We’re on Summer Break!

 

As of today, we are on summer vacation! When we return in September, we’ll celebrate more books by Latinx creators. Through the remaining summer weeks, we’ll keep in touch by tweeting past posts you may have missed, but shouldn’t!

You keep in touch, too. If you would like to contribute a blog post related to our mission, or request a review of a book, please contact us through the form on the blog or by emailing: latinosinkidlit@gmail.com. Note: We regrettably cannot guarantee a review for every book, as you’ll see in our reviewing policy.

So look for new posts in September, and don’t forget to follow us on Twitter or Facebook. Happy summer, everyone!

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Cover Reveal: Todos Iguales: Un Corrido de Lemon Grove/All Equal: A Ballad of Lemon Grove by Christy Hale

We are delighted to host the cover reveal for Christy Hale’s picture book, Todos Iguales: Un Corrido de Lemon Grove/All Equal: A Ballad of Lemon Grove, which will be published by Lee & Low Books.

Before we reveal the cover, here is some information about the author-illustrator, taken from her website:

 

Christy HaleAs a young child I resisted the temptation to make marks in books by drawing on a handy little pad of paper. I tore off my “illustrations” and tucked them along side the appropriate writing passage. By age ten I decided to become a writer and illustrator. At this time my best friend and I acted out all the books we loved. A favorite was Harriet the Spy. We dressed up in disguises, lurked around the neighborhood, and took notes of anything interesting we observed. Then we began writing and illustrating our own stories after school.

I have created books as long as I can remember. I studied calligraphy, bookbinding, letterpress and all other means of printing, typography, design, illustration, and desktop publishing.

I received a B.A. in Fine Arts and Masters in Teaching at Lewis & Clark College in Portland, Oregon, then worked as an art educator for several years. I relocated to New York, earned a B.F.A. in illustration at Pratt Institute, then worked in publishing as a designer and art director. I taught at the Center for Book Arts and as an adjunct professor in the Communication Design department at Pratt Institute—all while beginning my illustration career. I’ve illustrated many books for children and now am writing stories as well.

At the end of 2001 I relocated to Northern California with my husband and daughter. I continue to work as a writer, illustrator, designer, art director, and as an educator—offering programs at museums, schools, libraries, and for staff development. I teach an online course in Writing for Picture Books through the illustration department at the Academy of Art University in San Francisco.

Now, here is some information about the book from the publisher:

Twelve-year-old Roberto Álvarez loved school. He, his siblings, and neighbors attended the Lemon Grove School in California along with the Anglo children from nearby homes. The children studied and played together as equals.

In the summer of 1930, the Lemon Grove School Board decided to segregate the Mexican American students. The board claimed the children had a “language handicap” and needed to be “Americanized.” When the Mexican families learned of this plan, they refused to let their children enter the new, inferior school that had been erected. They formed a neighborhood committee and sought legal help. Roberto became the plaintiff in a suit filed by the Mexican families. On March 12, 1931, the case of Roberto Álvarez v. the Board of Trustees of the Lemon Grove School District was decided. The judge ruled in favor of the children’s right to equal education, ordering that Roberto and all the other Mexican American students be immediately reinstated in the Lemon Grove School.

This nonfiction bilingual picture book, written in both English and Spanish, tells the empowering story of The Lemon Grove Incident–a major victory in the battle against school segregation, and a testament to the tenacity of an immigrant community and its fight for equal rights.

Finally, here is the cover of Todos Iguales: Un Corrido de Lemon Grove/All Equal: A Ballad of Lemon Grove:

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The book releases August 13, 2019 and is available for pre-order now.

 

Where Are You From? by Yamile Saied Méndez

 

Reviewed by Romy Natalia Goldberg

Description of the book:

“Where are you from? they ask.” A young girl’s confidence is shaken after increasingly persistent questioning from her peers, teachers and friends’ parents. She turns to Abuelo, her loving grandfather, for answers. “Where am I from?” she asks, knowing he has faced these questions before. Abuelo answers by describing with lyrical beauty her parents’ places of origin. As he speaks, the landscapes around them morph, from the Pampas and Andean peaks of Argentina to the coastline and rainforests of Puerto Rico. But this immersive journey is not powerful enough to quell the doubts instilled by her peers. Echoing their questioning, she insists, “where am I really from?” At this, Abuelo points to his heart. She comes from her family’s love. As he continues, they are joined by a large, joyful family. The sun begins to set as her doubts settle. Surrounded by their unquestioning love, bathed in the light of the afterglow, she is newly confident.

Released simultaneously in English and Spanish, WHERE ARE YOU FROM? joins a slate of high quality Latinx books dealing with identity and belonging. Additionally, it is one of very few picture books depicting Latinx characters from the Southern Cone.

My two cents:

“Where are you from?” The question implies a progression – where did you begin and where are you going? Though often asked out of sheer curiosity, many times it is a loaded question, one whose answer can be used to justify exclusion and discrimination. The girl’s declaration that she is “from here, from today, same as everyone else” is a request to be treated as an equal, as someone who belongs. Once this request is ignored, she retreats to the family that created her, that asks her to justify nothing. The luminous landscapes with skies full of birds and stars suggest the limitless possibilities Abuelo wants for his granddaughter. Though the soaring landscapes could have felt overwhelming, they exude warmth and reassurance. As educators and parents, is this not how we want our kids to feel?

WHERE ARE YOU FROM? could easily have opened with a scene of overt bullying. Instead, the author and illustrator create a more nuanced scenario. The girl is being questioned by a diverse group of kids and adults, all with facial expressions that range from neutral to kind.

By eliminating a stereotypical “villain,” WHERE ARE YOU FROM offers a more realistic depiction of microaggressions endured by children of color (and children with other noticeable differences, such as accented speech).

One of the things I appreciate the most about this book is that we never circle back to the people who questioned the main character at the start. This is an excellent example of what happens when an “own voices” author is allowed to write from their experience. As adult readers, we know the girl will be asked “where are you from?” countless times and ways throughout her life due to the color of her skin. We know that, for some people, her answers will never be right or good enough. By allowing the girl to find an emotional resolution entirely within the context of her support system, WHERE ARE YOU FROM? sends young readers a powerful message: you do not have to justify your existence to others.

For children of mixed heritage, the question “where are you from?” has the power to generate an additional level of self-doubt. A few spreads into the girl’s journey with Abuelo, readers are lulled into the sense that they know where she is from. When Abuelo takes us from Argentina to Puerto Rico we are challenged to open our minds. Like many children, she is not “from” a single place.  Rather than simplify (or flatten, or erase) her heritage, WHERE ARE YOU FROM? invites readers to accept the main character’s complex heritage as something that is beautiful to behold.

Teaching Tips

WHERE ARE YOU FROM? can be used as a prompt for students to explore their heritage. This could be done exclusively as a writing exercise or could incorporate art in the form of illustrations or collage/printed images. Additionally, students could choose who they would like to go on their journey with – would they want to travel through space and time with a family member, as the girl in this book does? Or would they rather choose a historical figure as their guide?

WHERE ARE YOU FROM? naturally lends itself to a nuanced discussion of microaggressions. Students could be prompted to discuss whether they believe the main character’s peers are questioning her out of curiosity or malice. Does that change the effect their constant questioning has on the girl? Do they even have the right to ask this question? And what does it mean that no one was willing to accept the girl’s original answer? However, educators should take care to ensure class discussions do not put undue burden on students of color to share personal experiences of mistreatment.

WHERE ARE YOU FROM? can be a starting point for learning about two very different parts of the Americas. Lessons for younger students could focus on the eco-systems of both regions. Older students can tackle heavier subjects alluded to in the final spreads for each location: the history of colonialism and slavery in Puerto Rico and the human rights abuses of Argentina’s military dictatorship. Lessons on Puerto Rico should also touch on the territory’s relationship to the rest of the United States and Latin America. Like the protagonist, Puerto Rico has a multifaceted background.

Additionally, the vivid verbs featured in WHERE ARE YOU FROM? could be incorporated into a lesson on synonyms and/or creative writing.

About the author: Yamile Saied Méndez is an Argentine-American who lives in Utah with her Puerto Rican husband and their five kids. An inaugural Walter Dean Myers Grant recipient, she’s also a graduate of Voices of Our Nations (VONA) and the Vermont College of Fine Arts MFA Writing for Children’s and Young Adult program. In this blog post from 2017, she shares with our readers what it was like to study for her MFA. Much has happened since then. Yamille is now a PB, MG, and YA author, and is also part of Las Musas, the first collective of women and nonbinary Latinx MG and YA authors. To learn more, visit Yamile’s website.

 

About the reviewer: Romy Natalia Goldberg is a Paraguayan-American travel and kid lit author with a love for stories about culture and communication. Her guidebook to Paraguay, OTHER PLACES TRAVEL GUIDE TO PARAGUAY, was published in 2012 and 2017 and led to work with “Anthony Bourdain: Parts Unknown,” and The Guardian. She is an active SCBWI member and co-runs Kidlit Latinx, a Facebook support group for Latinx children’s book authors and illustrators.

A Conversation with Lauren Castillo, illustrator of Imagine by Juan Felipe Herrera

 

By Cecilia Cackley

This interview has been condensed and edited for clarity.

Cecilia Cackley: This is your twenty-first picture book! You’ve written three of them yourself, but you’ve also worked with a wide range of collaborators. How do you feel like your process has evolved as an artist?

Lauren Castillo: It feels like I’m choosing a different medium for each project, but somehow it ends up looking like the same type of art to others. Imagine for instance, doesn’t look too different from Nana in the City, but to me, I definitely worked in a lot of different ways to make the art. For example, because this book had so many landscapes, I really wanted to embrace that imperfect, texture-y feeling in a more abstract way. I wanted to have a looser style, so I used something that I had been playing around with in workshops with children—printmaking by painting on foam. It’s really fun because you don’t know what you’re going to end up with until you run the print. That’s kind of the beauty of printmaking, that nothing is going to be exact and precise. I think my art, over the years, felt like I was tightening up and it felt a little too crafted. I think it was because my drawing wasn’t as strong at first, so it gave this energetic, free feeling to the work and I liked that. I’ve been trying to figure out ways to trick myself into loosening up. For this book it was helpful to use this type of printmaking for the backgrounds. I would paint on the foam and then flip it over and stamp it on the paper. I work in a much smaller scale so when it’s enlarged it gets even more texture. With each book I need to use different types of materials to keep things interesting.

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CC: Is this your first non-fiction picture book about a living person?

LC: Yes.

CC: How was the research process different than for, say, your book about E.B. White?

LC: It was very different! I did not interact at all with Juan directly. I sent some questions through the publisher Candlewick because it was a poem and it was non-descriptive in terms of the locations and the years and that sort of thing. I had this vision for it so I didn’t want to know too many details but I wanted to gauge the era, the decade and the locations that he was speaking about. I had looked at some photographs of him and most were current so I decided, although I probably could have gotten some childhood photos of him, to do my own version of him and what I imagined he looked like when he was younger. So the character development was done without photo reference. But they gave me some locations to work with so I could get photos from the computer for those. It was a lot freer than working on E.B. White’s life, for example, because that was very descriptive and specific, even down to the animals that were in the barn.

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CC: Would you say this is the most poetic text you’ve ever worked on?

LC:  Probably. I would definitely call some of the other books I’ve worked on poetic, or poems but this feels most definitely like it was pulled out of a poetry book and it’s gorgeous. The first time I read it I thought “Well, I have to illustrate this!”

CC: Tell us a little about your own Latinx family background.

LC: My dad’s father is Cuban, and my mom’s mom is Puerto Rican.

CC: Is this the first book by another Latinx author that you’ve worked on?

LC: It is, which I was very excited about. I grew up asking a lot of questions about my grandparents’ lives and their parents’ lives, coming to the United States, and it seemed like I was more interested in my background and culture than a lot of my friends. I did a lot of reports as a kid, interviewing my grandparents. I would be curious to see how connected to my art Juan Felipe was, if there was anything that reminded him of his own life or if I took liberties that were very different. It would be interesting to have a conversation about it.

CC:  Do you think that you’ll ever make any work connected with your own family history?

LC:  My Puerto Rican great-grandfather was a musician, and when he moved to New York, his family lived in the Spanish Harlem area. My grandmother told me stories about when she was young and he had a band that would play around different venues in Spanish Harlem. So when I moved to New York for graduate school, we had to do a book project, and I decided I wanted to do a visual journalism project about this really old music store in Spanish Harlem called Casa Latina. I went there and asked them if I could spend a month coming in and out of their store and do drawings, so basically I did this whole visual journalism project that I turned into a book about the people in the store and how they interacted with each other and their customers. I would have conversations with them and take notes, so it was kind of like a diary, but it included drawings from the shop and portraits of people that work there, and I called it Casa Latina. I’ve wanted to turn that into a picture book at some point because when I was going to the store I had it in my mind that although that store wasn’t around then, that’s the same neighborhood that my great-grandfather was spending a lot of time in and playing music in. So I got really invested in that area, and for a while, I’ve been keeping some drafts of stories that I want to do, some ideas to turn that project into a picture book. So yes, I definitely want to do a project that connects to that Puerto Rican background.

CC: What are you working on now?

LC: At the moment I’m working on a very unusual project for me, which is completely imagined, because so far, my three picture books have all come from some sort of life experience, and so I’m working on this early chapter book. It’s about the hedgehog character that I had drawn that kept popping up in my sketchbook, and it’s all animals and one human character, and it’s very much a made up story. And also it’s a long format book, which is a lot of fun since I don’t have a lot experience with that!

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MORE ABOUT LAUREN CASILLO: Lauren studied illustration at the Maryland Institute College of Art and received her MFA from the School of Visual Arts in New York City. She is the author and illustrator of the 2015 Caldecott Honor winning book, Nana in the City, as well as The Troublemaker and Melvin and the Boy. Lauren has also illustrated several critically acclaimed picture books, including Twenty Yawns by Jane Smiley, Yard Sale by Eve Bunting, and City Cat by Kate Banks. She currently draws and dreams in Harrisburg, PA. You can find out more about her at http://www.laurencastillo.com/

 

 

cecilia-02-originalCecilia Cackley is a Mexican-American playwright and puppeteer based in Washington, DC. A longtime bookseller, she is currently the Children’s/YA buyer and event coordinator for East City Bookshop on Capitol Hill. Find out more about her art at www.ceciliacackley.com or follow her on Twitter @citymousedc

 

A Studio Visit with Illustrator Zara Gonzalez Hoang

 

By Cecilia Cackley

Zara Gonzalez Hoang is an illustrator who is just beginning her career in children’s literature. She created the art for the picture book Thread of Love by Kabir Sehgal and Surishtha Sehgal and recently sold her book A New Kind of Wild which is inspired by her father’s experience moving from Puerto Rico to the United States as a child. We met at her studio in Falls Church, VA to talk about her journey to becoming an illustrator.

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Cecilia Cackley: Tell me a little about your path to becoming an artist

Zara Gonzalez Hoang: When I was little my dad was really artistic and he used to draw with us. Some of my favorite memories are of me and my dad just laying on the floor in the porch or something and just drawing horses. My mom was a teacher so we always had paper and pens and I just always drew as a kid. And I think, too, everybody has things in their growing up that are probably not all that fantastically awesome and for me drawing was my escape. I would go hide in my room and draw and make up all these different worlds. I really liked to combine animals into new animals. My favorite was the “horseger”—it was a horse and a tiger which were my two favorite animals.

I’ve always been doing art, but I never considered doing it seriously. I went to college and took art classes but I also studied computer science and that was the practical side of me. There’s always been these two parts of me, the very logical side and the creative side. I’ve always been drawn to computers, and I’ve always been drawn to art. I majored in art, but then I worked doing network administration and web design—merging art and computers in a way. I didn’t start seriously drawing until the iPhone came out and I started a company with some friends making apps for kids and I illustrated them.

I never wanted to do kids books, it’s so weird! And it’s because I was afraid. I was afraid that I wouldn’t be able to be consistent, that it was too much work, that I just wasn’t good enough. After I had my son, and I was reading all these picture books, I came back to this place I really loved that I thought I couldn’t have anymore. I always looked at picture books and wanted to buy them, but I always thought, I don’t have any kids, I can’t buy them, which is such a silly thing. There’s no reason why you can’t have these things you want just because you’re not a child. It doesn’t mean they’re any less beautiful or valid. I’ve always been someone who hid that part of me. I always hid my sketchbooks. It was such a personal part of myself that I felt I couldn’t flaunt it.

It wasn’t until I had my son that I felt like I really had permission to do this. I was looking for something to do with more meaning, and I realized–or my sister realized for me–that I have this gift for art and for writing. So I started putting together my portfolio for children’s books, and then I started going to SCBWI conferences, and I realized that everyone there was just like me: super nerdy about books and picture books! My friends talked me into submitting my work to agents, and I got a super awesome agent who I love. When I queried agents, I queried them as an illustrator who wanted to write, and I sent my portfolio but not any writing. The reason I knew she was the right agent for me was that she read my story A New Kind of Wild, and she told me how to make it better, and we spent the next year working on it to get it to a place where we could send it out. I feel like I finally came back to where I was supposed to be.

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CC: You started out working digitally, but in your studio, you showed me more traditional media like pen, ink, and watercolor. How has that process gone?

ZGH: When I did Thread of Love, I didn’t think I’d want to do anything the traditional way. I didn’t think I was any good at it. I liked digital, I liked the control of it. So when I got the manuscript of Thread of Love, that was how I was going to do it. I could see the color palette as soon as I read the manuscript. I don’t know if it’s my background in graphic design or what, but I saw the color palette first. It wasn’t until after that project that I started moving into more traditional media. Two things happened. One, I started thinking about the things that I liked and the illustrators and artists who I love the most work traditionally. There seemed to be a disconnect for me between what I did and what I liked, and I wanted to bring that closer.

When I started writing A New Kind of Wild, it had originally been digital to me, and that’s how I submitted my dummy, but I wanted to do it traditionally because in my mind that’s how it was. So I was doing all these studies of my characters traditionally and posting them on Instagram. My editor was creeping on me, and she saw them and she asked me if I would consider doing it traditionally. It was like she was seeing into my mind or my heart because that’s what I wanted, but I didn’t feel comfortable enough to say what I wanted. I’m not at the point of making the art yet, so it may end up being digital, but it may end up being a hybrid mix. And that’s fine because I have a lot of comfort with the ability to erase mistakes digitally.

I’m a perfectionist in some ways. I don’t like the mistakes and even when I’m working traditionally because I’m using watercolor and colored pencil and ink, the things I love about watercolor I also hate. If you have a big swatch of color, you’re going to see the way the water moves in that swatch of color and those imperfections are the things that make it interesting.  I’m constantly fighting with myself to be okay with the imperfect, but I want to try and embrace it because the reality is, life isn’t perfect. I think there’s more emotion and interest in things that are loose rather than tight.

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CC: Thread of Love is about a very specific Indian holiday, Rashka Bandhan. What was the research process like for that?

ZGH: I am not Indian, so I had to do a lot of research to make sure I got things right. It’s something that was constantly on my mind while I was working on the book. Since I’m not of that culture, I worked really had to get it right. I checked out all the books I could from the library about the holiday, and I relied a lot on the authors telling me that I was portraying things correctly.  I also talked to friends who are Indian and who celebrate Rashka Bandhan. I wanted to make sure my illustrations depicted Raksha Bandhan accurately, especially since it is a holiday that is not one that I celebrate.

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CC: A New Kind of Wild is inspired by your own family history, so what has the research process been like for that?

ZGH: I wrote this book without thinking that it was about my dad’s story—it wasn’t until I was reworking the book that I realized that was the story I was telling. My dad passed away, and he’s not here for me to ask him, so a lot of the stuff I’m relying on is memories of the stories he told me about him growing up. My dad grew up in Puerto Rico with his grandmother until he was ten or twelve, when his mom was in New York. So, in the book, there’s a page where he’s leaving his grandmother. Pieces of my dad’s story are woven through like that. When we went back to Puerto Rico, we went to my dad’s house that he grew up in, so there will probably be some of that place in the book.

CC: What are some goals you have for where you want your career to go as a writer and illustrator?

ZGH: I think where I want to go does involve being a writer, so it means telling my own stories, and that’s both on the Latinx side and also on my other side because I’m half Puerto Rican and half Russian/Polish/Belaruski because my mom’s family came from a place where the borders kept shifting. I want to tell stories about people who are mixed. I have all these ideas for stories about things that are interesting about being from two cultures. I’m also Jewish and I think I’m the only Jewish person I know who had a big pork roast on Hanukkah sometimes because Hanukkah and Christmas fell on the same day and we always had a big pernil and arroz con gandules. I want to write more about that experience. There aren’t really a lot of stories that talk about what it’s like to be part of a family where you eat pho and also matzo balls. It can be confusing to be in the middle of everything. I want to start telling stories about my reality and the reality of kids that are mixed growing up. I don’t really feel that there are books out there that are telling those stories in a way that shows all the fantastic things about having multiple cultures.

CC: What advice do you have for other Latinx artists who are just starting out?

ZGH: The only real advice I have is to find other people that are doing it and try to make friends. One of the best things I ever did was meet someone who created a critique group that let me in. Having people to talk to who understand what you’re going through is priceless; even if nobody’s published, just having somebody to say keep going. It’s hard to talk to people who aren’t trying to be in publishing because they don’t understand how weird this industry is. There’s no rhyme or reason, it’s just persistence and luck. The advice is keep going and find people to share the experience with.

 

 

cecilia-02-originalCecilia Cackley is a Mexican-American playwright and puppeteer based in Washington, DC. A longtime bookseller, she is currently the Children’s/YA buyer and event coordinator for East City Bookshop on Capitol Hill. Find out more about her art at www.ceciliacackley.com or follow her on Twitter @citymousedc

 

 

Book Review: Zombies Don’t Eat Veggies by Megan Lacera and Jorge Lacera

 

Review by Mimi Rankin

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DESCRIPTION OF THE BOOK: Mo Romero is a zombie who loves nothing more than growing, cooking, and eating vegetables. Tomatoes? Tantalizing. Peppers? Pure perfection! The problem? Mo’s parents insist that their niño eat only zombie cuisine, like arm-panadas and finger foods. They tell Mo over and over that zombies don’t eat veggies. But Mo can’t imagine a lifetime of just eating zombie food and giving up his veggies. As he questions his own zombie identity, Mo tries his best to convince his parents to give peas a chance.

Super duo Megan and Jorge Lacera make their picture-book debut with this sweet story about family, self-discovery, and the power of acceptance. It’s a delectable tale that zombie and nonzombie fans alike will devour.

MY TWO CENTS: This is a fun, silly, and wonderful book about familial acceptance as well as self-acceptance.

Mo Romero is a zombie who comes from a big, wonderful, brain-eating, human-scaring zombie family. His doting parents hope that he will follow in their slow-dragging footsteps by loving comidas de los zombis, like arm-panadas and arroz con spleens. However, Mo has a deep secret scarier than anything on The Walking Dead—he LOVES vegetables!

This book brings up a great conversation about “default” race and ethnicity in literature. Zombies are not monolithic and depending on which canon of origin you adhere to, let’s assume that Zombies are dead humans who have come back to life to eat your brains. Wouldn’t that imply that Latinx zombies exist? Even within fantasy and horror, is society defaulting to white? According to the illustrations in the Laceras’ work, these Latinx zombies are not bound by any particular race as they all have various hues of green skin.

With subtle touches of Spanish (in italics) in this version published in English, the true crux of this story is acceptance within families. Mo desperately wants for his parents to accept that he loves vegetables. He begs and begs to eat veggies, but his parents echo the refrain, “Zombies DON’T eat veggies!” The text goes on to read, “His parents wanted him to accept who he was—a zombie.” As this declaration sets in, Mo struggles to understand his own identity in the light of his parents’ expectations as the text reads, “Mo started to wonder if maybe he wasn’t a zombie after all.” This constant restriction on identity and all the assumptions and implications that go with it contribute to a really great conversation on our own expectations of identity. What is inherent to being “Latinx?” There is a massive range of qualities about ourselves that may make us feel like outsiders in our own families, Latinx or otherwise. In such a beautifully diverse claim of ethnicity, why should there be one definition of Latinx?

In the end, Mo decides to stick up for himself and remind his parents that he is still a zombie and still their niño. This fun and gorgeous story on the importance of family is sure to open up conversations about children’s individual identities.

Check out the book trailer below!

 

Image result for megan laceraABOUT THE AUTHORS & ILLUSTRATORMegan Lacera grew up in the suburbs of Cleveland, Ohio, with a book always in her hands. She became a writer and creator of characters and worlds for entertainment companies, and later formed her own creative company with husband Jorge Lacera. After reading many stories to their son, Megan realized that very few books reflected a family like theirs–multicultural, bilingual, funny, and imperfect. She decided to change that by writing her own stories for publishing, animation, and film. You can learn more about Megan and Studio Lacera at studiolacera.com.

Jorge Lacera was born in Colombia, and grew up in Miami, Florida, drawing in sketchbooks, on napkins, on walls, and anywhere his parents would let him. After graduating with honors from Ringling College of Art and Design, Jorge worked as a visual development and concept artist. As a big fan of pop culture, comics, and zombie movies, Jorge rarely saw Latino kids as the heroes or leads. He is committed to changing that, especially now that he has a son. The family lives in Cypress, Texas. You can find him online at studiolacera.com.

 

 

file-2ABOUT THE REVIEWER: Mimi Rankin received her Master’s Degree with distinction in Children’s Literature from the University of Reading. Her thesis, on which she received a rating of First, centered around claims to cultural authenticity and representation in Hispanic Children’s Literature. She currently works in the publishing industry as a marketing manager for over 20 international children’s publishers. Her reviews do not reflect the opinions of her employer or clients. She currently lives in Nashville, Tennessee.