Book Review: Bravo! Poems About Amazing Hispanics by Margarita Engle, illus. by Rafael López


Reviewed by Lila Quintero Weaver

FROM THE BOOK JACKET: Musician, botanist, baseball player, pilot—the Hispanics featured in this collection come from many different backgrounds and from many different countries. Celebrate their accomplishments and their contributions to collective history and a community that continues to evolve and thrive today!

Poems spotlight Aida de Acosta, Arnold Rojas, Baruj Benacerraf, César Chávez, Fabiola Cabeza de Vaca, Félix Varela, George Meléndez Wright, José Martí, Juan de Miralles, Juana Briones, Julia de Burgos, Louis Agassiz Fuertes, Paulina Pedroso, Pura Belpré, Roberto Clemente, Tito Puente, Tomás Rivera, and Ynés Mexia.

MY TWO CENTS: This beautiful and memorable picture book once again showcases the partnership of creative luminaries Margarita Engle and Rafael López, following their award-winning collaboration on Drum Dream Girl. In Bravo!, Engle’s eighteen poems and López’s accompanying illustrations highlight notable Hispanics with strong connections to the United States. Some subjects are Puerto Ricans, while many are Latinx notables from the U.S. mainland. Quite a few came to its shores as immigrants, exiles, or refugees. A few are world-famous, like Tito Puente, César Chávez, and Roberto Clemente, but most are not. In fact, some individuals whose thrilling achievements should have earned them a prominent place in history have yet to receive their due, such as Cuban American Aída de Acosta, the world’s first woman pilot. (I eagerly anticipate the March 2018 release entitled The Flying Girl: How Aída de Acosta Learned to Soar, a picture book by Margarita Engle illustrated by Sara Palacios, which should go a long way toward filling that gap.)

The profiles are arranged chronologically, and each featured individual receives a double-page treatment consisting of a brief poem and a portrait illustration. The first spot belongs to Juan de Miralles (1713-1780), a Cuban supporter of the American Revolution, whose intervention helped save George Washington’s troops from scurvy. The final selection is Tomás Rivera (1935-1984), an influential teacher, poet, and University of California chancellor, who was also one of Margarita Engle’s creative-writing professors.

As with her novels in verse, Engle presents the stories of the characters through first-person-voiced poems that draw attention not only to that individual’s contributions to society, but also to the passions that drove them to action.

As mentioned earlier, most of these historical figures are not widely recognized. For example, how many readers in the U.S. are familiar with poet Julia de Burgos (1914-1953), who advocated for her native Puerto Rico’s independence? In “My River of Dreams,” we learn of her poverty-stricken childhood and the natural world that she loved, as well as the heart of her advocacy:

I struggled to become a teacher

and a poet, so I could use words

to fight for equal rights for women,

and work toward meeting

the needs of poor children,

and speak of independence

for Puerto Rico.

Another selection, “Wild Exploration,” profiles Ynés Mexia (1870-1938), highlighting Mexía’s botanical studies in Mexico and South America, but also bringing out her bicultural origins, the anguish she suffered as the child of warring parents, and the fact that she discovered her true calling later in life than most:

But when I’m all grown up and really quite old,

I finally figure out how to feel useful,

Enjoying the adventure of a two-country life.

As with all eighteen of the profiled subjects, we can learn more about Ynés Mexía in the supplement “Notes About the Lives,” which explains that her career as a botanist began at age fifty-five and led to the discovery of five hundred new species.

In his bold, graphic portraits, Rafael López signals each person’s setting and historical period through carefully selected details in their apparel, the background scenery, and through visual symbolism that enriches the poetic text. One noteworthy example is in the profile of Félix Varela (1788-1853), an exiled Cuban priest whose ministry in New York focused on newly arrived Irish immigrants. In his portrait, Varela wears a clerical collar and holds an olive branch in his right hand, signifying the pacifism that set him at odds with his countrymen in Cuba. On the opposite page, a smaller and simply rendered three-leaf clover pays homage to Varela’s Irish parishioners.

Readers familiar with Margarita Engle, whose poetry often elevates the work of unsung Latinas, will not be surprised that the collection includes seven noteworthy women. In addition, a generous proportion of those featured are of African or indigenous ancestry, and this diversity is satisfyingly represented in López’s stunning portrait work. By showcasing extraordinary, yet under-represented achievers, Bravo! enhances their visibility and sends an affirming message to girls and children of diverse racial and ethnic backgrounds. With that said, this collection would have felt more complete if it offered a wider representation of ancestral lands. Among the eighteen profiles, there are no Dominicans, and only one of each from Central America and South America. (Editors, please take note that Latinx people represent a broad sweep of nations and cultures.) Perhaps in recognition of the impossible task of selecting just eighteen subjects, a supplement at the back of the book entitled “More and More Amazing Latinos” provides a list of over twenty more Latinx achievers. These include Tony Meléndez, a Nicaraguan American guitarist; Adriana Ocampo, a Colombian American planetary geologist for NASA; and Jaime Escalante, a teacher of mathematics from Bolivia.

Bravo! Poems About Amazing Hispanics is jewel of a picture book. It offers children an introductory glimpse of important historical figures they may never otherwise hear about. And let’s face it: adults will learn a great deal from these pages, too. As members of the Latinx community, these history-makers represent a rich variety of educational and economic backgrounds, an impressive array of careers and causes, as well as a diverse range of racial and ethnic legacies. Taken together, the tributes in this beautiful book point to the depth, complexity, and durability of Hispanic contribution to culture, innovation, civic advances, and many other components of life in the United States.

ABOUT THE AUTHOR: Margarita Engle is the national Young People’s Poet Laureate, and the first Latino to receive that honor. She is the Cuban-American author of many verse novels, including The Surrender Tree, a Newbery Honor winner, and The Lightning Dreamer, a PEN USA Award winner. Her verse memoir, Enchanted Air, received the Pura Belpré Award, Golden Kite Award, Walter Dean Myers Honor, and Lee Bennett Hopkins Poetry Award, among others. Drum Dream Girl received the Charlotte Zolotow Award for best picture book text. For more information, visit Margarita’s website.


ABOUT THE ILLUSTRATOR: Rafael López, who was born in Mexico City, is an internationally recognized illustrator and artist. A children’s book illustrator, he won the 2016 Pura Belpré medal from the American Library Association for his illustrations for Drum Dream Girl and the 2010 Pura Belpré medal for Book Fiesta. In 2012, he was selected by the Library of Congress to create the National Book Festival poster. He has been awarded the 2017 Tomás Rivera Children’s Book Award, three Pura Belpré honors and two Américas Book Awards. The illustrations created by López bring diverse characters to children’s books and he is driven to produce and promote books that reflect and honor the lives of all young people. Learn more on his website.



ABOUT THE REVIEWER: Lila Quintero Weaver is the author-illustrator of Darkroom: A Memoir in Black & White. She was born in Buenos Aires, Argentina. Darkroom recounts her family’s immigrant experience in small-town Alabama during the tumultuous 1960s. It is her first major publication and will be available in Spanish in January 2018. Her next book is My Year in the Middle, a middle-grade novel scheduled for release in July 2018 (Candlewick). Lila is a graduate of the University of Alabama. She and her husband, Paul, are the parents of three grown children. She can also be found on her own websiteFacebookTwitter and Goodreads.

Book Review: The Go-Between by Veronica Chambers


Review by Araceli Méndez Hintermeister

DESCRIPTION OF THE BOOK: She is the envy of every teenage girl in Mexico City. Her mother is a glamorous telenovela actress. Her father is the go-to voiceover talent for blockbuster films. Hers is a world of private planes, chauffeurs, paparazzi and gossip columnists. Meet Camilla del Valle, or Cammi to those who know her best.

When Cammi’s mom gets cast in an American television show and the family moves to LA, things change, and quickly. Her mom’s first role is playing a not-so-glamorous maid in a sitcom. Her dad tries to find work, but dreams about returning to Mexico. And at the posh, private Polestar Academy, Cammi’s new friends assume she is a scholarship kid, the daughter of a domestic.

At first Cammi thinks that playing along with the stereotypes will teach her new friends a lesson. But the more she lies, the more she wonders: Is she only fooling herself?

MY TWO CENTS: Like many immigrants, Cammi came to her new home in Los Angeles by plane. But unlike most immigrants, her mother’s job security as a telenovela star and her family’s wealth made her transition much smoother. Cammi does share in the immigrant story and her experiences begin to overlap with those of many other Mexican immigrants. Unfortunately, it is the stereotyping and xenophobia that she encounters the most. She is judged by her wealthy classmates at her new private school, immediately labeled as a scholarship kid who is low-income with parents in low-paying and stereotypical jobs and in need of handouts.

For Cammi, this is a great departure from what she usually has to deal with. No one is vying to know her to get closer to her famous mother. Instead, her mother is not the center of attention and she leaves her paparazzi world behind. However, in search of an escape, Cammi begins to promote the stereotypes that are often perpetuated about Mexicans. So in looking out for herself, Cammi forgets about her community and her roots.

It takes long for Cammi to learn her lesson. If it wasn’t for other Mexican immigrants and Mexican-Americans who have to fight regularly to defeat the stereotypes and get others to see beyond them, she may not have known how her actions perpetuated racism. Albeit slowly, Cammi learns to understand her role not only as a Mexican, but as an immigrant and compatriota to her community.

TEACHING TIPS: Cammi brings into perspective that not all immigrants come into this country in the same manner or with the same opportunities. Some immigrants come with established work or educational opportunities, while others may have left those exact opportunities behind to immigrate to the United States. While Cammi is perhaps not the best role model for the majority of the book, she does allow us to question a diversity of immigrants and their experiences. In a time when our political discord says that immigrants from Mexico are the worst of the pack, what is Cammi bringing to light? Cammi’s story is merely one of many.



TransientABOUT THE AUTHOR: Veronica Chambers is a prolific author, best known for her critically acclaimed memoir, Mama’s Girl which has been a course adopted by hundreds of high schools and colleges throughout the country. The New Yorker called Mama’s Girl, “a troubling testament to grit and mother love… one of the finest and most evenhanded in the genre in recent years.” Born in Panama and raised in Brooklyn, her work often reflects her Afro-Latina heritage.

She coauthored the award-winning memoir Yes Chef with chef Marcus Samuelsson as well as Samuelsson’s young adult memoir Make It Messy, and has collaborated on four New York Times bestsellers, most recently 32 Yolks, which she cowrote with chef Eric Ripert. She has been a senior editor at the New York Times Magazine, Newsweek, and Glamour. Born in Panama and raised in Brooklyn, she writes often about her Afro-Latina heritage. She speaks, reads, and writes Spanish, but she is truly fluent in Spanglish. She is currently a JSK Knight fellow at Stanford University.




ABOUT THE REVIEWER: Araceli Méndez Hintermeister is a librarian and archivist with a background in public, academic, and culinary libraries.She has an MA in history and MLIS from Simmons College where she focused her studies on the role of libraries and archives in the cultural preservation of the U.S.-Mexican border. Additionally, she holds a BA in Ethnic Studies from Brown University.  Her research is greatly influenced by her hometown of Laredo, TX which has led her to work in serving immigrants and underrepresented communities. Her current work involves exploring cultural identity through oral history in her project, Third Culture. You can find Araceli on Instagram. 

Cover Reveal: My Year in the Middle, an MG by Lila Quintero Weaver


Dear friends: Today I’m excited to offer a sneak peak at my forthcoming middle-grade novel. This story comes straight out of my heart, and I can’t wait to share it with you! The release date is July 10, 2018.

Here is how my publisher, Candlewick Press, describes it:

Inspired by the author’s own story of growing up as an Argentinian immigrant in Alabama, My Year in the Middle introduces a sixth-grade girl with a newfound gift for running track—and a growing sense of racial injustice.

Lu Olivera just wants to keep her head down and get along with everyone in her class. Trouble is, Lu’s old friends have been changing lately—acting boy crazy and making snide remarks about Lu’s talent for running. Lu’s secret hope for a new friend is fellow runner Belinda Gresham, but in 1970 in Red Grove, Alabama, blacks and whites don’t mix. As segregationist ex-governor George Wallace ramps up his campaign against the current governor, Albert Brewer, growing tensions in the state—and the classroom—mean that Lu can’t stay neutral about the racial divide at school. Will Lu find the gumption to stand up for what’s right and to choose friends who do the same?

Three wonderful Latina authors took time out of their incredibly busy lives and wrote the following blurbs. I cannot thank them enough!

My Year in the Middle is both powerful and sensitive, offering a unique view of important historical events through the eyes of an immigrant girl who longs for social justice, friendship, and romance.” —Margarita Engle, Young People’s Poet Laureate and Newbery Honor-winning author of The Surrender Tree

“A timely and powerful story, My Year in the Middle conjures an era of American racism and shows how a strong immigrant girl can make a difference in her community. This is a book that will resonate for young readers in these fraught times.” —Ruth Behar,  author of Lucky Broken Girl

“Wonderful! A heart-touching story with a spunky heroine who shows her grit and determination during troubling times. I was cheering for Lu from beginning to end!” —Christina Diaz Gonzalez, award-winning author of The Red Umbrella and the Moving Target series

Now that you’ve gotten a glimpse of the story, I invite you to scroll down to see the cover. Its creator is Matt Roeser, art director and designer extraordinaire!






Keep scrolling!






Almost there!







My favorite thing about it: Matt captured the essence of a girl caught in the middle of two seemingly irreconcilable worlds.

Huge thanks to Latinxs in Kid Lit for hosting this reveal! Please share this news with someone you know who digs kid lit!

Lila Quintero Weaver is the author-illustrator of Darkroom: A Memoir in Black & White. She was born in Buenos Aires, Argentina. Darkroom recounts her family’s immigrant experience in small-town Alabama during the tumultuous 1960s. It is her first major publication and will be available in Spanish in January 2018. Her next book is My Year in the Middle, a middle-grade novel scheduled for release in July 2018 (Candlewick). Lila is a regular contributor to this blog and one of its founding members. She and her husband, Paul, are the parents of three grown children. For news on events and publications, see her website, or follow her on Facebook, or Twitter .


Book Review: Evangelina Takes Flight


Review by Cris Rhodes

DESCRIPTION FROM THE BOOK JACKET: It’s the summer of 1911 in northern Mexico, and thirteen-year-old Evangelina and her family have learned that the rumors of soldiers in the region are true. Her father decides they must leave their home to avoid the violence of the revolution. The trip north to a small town on the U.S. side of the border is filled with fear and anxiety for the family as they worry about loved ones left behind and the uncertain future ahead.

Life in Texas is confusing, though the signs in shop windows that say “No Mexicans” and some people’s reactions to them are all-too clear. At school, she encounters the same puzzling resentment. The teacher wants to give the Mexican children lessons on basic hygiene! And one girl in particular delights in taunting the foreign-born students. Why can’t people understand that—even though she’s only starting to learn English—she’s just like them?

With the help and encouragement of the town’s doctor and the attentions of a handsome boy, Evangelina begins to imagine a new future for herself. But will the locals who resent her and the other new immigrants allow her to reach for and follow her dreams?

MY TWO CENTS: Diana J. Noble’s Evangelina Takes Flight is timely to a startling degree. As a work of historical fiction, Noble’s portrayal of upheaval in Mexico caused by the Mexican Revolution and Pancho Villa’s raids on farming villages remains relevant to this day. In confronting the racism and xenophobia rampant at the border, where shops display signs declaring “’No Dogs! No Negroes! No Mexicans! No Perros! No Negros! No Mexicanos!’,” Evangelina’s story parallels contemporary struggles for racial equality (92). As racial tensions build both in the text and in real life, Evangelina’s stand to keep her school desegregated feels remarkably current, and in its demonstration of child activism, Evangelina Takes Flight holds up a powerful example.

Though Noble doesn’t spend much time explaining the political situation of Mexico during the early twentieth century, the book doesn’t suffer from this lack of context. Indeed, told from the first-person point of view of Evangelina, the text should not offer details outside of her awareness. The book begins mere days after Porfirio Díaz was ousted as president of Mexico, an event that certainly would not have reached the secluded rancho where Evangelina lives, let alone Evangelina herself. Yet, as we journey along with the tenacious and imaginative Evangelina from her fictional Mexican town of Mariposa to the United States to escape the violence wrought by Villa, Noble invites the reader to watch Evangelina grow and mature. She might not be able to foment resistance in her native Mexico, but she certainly can in the United States, and eventually does when called upon to stand up for her right to an education.

Though Evangelina is still a child, at least by modern conceptions of childhood (she turns fourteen during the course of the book), she is entrusted with great responsibility, much of it in the field of medicine—leading her to dream of one day becoming a nurse or even a doctor. While this dream defies the limitations put upon her by her race and her gender, Evangelina does cling to some, perhaps stereotypical, tenets of Mexican femininity. She’s excited for her upcoming quinceañera, and she longs for the attention of boys—one boy, in particular: Selim. Evangelina’s blossoming relationship with Selim is doubly interesting because he is Lebanese—a fact that would likely cause some waves among her traditional Mexican family. Though Noble keeps their relationship chaste, the potential of an interracial relationship adds intrigue, and I wish there was more to it. Understandably, however, Evangelina and Selim’s feelings for each other are overshadowed by an upcoming town hall meeting, which will decide if foreign-born students will be allowed to attend school with their white peers.

Though Evangelina Takes Flight confronts historical (and contemporary) racism with aplomb, it still contains some troubling tropes about marginalized peoples, namely the White Savior figure. Evangelina has multiple encounters with the local doctor, Russell Taylor, whose compassion transcends race. Unlike his neighbors, Dr. Taylor is more than willing to help the Mexicans and goes out of his way to treat Evangelina’s Aunt Cristina when she gives birth to twin sons, one of whom is stillborn. Because of his position as the town doctor, Dr. Taylor holds sway with those who seek to segregate the school. He attempts to act as a mediator between the Mexican families and white townspeople, who are led by the mean-spirited Frank Silver. But Dr. Taylor’s intercession strays into White Savior territory when he is the one who discovers a secret that discredits Silver. After revealing Silver’s secret, Dr. Taylor parades Evangelina in front of the crowd at the town hall meeting, ostensibly to demonstrate her intelligence and humanity; but in a moment such as this, she actually becomes less of a humanized figure and more of a token. Additionally, it is not her own words that sway the townspeople to keep the school unified, but her ability to quote from the Bible, in English, that persuades them. While it is possible to read Evangelina as a key activist figure in spite of Dr. Taylor’s intervention, his role in this scene is a little disappointing, coming as it does in a text that otherwise offers so much in regards to racial equality.

Regardless, this book resonated with me on multiple levels. Evangelina’s struggle for independence, respect, and acquiring her own voice is something that many young Latinas, myself included, face today. Noble’s poetic yet accessible prose allows the reader to slip into Evangelina’s world and understand that problems can be overcome with perseverance and bravery. Though the book is at times slow moving and the plot is occasionally sparse, I would argue that such components allow the industrious reader to dive deep and think critically about Evangelina’s circumstances. However, these characteristics may also make this book difficult for reluctant readers. As a result, though this book is marketed as a middle grade novel, it may be more appropriate for experienced or older readers. Even if some parts were troublesome, I still found Evangelina an intriguing and captivating read,. Ultimately, for those looking for a book that faces contemporary issues through the lens of historical fiction, Evangelina Takes Flight certainly fits the bill.

TEACHING TIPS: Evangelina Takes Flight would pair well with other books about school de/segregation or child activists, such as Duncan Tonatiuh’s Separate is Never Equal: Sylvia Méndez & Her Family’s Fight for Desegregation   or Innosanto Nagara’s A is for Activist. In addition, because of its historical setting, Evangelina would also be useful in teaching about the Mexican Revolution, the history of Texas, or historical race relations in the United States.

Evangelina Takes Flight offers lessons on metaphor and imagery, especially in its use of the butterfly as a symbol of resilience. When Evangelina’s grandfather tells her the story of the migratory butterflies for which her hometown of Mariposa is named, she starts to see the butterfly as an image of strength. Students could be guided to find passages where butterflies are mentioned to see how Noble constructs this extended metaphor. Students may also be encouraged to deconstruct the representations of butterflies on the cover of the book in a discussion about visual rhetoric.

ABOUT THE AUTHOR: Diana J. Noble was born in Laredo, Texas, and grew up immersed in both Mexican and American cultures. Her young adult novel, Evangelina Takes Flight, is based loosely on her paternal grandmother’s life, but has stories of other relatives and memories from her own childhood woven into every page. It’s received high praise from Kirkus Reviews, Forward Reviews (5 stars), Booklist Online and was recently named a Junior Library Guild selection. [Condensed bio is from the author’s website.]



ABOUT THE REVIEWER: Cris Rhodes is a doctoral student at Texas A&M University – Commerce. She received a M.A. in English with an emphasis in borderlands literature and culture from Texas A&M – Corpus Christi, and a B.A. in English with a minor in children’s literature from Longwood University in her home state of Virginia. Cris recently completed a Master’s thesis project on the construction of identity in Chicana young adult literature.


A Conversation with YA Author Francisco X. Stork

As devoted fans of Francisco X. Stork, we were excited to learn about Disappeared, the latest in his growing collection of novels for young adults. Garnering acclaim from many corners of the book world, Disappeared brings to life the heart-pounding story of Sara and Emiliano Zapata, a pair of siblings from Juárez, Mexico, who are thrown into peril as Sara delves into the unsolved disappearances of young women and Emiliano stumbles into criminal activity.

At Latinxs in Kid Lit, we advocate for strong and authentic representation of Latinx characters. There is much to praise in Francisco’s body of work, which includes The Last Summer of the Death Warriors, The Memory of Light, and Marcelo in the Real World. When Francisco agreed to answer questions about Disappeared, as well as other aspects of his writing life, we could not have been more thrilled!


Latinxs in Kid Lit: Welcome, Francisco! Thank you for taking the time to chat with us!

Francisco X. Stork: Thank you! I’m delighted to be here.

LiKL: You have publicly stated that the creative impulse for Disappeared flowed partly from your response to the recent surge of anti-immigrant/ anti-Latinx sentiment taking place in the United States. In this novel, how did you manage the dual challenge of representing these often disheartening realities, yet offering young readers a gripping story?

FXS: It ultimately boils down to creating believable characters that readers identify with and care about. If the story is to work, that is, if the story is to pull the reader into its world, then there must be something in the characters and something in the adversity which speaks to or touches the reader in a personal way. Often this is a recognition that what the characters are experiencing is something that the reader has experienced also. It could be that the experience was hidden in the reader and he or she is putting words to the experience for the first time. Books about disheartening realities can be gripping if there are heroes in the story that we can identify with. And by “heroes” I mean frail human beings like us who struggle to muster up what is best in us.

LiKL: In Disappeared, your depiction of Mexico and, in particular, Ciudad Juárez, is likely to come as a revelation for many U.S. readers. While you do show characters engaged in activities widely associated with Latinx culture, such as a quinceañera, you also complicate the picture by placing them along a full range of economic classes and professions, including newspaper journalism and information technology. You also shine a spotlight on Mexico’s problems with criminal violence and corruption. Talk about incorporating these complex, and sometimes contradictory, elements in a tightly plotted novel.

FXS: The idea here was to be as true as possible to reality. The reality of Mexico happens to be very complex, just like the reality of the United States is complex. If I were to show only the good side of Mexico, or a simplistic view of Mexico, I would be doing a disservice to Mexicans, to the reader, and to myself. The best antidote to stereotype is complexity. Hatred reduces the person or the object hated to a caricature. The beauty of good literature is that it can destroy hatred by taking us to a place where caricature doesn’t work because it doesn’t keep our interest, it doesn’t keep afloat that “suspension of disbelief” that is needed to keep on reading. It’s wonderful how the literary and the moral join forces in a good book.


LiKL: You have made a big mark through your explorations of intersections between varied Latinx experiences and the difficult terrain of depression and other mental health challenges and cognitive differences. This is evident in Marcelo in the Real World, whose main character is on the autism spectrum, and in The Memory of Light, which is about a girl fighting the demons of suicidal depression. You are also one of the contributors to Life Inside My Mind: 31 Authors Share Their Struggles, an anthology of personal stories about mental health issues. Why is it important to you to write about mental health issues, and how do you as a creator stay focused on your projects, all the while managing the challenges of depression?

FXS: I decided to write about things like cognitive disorders and depression and suicide attempts only after I felt that I could do this in a hopeful way—in a way that would give me, if I were reading the book, the courage to keep on living. All my books are deeply personal, not necessarily in an autobiographical sense, but in the existential sense that through them I grapple with my own ultimate concerns about what it means to be a human being. I’ve always treasured the experience of finding the soul of the author behind the story that is being told—that sense of here is someone I can trust because she has felt what I am feeling. So that is what I hope the reader finds in the books that deal with mental illness. I am fortunate to have found, with the help of a doctor, the right medication and the right dosage that allows me to work and to try to be useful to others. Also, I have had many years to work on the right perspective on my illness, one that is a balance of acceptance and fight, of being kind to myself and challenging myself with realistic goals and ideals. A difficult balance that takes constant effort even if never fully attained.

LiKL: At Arthur A. Levine Books, an imprint of Scholastic, your editor was Cheryl Klein. It’s obvious that Cheryl loved working with you, because she often writes and speaks about the satisfying process of editing your novels. Check the index for her recently published The Magic Words: Writing Great Books for Children and Young Adults and you’ll see that Marcelo in the Real World is referenced 23 times! We would love to hear a bit from your side of the writer-editor equation. And for the writers among us, please throw in some tips regarding the writing life and the process of taking a book to the finish line.

FXS: Finding Cheryl Klein was either a blessing or very fortunate depending on your world view. Writing is both solitary and communal and on the communal side my writing got exactly what it needed when it got Cheryl. Her editorial genius complemented all my writing lacks while allowing me to remain true to my writing voice and my writing vision (and reminding me of that voice and vision when I strayed). Yes, there were many times when the editing process was very hard and even at times discouraging but I never lost faith that Cheryl wanted what was best for the book and for the future reader and that kept me going. What I would like to convey to young writers is that they do all they can to enjoy the actual process of writing, of being alone with the work, and have patience with regards to the results they hope to attain. Those results may or may not come, but the process of creating a work that is beautiful and true is still worth the effort. Most of all, find a way to tell your story that is unique to you. Finding that uniqueness takes a lot of honesty and it takes a lot of practice and all the mistakes and rejections that you get will only make you a better writer and a better person if you see writing not as the publication of a book or the recognition that comes with it but as a way of life you are called to live.

LiKL: What are you reading right now (YA or otherwise)? What YA books would you recommend to a writer who wants to write books for that age group?

FXS: I’m re-reading Rudolfo Anaya’s Bless me, Ultima. Rudolfo Anaya is in many ways the father of Mexican-American literature and there is so much to learn from him about the presentation of the Mexican-American experience in a novel. One of my favorite books I always recommend to YA writers is The Book Thief by Markus Zusak because, well, there’s an author who found a way to tell an interesting story about a serious situation in a unique way. But I would also encourage YA writers to read all kinds of books, not just YA. Read fiction and non-fiction works that have nothing to do with what you are writing and you will be surprised by how they ultimately do. Read especially those books where the author’s soul touches yours.

LiKL: Lastly, we can’t let you go without asking what you’re working on next and when we can expect to see it in print.

FXS: I didn’t intend to do this when I was writing Disappeared, but I am interested in following Sara and Emiliano as they make their way in the current United States. I’m not sure when you will see it in print. I want to get it right and give the book all the time it needs.

Francisco X. Stork is the author of Marcelo in the Real World, winner of the Schneider Family Book Award for Teens and the Once Upon a World Award; The Last Summer of the Death Warriors, which was named to the YALSA Best Fiction for Teens list and won the Amelia Elizabeth Walden Award; Irises; and The Memory of Light, which received four starred reviews. He lives near Boston with his wife. You can find him online at and @StorkFrancisco.

For more on Francisco’s books and writing life, check out the following interviews:

“One Thing Leads to Another,” YALSA 

An audio chat on Publishers Weekly KidCast



Book Review: The Radius of Us by Marie Marquardt


Reviewed by Elena Foulis

The Radius of Us CoverDESCRIPTION OF THE BOOK: Ninety seconds can change a life ― not just daily routine, but who you are as a person. Gretchen Asher knows this, because that’s how long a stranger held her body to the ground. When a car sped toward them and Gretchen’s attacker told her to run, she recognized a surprising terror in his eyes. And now she doesn’t even recognize herself.

Ninety seconds can change a life ― not just the place you live, but the person others think you are. Phoenix Flores Flores knows this, because months after setting off toward the U.S. / Mexico border in search of safety for his brother, he finally walked out of detention. But Phoenix didn’t just trade a perilous barrio in El Salvador for a leafy suburb in Atlanta. He became that person ― the one his new neighbors crossed the street to avoid.

Ninety seconds can change a life ― so how will the ninety seconds of Gretchen and Phoenix’s first encounter change theirs?

Told in alternating first person points of view, The Radius of Us is a story of love, sacrifice, and the journey from victim to survivor. It offers an intimate glimpse into the causes and devastating impact of Latino gang violence, both in the U.S. and in Central America, and explores the risks that victims take when they try to start over. Most importantly, Marie Marquardt’s The Radius of Us shows how people struggling to overcome trauma can find healing in love.

MY TWO CENTS: To write about unaccompanied minors fleeing to the United States from El Salvador, is to talk about violence, family separation, corruption and trauma.  The Radius of Us, written by Marie Marquardt, explores the trauma of assault, gang harassment, abandonment and diaspora in the lives of Phoenix, Ari and Gretchen. Phoenix and his young brother, Ari, flee El Salvador due to gang violence. On their journey to the States, they are kidnapped in Mexico and forced into slavery. When they finally arrived to the U.S., they are arrested and separated. Although the novel begins with Gretchen’s and Phoenix’s first person narratives, we quickly learn how their lives intersect. They both live in the same Atlanta suburb and, although they don’t know it immediately, they’ve experienced traumatic events in their lives that connect them. Indeed, they face their fear of crowds, heights, and learn that trauma cannot completely leave them, and that they cannot be who they once were, yet there is the promise of recovery.

The reader can guess that Phoenix and Gretchen will eventually end up together, but the story is not about their romance. The story centers on the impact of trauma and how each of these characters is able to help the other face their fears. The author slowly takes us through the lives of the main characters and each of the people that play a small or big part in their recovery. Phoenix lives with Sally and Amanda, a couple who takes care of Phoenix while his asylum status is determined.  Phoenix volunteers as a gardener in the “place without a soul”—as Gretchen and her friend Bree call it—a community garden for the residents of the subdivision. We learn quickly that Gretchen suffers from panic attacks. She is homeschooled as a result of this, and is finishing her high school senior year studying from home.  As Phoenix and Gretchen get closer, they both learn—as does the reader—about each other’s pasts: Phoenix’s attempt for a better life in the U.S. for himself and his little brother, his fear of heights and his current immigration status; Gretchen’s assault, which causes her to have panic attacks, and her now estranged college boyfriend. The author explores the issue of trauma slowly and carefully. We see how the characters, at different points, deal with the past by being each other’s support system. Sometimes they listen, they let the other vent, or they hold each other as they re-live or are triggered by a situation that takes them right to the place of trauma. We even see how trauma is expressed differently in different characters; for example, Ari is unable (or unwilling, the jury still out!) to speak, but can draw pictures to deal with his past. We see these drawings in the book, too. The drawings, and Phoenix interpretation of them, allow the reader to see the value of different types of expression, especially as it relates to trauma therapy.

Marquardt does not shy away from issues of xenophobia, and the misunderstanding that exists when someone is in limbo about their immigration status. However, she also shows us the kindness of people willing to lend a hand, and support and advocate for those who have been wrongly persecuted. We see this in the characters of Amanda and Sally, Sister Mary Margaret, and the couple that owns a tattoo shop. Similarly, we see how Phoenix is the person that helps Gretchen heal, while at the same time sacrifices his education and life for his brother Ari.

TEACHING TIPS: In my opinion, it is impossible to teach this novel without providing the reader with the historical context of unaccompanied minors. Whether this is novel used in high school or college classrooms, it is important to understand the devastating effects of poverty and gang violence in places like Guatemala, El Salvador, and Honduras and the difficult decision parents (if they are still alive) must make to send their children to a safer place. Another important topic to explore is the Bestia, the train that transport thousands of Central Americans to the U.S. and about the Mexican women known as Las Patronas who feed the migrants traveling on it.

Another unique element in this novel is the intersection of drawings and tattoos to tell a story. We see Ari’s drawings as memories of his past, the traumatic events that he remembers and his nostalgia for his home country. Although we do not see the tattoos, we know they are used as markers. Gangs use them to identify each other and to mark members as cattle. This, at times, helps Phoenix and Ari survive, but it also brings shame. In the end, the reader can see how these artistic expressions prove to be transformative.

Headshot-OfficialMarie Marquardt is a Scholar-in-Residence at Emory University’s Candler School of Theology and author of contemporary YA fiction. She has written several articles and co-authored two non-fiction books about Latin American immigration to the U.S. South. She also has written three novels for young adults, based in part on her experience working with immigrants in the South: DREAM THINGS TRUE (St. Martin’s Griffin/ September 2015), THE RADIUS OF US (St. Martin’s Griffin/ January 2017) and FLIGHT SEASON (St. Martin’s Griffin/ forthcoming February 2018). She lives in a very busy household in Decatur, Georgia, with her spouse, four children, a dog, and a bearded dragon. When not writing, teaching, or chauffeuring her children, she can be found working with El Refugio, a non-profit that serves detained immigrants and their families.


headshot2016ABOUT THE REVIEWER: Elena Foulis has a Ph.D. in Comparative Literature and Cultural Studies from the University of Arkansas. Her research and teaching interests include U.S. Latina/o literature, and Digital Oral History. She is currently working on a digital oral history collection about Latin@s in Ohio, which has been published as an eBook titled, Latin@ Stories Across Ohio. She currently lives in Cleveland, Ohio.