Book Review: Carlos Santana: Sound of the Heart, Song of the World by Gary Golio, illustrated by Rudy Gutierrez

 

Review by Lila Quintero Weaver

DESCRIPTION OF THE  BOOK: Carlos Santana grew up surrounded by music. Carlos’s father, a beloved mariachi performer, begins teaching his son how to play violin at an early age. But when Carlos later discovers American blues, he is captivated by the raw honesty of the music. Unable to think of anything else, he loses all interest in the violin and for a time, loses his way as well. Only after receiving an electric guitar of his own does he find his true life’s path.

From his early exposure to mariachi music to his successful fusing of rock, blues, jazz, and Latin influences, here is the childhood story of a legendary musician.

MY TWO CENTS: The magazine Rolling Stone places Carlos Santana within the pantheon of rock music’s greatest guitarists. But to put some perspective on his contribution as a Chicano, he was among the first to fuse blues-rock with Latinx instruments and rhythms, sometimes accompanied by lyrics in Spanish. In the mostly white world of rock and roll, Santana’s Latinidad stood in sharp relief, and his rise came at a time when Latinx performing artists rarely achieved notoriety on a national scale. Santana broke through this wall of invisibility. He did it by offering the world a sound that could not be ignored.

How did it all begin?

A captivating picture-book biography for readers of any age, Carlos Santana: Sound of the Heart, Song of the World brings us the background story. Told in poetic prose, the narrative opens in the subject’s infancy and follows the early years of his musical development, culminating in the moment when his love for blues-rock ignites.

One of this book’s greatest strengths is the art of Rudy Gutierrez, whose high-powered illustrations explode with movement and color. Page spreads vibrate with psychedelic swirls, suggesting the fluidity and intensity in Santana’s music.

Born in 1947 in Autlán de Navarro, Jalisco, Mexico—a town of “dirt roads and mud houses”—Santana’s humble beginnings do not hold him back for long. Thanks to wise and loving parents, he receives rich exposure to music. His father, José Santana, is a bandleader in the mariachi tradition. Carlos seems destined to follow his father’s career path, but then discovers a musical expression that speaks to him far more convincingly.

As a child, Carlos looks on his father with great admiration. “When Papá plays the violin, even little Carlos can see how people’s eyes light up, filled with el espíritu de la vida. Everyone wants José Santana to entertain them on their special days, and Carlos believes his father is an angel, flying on a bicycle with his golden harp as he rides to play in the church orchestra.”

At home, José is the younger Santana’s violin instructor. Unfortunately, “Carlos doesn’t really like the violin, and the smell of wood, held close to his face, gives him no pleasure.” In an effort to expand his son’s possibilities, José takes Carlos to the cantinas where he plays, offering the budding violinist time on the stage. Yet for Carlos, something important is missing in these occasions: joy.

But everything changes once he hears American blues guitarists on the radio. “Names like Muddy Waters and B.B. King seem magical, their songs raw and honest.” After this critical discovery, clashes between father and son become more frequent, especially when Carlos tries to sneak a bit of blues-style improvisation into a mariachi performance. Eventually, José leaves Mexico to pursue better paying gigs in the United States. With his father gone, Carlos finds a bit of breathing room to indulge his musical tastes.

Then, unexpectedly, a package arrives from San Francisco. It’s a used electric guitar! Coming from his father, this gift sends a profoundly affirming message. “There will be no turning back. Now [Carlos] can start to play the song inside him, the one that has been there all along.”

The book’s closing paragraph hints at the brilliant career that lies beyond the scope of this story. “Young Carlos Santana will create a new flavor of rock and roll, charged with Latin passion and the raw honesty of American blues.”

TEACHING TIPS: For a broader understanding of Santana’s significance in the history of rock and roll, check the back pages of the book, which include a “More About Carlos Santana” section, a brief list of discography, as well as Internet and print sources for further information. See also this article on the PBS website.

 

ABOUT THE AUTHOR: Gary Golio is a visual artist, a child therapist, and the author of numerous other picture-book biographies, whose subjects include Billie Holiday, Jimi Hendrix, Bob Dylan, and John Coltrane. Learn more about his work on his official website.

 

 

 

ABOUT THE ILLUSTRATOR: Rudy Gutierrez is the distinguished creator behind the cover art for Santana’s multiplatinum album Shaman and the recently released In Search of Mona Lisa. He also illustrated a U.S. postage stamp in commemoration of Jimi Hendrix. Learn more about Gutierrez in this interview.

 

 

 

 

ABOUT THE REVIEWER: Lila Quintero Weaver is the author of My Year in the Middle, a middle-grade novel published in 2018 by Candlewick Press. She’s also the writer-illustrator of Darkroom: A Memoir in Black & WhiteDarkroom recounts Lila’s experiences as a child immigrant from Argentina to Alabama during the tumultuous 1960s. The Spanish edition is now available, under the title Cuarto oscuro: Recuerdos en blanco y negro.  Learn more about Lila on her website, and follow her on Twitter and Goodreads.

Book Review: Planting Stories: The Life of Librarian and Storyteller Pura Belpré / Sembrando Historias: Pura Belpré bibliotecaria y narradora de cuentos

 

  Planting in Spanish

Review by Dora M. Guzmán

DESCRIPTION OF THE BOOK: Follow la vida y el legado of Pura Belpré, the first Puerto Rican librarian in New York City.

When she came to America in 1921, Pura carried the cuentos folkloricos of her Puerto Rican homeland. Finding a new home at the New York Public Library as a bilingual assistant, she turned her popular retellings into libros and spread seeds across the land. Today, these seeds have grown into a lush landscape as generations of children and storytellers continue to share her tales and celebrate Pura’s legacy.

This portrait of the influential librarian, author, and puppeteer reminds us of the power of storytelling and the extraordinary woman who opened doors and championed bilingual literature.

MY TWO CENTS: Another bilingual favorite to add to the informational biography shelf! Pura Belpré is widely known for the book award created in her honor through the American Library Association. Every year, the Pura Belpré Award is one that recognizes Latinx authors and illustrators that reflect the Latinx culture in their picture books or novels.

Pura Belpré had seeds of determination and passion that followed her from Puerto Rico. That same blessing led her to work in a library and share her stories with children, however, she quickly discovered that many of her own stories, reflective of her Puerto Rican culture, were not readily available to the community. Therefore, she begins to share her stories with children and then begins to write down all her stories for others to read. Soon after, she is telling her stories all around the world. This biographical account of Pura’s life story and life’s work is nothing short of inspirational. Pura unequivocally shares her passion for storytelling to all so that her stories and culture are not lost. Despite losing her best friend and husband, she returns to the library scene while also inspiring others, and sees her seeds of storytelling and Latinx culture, come to fruition.

The sentence structures are concise but impactful as they tell the story, almost in a poetic form, of inspiration and passion as Pura moves to a role within the library. The reader is mesmerized in her storytelling and how certain words stand out with the use of a brushstroke. Words and phrases in Spanish are realistically embraced within the narrative structure, so much that it flows and might go unnoticed. The sharp, bold, multicolored background brings life to the determining force behind Pura’s life and purpose with books and libraries. The illustrator perfectly captures the authenticity of the story through its detailed illustrations and placement of characters and scenes. The illustrations dance around the entire page, which keeps the reader involved as the story progresses. Certain illustrations, like the simple flowers and musical notes, follow Pura as she shares her stories across the pages. The additional final pages also provide extensive references to text and film for further research in Pura’s lifework, as well as Latinx culture, especially the Puerto Rican culture.

Overall, a perfect addition, in both English and Spanish, to your biography shelf, especially highlighting the power of small, yet meaningful actions and how it evolves into a movement across Latinx and book cultures.

TEACHING TIPS: Many of these teaching moments can be implemented in a grades K-5 setting, with a focus on the primary grades.

  • Teaching descriptive vocabulary words and phrases
  • Focus on character traits, especially traits describing Pura throughout the story
  • Focus on the illustrator’s purpose of using certain colors or placement of illustrations to convey meaning
  • This book can also be combined in a biographical unit of inspirational storytellers or librarians.
  • Students can also be invited to research more of Pura Belpré’s lifework, as well as the impact of the Pura Belpré award on books.

To learn more about the Pura Belpré Medal and find the latest winners and honors, check out the ALA’s Pura Belpré Award home page.

Anika Denise Author Hi-res PhotoABOUT THE AUTHOR: Anika Aldamuy Denise first heard the stories of Pura Belpré from her titi Rose, who, like Pura’s family, enjoyed sharing the treasured folklore of Puerto Rico. Today, Anika is the celebrated author of several picture books, including Starring Carmen!, Lights, Camera, Carmen!, and Monster Trucks. She lives with her husband and three daughters in Rhode Island. Other new titles coming in 2019 include The Best Part of Middle illustrated by Christopher Denise, and The Love Letter illustrated by Lucy Ruth Cummins.Visit her online at www.anikadenise.com.

 

 

ABOUT THE ILLUSTRATOR: Paola Escobar grew up traveling from town to town in Colombia. From a very young age she liked to draw the stories her grandmother Clara told about her ancestors, the countryside, and animals. Today, Paola is an illustrator who is passionate about telling stories of her own, having published with SM Spain, Planeta, Norma, and more. She lives very happily in Bogota, Colombia, with her husband and their dog, Flora. Follow her on Instagram here!

 

img_0160ABOUT THE REVIEWER: Dora M. Guzmán is a bilingual reading specialist for grades K-3 and also teaches an undergraduate college course in Children’s Literature. When she is not sharing her love of reading with her students, you can find her in the nearest library, bookstore, or online, finding more great reads to add to her never ending “to read” pile!

 

Book review: Por ahí viene el huracán: Una aventura de Isa y Mau

 

We don’t often publish reviews or articles exclusively in Spanish, but since the picture book reviewed below is not yet available in English, it seems sensible to direct this post to readers of Spanish. To be clear, we do hope for an eventual English edition. After all, Por ahí viene el huracán is an authentic depiction of a child’s experience of Hurricane María, written and illustrated by Puerto Ricans with close knowledge of what the storm did to their island and their people. We hope it will find expression in multiple languages!

Readers on the mainland may order copies of this edition at Libros787.com. 

Reseña por Sujei Lugo y Lila Quintero Weaver

POR AHÍ VIENE EL HURACÁN: Una aventura de Isa y Mau es escrito por Laura Rexach Olivencia e ilustrado por Mya Pagán. (Editorial Destellos, 2018)

El impacto del Huracán María el pasado septiembre de 2017, marcó fuertemente la vida y experiencias de diversas comunidades en Puerto Rico y la diáspora. Lxs niñxs no estuvieron exentos del impacto psicológico, físico, natural, y social del fenómeno atmosférico y sus vidas y experiencias son igual de válidas. Varias personas se han dado la tarea de documentar y representar el paso e impacto del huracán a través de las letras, la música y el arte. Entre estos tenemos varios libros de literatura infantil y juvenil. Uno de ellos lo es Por ahí viene el huracán escrito por Laura Rexach Olivencia e ilustrado por Mya Pagán.

Aunque el nombre del huracán no es mencionado, detalles dentro de la historia y la fecha de publicación nos pueden indicar que se trata del Huracán María. “El último no vino. Pero dicen que este sí que viene.” Frase que se repetía luego del Huracán Irma y a la llegada del Huracán María.

La historia es contada desde la perspectiva de una niña llamada Isa y sus conversaciones con su gato Mau. Isa espera con ansias la hora de salida ya que al otro día no habría clase debido al posible paso de un huracán. Al llegar a la casa, Isa conversa como su gato Mau sobre la necesidad de prepararse ante el posible impacto del huracán. Toda la familia está trabajando para preparar la casa, sus pertenencias y organizar los suplidos necesarios. Isa observa cómo los vecinos y la comunidad anda de lado a lado comprando materiales, alimentos, artículos de primera necesidad y como todos cargan las mismas cosas, baterías, agua, latas, velas y linternas. La abuela también los acompaña en la casa y todos se quedarán en el mismo cuarto, algo que le emociona a Isa porque cree que es un “pijama party”, sensación que muchos también sentimos durante nuestra niñez.

Tan pronto comienzan los vientos, se va la luz, lo que causa que muchos en la casa despierten por el calor, el ruido del viento o simplemente, ansiedad. Su abuela Lela, como cariñosamente la llama Isa, intenta calmar a la niña pero Isa no logra recuperar el sueño. La familia de Isa tuvo que levantarse para reforzar los paneles en las ventanas debido a los fuertes vientos y lluvia. Los ruidos que se escuchaban eran aterradores, que hasta los adultos del hogar siente miedo, algo que Isa nunca había visto a su padre sentir. ¡Qué eternidad!, expresan. Sentimiento que fue expresado constantemente al describir el huracán. Recuerdo mensajes recibidos y leídos de lo “eterno que se sentía”, “esto no para”, “esto es el día más largo de mi vida”.   

Al otro día el sonido del viento fue disminuyendo y la calma fue regresando. Isa ayuda en la casa secando y controlando el agua que está entrando a la misma. El barrio y los caminos están clausurados por troncos de árboles, postes caídos, puentes derrumbados y pasan seis días atrapados, muy cercano a la realidad vivida en Puerto Rico. Una imagen presenta un camión de la Guardia Nacional o Fuerzas Armadas, y el texto narra cómo un grupo de soldados llegaron a su vecindario a ayudar, algo que no muchas personas vivieron post Huracán María.

El libro ilustrado es bastante certero en plasmar lo que se vivió luego de María, las filas interminables para agua, gasolina, alimentos. El desespero que se vivió y que algunos aún viven. Muchas personas perdieron sus hogares, familiares, trabajos y cotidianidad, que fueron desplazados y se trasladaron a vivir a los Estados Unidos. Isa observa que su amigo Nico, es uno de los miles de niños que tuvieron que mudarse e Isa siente una tristeza sobre algunas de las consecuencias del impacto del huracán.

“Llega el mes de noviembre y la escuela del pueblo sigue cerrada porque aún no llega la electricidad”. Las escuelas fueron unos de los lugares más impactados por María, algunos aún funcionaban como refugio, otros como cocinas y espacios comunitarios, otras sufrieron daños en la infraestructura y otras fueron eventualmente cerradas. Al igual que Isa, muchas familias y comunidades crearon “una nueva rutina diaria.” Isa reflexiona sobre su amigo Nico que tuvo que irse, sobre el cierre de su escuela y como está deseosa que tanto Nico y la escuela vuelvan a su vida. Entre preocupación y esperanza, Isa vuelve a sentir vida en su barrio.

El texto es simple, honesto y captura la esencia de los personajes, el ambiente que reina antes, durante y luego de un fenómeno atmosférico sin ser condescendiente con los lectores. Se puede sentir la voz y experiencia de las personas que realmente pasaron por este desastre natural y proveen una visión auténtica de la historia. Los detalles, el vocabulario, la vestimenta y otras imágenes capturan algunas de las experiencias y realidades puertorriqueñas.

La autora incorpora el uso de onomatopeyas de diversos sonidos como el desagüe en la bañera, la vieja mecedora, el silencio, los martillazos en la pared, los zapatos caminando, el sonido aterrador del viento, los ladridos del perro, los cuchillos para cortar vegetales, el suave cantar de la brisa y el cantar del coquí. A través de las onomatopeyas y las expresiones faciales de los personas, se captura el progreso gradual de las emociones y labores antes, durante y después del paso de un huracán.

El diseño del libro y yuxtaposición del texto, las ilustraciones y los espacios en blanco proveen una cierta calma dentro una historia que puede hacer recordar a algunos lectores los malos recuerdos, emociones y experiencias vividas.  El libro incluye un glosario de palabras que pueden ser nuevas para los pequeños lectores y que están resaltadas en negrillas (bold) dentro del texto a lo largo de la historia.

El arte consiste de ilustraciones sencillas presentadas con aire de inocencia. Pintados de acuarela, los dibujos resaltan, gracias a una gama amplia de colores y tonos. Además se utilizan bordes bien definidos, semejantes en estilo a los de los comics. Aunque se nota que los paisajes naturales suelen inclinarse a lo sobresimplificado, la mayoría de las ilustraciones emparejan a la historia perfectamente.

Más que nada, la ilustradora brilla en sus representaciones de los personajes. Las caras son distintas, como también son los detalles de la ropa, los zapatos, los sombreros, los peinados, las gafas de sol, y otros artículos. Es una fiesta para los ojos. El efecto visual es encantador y sirve bien para entretener a los lectores de cualquier edad.

Una nota de la autora y/o la ilustradora hubiera ayudado a brindar un poco de contexto a la historia y para los lectores no familiarizados con huracanes o el Huracán María. Pero también puede verse como una historia que puede plasmarse y presentarse en relación a otros huracanes, desastres naturales y experiencias.

 

Laura Rexach Olivencia es consultora en filantropía estratégica y combina su perspectiva de madre puertorriqueña con su experiencia en negocios y pasión por la educación para ayuda a adelantar proyectos que inspiran. Vive en San Juan, Puerto Rico con su esposo y tres hijos pequeños.

 

 

 

Mya Pagán es una ilustradora puertorriqueña. Completó un Bachillerato en Lenguas Extranjeras de la UPR de Río Piedras con concentración en francés e italiano. Además de su pasión por los idiomas, siempre le ha encantado dibujar y traducir lo que la rodea y lo que siente a papel. Actualmente trabaja como ilustradora a tiempo completo y ha trabajado con varias agencias.

Book Review: Lowriders Blast from the Past, written by Cathy Camper, Illustrated by Raúl the Third

Reviewed by David Bowles

DESCRIPTION OF THE BOOK: When new friends Lupe, Flapjack, and Elirio are each bullied by Los Matamoscas, they know they’re going to like one another. When they find out they all love lowrider cars, they know they’ll be friends for life. But the bullies won’t leave the Lowriders alone—and they don’t let any girls or babies into car clubs. Can these three determined outcasts prove they deserve to be in the car show? Humor, Spanish words, and lowrider culture come together in this heartwarming graphic novel of three friends navigating the bumpy terrain of friendship, bullying, and standing up for what you believe in.

MY TWO CENTS: The third book in Cathy Camper and Raúl the Third’s wonderful Lowriders graphic novel series may seem at first to break with the genre of the previous installments by giving us an origin story, but the series has already established itself as genre-bending, going from sci-fi to mythological adventure. A bit of historical fiction seems to fit nicely in the creators’ wide-ranging work. It’s lots of fun and uplifting to see young versions of our heroes push back against the sexism of Los Matamoscas, a group of bullies who have been making the kids’ lives difficult. It happens that these overly macho men also dictate the ad-hoc rules of a popular car show so they can bar women from competing. As the women in question are furthermore queer (Mamá Impala and Mamá Gazelle, Lupe’s two mothers), the affirmation and representation of marginalized, intersectional identity is particularly poignant.

Just as in life, the hurdles male bullies set for the women are ridiculous (cross speed bumps without scraping the bottom of car, make sure a 5-gallon jar of agua fresca doesn’t spill during a full lap, paint car with no visible brush strokes). But the three new friends (united as allies of the women and victims of Los Matamoscas’ bullying) use their individual skill sets to beat the gang at their own game. Along the way, they earn the respect (and possibly friendship) of some of the macho dudes.

Along with Raúl’s amazing ball-point art (he brings green in this time!) and the linguistic exploration of Spanish and indigenous languages, Lowriders Blast from the Past takes advantage of its historical setting to introduce young readers (and old) to Chicano art of the 70s and 80s, specifically the work of ASCO (great name, heh), an East Los Angeles art collective that was active between 1972 and 1987. Raúl’s recreations of some of their signature pieces was a highlight for me, showcasing just how diverse his talents are. (Full disclosure: he and I have been working on a graphic novel together.)

Camper deftly defies the stylistic patterns that a middle-grade book might normally default to, and if the storyline itself is comfortably predictable, the execution (with its edifying digressions and code-switching) is one-of-a-kind and culturally spot-on.

I loved this volume, and can’t wait to see what adventures Lupe, Flapjack, and Elirio go on next!

ABOUT THE AUTHOR: Cathy Camper is the author of Lowriders in Space, Lowriders to the Center of the Earth and Lowriders Blast from the Past, with a fourth volume in the works, all from Chronicle Books. She has a forthcoming picture book, Ten Ways to Hear Snow (Dial/Penguin), and also wrote Bugs Before Time: Prehistoric Insects and Their Relatives (Simon & Schuster). Her zines include Sugar Needle and The Lou Reeder, and she’s a founding member of the Portland Women of Color zine collective. A graduate of VONA/Voices writing workshops for people of color in Berkeley, California, Cathy works as a librarian in Portland, Oregon, where she does outreach to schools and kids in grades K-12. Cathy is represented by Jennifer Laughran of Andrea Brown Literary Agency. For insights on the creative originas of the Lowriders series, read Cathy’s Camper’s guest post.

 

ABOUT THE ILLUSTRATOR: Raúl the Third is an award-winning illustrator, author, and artist living in Boston. His work centers on the contemporary Mexican-American experience and his memories of growing up in El Paso, Texas, and Ciudad Juárez, Mexico. Lowriders in Space was nominated for a Texas BlueBonnet award in 2016-2017 and Raúl was awarded the prestigious Pura Belpré Award for Illustration by the American Library Association for Lowriders to the Center of the Earth. He was also a contributor to the SpongeBob Comics series. Raúl wrote and illustrated the picture book ¡Vamos! Let’s Go to The Market!, which Versify will publish on April 2. For a fun and lively conversation about art, comics, growing up in El Paso and more, check out this one-of-a-kind audio interview with Raúl, conducted by illustrator Roberto Trujillo.

ABOUT THE REVIEWER: A Mexican-American author from deep South Texas, David Bowles is an assistant professor at the University of Texas Rio Grande Valley. Recipient of awards from the American Library Association, Texas Institute of Letters and Texas Associated Press, he has written a dozen or so books, including Flower, Song, Dance: Aztec and Mayan Poetry, the critically acclaimed Feathered Serpent, Dark Heart of Sky: Mexican Myths, and They Call Me Güero: A Border Kid’s Poems. In 2019, Penguin will publish The Chupacabras of the Rio Grande, co-written with Adam Gidwitz, and Tu Books will release his steampunk graphic novel Clockwork Curandera. His work has also appeared in multiple venues such as Journal of Children’s Literature, Rattle, Strange Horizons, Apex Magazine, Nightmare, Asymptote, Translation Review, Metamorphoses, Huizache, Eye to the Telescope, and Southwestern American Literature. In April 2017, David was inducted into the Texas Institute of Letters for his literary work.

Book Review: The Piñata that the Farm Maiden Hung by Samantha R. Vamos, illus. by Sebastià Serra

 

Review by Dora M. Guzmán

DESCRIPTION OF THE BOOK: A band of helpful animals joins the farm maiden, a farmer, and a boy in order to make a piñata from scratch and decorate the plaza. But then everyone falls asleep in the warm afternoon sun…

…and no one fills the pinata that the farm maiden hung.

How will they finish in time for the party? And who is the party for?

This bilingual story borrows the familiar structure of “The House that Jack Built” and is a companion title to The Cazuela That the Farm Maiden Stirred, a Pura Belpré Illustrator Honor Book.

MY TWO CENTS: This is a must-have addition to your classroom library and curriculum! It highlights the significance and collaboration in Latinx celebrations, traditions, and community. I am infatuated with this book’s integration of culture and overall style in a familiar story structure from the first book, The Cazuela that the Farm Maiden Stirred. The farm maiden and her community members, who include the boy, horse, cat, goose, farmer, and sheep, all partake in sharing their contribution to make the centerpiece of the celebration. In this case, the centerpiece is the piñata. There are other essential pieces to complete the celebration like alebrijes, cascarones, and papel picado. The author does not explicitly tell the reader who this party is for or why, but the characters are enthusiastically working together to get it right!

The author and illustrator, however, give readers a clue into this celebration by placing on the first page a young girl in her room who then walks outside, with the remaining characters peeking out of the house. This is a great stopping point for inferring and predicting before the story begins!

The deliberate shading and bold layers of color accentuate character features and the beauty in the environment as the characters are preparing for a celebration. Throughout the story line, words in Spanish are emphasized in bold print and their definitions are included at the end of the book. Cultural representations include alebrijes (wood carvings), cascarones (confetti in eggshells), and papel picado (tissue paper flags). Characters also share humor and collaboration as they work together to make this moment as special as they can, even when they all take a nap and forget to fill the piñata! No worries, because as they say “Teamwork makes the dream work,” and a dream it sure was! The birthday girl walks in and is surprised by the beautiful, thoughtful setup, but most of all there is an intricate and colorful piñata! The story ends at it should whenever a piñata is in the story- time to hit and break it! Readers are invited to sing along in Spanish and English to La Canción de la Piñata/ The Piñata Song, one that is reminiscent in many Latinx childhood memories.

Overall, I am forever grateful for this, a book that authentically reflects a Latinx culture. While there was an absence of food, except for the cake, it highlighted other parts of the celebration that are just as important. The words in this book brought life to Spanish vocabulary words and to the illustrations that married with the theme of collaboration, teamwork, and love for special moments like birthdays. Most of all, it solidifies the symbolic meaning of the piñata, which is an experience that is meant to be shared with those who bring you joy and happiness.

TEACHING TIPS: Many of these teaching moments can be implemented in a grades K-5 setting, with a focus on the primary grades.

  • The repetitive nature in the text is perfect for reader participation and engagement in read alouds, especially in the early grade levels.
  • Readers can develop their inferring abilities, especially with the illustrations.
  • Focus on building vocabulary, not only focusing on the Spanish words that are introduced but also on verbs and descriptive language.
  • Readers can be invited to learn more about other traditions, centerpieces, and components that are essential in other cultural celebrations.
  • Students can learn to make a piñata!
    • Included at the end of a book, is a step-by-step guide to make a piñata. This pairs well with a lesson on reading the procedural text.
  • This book can also be combined in a unit to compare and contrast story lines and characters. Books in this unit can include The Cazuela That the Farm Maiden Stirred, as well as other stories similar to The House that Jack Built. Students can also be invited to write their own story that follows this structure.

 

Image result for samantha r vamosABOUT THE AUTHOR: Samantha R. Vamos is the author of the companion title for this book, The Cazeula That the Farm Maiden Stirred, a Pura Belpré Illustrator Honor Book. She also wrote Alphabet Boats, Alphabet Trains, and Alphabet Trucks. She lives with her family in California.

Listen to Samantha R. Vamos talk about this book, The Piñata That the Farm Maiden Hung, on her publisher’s podcast.

Link: (https://charlesbridge.blogspot.com/2019/01/charlesbridge-unplugged-19-samantha.html)

 

 

Image result for Sebastiá SerraABOUT THE ILLUSTRATOR: Sebastià Serra is an award-winning artist who has illustrated more than 70 children’s books in Spain, Italy, France, UK, Portugal, Taiwan, Brazil, and the United States. Also, he has worked as a graphic designer for several television shows, family theatre, and many museums and cultural institutions. He lives in Barcelona, Spain.

 

 

 

 

img_0160ABOUT THE REVIEWER: Dora M. Guzmán is a bilingual reading specialist for grades K-3 and also teaches an undergraduate college course in Children’s Literature. When she is not sharing her love of reading with her students, you can find her in the nearest library, bookstore, or online, finding more great reads to add to her never ending “to read” pile

 

 

A Studio Visit with Author-Illustrator Lulu Delacre, one of the most prolific Latinx artists working today

 

By Cecilia Cackley

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“I’ve decided that this is going to be my best decade!” declares Lulu Delacre. She has just turned sixty and after thirty-eight years in the publishing industry, she has written or illustrated over thirty different books for young readers, making her one of the most prolific Latinx artists working today. Her latest book, Turning Pages is an autobiographical picture book by Supreme Court justice Sonia Sotomayor and arguably Delacre’s highest profile collaboration to date.

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Delacre was born in Puerto Rico to Argentine parents who encouraged her love of drawing. After beginning her college career in the Fine Arts department of the University of Puerto Rico, she transferred to L’Ecole Supérieure d’Arts Graphiques in Paris, France. Delacre says she was inspired to apply for the school after learning that a famous Puerto Rican artist had trained there. Her father was skeptical, telling her she wouldn’t get in because of the quality of work required, but she was accepted into the third year of the five year program and eventually received a full scholarship to finish her degree after her family ran into financial hardship. Delacre studied many different artistic disciplines at the school, including typography and print-making, and the course included real-world assignments such as designing a new currency that she remembers as challenging and fun. Some of the more traditional European assignments had amusing results for a student from the Caribbean, she says.

“[For] one of my first assignments we had to illustrate the four seasons, and of course, I was coming from Puerto Rico. So, winter—I did something in pastel pinks and blues and everyone laughed, but of course it was a matter of perspective! I came from an island, I had never witnessed winter before, never in my life.”

Delacre says that she had no idea at that point that you could become a children’s book illustrator. “Books that we got in Puerto Rico were mostly fairy tales from Spain, which didn’t speak to me. The concept of the picture book was entirely foreign to me.” She discovered picture book illustration at an American gallery in Paris which was showing art from the book In the Night Kitchen by Maurice Sendak. “That was a revelation. I had no idea before that moment what I wanted to do.” Delacre had been focusing on graphic arts because she wanted to earn a living and recognized, “I was not at the level of a Picasso,” but now she had found the work that would become her passion.

After finishing school, Delacre moved to San Francisco with her husband, who was in the military. She had no contacts, but started knocking on doors and found work doing textbook illustrations and commercial artwork. When her family moved to Massachusetts, she started giving to the children’s section of the public library and taught herself to create picture books by analyzing examples such as Where the Wild Things Are. With no connections in publishing, Delacre had to hustle to break into the industry.

“In order to get into the field, I went to New York. I created two identical portfolios and made twenty-two appointments in five days, stayed at the Y, and by that Friday, I had my first job illustrating for Sesame Street magazine. From there, [I moved to] Simon & Schuster when they had Little Simon. I started illustrating public domain material like these [nursery rhyme] board books.”

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Delacre’s first book to incorporate Latinx culture was inspired by the birth of her daughters, to whom she wanted to introduce to traditional Latin American children’s rhymes.  “I went to the library looking for a book of our folklore, from Latin America, our nursery rhymes, and I couldn’t find anything. Why do American kids get to have these books and kids that come from Spanish speaking countries don’t?” Delacre had recently published the Nathan and Nicholas Alexander books with Scholastic, so she went to her editor there and suggested the book of songs and rhymes that eventually became Arroz con leche, which turns thirty this year and is still in print.

Delacre’s first books with Simon and Scholastic were done in colored pencils, over a thin layer of watercolor to make the process go a little faster. In her home studio in Maryland, she has two large art tables surrounded by materials, including colored pencils, acrylics, watercolors and collage materials. “I do everything the old-fashioned way,” she says. “I like to touch materials. I try to do things that the computers cannot do yet. That’s why I use collage and the textures, pressed leaves—things that the computer doesn’t do or doesn’t do as well.”

Delacre pushes herself to try new art styles and materials for each project she takes on. Salsa Stories has linoleum cuts because the stories are being told by characters who would have been familiar with that style of art in Puerto Rico in the 1950’s. Her book US in Progress pairs short stories with illustrations created from collaged newspaper, pencil drawings on acetate and texture created from tiny holes in rice paper. Olinguito A to Z, a Spanish alphabet book, was based on scientific information about the different animals who live in the Ecuadorian cloud forest. The different species were painted in flat colors, a graphic version of each animal that reaches back to Delacre’s work as a graphic designer. The background paper for each spread was created from actual leaves from the cloud forest. She also created the typography for the letters that appear on each page. “I created the letters because I wanted them to fit in a square to mirror the shape of the book. I wanted to show the kids what the mist looked like. In the cloud forest, you would see everything through the mist, so to reveal the true colors of the species, I gathered the mist in the squares surrounding the letters.”

Delacre’s most exciting recent project is the picture book autobiography Turning Pages by United States Supreme Court Justice Sonia Sotomayor. She explains that the process of getting the assignment was a bit unusual. “I got an email from [editor] Jill Santopolo asking if I had an agent, and I said not any more, and so she goes, “I need to talk to you, can I call you tomorrow?” and I said sure and gave her my number. I get a call the next day and she begins by saying, “I have a somewhat secret project that needs to be fast tracked and we want you for it.” And then she explains about the project and I pause, it’s sinking in and I said “Why me?” I had never worked for this publisher, and I had never worked with her. And she answers, “’Because she chose you,’ meaning the justice. This is very rare—this is the very first time that the author handpicks me.” Delacre goes on to explain that Sotomayor was given a stack of picture books to look at when selecting an illustrator and that one of the reasons she chose Delacre was because the justice wanted the illustrations to be lifelike. “I know that one thing that was very important to her was to portray her mamá and her abuelita as close as possible to reality.” Sotomayor also appreciated that Delacre has a strong relationship with the island of Puerto Rico. Although the book mostly takes place in urban settings such as the Bronx, Delacre began each oil wash with a layer of green sap oil, because Sotomayor wanted the island to be present in the illustrations. The original artwork from Turning Pages can be seen in the Zimmerli Art Museum at Rutgers University through March 17, 2019.

Delacre says that her advice to Latinx illustrators trying to break into publishing is “Follow your heart. Tell the story that you really have within you and you really must tell. Don’t feel like you have to be like someone else. Just be yourself.” Delacre points out that unlike other children’s book illustrators such as Tomie DePaola, she doesn’t have a specific, recognizable art style. “In the beginning of my career, I thought it was a flaw because I understood if I didn’t have a certain style, I wasn’t as recognizable name wise. But I can’t be that way because I get bored doing the same thing over and over again. I have to push myself to try new things because each project is about learning for me. What can I do with this that I haven’t done before?” She is talking about using mono prints for her next project, in black and white, a major departure from her usual paint and colored pencils. “Now it’s like I don’t have to prove anything. You know, this is going to be my best decade and after that who knows? Maybe I’m not going to do another book. I’ll be creating, but something different. Every single project I do is really to reach a community that perhaps wasn’t finding their image in books. I’m always trying to create what is needed.”

 

 

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