Celebrating the Legacy of Judith Ortiz Cofer + A Giveaway!

 

By Toni Margarita Plummer

Judith Ortiz Cofer was born in Hormigueros, Puerto Rico, raised in Paterson, New Jersey, and for twenty-six years taught English and Creative Writing at the University of Georgia. She was a prolific author of fiction, nonfiction, and poetry, and she won distinctions in all these genres. The first Latino to win an O. Henry Prize, her other honors included a PEN/Martha Albrand Special Citation for Nonfiction, an essay published in Best American Essays, and an induction into the Georgia Writers Hall of Fame. She also was a celebrated author of children’s literature. Ortiz Cofer was the first author to win the Pura Belpré Award for her first young adult book An Island Like You: Stories of the Barrio. On December 30, 2016, she passed away at the young age of 64, due to cancer.

Latinxs in Kid Lit wishes to celebrate Judith Ortiz Cofer’s life and work by dedicating this week to her. Each day you will find a review of one of her books: the young adult novels Call Me María, If I Could Fly, and The Meaning of Consuelo and the picture book A Bailar/Let’s Dance. We will also host a giveaway of the books reviewed this week, so be sure to enter for a chance to win. We hope highlighting a few of Ortiz Cofer’s many books will lead you to discover or rediscover her writing, which holds a special place in Latino literature.

        

Given last year’s Hurricane María and the ongoing hardships in Puerto Rico, it is perhaps a good time to revisit the fraught relationship between Puerto Rico and the U.S. mainland, in particular, how this has affected Puerto Rican families. This is a recurrent theme in Ortiz Cofer’s work. In her stories, the tension between the two places manifests itself in the parents. The mother is loyal to the island. The father feels more at home in New York or New Jersey, or longs to go there because he imagines it offers a superior life. This plays a major factor in why the parents separate. The daughter, the main character, is independent, smart, and creative. She must grow up quickly and often has to take care of her parents. But she still manages to be true to herself and to ultimately follow her dreams. I found all of Ortiz Cofer’s books brimming with a love of language and reading, and a rich appreciation for Puerto Rican culture, especially its music.

TheLatinoAuthor.com interviewed Ortiz Cofer back in 2015 and asked how she would like to be remembered. This question was a general one and not in reference to her cancer. But I was still very interested to read her response: “I haven’t given much thought to how I want to be remembered. But perhaps it would be enough if someone remembered me by one thing they’ve read: ‘Wasn’t she the one who wrote . . .?'”

For Judith Ortiz Cofer, I think we can do better than that. See you here tomorrow!

 

judith ortiz cofer

 

 

toni margarita plummerToni Margarita Plummer is a Macondo Fellow, a winner of the Miguel Mármol Prize, and the author of the story collection The Bolero of Andi Rowe. She hails from South El Monte, a working-class suburb of Los Angeles, and worked as an acquiring editor at a major publisher for more than ten years. Toni now freelance edits and lives in the Hudson Valley with her family. Visit her website at ToniMargaritaPlummer.Wordpress.com.

 

We will be giving away a copy of each of the Judith Ortiz Cofer books reviewed here this week to one lucky winner! The titles are: Call Me María, If I Could Fly, and The Meaning of Consuelo and the picture book A Bailar/Let’s Dance.

ENTER HERE TO WIN FOUR JUDITH ORTIZ COFER BOOKS!

November & December 2017 Latinx Book Deals

 

By Cecilia Cackley

This is a monthly series keeping track of the book deals announced by Latinx writers and illustrators. The purpose of this series is to celebrate book deals by authors and illustrators in our community and to advocate for more of them. If you are an agent and you have a Latinx client who just announced a deal, you can let me know on Twitter, @citymousedc. If you are a Latinx author or illustrator writing for children or young adults, and you just got a book deal, send me a message and we will celebrate with you! Here’s to many more wonderful books in the years to come.

November 30:

None.

November 28:

None.

November 21:

None.

November 16:

Claribel Ortega’s debut, based on Dominican folklore, in which a 12-year-old girl must save the ghosts of her lost loved ones, living as fireflies, with the help of her best friend and her witch grandmother before evil spirits haunting St. Augustine destroy them and the only home she’s ever known to Jeffery West at Scholastic, for publication in 2019. Author agent: Suzie Townsend at New Leaf Literary and Media.

November 14:

None.

November 9:

None.

November 7:

None.

November 2:

Jill Santopolo and Beverly Horowitz at Penguin Random House’s Philomel and Delacorte imprints have acquired three books for young readers by U.S. Supreme Court Justice Sonia Sotomayor. Philomel will publish the picture book autobiography Turning Pages: My Life Story, illustrated by Lulu Delacre, in which Justice Sotomayor follows the path of her life as it relates to the books she read along the way. Delacorte will publish The Beloved World of Sonia Sotomayor, a middle grade adaptation of her bestselling memoir, My Beloved World. Both books will be released in fall 2018; a second picture book about childhood differences will follow from Philomel in 2019, illustrated by Rafael Lopez. Both Philomel and Delacorte editions will also be published in Spanish, with the picture books releasing simultaneously with the English editions, and the middle-grade title releasing in 2019. Agent: Amy Bernstein and Peter Bernstein of Bernstein Literary Agency.

 

Beverly Horowitz at Delacorte has bought The Go-Between and Make It Messy co-author Veronica Chambers‘s new YA novel, in which she takes on issues of colorism. Living in a Latino–African-American community, a teenage girl follows a hard-fought path in search of self-awareness and self-acceptance. Publication is set for 2019. Author Agent: Kim Witherspoon at Inkwell Management.

 

December 19:

Tracy Mack at Scholastic Press has bought world rights to Charlotte Agell‘s (l.) picture book Maybe Tomorrow, about two friends who navigate friendship, loss, and healing. Pixar artist Ana Ramirez will illustrate; publication is planned for 2019.

December 14:

Namrata Tripathi at Dial has acquired North American rights, at auction, to William C. Morris Award-winning author Isabel Quintero‘s picture book, My Papi Has a Motorcycle, a father-daughter story of a father’s love portrayed through an evening motorcycle ride through the neighborhood. Zeke Peña will illustrate; publication is planned for late 2019. Agent: Peter Steinberg at Foundry Literary + Media.

December 12:

Nick Thomas at Scholastic/Levine has acquired Aida Salazar‘s debut novel, The Moon Within. The free verse middle grade novel tells the story of 11-year-old Cely, whose life swirls with questions about her changing body, her first attraction to a boy, her best friend’s exploration of what it means to be genderfluid, and her mother’s insistence she have a Chicana moon ceremony for her first menses. Publication is slated for spring 2019. Author agent: Marietta B. Zacker of the Gallt and Zacker Literary Agency.

December 7:

Clarissa Wong at HarperCollins has bought, at auction, world rights to Yamile Saied Méndez‘s (l.) Where Are You From?, illustrated by Jaime Kim, in which a girl who is asked where she’s really from turns to her abuelo for the answer. Publication is scheduled for summer 2019, with a second book to follow. Author agent:  Linda Camacho at Gallt and Zacker Literary . Illustrator agent: Claire Easton at Painted Words.

The Day You Begin by Jacqueline Woodson and illustrated by Rafael López will be published in August 2018 by Nancy Paulsen Books-Penguin. Agent: Adriana Domínguez and Stephanie von Borstel of Full Circle Literary represented Rafael López.

December 5:

None.

Guest Post by Author Diana Rodriguez Wallach: How I Broke Out of My Latina YA Box

 

By Diana Rodriguez Wallach

The main character of my new young adult spy thriller series, Anastasia Phoenix, is not Latina. Given how few books feature Latinx characters, you might not find this very surprising. But when your maiden name is Rodriguez and you’ve previously written a YA Latina trilogy, this fact is a little shocking to the publishing world.

.                                  

The first book in the series, Proof of Lies, went through a lot of rejections before it made it into print. At first, I stumbled into the wrong market—I was pitching a spy thriller when YA imprints were buying vampires, then werewolves, then dystopian. Eventually the publishing pendulum swung back toward contemporary, but I encountered a different issue. “I’m surprised the main character isn’t Latina,” was a common comment from editors who passed on the manuscript.

At one point, a prior agent who represented the novel suggested I consider the switch. Just make Anastasia Puerto Rican, Dominican, Mexican, anything. But that wasn’t the story I wanted to tell. While this book went through many, many significant edits during the years it took to find the right publishing house, Anastasia’s ethnicity remained the same. Frankly put, I couldn’t see her parents as Puerto Rican spies. Proof of Lies is set in Italy; the second book, Lies that Bind (March 2018), is set in England, France, and Brazil. The entire concept was to set each book in a different country, primarily European. I was aiming for a James Bond or Jason Bourne feel, only with a female in the lead.

I didn’t realize I was breaking a cardinal rule of marketing.

In 2008, I published my first YA trilogy, Amor and Summer Secrets. It’s a YA Latina romance, and it was the third novel my agent tried to sell on my behalf. My first two manuscripts, which are still unpublished, featured white teenagers in coming-of-age tales. After those failed attempts, my agent suggested I write a multicultural story, so I did. Mariana Ruiz is a non-Spanish-speaking half-Puerto Rican teen growing up in the Philly suburbs who feels disconnected to her Latina heritage, until she’s forced to spend the summer on the island. The book sold in two days.

Unbeknownst to me, that book put me in a box. Like any other author, my publisher’s sales and marketing team had to determine where to place my book and exactly which reader I should reach. For me, I wasn’t simply put in the YA Box, but the YA Latina Box. So when I followed up that series, which placed in the International Latino Book Awards, with a novel featuring a white girl with a double-black belt in karate and no mention of ethnic identity other than “American teenager,” I unwittingly broke their marketing rules.

I’m not the first author to face this; it’s why many writers choose pen names when switching genres (whether it be a YA author writing adult romance, or a thriller writer penning a literary tome). Like them, my prior agent asked if I’d consider a pseudonym, but I refused. It wasn’t for any political statement, but for the most honest reason of all—I worked really hard on this book for years, and I was going to see my name on it when it published. Even if that name was Rodriguez. Even if that name gave readers the wrong impression of what was inside.

Because ultimately, my last name doesn’t comprise the entirety of who I am. Yes, my father was born and raised in Puerto Rico, but my mother is Polish and she grew up in a Polish-speaking household, and went to a Polish-speaking church and Catholic school. I attended Christmas mass in Polish every year growing up, and my mom cooked pierogi and kielbasa right alongside Spanish rice and plantains on Christmas Eve. I’m positive a lot of teens have similar experiences, whether they be Latinx and Irish, Indian and African American, or Filipino and Jewish.

So Anastasia Phoenix is not my big fat Latina book. While there is some Spanish dialog in it—because her love interest, Marcus, is from Madrid—I stuck to my vision and kept the mystery at the center of the plot rather than her ethnicity. That’s not to say I won’t write another Latina novel. In fact, I’m working on a contemporary YA right now that will feature a multicultural character. But I hope to follow it up with another YA thriller about a female ghost hunter whose ethnic background may never be mentioned. If I’m lucky, I will publish them all under my real name, and I hope my readers will follow along. Whatever ethnicity they may be.

AuthorHeadshot_2015ABOUT THE AUTHOR (from her website): Diana Rodriguez Wallach is the author of the Anastasia Phoenix Series, three young adult spy thrillers (Entangled Publishing). The first book in the trilogy, Proof of Lies, was named by Paste Magazine as one of the “Top 10 Best Young Adult Books for March 2017.” Bustle also listed her as one of the “Top Nine Latinx Authors to Read for Women’s History Month 2017.” Additionally, she is the author of three award-winning young adult novels: Amor and Summer Secrets, Amigas and School Scandals, and Adios to All The Drama (Kensington Books); as well as a YA short-story collection based on the Narcissus myth, entitled Mirror, Mirror (Buzz Books, 2013).

In 2011, she published a highly regarded essay in Dear Bully: 70 Authors Tell Their Stories (HarperCollins). It was the only essay chosen from the anthology by Scholastic to be used in its classroom materials. Diana is featured in the anthology, Latina Authors and Their Muses (Twilight Times Books, 2015), and she is currently on staff as a featured blogger for Quirk Books.

In 2010, Diana was named one of the Top Ten New Latino Authors to Watch by LatinoStories.com, and she placed second in the International Latino Book Awards. She is an advisory board member for the Philly Spells Writing Center, and is a Creative Writing instructor for Johns Hopkins University’s Center for Talented Youth. She holds a B.S. in Journalism from Boston University, and currently lives in Philadelphia. For more about Diana, check out The Whole Story.

A Conversation with YA Author Francisco X. Stork

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

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

 

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

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

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

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

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

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

  

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

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

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

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

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

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

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

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

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

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

“One Thing Leads to Another,” YALSA 

An audio chat on Publishers Weekly KidCast

 

 

An Interview with Author Anna-Marie McLemore about Wild Beauty

 

By Cecilia Cackley

Anna-Marie McLemore‘s lush, sensory YA fiction has been a finalist for the William C. Morris Award and won a Stonewall Honor from the American Library Association. Her new book Wild Beauty (releases tomorrow!) takes place in a magical, predatory garden tended by the women of the Nomeolvides family, so it seemed fitting to have our interview about the book take place in a garden. I met up with McLemore at the National Botanic Garden in Washington, D.C. to look at the various themed rooms (tropical, desert, poisonous plants etc.) and discuss the plants, characters, and world of Wild Beauty. Here is our conversation, edited for clarity.

Anna-Marie McLemore

Q: Can you talk a little about your inspiration for the character Fel and his story?

Anna-Marie McLemore: Without giving too much away, I’ll say this: I started with his history, where he comes from, his family. And the fact that we sometimes don’t hear the stories of what happens when the farms fail, when the harvest dies, what you do when you’re trying to take care of your loved ones. So that’s one side of it. Another is that there’s a brutal history of child immigrants doing dangerous jobs, jobs that are already dangerous if you’re a grown man, and either the people doing the hiring don’t care or they look the other way. But amid that kind of brutality, there’s also family; I wanted to write characters who were looking out for each other even in a place that doesn’t really want them.

Q: It’s a feature of stories categorized as magical realism that the characters accept magic as simply part of regular life. In what way do the characters in Wild Beauty, both from the family that lives in La Pradera and the surrounding town accept magic as part of their world?

AMM: The way the Nomeolvides women tend these gardens, the ways that they and their loves are cursed, that’s accepted as part of the lore of this town. But this book is also about what you get made into by rumor; there’s so much talk about these women, everybody else trying to decide what the truth of them is. In response to all that, the Nomeolvides women become their own community. They make their own space. And I think that’s threatening to many watching them from the outside. But it’s how the women push back against the way people see them as a sideshow attraction, how visitors expect them to perform, to entertain.

Q: And we see that a lot in the real world.

AMM: We do.

Anna-Marie and Cecilia at a poisonous plants exhibit at the National Botanic Garden in Washington, D.C.

Q: That people who are from marginalized populations—that happens to them more, that if you are not the majority you’re accepted but only in as much as you provide entertainment or only in as much as you can be exploited.

AMM: Exactly, you have a role that you’re expected to play.

Q: How did you choose the flower names for each of the girls?

AMM:  I chose the flowers based on how I pictured these women. Maybe it would have been easier to go for the flower names first and then build the character but I started the other way around. I imagined each girl and then thought, “What is her flower? What is she growing?”

Q: Does the family ever repeat flower names?

AMM: They probably can have the same flower as a relative, but I think, unfortunately, things go so badly for so many of these women that they’re reluctant to repeat names. In this family, repeating a name is, in a sense, to pass on that woman’s legacy.

Q: La Pradera, the magical garden setting is so vivid and distinct. If it had a soundtrack, what sort of music would be on it?

AMM: Because the women living on La Pradera are so different, the gardens’ soundtrack would cover a range—some Lila Downs, Iron & Wine, Poe, Madi Diaz, Wailin Jennys, and some contemporary classical like Einaudi.

Q: If you had a flower name like the characters in this book, which would you choose?

AMM: I love the name Rosa, but in a family of women who grow flowers, I’m not sure I’d want the pressure of being the one who grows roses! I also love lilacs, so I might choose Lila. Then again, after our trip through the dangerous plants exhibit, maybe something like Belladona…

Q: What kind of flower books did you use in your research? Are there books that you would recommend (fiction or non-fiction) to readers who also love flowers?

AMM: Though La Pradera is very much fictional, I based the botany of the estate on a botanical garden in western Canada, so my go-to books were twin volumes called Annuals of British Columbia and Perennials of British Columbia. Both were invaluable references. To readers who love flowers, I recommend checking out a book about the botany of where you live. If you live in a place that has drought, you can learn which plants survive, which are drought-resistant. If you live somewhere with heavy rain, you learn which plants anchor into hillsides so they’re not washed away. Having that kind of interaction with your own landscape, learning the incredible things that are happening under the ground, there’s magic in that.

Q: I know you’ve talked about how you love to visit botanical gardens, which inspired La Pradera. Which gardens would you recommend people try and visit?

AMM: Butchart Gardens in Victoria, British Columbia was a huge inspiration, both in its scope and its beautiful detail. Huntington Library in Los Angeles, in addition to being a museum of books and paintings, has spectacular gardens based on different landscapes. For something closer to home, I recommend local parks, which often have gardens ranging from small and meticulous to wide and sprawling. And the grounds around capitol buildings. The capitol in California, for instance, I think has one of every tree that grows in the state.

I also really like this one [National Botanic Garden in DC] because it’s part garden and part museum; the plants are carefully labeled and there’s so much information posted. And I loved getting to meet up with you here! Thanks for taking me through the orchids and desert gardens and all the gorgeous plants here!

ABOUT THE AUTHOR: Anna-Marie McLemore was born in the foothills of the San Gabriel Mountains and grew up in a Mexican-American family. She attended University of Southern California on a Trustee Scholarship. A Lambda Literary Fellow, she has had work featured by the Huntington-USC Institute on California and the West, CRATE Literary Magazine’s cratelitCamera Obscura’s Bridge the Gap Series, and The Portland Review. She is the author of The Weight of Featherswhich was a Morris Award finalist, When the Moon was Oursa 2017 Stonewall Honor book, and Wild Beauty, which has earned starred reviews from Kirkus, Booklist, and School Library Journal.

 

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.

Spotlight on Middle Grade Authors Part 2: Celia C. Pérez

 

By Cindy L. Rodriguez

This is the second in an occasional series about middle grade Latinx authors. We decided to shine a spotlight on middle grade writers and their novels because, often, they are “stuck in the middle”–sandwiched between and overlooked for picture books and young adult novels. The middle grades are a crucial time in child development socially, emotionally, and academically. The books that speak to these young readers tend to have lots of heart and great voices that capture all that is awkward and brilliant about that time.

Today, we highlight Celia C. Pérez.

Inspired by punk and her love of writing, Celia C. Pérez has been making zines for longer than some of you have been alive. Her favorite zine supplies are her long-arm stapler, glue sticks, animal clip art (to which she likes adding speech bubbles), and watercolor pencils. She still listens to punk music, and she’ll never stop picking cilantro out of her food at restaurants. Her zines and writing have been featured in The Horn Book MagazineLatinaEl AndarVenus Zine, and NPR’s Talk of the Nation and Along for the Ride. Celia is the daughter of a Mexican mother and a Cuban father. Originally from Miami, Florida, she now lives in Chicago with her family and works as a community college librarian. She owns two sets of worry dolls because you can never have too many. The First Rule of Punk is her first book for young readers.

Celia C. Pérez

Q. Who or what inspired you to become a writer?

A. I’ve loved writing for as long as I can remember. I think for me it just went hand in hand with being a reader. The earliest memory I have of writing something and realizing writing might be something I was good at was when I was in the third grade. All the third graders had to write an essay about what our school meant to us. One essay would be picked and that student would get to read it at our graduation. Mine was chosen. I don’t have the essay anymore and it’s been so long that I can’t remember what Comstock meant to me, but I do remember that it was the first time I felt like perhaps my writing held some power. And as someone who grew up a quiet, shy child of immigrant parents, it really was that sense of power it gave me that kept me writing throughout my life.

Q. Why do you choose to write middle grade novels?

A. I love middle grade books above all others! My fondest memories of my life as a reader start in the later years of elementary school so I have a soft spot for middle grade. I think that age range that middle grade covers (eight or nine to twelve) is such a vibrant and varied period of life. It’s this time of life when kids are teetering between childhood and adolescence and all the contrasts and clashing emotions that are part of those stages. They’re often still full of wonder and curiosity and innocence but also full of difficult questions and realizations about the world around them that aren’t always pleasant. There’s just so much to discover and explore there.

Q. What are some of your favorite middle grade novels?

A. I love the Pacy Lin books by Grace Lin (Year of the RatYear of the Dog, and Dumpling Days); When You Reach Me by Rebecca Stead; Enchanted Air by Margarita Engle; Ninth Ward by Jewell Parker Rhodes. Oldies that are dear to my heart are Jennifer, Hecate, Macbeth, William McKinley, and Me, Elizabeth by E.L. Konigsburg. I love Harriet the Spy by Louise Fitzhugh (and will always associate dumbwaiters and egg creams with her), but I remember especially enjoying Nobody’s Family Is Going to Change. Although, to be honest, I feel like that’s a book I would probably have to reread because she’s a white woman writing an African American family. I also have a soft spot for my earliest favorites like Witch’s Sister by Phyllis Reynolds Naylor, The Witch of Blackbird Pond by Elizabeth George Speare, and the Anastasia Krupnik books by Lois Lowry. I’m always afraid I’m leaving something out, and I likely am.

Q. If you could give your middle-grade self some advice, what would it be?

A. Oh, boy. I have a lot of advice for my middle grade self but let’s start with these:

Keep everything you write even if you think it’s terrible. You’ll be happy you did.

Your voice is worth listening to. Don’t be afraid to express yourself.

You’re a good athlete. Stop reading during P.E. and play!

Q. Please finish this sentence: “Middle grade novels are important because…”

A. Middle grade novels are important because more than any other type of book I believe they give young readers the keys to discovering their place in the world.

 

Come back on Thursday to see our review of THE FIRST RULE OF PUNK!

 

photo by Saryna A. JonesCindy L. Rodriguez was a newspaper reporter for The Hartford Courant and researcher at The Boston Globe before becoming a public school teacher. She is now a reading specialist at a Connecticut middle school. Cindy is a U.S.-born Latina of Puerto Rican and Brazilian descent. She has degrees from UConn and CCSU. Her debut contemporary YA novel, When Reason Breaks, released with Bloomsbury Children’s Books (2015). She will have an essay in Life Inside My Mind, which releases 4/10/2018 with Simon Pulse. She can also be found on FacebookTwitter, and Goodreads.