teach content and visual literacy using Lee & Low Books’ infographics series on the Diversity Gap:

Using Infographics In The Classroom To Teach Visual Literacy

For press inquiries or permission to reprint, please contact Hannah Ehrlich at hehrlich[at]leeandlow[dot]com.

Getting your book published is difficult, and unfortunately it tends to be much harder when you’re a Person of Color. While there are more diverse books being published, there’s still a lot of work to do!

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.

The Angela Johnson Scholarship from Vermont College of Fine Arts – This scholarship is for new students of color of an ethnic minority for VCFA’s MFA program.

Vaunda Micheaux Nelson Scholarship from Hamline College – “Annual award given to a new or current student in the program who shows exceptional promise as a writer of color.”

We Need Diverse Books Short Story Contest - This short story contest was inspired by Walter Dean Myers’ quote, “Once I began to read, I began to exist.”

The Scholastic Asian Book Award – This award is for Asian writers writing books set in Asia aimed at children 6-18 years of age.

Octavia E. Butler Memorial Scholarship Fund – This fund enables writers of color to attend the Clarion writing workshops where writer Octavia Butler got her start.

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.

Eleanor Taylor Bland Crime Fiction Writers of Color Award – This one time grant is awarded to an emerging writer of color of crime fiction.

NYFA Artists’ Fellowships – These fellowships are for residents of New York State and/or Indian Nations located in New York State.

Golden Baobab Prizes for Literature – These annual awards recognize emerging African writers and illustrators.

The Sillerman First Prize for African Poets – This prize is for unpublished African poets.

What other awards and grants do you recommend for authors of color?

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.

Our Black History Month Paperback Collection features four award-winning picture books in paperback:

John Lewis in the Lead
I and I Bob Marley
George Crum and the Saratoga Chip
Love to Langston 

Originally $40, it’s currently on sale for $29.95.

Our Black History Month Special Collection features five award winning picture book biographies in a mix of paperback and hard cover editions:

John Lewis in the Lead
George Crum and the Saratoga Chip
It Jes’ Happened
Love to Langston
Baby Flo

Originally $65.70, it’s currently on sale for $50.

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!