Del inglés al español: entrevista con Teresa Mlawer

 

Readers, this is a first for us–a complete article in Spanish! We are delighted to present this guest post, an interview with the translator Teresa Mlawer, originally published on the blog Lapl en español, a service of the Los Angeles Public Library. We are reprinting it with their permission. 

blog-post-cover-teresa-mlawerby Patricia Tarango, Multilingual Collections Librarian, Los Angeles Public Library

Introduction: A recipient of the nation’s highest honor for library service—the National Medal from the Institute of Museum and Library Services, the Los Angeles Public Library serves the largest and most diverse urban population of any library in the nation. Its Central Library, 72 branch libraries, collection of more than 6 million books, state-of-the-art technology accessible at www.lapl.org, and more than 18,000 public programs a year provide everyone with free and easy access to information and the opportunity for lifelong learning. Lapl en español is the Spanish language blog written by library staff.

Del inglés al español: entrevista con Teresa Mlawer

Desde que tradujo Silvestre y la piedrecita mágica en 1980, Teresa Mlawer ha completado más de 500 traducciones de libros del inglés al español. Muchos de los libros que ha traducido son considerados clásicos universales de la literatura infantil y juvenil. Teresa fue pionera en este campo, y hoy continúa haciendo posible que niños tengan acceso a maravillosas historias en su idioma, el español. Tuvimos la dicha y el honor de conversar con Teresa y de preguntarle sobre su experiencia como traductora, editora y experta en libros infantiles.

1 – ¿Qué tan importante ha sido para usted traducir al español libros clásicos como Silvestre y la piedrecita mágicaBuenas noches luna y Donde viven los monstruos?

En 1975 comencé a distribuir libros en español. En aquel entonces, la mayoría de los libros infantiles venían de España, y unos pocos de México y Argentina. Muchos eran libros de autores de esos países o traducciones de otros idiomas, pero no necesariamente de libros publicados en Estados Unidos. Como vendíamos principalmente los libros infantiles a las escuelas, los maestros empezaron a pedir traducciones de libros en inglés como Silvestre y la piedrecita mágicaDonde viven los monstruos y Buenas noches luna. Entonces empezamos a publicar algunos libros bajo el sello de Lectorum y a recomendarles a las editoriales americanas que publicaran ediciones en español de sus clásicos. Fue así como muchas editoriales americanas me contrataron para que yo hiciera estas traducciones.

Por ejemplo, traducciones como Buenas noches lunaHarold y el lápiz color morado y Donde viven los monstruos, las hice para HarperCollins. Cuando no lograba que las editoriales de Estados Unidos publicaran ediciones en español de sus libros, le recomendaba los libros a las editoriales españolas con miras a vender en este mercado y muchas empezaron a aceptar mis sugerencias, ya que era importante que los niños hispanohablantes pudieran leer traducciones al español de algunos de estos magníficos libros que sus compañeros de clase podían leer y disfrutar de su lectura en inglés. Esto tuvo una gran aceptación en los años 80 cuando la educación bilingüe tuvo un gran auge, especialmente en California.

De hecho, casi todos los libros en español que yo le recomendé a HarperCollins siguen en prensa después de más de 25 años. Son clásicos que nunca mueren.

2 – ¿Cuál es su proceso para traducir un libro en español? ¿Cómo decide cuál es el vocabulario indicado?

Cuando yo traduzco para editoriales norteamericanas o para una editorial mexicana, uso un vocabulario neutral, del español de Latinoamérica. Un vocabulario neutral que lo entienda todo el mundo. Sin embargo, si traduzco una historia que tiene lugar, por ejemplo, en la República Dominicana o que tiene lugar en Puerto Rico, y hay alguna palabra que es indígena de ese país, la utilizo porque considero que es importante respetar la voz del autor y el vocablo de ese país.

teresa-mlawer-y-meg-medina-reforma

3 – Yo leí uno de los blogs de Meg Medina y ella dijo como le gustó que usted fuera la traductora de su libro Mango, abuela y yo, porque usted le puso el sabor indicado al dialecto de Cuba.

Exactamente. A eso es lo que me refería anteriormente. Lo mismo sucedió cuando hice la traducción de Yaqui Delgado quiere darte una paliza porque en esta historia hay varias voces. Voces cubanas, puertorriqueñas, voces dominicanas. A Meg Medina le gustó mucho, por ejemplo, que en el libro de Mango, abuela y yo en lugar de usar la palabra cajones (común en México), elegí la palabra gavetas (común en Cuba) para traducir la palabra “drawers”. La voz de Meg, aunque universal es cubana, y especialmente en esta historia. Por encima de todo, yo siempre respecto la voz del autor/autora en mis traducciones.

Acabo de traducir el libro que ganó el premio Newbery este año, Última parada de la calle Market (Last Stop on Market Street), publicado por Corimbo, en España. Soy muy cuidadosa y tuve un par de dudas al traducir unas partes del libro. Como conozco a Matt de la Peña le escribí y le pregunté: Matt, tengo un problema. No estoy segura si interpreto bien lo que tú tratas de decir. ¿Me puedes ayudar? Era una cosa muy sencilla y todavía me pregunto ¿cómo pude haber sido tan tonta? En una de las páginas, el niño se sube al autobús con la abuela. Entonces, la abuela le dice al niño: “Boy, what do we need a car for? We got a bus that breathes fire”. Y yo me preguntaba ¿cómo yo voy a traducir eso? ¿Cómo que el autobús echa fuego?

last-stop-on-market-street-interior2Llamé a Matt y él me dijo: “abre el libro y mira las ilustraciones con cuidado”. Abro el libro y miro el dibujo de la página y no veo que el autobús eche fuego. Entonces le dije: Lo siento Matt, pero no veo nada y Matt me contestó: “Teresa, mira al dragón que echa fuego”. Caigo en cuenta y le pregunto: Matt ¿crees que debo especificar que el autobús tiene un dragón pintado en un costado? Pero él me dijo: “No, no Teresa, los niños ven las cosas que no vemos los adultos y se darán cuenta de que se refiere al dibujo del dragón, y verán el fuego que sale de su boca.”

Para mí fue un libro muy especial de traducir porque es muy sencillo pero muy poético. Con pocas palabras Matt descubre todo un mundo en este libro.

Una traducción que me dio mucho trabajo fue la de Yaqui Delgado quiere darte una paliza porque Meg Medina tiene el don de la palabra y expresar sus palabras en otro idioma y a la vez mantener la fuerza que encierran sus palabras fue definitivamente un reto para mí. Meg me envió una carta que una profesora de una universidad que enseña un curso de traducción le escribió. En la carta, la profesora decía que había encontrado la traducción tan buena que la iba a usar en clase para que sus estudiantes examinaran este trabajo de traducción a fondo. Eso fue muy halagador.

Otra traducción que nos dio bastante trabajo fue la traducción de El Gato ensombrerado (The Cat in the Hat) de Dr. Seuss, que hice en colaboración con Georgina Lázaro. En este libro mantuvimos no solo la rima sino la métrica que es muy importante especialmente en las obras de Dr. Seuss. Traducir los libros con rima no es nada fácil. Hay quien traduce los libros con rima y no le presta atención a la métrica, o sea, el número de sílabas de cada estrofa, lo cual es muy importante en la rima. Esto es algo que aprendí de mi buena amiga y colega Georgina Lázaro. Ambas estamos muy orgullosas del resultado de nuestra colaboración.

Debo hacer hincapié que toda persona que escribe o traduce necesita la ayuda de un buen editor y corrector de pruebas. Yo personalmente nunca he publicado un libro o una traducción que no haya sido revisada antes. En España tengo una editora que tiene un gran dominio de la gramática, y ella revisa todas mis traducciones.

 4 – ¿Qué tan importante es la diversidad cultural en los libros para niños?

Esa respuesta la conoces tú mejor que nadie. Yo creo que es muy importante que los niños se vean reflejados en los libros. Todavía queda mucho camino por recorrer, pero creo que hemos avanzado un poco y que honestamente las editoriales norteamericanas están poniendo de su parte para que haya más diversidad en los libros que publican. Pero también tenemos que pensar, que con tantos millones de hispanos en este país, es un número reducido de escritores que escriben literatura infantil y juvenil. Necesitamos que más autores latinos escriban para niños.

5 – En su opinión ¿qué importancia tienen los libros bilingües en Estados Unidos y especialmente en una ciudad como Los Ángeles?

Existen muchas opiniones al respecto, pero yo te voy a dar mi opinión personal, basada en lo que yo he podido observar en el mercado durante todos estos años. Hay mucho interés por parte de los editores, de los bibliotecarios y de las librerías porque se publiquen más libros bilingües. Ahora, cuando yo hago una traducción de un libro que es bilingüe, de alguna forma, al tratar de seguir el texto lo más fielmente posible, uno de los dos idiomas no fluye natural. Por eso yo personalmente prefiero dos ediciones separadas: una en inglés y otra en español. Aunque no dejo de ver las ventajas de algunos libros, como poco texto, en ambos idiomas.

Es importante que cualquier libro bilingüe sea escrito por un autor que domine ambos idiomas. Si esto no es posible, se debe contratar a un traductor para el español o el inglés cuya lengua materna sea a la que va a traducir. Hay que respetar ambos idiomas: el inglés y el español y que ambos sean totalmente correctos y que fluyan bien.

6 – ¿Está trabajando en algunas traducciones ahora?

Traduje hace poco la historia Esperando (Waiting) de Kevin Henkes. También acabo de terminar la traducción al español de Ladder to the Moon (Escalera a la Luna) que escribió hace ya algún tiempo la hermana de Barack Obama y que fue ilustrado por la increíble ilustradora Yuyi Morales.

También recientemente traduje un libro que me encantó. Un libro que tiene rima, métrica y un mensaje muy especial, El pez pucheros (The Pout-Pout Fish). Traducir este ingenioso libro, lograr la rima, la métrica y el mensaje de la autora, me tomó mucho tiempo, pero quedé muy complacida con el resultado final.

7 – ¿Hay algún libro (o libros) que le recuerde su infancia o que a usted le haya impactado?

Un libro que me impactó mucho y que traduje hace 25 años fue Los cien vestidos (The Hundred Dresses). Cada vez que pienso en la historia o la leo, me entran ganas de llorar. Otro libro que también me impacto mucho fue Sadako y las mil grullas de papel (Sadako and The Thousand Paper Cranes).

8- ¿Qué le diría usted a los padres, maestros y tutores para motivarlos a inculcar en los niños el amor por la lectura y la importancia de que mantengan el idioma suyo o de sus padres mediante la lectura de buenos libros en español?

Yo creo que los maestros y los bibliotecarios son los mejores promotores de la literatura infantil y de que los niños lean. Sé que es importante que los niños aprendan inglés y que lean en inglés, pero también es importante que no pierdan su idioma, o el de sus padres o abuelos. Es importante que los niños se sientan orgullosos de sus raíces. Yo llevo 56 años en Estados Unidos y aprendí inglés, pero cada vez mi español es mejor porque hago uso del español constantemente.

Yo creo que el trabajo comienza desde el hogar. Cuando yo era pequeña, mis padres siempre el Día de Reyes me dejaban juguetes, pero también me dejaban libros, dejando bien claro la importancia que para ellos tenían los libros en casa. Mi madre trabajó en una librería antes de casarse y el amor por los libros y la lectura nos lo inculcó desde pequeñas a mi hermana y a mí. Los padres son los primeros maestros de sus hijos y de ellos los niños aprenden con el ejemplo. Hay que darle a los libros y a la lectura la importancia que merecen en el hogar.

Lista de librosDel inglés al español: libros traducidos por Teresa Mlawer

Our 2016 Favorites List: Libros Latinxs

happy-reading-1Welcome to our favorites of 2016 list! This year’s releases offered picture books that we found irresistible, early reader/chapter books that charmed us to the core, and works of fiction and nonfiction sure to thrill middle-grade and YA readers. Librarians, parents, and teachers, please consider adding these selections to your bookshelves. They are listed alphabetically by title under each category. 

We’re also pleased to recommend two important resources that address aspects of Latinx children’s literature and highlight the Pura Belpré winners of the last twenty years.

Sadly, we could not read every Latinx title released in 2016; therefore, this list is not comprehensive and it pains us to leave out even one deserving book! We promise to review as many 2016 titles as possible in upcoming posts.

The most important thing to remember is that Latinx kids and teens need to see themselves in good books and those books do exist. Read on and you’ll see the evidence.

 

Picture Books

equivelEsquivel! Space-Age Sound Artist/¡Esquivel! Un artista del sonido de la era espacial, written by Susan Wood; illustrated by Duncan Tonatiuh. This fun biography introduces readers to a key figure of space-age lounge music. My son Liam Miguel loves everything illustrated by Duncan Tonituah, whose illustrations take on added movement and playfulness as they complement Susan Wood’s prose. Juan García Esquivel was a Mexican composer, bandleader, and pianist who pioneered stereo sound in the 50s and 60s and took an inventive view of musical possibility. Esquivel’s music capitalizes on unusual instrumentation and makes substantial use of unorthodox vocal textures and effects. The story highlights Esquivel’s accomplishments, providing another creative great to inspire young people of all backgrounds to see possibility all around them. —Ashley

 

furqans-flat-topFurqan’s First Flat Top/El primer corte de mesita de Furqan, written and illustrated by Robert Liu-Trujillo. As the first day of school approaches, 10-year-old Furqan Moreno gets ready for a haircut, but this time he is going to get his first flat top.  A bilingual picture book about the connections and trust built between an Afro Latino young boy and his dad, this is the work of  California-based Liu-Trujillo. You may remember him from two previous appearances on this blog: his account of the Kickstarter campaign that made publication of Furqan’s First Flat Top possible, and a super fun audio interview that he conducted for us with illustrator/painter Raúl the Third.  —Sujei

 

bongoLooking for Bongo, written and illustrated by Eric Velasquez, is yet another lovely representation of Afro-Latinos by this Pura Belpré winning illustrator. (See my review of Grandma’s Gift.) What I find so rewarding about this picture book is its warm and engaging portrayal of an underrepresented sector of U.S. population: a loving, middle-class Afro-Latino family. This family includes a musician dad, a fashion-designer mom, and a doting grandmother known to five-year-old Bongo as Wuela (short for Abuela). Velasquez is an expert painter. His page spreads pop with color and individual personality that young kids are sure to enjoy. —Lila

 

mama-the-alienMamá the Alien/Mamá la extraterrestre, written by René Colato Laínez; illustrated by Laura Lacámara. In this whimsical and relevant story, Sofía happens on her mother’s old resident alien card, arriving at some interesting conclusions about her origins. Laura Lacámara’s playful and bright illustrations suit this narrative well, inviting a gentle view of all the ways we come to call this country home. At a time when the term “alien” continues to circulate in the media and anti-immigrant sentiment is on the rise in some quarters, this book offers a timely reminder that, as the author’s note indicates, we are all citizens of Planet Earth.–Ashley

 

martaMarta! Big and Small, written by Jen Arena; illustrated by Angela Dominguez. Want to introduce some basic Spanish vocabulary to your kid? Looking for a concept book suitable for a classroom discussion of opposites? Look no further than Angela Dominguez’s latest book. Marta! Big and Small is an entirely adorable picture book that explains how Marta compares to various animals, including giraffes, elephants and rabbits. A glossary at the end puts all the vocabulary in one place. This would be a great inspiration for students to make books of their own, comparing themselves to different animals and using adjectives in Spanish or any language. –Cecilia 

 

maybe-somethingMaybe Something Beautiful: How Art Transformed a Neighborhood, written by F. Isabel Campoy and Theresa Howell; illustrated by Rafael López. Through its inspiring tale and vibrant illustrations, Maybe Something Beautiful introduces readers to Mira, a girl who lives “in the heart of a gray city” and who enjoys doodling, drawing, coloring, and painting. She considers herself an artist and likes to gift her illustrations to people in her neighborhood. She even tapes and “gifts” one of her paints to a dark wall around her block. One day she meets a muralist, and learns the magic of painting murals, and the power of bringing together the whole community to create something beautiful. The book is based on a true story about an initiative by Rafael López, the illustrator of the book, and his wife Candice López, a graphic designer and community leader, as a way to bring people together and transform their neighborhood into a vibrant one. Please check out my post about using Maybe Something Beautiful for a Día de los Libros program at a library. —Sujei

 

princess-and-warriorThe Princess and the Warrior: A Tale of Two Volcanoes, written and illustrated by Duncan Tonatiuh. I’m a longtime fan of Duncan Tonituah’s fine illustrations and storytelling, and this book is no exception. A colleague and I spent an entire plane ride reading and re-reading the text, which gracefully and vibrantly retells an Aztec myth that offers an origin tale for the formation of the volcanoes Popocatépetl (“Smoking Mountain”) and Iztaccíhuatl (“The Sleeping Woman”) near the valley of México. Duncan’s work brings this story to life by rendering the mythical characters vibrant and relatable through crystal-clear prose and memorable illustrations. –-Ashley

 

 radiant-childRadiant Child: The Story of Young Artist Jean-Michel Basquiat, written and illustrated by Javaka Steptoe. This is a heartfelt and vibrant picture book biography about the childhood and life of Puerto Rican-Haitian American artist Jean-Michel Basquiat. He was a boy who saw art everywhere, who learned that art goes beyond museum walls, galleries, and poetry books, who developed his own “messy” style that echoes powerful emotions, social issues, and politics. Information about the artist and the motifs and symbolism in his work along with a note from author and illustrator Javaka Steptoe are appended. —Sujei

 

rudasRudas: Niño’s Horrendous Hermanitas, written and illustrated by Yuyi Morales. They’re back! The terrible twins are once again making trouble for Niño and none of his fantastic foes can defeat them. Morales captures the eye and the imagination with her bright colors, fun-sounding words, and thoroughly believable baby weapons (poopy pants included). The ending is sweet and will hopefully inspire many older siblings to read to their own brothers and sisters. This is a great family gift and a wonderful addition to the sibling story canon. —Cecilia

 

like-the-cloudsWe Are Like the Clouds/Somos como las nubes, is a collection of beautiful bilingual poems by Jorge Argueta with illustrations by Alfonso Ruano. The poems center around real lived experiences of unaccompanied minors migrating from El Salvador to the United States. The poems are laid out to represent a migration journey. The opening poem “Somos las nubes” represents the everyday beauty, like “pupusas/tamales, alboroto, dulde de algodon.” The poems that follow touch on the violence that forces so many people to leave their homes and then forces children to go look for their parents. The poems then signal the grueling difficulties of navigating multiple borders, la bestia, and crossing the desert. The closing poems speak to the new challenges and the newfound beauty of living in the U.S. Argueta’s poems are timely, enduring, and powerful. —Sonia

 

Chapter Books/Early Readers

juana-and-lucasJuana & Lucas, written and illustrated by Juana Medina. Journey to Bogotá, Colombia, with Juana, who is eager to tell you all about her life. She loves her city, her mom, her grandparents, and her friends, but especially her dog, Lucas. Unfortunately, Lucas can’t help her with her biggest challenge at the moment–learning “The English.” Juana struggles to make sense of the strange sounds and words, but when her family promises her a trip to the theme park Astroworld, she is determined to succeed. Bright, energetic illustrations provide support to young readers still transitioning from pictures to text. A delightful choice for either read-aloud or independent reading. Don’t miss my studio visit with the author-illustrator, Juana Medina.–Cecilia

 

lola-levine-balletLola Levine and the Ballet Scheme, written by Monica Brown; illustrated by Angela Dominguez. There’s a new girl in Lola’s class at school and at first Lola thinks that friendship is a possibility–but then she finds out that the new girl loves ballet, not soccer. Brown tackles the gender stereotypes that require girls to be sporty OR girly, and shows readers that it’s fine to love what you love, but that having different interests doesn’t mean you can’t still be friends. This latest addition to a fantastic series written partially in diary entries contains plenty of Spanish, as well as Lola’s trademark stubbornness. A must-read for 7-8 year olds. In a guest post, author Monica Brown wrote about bold girls like Lola. –-Cecilia

 

my-vida-locaSofía Martinez: My Vida Loca, written by Jacqueline Jules. The latest multi-story collection by Jacqueline Jules invites early chapter book readers on three new adventures with the charming Sofia Martinez: “The Singing Superstar,” “The Secret Recipe,” and “The Marigold Mess.” One of the things I loved about “The Secret Recipe” was the chance to share my own early baking mishaps with my son. As always, Sofia’s experiences will be relatable to all young readers, with Spanish text and Latinx cultural content woven in a way that stresses them as valued assets. Kids who connect well with Sofia Martinez will likely enjoy the lovely Lola Levine chapter books when they are ready for more text on each page. See my review of an earlier title in the Sofía Martinez series. —Ashley

 

Middle Grade

allieAllie, First at Last, by Angela Cervantes. Full disclosure: I got teary multiple times reading this book because while it is rare to find a middle-grade book featuring a Mexican-American family, it is even more rare to find one with a Mexican-American family who has been in the US for three generations, like mine. Allie is a classic middle child, looking for a place to shine. All her siblings excel at various activities and when her teacher announces a contest, Allie is determined to win a trophy of her own. One of the strongest parts of this book is the pride Allie takes in her family and their history as immigrants. Lessons about friendship, ambition and the danger of making assumptions about others are layered throughout the story in subtle ways, and readers will cheer for Allie as she learns more about just what it means to be the best. See our full review of Allie, First at Last, as well as a guest post by author Angela Cervantes. —Cecilia

 

lowriders-centerLowriders to the Center of the Earth, written by Cathy Camper; illustrated by Raúl the Third. Cathy Camper and Raúl the Third have followed their fantastic Lowriders in Space with a second volume that is equally interesting, playful, and visually absorbing. I tried to sneak this out of my son’s room when he finished it, but he caught me.

“What are you doing?” he asked. “I’m reading that.”

 “Didn’t you already finish it?”

         “Yes, but I’m reading it again.”

         It might seem like obstinacy (and maybe it was) but the detailed drawings are full of visual puns and playful possibilities, leaving plenty to discover on a second—or third—read. A favorite for kids and parents alike.–Ashley (Click on the links to access a guest post by the author, our review of Lowriders in Space, and an audio interview with the illustrator.)

 

nothing-up-my-sleeveNothing Up My Sleeve, by Diana Lopez. In our review of Nothing Up My Sleeve, Marianne Snow Campbell wrote, “There’s a reason that magic trick kits sell so well at toy stores. Lots of kids love the thrill of stage magic – practicing illusions until they’re just right, creating mystery with visual puzzles, and tricking others with sleights of hand. Performing magic can help build kids’ confidence and give them a sense of agency when they might otherwise feel powerless. That’s certainly the case for Dominic, Loop, and Z, three friends who venture into the world of illusion at Conjuring Cats, the new magic store in Victoria, Texas.” Catch the full review here, and don’t miss our Q&A with author Diana López.

 

Young Adult

bloodlineBloodlines, by Joe Jiménez, is a poetic vision of the complexities of (de)constructing Latino masculinities. Abraham is a seventeen-year-old figuring out what it means to be a man. He gets conflicting messages from the adults in his life. His grandmother wants him to be a good man so she solicits the help of her son Claudio, who Becky, grandma’s friend, doesn’t think is such a good man. Ophelia, Abraham’s love interest, wants Abraham to stop fighting but she also wonders what it feels like to fight. Abraham will follow the road that helps him learn whether he’s a good man or a bad one. —Sonia. Don’t miss these related posts: Joe Jiménez contributed a revealing guest post and Sonia wrote in depth about BloodlinesLatino masculinities.

 

burn-babyBurn Baby Burn, by Meg Medina, is set in Queens, New York, during the fateful year of 1978. While a serial killer prowls the city and arsonists torch random locations, Nora faces a disturbing issues at home. She has a sneaking suspicion that her brother is dabbling in dangerous activities, but their mom is too paralyzed to confront him head on. Nora’s story includes a supportive best friend, a cute guy who works at the same after-school job as Nora, and an apartment building full of complex and menacing characters. Also: disco dancing! Disco is a nice touch that, along with other historical elements, lends spark and crackle to an already intriguing story. We reviewed Burn Baby Burn earlier this year. —Lila

 

the-distance-between-usThe Distance Between Us: Young Readers Edition, by Reyna Grande, is a memoir of astonishing power and relevance. Set in Mexico and California, it captures a decade of the author’s eventful life, intertwining elements of poverty, immigration, abandonment, and family strife. More than anything, it’s an account of personal triumph against enormous odds. I highly recommend it. To learn more, please see my full review of The Distance Between Us and the author’s guest post. —Lila

 

head-of-saintThe Head of the Saint, by Socorro Acioli. Set Brazil and translated from Portuguese, this story is a dreamlike marvel. It follows a 14-year-old boy’s desperate journey toward reconnection and revenge. Destitute and rejected by his one living relative, he ends up living inside the hollow head of a broken statue of Saint Anthony. There, he magically hears the prayers of the village women, and to his consternation, gains celebrity status. One female voice sings her litany and captivates the boy’s heart, sight unseen. How can he find out who she is? The story is told in the language of fable and contains elements of magic realism. I found it irresistibly beautiful. Here’s our full review.–Lila

 

lion-islandLion Island: Cuba’s Warrior of Words, by Margarita Engle. Engle wraps up her series of books in verse that examine freedom and slavery in the Caribbean with this look at the Chinese community in 19th-century Cuba. Antonio is a Chinese-African boy, using his language skills to carry messages between Spanish and Chinese businessmen and diplomats. Through his job and his friendship with Chinese-American twins Wing and Fan, he learns about the persecution that forced the Chinese to flee California and the injustices they face as indentured laborers in Cuba. Meanwhile, rebels wage war against the Spanish, and as tensions grow, Antonio must decide how he is going to fight for freedom. An excellent choice for a classroom read-aloud or community book choice, especially now that Cuba is in the news again. —Cecilia

 

imageThe Memory of Light, by Francisco X. Stork. When Vicky Cruz wakes up in the hospital after a suicide attempt, she is sure that it’s only a matter of time before she will try again. But with the help of Dr. Desai and the other teens at the hospital, Vicky gains a better understanding of how to live with depression and how to take control of her future. That summary makes the book sound didactic, but it’s actually funny, thoughtful, and moving. This is the kind of book that you can open to any page and find wisdom and words to help you breathe and find strength. A hopeful, light-filled book that will help many readers–not just teens–face tomorrow with renewed courage. Check out our full review.–Cecilia

 

when-the-moonWhen the Moon Was Ours, by Anna-Marie McLemore. Miel and Sam have been friends ever since Miel emerged from the floodwaters of a toppled water tower. Each has secrets of their own, and now the Bonner sisters are determined to uncover them and steal the roses that grow out of Miel’s wrist. Gorgeous prose, and insights on love, family and gender identity make this a unique love story that is not to be missed. I’ve read this book about ten times now and each time I find new beauty that I missed before. A must-read for YA fans. —Cecilia

 

Labyrinth Lost CoverLabyrinth Lost by Zoraida Córdova. Alex is a bruja, the most powerful witch in a generation…and she hates magic. At her Deathday celebration, Alex performs a spell to rid herself of her power. But it backfires. Her whole family vanishes into thin air, leaving her alone with Nova, a brujo boy she can’t trust. A boy whose intentions are as dark as the strange marks on his skin. The only way to get her family back is to travel with Nova to Los Lagos, a land in-between. Alex’s journey through Los Lagos feels very classic. The different communities she encounters, each with its own history and strengths and weaknesses, may remind readers of classic adventures like The Odyssey, Dante’s Inferno, and Alice in Wonderland. Every new area of Los Lagos brings a ton of action. Not every writer can create battle scenes so the reader can clearly visualize them without having to re-read. Zoraida is GREAT at this. —Cecilia

 

New Adult

julietGaby Rivera’s Juliet Takes a Breath is one of a kind. Rivera creates a beautiful, relatable, and necessary character in 19 year old Juliet Palante. Juliet comes out to her family the day she is set to travel to Oregon for an internship with a well renowned white feminist writer. Juliet is convinced that in order to be proudly lesbian she needs to leave her small and suffocating home in the Bronx. But this precious nena has so much to learn. Rivera takes Juliet on a journey of self-discovery that also allows the readers to learn about Latinx queer identity, history, and culture. After a few heartaches, let downs, and realizations, Juliet learns that the answers she seeks are where she least expects them. —Sonia

 

Resources for Educators, Librarians and Parents

multicultural-litMulticultural Literature for Latino Bilingual Children: Their Words, Their Worlds, edited by Ellen Riojas Clark, Belinda Bustos Flores, Howard L. Smith, & Daniel Aleandro Gonzalez. From Sujei’s review, published in School Library Journal:  “A comprehensive professional development resource that centers on Latino children’s literature and its inclusion and use in school settings. Divided into five parts and 16 chapters, the volume captures the significance of Latino children’s books, their impact on bicultural and bilingual children, and the approaches that educators must take to use these materials critically. Themes such as bilingual learners, selection criteria, transnationalism, counternarratives, and digital literacies are broadly presented, as well as the importance of challenging tokenism and stereotypes and incorporating Latino children’s books in language arts, social studies, science, and math curricula. Each chapter includes a theoretical framework, an application of theory section, and references, discussion questions, activities, and further professional reading. Introductory lists of Latino children’s books, titles in Spanish for children, and online resources are appended. This work positions this literature in a sociocultural, historical, and political context that successfully brings theories to praxis and always encourages educators to keep in mind the bicultural and bilingual young readers of these books.”–Sujei

 

belpre-20-yearsThe Pura Belpré Award 1996-2016: 20 Years of Outstanding Latino Children’s Literature, edited by Nathalie Beullens-Maoui & Teresa Mlawer. Published to commemorate the 20th Anniversary of the Pura Belpré Award, which celebrates the best of Latinx children’s literature, this book offers essays and stories by past and present winners of the award. It includes an introduction by Reformistas and co-founders of the Pura Belpré award, Oralia Garza de Cortés and Sandra Ríos Balderrama, as well as pictures and short biographies of past winners and the award-winning books they created. —Sujei

 

Notable Omissions

Yes, we missed out on some promising books this year. Here are a few that we’re catching up on: Shame the Stars, by Guadalupe García McCall, Even if the Sky Falls, by Mia García, and Dancing in the Rain, by Lynn Joseph. Expect to see them and others reviewed on this blog in coming months!

shame-the-stars-cover-small  even-if-the-sky-falls  dancing-in-the-rain

 

The Reviewers

Cecilia Cackley is a performing artist and children’s bookseller based in Washington DC where she creates puppet theater for adults and teaches playwriting and creative drama to children. Her bilingual children’s plays have been produced by GALA Hispanic Theatre and her interests in bilingual education, literacy, and immigrant advocacy all tend to find their way into her theatrical work. You can find more of her work at www.witsendpuppets.com. Follow her on Twitter: @citymousedc.

Sujei Lugo was born in New Jersey and raised in her parents’ rural hometown in Puerto Rico. She earned her Master’s in Library and Information Science degree from the Graduate School of Information Sciences and Technologies at the University of Puerto Rico and is a doctoral candidate in Library and Information Science at Simmons College, focusing her research on Latino librarianship and identity. She has worked as a librarian at the Puerto Rican Collection at the University of Puerto Rico, the Nilita Vientós Gastón House-Library in San Juan, Puerto Rico, and the University of Puerto Rico Elementary School Library. Sujei currently works as a children’s librarian at the Boston Public Library. She is a member of REFORMA (The National Association to Promote Library Services to Latinos and the Spanish-speaking), American Library Association, and Association of Library Service to Children. She is the editor of Litwin Books/Library Juice Press series on Critical Race Studies and Multiculturalism in LIS. Sujei can also be found on Twitter, Letterboxd and Goodreads.

Ashley Hope Pérez is a writer and teacher passionate about literature for readers of all ages—especially stories that speak to diverse Latino experiences. She is the author of three novels, What Can’t Wait (2011) and The Knife and the Butterfly (2012), and Out of Darkness (2015), which won a Printz Honor. A native of Texas, Ashley has since followed wherever writing and teaching lead her. She completed a PhD in comparative literature from Indiana University and enjoys teaching everything from Spanish language and Latin American literature to the occasional course on vampires in literature. She can also be found on Twitter and Facebook.

Dr. Sonia Alejandra Rodriguez’s research focuses on the various roles that healing plays in Latinx children’s and young adult literature. She currently teaches composition and literature at a community college in Chicago. She also teaches poetry to 6th graders and drama to 2nd graders as a teaching artist through a local arts organization. She is working on her middle grade book. Follow Sonia on Instagram @latinxkidlit, on Twitter @mariposachula8, and at her website.

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. Her next book is a middle-grade novel scheduled for release in 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.

 

bookshelf-wonders

The Pura Belpré Award: Continuing Belpré’s Legacy of Lighting the Storyteller’s Candle–Part 2

 

Portrait by Robert Liu-Trujillo. Read more about the portrait and his projects at http://investigateconversateillustrate.blogspot.com Permission to post given by artist.

Portrait by Robert Liu-Trujillo. Read more about the portrait and his projects at http://investigateconversateillustrate.blogspot.com Permission to post given by artist.

 

By Sujei Lugo & Dr. Sonia Alejandra Rodríguez

Yesterday, we provided a history of Pura Belpré’s work and the start of the Pura Belpré Award. Today, we continue the post with interviews with Oralia Garza de Cortés, Sandra Ríos Balderrama, and Celia C. Pérez, co-founders of the award and former award committee members.

Oralia Garza de Cortés, Co-founder of the Pura Belpré Award

Oralia Garza de Cortés

Oralia Garza de Cortés

How did you first learn about Pura Belpré and her work? 

As a young mom, I embarked upon a quest to find all those books for children related to my cultural heritage that I could introduce my young daughter to. I discovered that the most knowledgeable children’s librarian who could help me was at the newly renovated (at the time) Carnegie Branch of the Houston Public Library. It was Louise Yarain Zwick who first introduced me to Pura Belpré and her wonderful stories in the early eighties. Years later, while doing research one day at the University of Texas while I was in a library school, I discovered a recording of Pura Belpré telling her stories to the children. I heard the deep, rich inflection in her voice as she mimicked the characters to her classic Pérez y Martina: A Puerto Rican Folktale (F. Warne, 1932) I was mesmerized by her storytelling. Then on a visit to Brownsville one hot summer day, I visited the college library where I happened upon a copy of Libros en Español: An Annotated List of Books in Spanish that she edited with Mary Conwell (New York Public Library, 1971). My quest grew into a passion fueled by the artifacts she had left behind, stories and documents left like clues for me to study closely in an effort to re-weave this rich literary tapestry.

Why did you want to co-found the Pura Belpré award?

There is no denying the power that comes from recognition. Certainly the impact of awards such as the Caldecott and Newbery is undeniable. But the twenty-fifth anniversary awards program of the Coretta Scott King Awards moved me beyond words. As we struggled to establish the Belpré Award through the ALA bureaucratic process, that ceremony sparked my imagination for the potential and the possibilities and served as the impetus for getting the Belpré Award through to the home stretch. We established a set of guidelines that re-defined quality in children’s literature so that the cultural content of the writing and the depictions of Latinos in illustration was as equally important a factor as the other criteria for quality children’s literature. This was critical, as we felt strongly that Latino children needed more positive images of themselves other than the “Speedy González” and “frito bandito” stereotype images that continued to prevail in the media and in the kids’ cartoon networks.

Why named it after her?  

When we started talking concretely about an award, we brainstormed and soul-searched names. Many names were suggested, discussed and argued over. But as names were tossed out, the key question became: What is their contribution to children vis-a-vis literature and libraries? It was our dear colleague and REFORMISTA Toni Bissessar who brought up Pura Belpré’s name. It became pretty clear pretty quickly that if there was any one person with a significant track record of library service for children, it was this amazing pioneering librarian and storyteller, Pura Belpré who also demonstrated the value and importance of outreach as a first step to bringing the children to the public library.

What is the significance or impact of giving this book award to Latino/a children’s books authors and illustrators?

Given the publishing industry’s dismal track record of publishing Latino authors and illustrators, the Belpré Award serves a very useful purpose in leveling that very uneven playing field. Increasingly, we are seeing Latino children’s authors and/or illustrators who have gone on to receive Newbery, Caldecott, and Printz Awards or honors as a result of the visibility and recognition they first received through the Belpré Award. Winning the award immediately identifies these authors and illustrators to publishers who want to produce materials on the Latino experience but who may not want to take a chance on new, first-time authors or illustrators. The down side of this, of course, is that publishers tend to play it “safe” and so we may see the same authors and illustrators, oftentimes to the delay of new, innovate talent they could take a chance on. The Belpré Award also serves as a very useful selection tools for schools and libraries needing to beef up their Latino collections. But even more importantly, the Belpré identifies authors and illustrators who children and their parents need to see coming to their schools and in their communities and at book fairs like the Los Angeles Times Festival of Books or the Texas Festival of Books. They are exemplary role models for Latino children to know and emulate. It’s part of how we’re going to grow the future generation of Latino writers and illustrators of books for children, and how other children will get to know about Latinos and their vast culture.

Any future plans with the awards?

The period immediately following the 20th Anniversary Celebración will be a good time to reflect upon the last twenty years and is sure to spark some ideas about the direction and future of the award. This is surely a discussion topic for both sponsors of the Belpré Award to discuss and plan as we continue to work together collaboratively in order to insure its continued success.

As we move on to celebrating the 20th anniversary of the Pura Belpré award, can you talk a little bit about the Celebración at ALA Annual? 

The Celebración is quite a unique ceremony that happens every year during the annual meeting of the American Library Association. The Celebración is at once a joyful, colorful, festive, and quite moving and invigorating event. It is a gathering space for the familia of librarians and publishers that come together annually to pay homage to the honorees. The two winning medalists give acceptance speeches, which in many instances move more than a few audience members to tears to hear these authors and illustrators speak from their heart about what the honor really means to them. Children in colorful costumes dance and audience members line up for a chance to get their book signed. It is REFORMA’s way of honoring these honors we consider literary heroes who are creators of a growing sector of a the body of work we call American children’s literature.

What would you like to see in the next 20 years in terms of Latino children’s literature?

Certainly the slim production of titles about the Latino experience is reason enough to insist that we do better by the growing population of Latino children who deserve so many more stories in all genres and formats that mirror their realities. It always amazes me that given what we know today about the well-established precept of books as ‘windows and mirrors’ as necessary for children to learn, we still find librarians and bookstores oblivious to award winning books such as the Belpré and are reticent to buy these books and add them to their library collections or sell them in their stores. But we also need the publishing industry to better understand the necessity and the need for titles with culturally relevant content and the critical role these books can play in the education of readers who may not be familiar with the nuances of Latino culture. With an increasingly segregated America, how else will we learn about the ‘other’ if not through books with main character like Esperanza or Manny Hernandez? These protagonists for young people are the perfect anecdote that serves to counter-balance the omissions notably missing in history books and in the media at large. Finally, publishers would do well to recognize that Spanish is the second most spoken language in the world. If they are really serious about the future of reading, they would do well to steep themselves into culture and move beyond merely translating the popular books that they are familiar with. Imagine more Spanish children’s book with culturally relevant content! Now that would be change!

Any favorite or memorable moment during these last 20 years of the award?

I distinctly remember Victor Martinez’s parents at the 1998 Belpré Celebration when he won the Belpré for Parrot in the Oven: Mi Vida. It was heartwarming for me as I realized that I had come full circle when I discovered that Victor’s parents were originally from the Rio Grande Valley in South Texas, where I’m from originally. But then seeing the joy and tears and the expression in their faces as their son received the Belpré Medal was all the affirmation I needed, the very reason REFORMA insisted that we have a Celebración as a way to honor and recognize our winning authors and illustrators, welcome their families, and further develop that comunidad necessary for the development of readers to take root.

Any advice for future Latino children’s books authors and illustrators?

Trust your instincts, learn from the past, and impress us with your talent!

 

Sandra Ríos Balderrama, Co-Founder of the Pura Belpré Award

Sandra Rios Balderrama

Sandra Rios Balderrama

How did you first learn about Pura Belpré and her work?

I learned about Pura Belpré from Toni Bissessar one night on the balcony of a New Orleans restaurant. Toni, Oralia, and I were having dinner after a long day of ALA conference and we began to brainstorm names for our future award. “Vivan los niños!” was one. Naming it after César Chávez was another possibility. The napkin that we were writing the names on had a long list. (I wish we still had that napkin! An archival piece!). Then, Toni asked if we had ever heard of Pura Belpré and she began to explain who she was. We knew, then and there, at that moment, as Toni was telling the story of Belpré, that we found our name. It was a perfect fit.

Why did you want to co-found the Pura Belpré award, and why named it after her?

I met Oralia in 1986 or 1987. I was a children’s librarian in California and she was one in Texas. We met at an ALA conference and this is when the spark that we both held in our hearts and souls, took flame. We shared our frustration of not having the tools to do our work i.e. providing collections that our families wanted and finding storybooks that reflected affirming story and imagery for our story hours. The roots of the award began with valuing effective library service to our communities. As we kept talking, we realized the role of publishers, reviewers of children’s literature, and the perceived lack of Latinx writers and illustrators. We spoke highly of the Coretta Scott King Award books and began to wonder what it would be like to have an award for Latinx authors & illustrators for books that would provide the diverse Latinx experience of/for children in the USA and that would get beyond the stereotypical images and characters. To meet Oralia was serendipitous and our work was synchronous and synergetic! The decision to create an award sprung from those passionate and insightful conversations at the many tables we shared during those years way before 1996.

After learning that Pura was a librarian and that she established bilingual story hours and services at the NYPL, AND that she was the first Latina librarian that we know of, to serve in this capacity – we decided that the vision of the award was aligned with her work. The vision for the award was based on affirming Latinx children, authors, illustrators, books, and storytelling. Her work was about inclusion, and “naming” native languages, culture, heritage, thus, giving her bilingual and bicultural communities the service they deserved. This is also what the award is about – the spirit of service aligned with the richness and inclusion of Latinx in the narrative and illustration of the United States’ experience.

What is the significance or impact of giving this book award to Latino/a children’s books authors and illustrators?

The significance is that we’ve come closer to achieving justice, equity, inclusion, and celebration of a more realistic, genuine, world. We still have a ways to go in the ongoing effort to see that our books are published, however this award, like others, gives a boost of acknowledgement and value. Value. The award affirms the potential and power of Latinx to tell our stories, in our way, in our voice and with our brush. The selections are made by librarians with experience in working with Latinx communities so they have insights into the needs and interests of their patrons. The illustrators and authors, themselves become positive imagery for future authors and illustrators i.e. children who may be artists, poets, and storytellers. I always say that invitation is not inclusion. This award is a table that was sculpted by many people, for the authors and illustrators to sit at with pride, knowing that we value their work and their contributions to the world of books, libraries, classrooms, and living rooms.

What would you like to see in the next 20 years in terms of Latino children’s literature?

We are a dynamic people. We treasure our components of culture and heritage and at the same time evolve within our settings and the times we live in. We are not static in how we define ourselves and how we write /paint/digitize/imagine our stories. I hope the next 20 years brings Latinx children’s literature beyond my wildest dreams! And lots more of it! The important elements to retain are diversity, dynamism, and dreaming.

Any favorite or memorable moment during these last 20 years of the award?

The Celebraciones I have attended always make me tear up when I hear the authors and illustrators speak. For me they embody, bring to this lifetime and this earthly plane, a beautiful dream of my Comadre Oralia and myself, as well as all of the people that helped, struggled, and worked on behalf of justice and inclusion, along the way Without the Pura Belpré authors and illustrators we cannot preserve, disseminate or evolve. Without them, we as librarians and libraries remain irrelevant. We can not say we are global institutions, without these authors and illustrators. I feel proud, that the illustrators and authors represent the diversity of Latinx culture and experience, in the way they tell, write, speak, paint, digitize, collage, craft, create, imagine, and uncover the many stories that, once published, and once in the hands of all children, help to make our world more genuine, true, and complete.

Any advice for future Latino children’s books authors and illustrators?

Peruse the Pura Belpré titles. Enjoy them. Give attention to the story, stories and the questions about a possible story to be uncovered, that pound in your heart and won’t let you rest. Listen to the call of the paintbrush and the easel. We are multilingual and “magic realism” for others is our daily life. Your story and imagery are of great worth. Don’t give up. We are fighting for you in the backrooms of libraries, publishing houses, and selection committees. Aho. Ashé, Adelante!

 

Celia C. Pérez, Past Pura Belpré Award Committee Member

How did you first learn about Pura Belpré and her work?

I feel like I have known about Pura Belpré forever because the award has been such a significant part of my life in the last few years, but reaching back into my memory, it really hasn’t been that long. I’m not a children’s librarian by training, so I don’t think the award or the woman it was named for were on my radar until recent years. I certainly didn’t learn about the award, much less the woman, when I took a class in children’s materials while in library school! I’ve always been interested in children’s books but it took a while for me to enter that world on a professional level, beyond my own reading for pleasure. In 2010, I enrolled in a post-graduate program with a focus on youth services, and it was during this time that I turned my focus to children’s books by and about Latinos. It was probably around that time that I discovered who Pura Belpré was and her significance in the world of children’s librarianship and literature.

What is the significance or impact of giving the Pura Belpré book award to Latino/a children’s books authors and illustrators?

You know we often think about awards in terms of recognizing the authors or illustrators. While this is, of course, the case with the Belpré, its significance is bigger than that as well. It’s not just recognition of the creators but of a group of people, of the presence of Latinos in the U.S. and of our varied cultures, histories, and experiences. The award puts a spotlight on our stories as created by our people. In awarding it specifically to Latino authors and illustrators the Belpré serves to really highlight the work of authors and illustrators that are often otherwise not especially well-represented or recognized in the worlds of publishing and libraries. It also puts a spotlight on Latino literature for young people in general. It doesn’t just highlight the best of, but also in a sense, can give a picture of what is missing and what the state of publishing is for these types of books.

As a past award committee member, could you talk a little bit about your experience? Criteria people should keep in mind when evaluating Latino children’s books?

My time on the Pura Belpré committee was one of my most rewarding professional experiences. As with all of ALA’s awards, members serving on committees are not able to divulge details of the deliberation process and discussions. However, I can tell you that the committee members I worked with took on the responsibility of selecting the award winners with a deep reverence and thoughtfulness for the process, for the artists and authors, and for the award and its namesake. The Belpré adds a twist to the standard requirement of excellence in that it also requires that the selection be made with even more refined criteria in mind–work that best represents the “Latino experience.” That can be the tricky part because I think it’s important to be able to view that concept, “the Latino experience,” in many ways. It requires familiarity with Latino cultures in an intimate sense, but it also requires that you think about Latinos as we are situated in larger society. What is a Latino? Where do Latinos fit in American society and culture? What are the historical and current experiences of Latinos in the U.S? And how does one accurately depict that experience? Of course, we can’t forget that the term “Latino” includes so much diversity within, so it really is a challenge.

As we move on to celebrating the 20th anniversary of the Pura Belpré award, can you talk a little bit about the Celebración at ALA Annual?

The 20th Celebración is going to be fantastic! All Belpré celebraciones are, of course, but this will be a time to celebrate the current winners as well as honor the history of the award and all who have come through in the past twenty years. In addition to speeches by this year’s winners, and I should mention that all the winners and honors for a given year are invited to speak at the Belpré celebración, there will be music and a youth dance ensemble, a book signing by winning authors and illustrators, and an auction of original art by winning illustrators. There will also be a commemorative book that’s being published by Rosen and will include essays by past winners.

What would you like to see in the next 20 years in terms of Latino children’s literature?

I would really love to see the concept of the “Latino experience” broaden in terms of how it’s written and illustrated, as well as how publishers, editors and librarians think of it. We are more than just historical figures and holidays. It’s great to embrace the idea of “diversity,” but we need to evolve in how we think about diversity as well. It’s not enough to say publishing is becoming more diverse if the books that are being published are about the same topics, often placing Latinos and other underrepresented groups in a historical context and not as people you see in your everyday world. I also think there’s a need for more middle grade and YA with Latino protagonists, so let’s up the representation!

Any favorite or memorable moment during these last 20 years of the award?

Every ceremony I’ve attended has been special. I don’t think I ever leave without shedding a few tears and feeling super inspired. It’s festive and joyful and you really get a feeling of being connected to people. My favorite ceremony was the one I was a part of as a committee member in 2014 (shout out to my committee homies and our winners!), but all the ceremonies are unique and wonderful. It’s always free and open to anyone who wishes to attend so I invite everyone to experience it for themselves. I guarantee it will be one of the most fun things you do at the annual conference! Since we’re talking about memorable, I should also note that my favorite speech to date has probably been the one Benjamin Alire Sáenz gave when he won for Aristotle and Dante Discover the Secrets of the Universe. Crying like a baby, I was.

Any advice for future Latino children’s books authors and illustrators?

My advice would be the same as it would be for any writer. It’s important to write what comes naturally. I dislike the idea of feeling boxed into expectations of what a Latino author or illustrator should create. Latinidad comes in all forms. Our differences in cultures, upbringings and life experiences can make for a varied and robust body of work, and that’s a great thing!

 

 

SujeiLugoSujei Lugo was born in New Jersey and raised in her parents’ rural hometown in Puerto Rico. She earned her Master’s in Library and Information Science degree from the Graduate School of Information Sciences and Technologies at the University of Puerto Rico and is a doctoral candidate in Library and Information Science at Simmons College, focusing her research on Latino librarianship and identity. She has worked as a librarian at the Puerto Rican Collection at the University of Puerto Rico, the Nilita Vientós Gastón House-Library in San Juan, Puerto Rico, and the University of Puerto Rico Elementary School Library. Sujei currently works as a children’s librarian at the Boston Public Library. She is a member of REFORMA (The National Association to Promote Library Services to Latinos and the Spanish-speaking), American Library Association, and Association of Library Service to Children. She is the editor of Litwin Books/Library Juice Press series on Critical Race Studies and Multiculturalism in LIS. Sujei can also be found on Twitter, Letterboxd and Goodreads.

 

FullSizeRender (1)Dr. Sonia Alejandra Rodríguez’s research focuses on the various roles that healing plays in Latinx children’s and young adult literature. She currently teaches composition and literature at a community college in Chicago. She also teaches poetry to 6th graders and drama to 2nd graders as a teaching artist through a local arts organization. She is working on her middle grade book. Follow Sonia on Instagram @latinxkidlit

The Pura Belpré Award: Continuing Belpré’s Legacy of Lighting the Storyteller’s Candle–Part 1

 

Portrait by Robert Liu-Trujillo. Read more about the portrait and his projects at http://investigateconversateillustrate.blogspot.com Permission to post given by artist.

Portrait by Robert Liu-Trujillo. Read more about the portrait and his projects at http://investigateconversateillustrate.blogspot.com Permission to post given by artist.

 

By Sujei Lugo & Dr. Sonia Alejandra Rodríguez

By now, we are all familiar with the various conversations about the need for children of color and Native children to see themselves represented in the stories they read. However, not many know that these discussions, as they pertain to Latinx children, have been taking place since the early 1920s when Pura Belpré became the first Puerto Rican librarian in the New York Public Library system. Clearly, the context for dialogues around diversity were different because it was a different time; however, the urgency surrounding issues of representation, advocacy, and empowerment as they relate to Latinx children have many similarities.

Unfortunately, Belpré’s legacy is not one that is well known. Robert Liu-Trujillo, illustrator of the beautiful Belpré portrait on this post, says “I didn’t hear anything about Ms. Belpré until I was in my 30s. Once I realized that there was a really interesting person behind the award, I was really surprised that I’d never heard of her before. From what I’ve read about her and seen through my research, she was a revolutionary figure in children’s education and storytelling.” Trujillo is right to call Belpré a “revolutionary figure” because she indeed was.

Her innovative use of Puerto Rican folklore to reach predominantly Spanish-speaking Puerto Rican children in New York City revolutionized the role of public libraries in the life of these children. Through her storytimes, her puppeteering, and her written works, Belpré set a high standard for how libraries should tailor their programs and services for the communities and peoples in which they’re located. Her commitment and advocacy to bridge her Puerto Rican community to the library, and vice versa, showcases the roots of critical children’s librarianship and inclusion, and not assimilation, of marginalized voices into the field. Much work still needs to be done to bring Belpré’s legacy to the front and highlight the many ways she’s revolutionized storytelling, librarianship, and children’s books for Latinx children.

The Tiger and the Rabbit and Other Tales    Juan Bobo and the Queen's Necklace: A Puerto Rican Folk Tale    7380556

In “Pura Belpré Lights the Storyteller’s Candle: Reframing the Legacy of a Legend and What it Means for the Fields of Latina/o Studies and Children’s Literature,” Marilisa Jiménez-García discusses the various roles Belpré inhabited and the ways her contributions as a librarian and a writer, for example, can be read as subversive political acts. Jiménez-García says of Belpré as a storyteller, “she occupied as a kind of weaver of history, [she] encouraged children to defy assimilation along with the textual and national boundaries created by the dominant culture” (Jimenez-Garcia 113). In other words, through her use of Puerto Rican folklore, Belpré was teaching young Puerto Rican children to embrace their cultural identity and to challenge dominant narratives that depicted them as less than.

Jiménez-García further argues that “Belpré’s interventions within U.S. children’s literature constitute an attempt at cultural preservation, and even further, as an attempt to establish historical memory within the U.S. for Puerto Rican children” (115). In this way, Belpré used her writing to bring to the forefront a Puerto Rican heritage necessary for the identity construction of Puerto Rican children in the U.S. In The Stories I Read to the Children: The Life and Writing of Pura Belpré, the Legendary Storyteller, Children’s Author, and the New York Pubic Librarian (2013) Lisa Sánchez González writes, “In all of her work—including her work as a public librarian–she aimed to ensure that working-class bilingual and bicultural children had rightful access to what is still too often a privilege: Literacy, and with it, free and public access to good books” (17).

Jiménez-García’s and Sánchez González’s research inform us that Belpré was telling, writing, and performing stories that centered Puerto Rican culture and folklore, that she created a space at the NYPL and made Puerto Rican children the center of it, and that she was committed to making books available to children. In this way, Belpré led her own revolution.

Belpré’s legacy is incomparable, and 2016 marks the 20th anniversary of the children’s literary award named after her–the Pura Belpré Award. The award was established in 1996 by co-founders Oralia Garza de Cortés and Sandra Rios Balderrama. According to the award website, the Pura Belpré Award is “presented to a Latino/Latina writer and illustrator whose work best portrays, affirms, and celebrates the Latino cultural experience in an outstanding work of literature for children and youth.” By establishing an award that highlights Latina/o writers and illustrators creating works about Latina/o experiences, Garza de Cortés and Rios Balderrama carved a space dedicated to the empowerment and the future of Latinx children. Belpré’s legacy as a librarian, a writer, and a puppeteer demonstrate the importance of storytelling as a means of resisting and challenging oppressive dominant narratives. The Pura Belpré Award allows us to continue this revolution and give Latinx children and youth an opportunity to transform the world around them.

REFORMA (The National Association to Promote Library and Information Services to Latinos and the Spanish Speaking) along with the Association for Library Service to Children (ALSC) are joining efforts to hold a special celebration for the Pura Belpré 20th Anniversary Celebración at this year, ALA (American Library Association) Annual Conference in Orlando, Florida. The event will feature speeches by the 2016 Pura Belpré Award medal and honor winning authors and illustrators, David Bowles, Antonio Castro L., Angela Dominguez, Margarita Engle, Rafael López, Meg Medina, and Duncan Tonatiuh. It will also include book signing, a silent auction of original art by Latinx children’s illustrators, a new commemorative book for sale, The Pura Belpré Award: Twenty Years of Outstanding Latino Children’s Literature, and a keynote by author and storyteller, Carmen Agra Deedy.

Final Save the Date-1

The event promises to be a well-rounded celebración to recognize the award that lay ground to the recognition of Latinx children’s books creators within the youth literature field and the trajectory of the award, its past winners and honors, and the constant supporters of Latinx children’s literature.

For Part 2 of this post, which will run tomorrow, we spoke to members of the Pura Belpré Award Committee to get their insight on the momentous occasion that is the 20th anniversary of the Pura Belpré Award. Their interviews provide us with an insight to their motivations for creating the award, to the need of an award dedicated to Latinx children’s books written and illustrated by Latinx, the future of the award, and a look back at favorite award moments from the last 20 years. Tomorrow, read extensive interviews with Co-founder Oralia Garza de Cortés, Co-founder Sandra Rios Balderrama, and past committee member Celia C. Pérez.

 

SujeiLugoSujei Lugo was born in New Jersey and raised in her parents’ rural hometown in Puerto Rico. She earned her Master’s in Library and Information Science degree from the Graduate School of Information Sciences and Technologies at the University of Puerto Rico and is a doctoral candidate in Library and Information Science at Simmons College, focusing her research on Latino librarianship and identity. She has worked as a librarian at the Puerto Rican Collection at the University of Puerto Rico, the Nilita Vientós Gastón House-Library in San Juan, Puerto Rico, and the University of Puerto Rico Elementary School Library. Sujei currently works as a children’s librarian at the Boston Public Library. She is a member ofREFORMA (The National Association to Promote Library Services to Latinos and the Spanish-speaking), American Library Association, and Association of Library Service to Children. She is the editor of Litwin Books/Library Juice Press series on Critical Race Studies and Multiculturalism in LIS. Sujei can also be found on Twitter, Letterboxd and Goodreads.

FullSizeRender (1)Dr. Sonia Alejandra Rodríguez’s research focuses on the various roles that healing plays in Latinx children’s and young adult literature. She currently teaches composition and literature at a community college in Chicago. She also teaches poetry to 6th graders and drama to 2nd graders as a teaching artist through a local arts organization. She is working on her middle grade book. Follow Sonia on Instagram @latinxkidlit

Maybe Something Beautiful: Día Art Bilingual Story Time

 

By Sujei Lugo

This year marks the 20th anniversary of Día de los Niños, Día de los Libros, a celebration of children, books, cultures, languages, and community. Throughout the United States and Puerto Rico, various public libraries, school libraries, academic libraries, schools, universities, and community centers planned and held different programs to share the celebration and “bookjoy” with children, families, and community members. Once again, I decided to join the “Día Turns 20” party and held three programs at my public library: a frame art workshop using as inspiration Frida Kahlo’s “El Marco” (1938) self-portrait, a “Rhythms Heard Around the World” drumming and storytelling program, and an art bilingual story time.

Mini-murals, markers, story time props, and Día bookmarks.

Mini-murals, markers, story time props, and Día bookmarks

I want to focus this post on the art bilingual story time, as a way to bring attention to how to incorporate your community and neighborhood into your program while bringing a picture book to life. Last year I did a musical bilingual story time where I read Tito Puente, Mambo King/Tito Puente, Rey del Mambo written by Monica Brown and illustrated by Rafael López, used guajiras, rumbas, and mambos songs, and each child made and decorated small timbales made out of tuna cans. So which Latinx picture book published in the last 12 months would inspire me to offer a great bilingual story time, along with activities and a craft inspired by it t? At the American Library Association Midwinter Conference held at the beginning of the year, I saw and read a display copy of the picture book Maybe Something Beautiful: How Art Transformed A Neighborhood written by F. Isabel Campoy and Theresa Howell, and illustrated by Rafael López, and, right there and then, I knew I had found the perfect match.  

Through an inspiring tale and vibrant illustrations, Maybe Something Beautiful introduces readers to Mira, a girl who lives “in the heart of a gray city” and who enjoys doodling, drawing, coloring, and painting. She considered herself an artist and liked to gift her illustrations to people from her neighborhood. She even taped and “gifted” one of her paints to a dark wall around her block. One day she meets a muralist, and learns the magic of painting murals, and the power of bringing together the whole community to create something beautiful. The book is based on a true story about an initiative by Rafael López, the illustrator of the book, and his wife Candice López, a graphic designer and community leader, as a way to bring people together and transform their neighborhood into a vibrant one.

Photos of the murals found around my neighborhood

Photos of the murals located near my library and neighborhood.

After reading the book, I immediately thought of the different murals around my neighborhood and how they are reflective of its people: different generations of Latinx communities, artists and activists, local businesses, streets, and heterogeneity. But also a community facing gentrification, fighting for housing, economic, and racial justice. A neighborhood with a sense of community, like the one I saw in Maybe Something Beautiful and one I wanted to show to my toddlers at story time. 

I started the Día Art Bilingual Story Time by welcoming everyone, giving Día stickers to each child, and explaining how this was a special bilingual story time because we were celebrating the 20th Anniversary of Día. I explained what Día was, how it started, and how we were joining a nationwide celebration. I introduced my special guest, a local artist and art teacher, who was going to read with me and who was going to serve as the art facilitator. As a warm-up I sang a couple of songs: Buenos Días, ¿Cómo Estás?; Wake Up [different body parts]; and If You Are Wearing [insert color] Today, Say Hooray! Then we started with Book Fiesta! Celebrate Children’s Day/Book Day; Celebremos El Día De Los Niños/Día de Los Libros written by Pat Mora and illustrated by Rafael López, where I read the Spanish text and the special guest the English one. I followed with more songs: Everyone Can March; Colors, Colors Everywhere; and Where is [insert color name in Spanish]? Once we finished singing and everyone got back to their spot, I read Maybe Something Beautiful while the art facilitator was setting up the tables for the craft.

After reading the book, I talked a little bit about our neighborhood and murals and did a guessing game with them. I printed out pictures I took of the different murals around our neighborhood and children and adults (adults were really into this) started guessing where the murals were located. Some of them were tricky, but with others, children were excited to shout where they were. I always like to leave the craft as a sort of final surprise and ask them what they think we are going to do. The craft was a mini-mural made out of 4” x 8” cardboard with a brick or wood wall pattern to simulate a real wall they will paint on. At first, I thought of giving them watercolors or tempera, but finally opted for markers because they are less messy for the 0-4 crowd. Children had fun painting their mini-murals and proudly showed their creation to everyone in the room.IMG_7856

We ended the program sharing mini cupcakes, brownies, and coconut macaroons (with vegan, gluten-free, sugar-free options) and all of them had mini flags with the “Día Turns 20” Logo. They all gathered together to enjoy the special treats, to chat with one another, and show each other their mini-murals. Some parents and caregivers reached out to me and expressed how much fun they and their child had. Others used the opportunity to tell me how their child likes to draw on their wall at home, and others told me how now they were worried their child would get inspired to draw and paint on their walls. Rest assured, the kids and adults got together to recognize the power of community and how paintings on the walls do bind us together in a communal experience of recognition. In that sense, any drawing on the house wall is a potential future of community building. Be it a mess or something more detailed, the drawings on the wall are definitely something beautiful.

Día Turns 20!

Día Turns 20!

 

 

SujeiLugoSujei Lugo was born in New Jersey and raised in her parents’ rural hometown in Puerto Rico. She earned her Master’s in Library and Information Science degree from the Graduate School of Information Sciences and Technologies at the University of Puerto Rico and is a doctoral candidate in Library and Information Science at Simmons College, focusing her research on Latino librarianship and identity. She has worked as a librarian at the Puerto Rican Collection at the University of Puerto Rico, the Nilita Vientós Gastón House-Library in San Juan, Puerto Rico, and the University of Puerto Rico Elementary School Library. Sujei currently works as a children’s librarian at the Boston Public Library. She is a member ofREFORMA (The National Association to Promote Library Services to Latinos and the Spanish-speaking), American Library Association, and Association of Library Service to Children. She is the editor of Litwin Books/Library Juice Press series on Critical Race Studies and Multiculturalism in LIS. Sujei can also be found on Twitter, Letterboxd and Goodreads.

Celebrating Pura Belpré Winners: Spotlight on Rafael López

 

PuraBelpreAwardThe Pura Belpré Awards turns 20 this year! The milestone will be marked on Sunday, June 26, from 1:00-3:00 p.m. during the 2016 ALA Annual Conference in Orlando, FL. According to the award’s site, the celebration will feature speeches by the 2016 Pura Belpré award-winning authors and illustrators, book signings, light snacks, and entertainment. The event will also feature a silent auction of original artwork by Belpré award-winning illustrators, sales of the new commemorative book The Pura Belpré Award: Twenty Years of Outstanding Latino Children’s Literature, and a presentation by keynote speaker Carmen Agra Deedy.

hires-cover-fiesta  Drum Dream GirlLeading up to the event, we will be highlighting the winners of the narrative and illustration awards. Today’s spotlight is on Rafael López, the winner of the 2010 Pura Belpré Illustration Award for Book Fiesta! Celebrate Children’s Day/Book Day, Celebremos El dia de lo niños/El día de los libros, written by Pat Mora, and the 2016 Pura Belpré Illustration Award for Drum Dream Girl, written by Margarita Engle. We featured Drum Dream Girl in a book talk and in a special report about a library event.

Tito book  Cazuela  Celia

Rafael also received a Pura Belpré Illustration Honor three times: In 2014, for Tito Puente: Mambo King/Rey de Mambo, written by Monica Brown; in 2012, for The Cazuela that the Farm Maiden Stirred, written by Samantha R. Vamos; in 2006, for My Name is Celia/Me Llamo Celia: The Life of Celia Cruz/ La Vida de Celia Cruz, written by Monica Brown.

Book Fiesta!

Illustration Review by Lila Quintero Weaver

Book Fiesta! Celebrate Children’s Day/Book Day/ Celebremos El día de los niños/El Día de los libros, written by Pat Mora and illustrated by Rafael López, is a gem of a picture book that offers its wonders in two languages, English and Spanish.

Book Fiesta! exuberantly proclaims the joys of reading and introduces the concept of Día, an annual celebration of literature for children, founded by Pat Mora in 1996, and observed through special events by many libraries nationwide.

What Mexican painter, muralist, and illustrator Rafael López brings to a picture book must be seen and not just read about. His mastery as an illustrator extends to every aspect of the art: a strong concept, dynamic design, brilliant execution, and irresistible charm. It’s no wonder that the Pura Belpré committee recognized his work. Let’s take a closer look.

BookFiests_03

Used by permission from HarperCollins Children’s Books.

You don’t have to be an artist to appreciate López’s expert techniques, including his winning combination of hard-edged shapes and saturated colors, delivered through heavily textured paint and splashy accents, and supported by a golden undertone that unifies all of the spreads. In the pages above, a huge, friendly sun smiles down on the children, accompanied by a trotting elephant. Such charm!

BookFiests_06

Used by permission from HarperCollins Children’s Books.

López champions diversity in his illustrations. Here, a parade of children follows a Chinese dragon whose tail doubles as a banner, announcing Día to one and all. Note the diversity represented in the races of the children. One child pulls a wagon full of books bearing titles in English and Spanish.

BookFiests_08

Used by permission from HarperCollins Children’s Books.

Outside the library, even the stone lion looks pleased to take part in Día. The children relaxing on the marble beast are immersed in their books. In the background, a boy in a wheelchair eagerly makes his way to the library—another evidence of the illustrator’s awareness of diverse representation.

BookFiests_15

Used by permission from HarperCollins Children’s Books.

López amplifies Pat Mora’s words through many inventive means. Here, in a depiction of the glorious adventures made possible by reading, a hot-air balloon floats over a mountainous backdrop, complete with a smoking volcano. The pilot is a giraffe in old-fashioned aviator goggles. Elsewhere, books transport children by other means: on an airplane, a train, an automobile, a rowboat, on the back of an elephant, and even in a submarine. Simply put, stories hold the power to magically ferry readers to far-away places and imaginary lands. López brings this virtual travel to life through an enthralling variety of presentations and an engaging level of detail.

Fiesta_25

Used by permission from HarperCollins Children’s Books.

Reading in bed—what better way is there to top off a busy day? In a color-drenched scene, López presents two children indulging in this lovely pastime. One child, floating on a bed of clouds, has already fallen asleep, while the other is midway through a yawn. Her bed is supported by the curve of a crescent moon. López’s trademark brushwork fills the sky with vivid sunset hues that transition to the deep violet of late evening. It’s all grounded by rolling hills, painted in shades of teal, a color appropriate to the dying light. In the distance, the windows of buildings twinkle with warmly lit interiors, while cutout stars punctuate the heavens. Dreamy.

The richness of each spread in Book Fiesta! invites long looks and repeated views that reward readers with the new discoveries. Every page turn reveals a refreshing surprise, backgrounded by a palette that spans the rainbow. Thanks to Pat Mora’s wonderful vision and Rafael López’s dynamic illustrations, this picture book offers a perennial delight to readers of all ages.

Book Fiesta! Celebrate Children’s Day/Book Day; Celebremos el día de los niños/el día de lo libros. Text copyright ©2009 Pat Mora. Illustration copyright ©2009 Rafael López. Images used by permission of HarperCollins Children’s Books.

RafaelAbout the author:

Raised in Mexico City, Rafael López makes his home part of the year in San Miguel de Allende, Mexico, as well as in San Diego, California. He credits Mexican surrealism as a major artistic influence. Besides his Pura Belpré medals and honors, Rafael is also a double recipient of the Américas Award. For more about his work, including poster illustrations and a mural project in San Diego that is the subject of a new picture book, Maybe Something Beautiful, visit his official website.

TEACHING TIPS:

  • Lead children in an imagination exercise based on the reading spots depicted in Book Fiesta. What are some places that you can take a book to? What are some places that a book takes you to? Ask students to include real-life and imaginary destinations.
  •  Devise a book parade, featuring wagons loaded with books, masks or disguises based on favorite characters, and banners heralding Día, or another book-related holiday or theme.
  • Invite children to create illustrations based on López’s style. This can include painted backdrops and cutout figures, with an emphasis on strong shapes and bright colors.

Watch Rafael López’s thank you video for his most recent Pura Belpré medal, for Drum Dream Girl: