The book just released yesterday! HAPPY BOOK BIRTHDAY!
First, here is the publisher’s description of the book:
English, with its blustery blues and whites, just feels wrong to Isabel. She prefers the warm oranges and pinks of Spanish. As she prepares for class at a new school, she knows she’s going to have to learn–and she would rather not! Her first day is uncomfortable, until she discovers there’s more than one way to communicate with friends. This is a universal story about feeling new and making new friends.
Now, here’s some information on the creators:
Alexandra Peñaloza Alessandri is a Colombian American poet, children’s author, and Associate Professor of English at Broward College. She received her BA and MA degrees in English from Florida International University, as well as a Certificate of Fiction from UCLA Extension. Her poetry has appeared in The Acentos Review, Rio Grande Review, YARN, and Atlanta Review, where her poem “Inheritance” was a Finalist in the 2017 International Poetry Competition. She is the author of Feliz New Year, Ava Gabriela! (Albert Whitman, Oct. 2020) and Isabel and Her Colores Go to School (Sleeping Bear Press, Fall 2021).
Alexandra is represented by Deborah Warren of East West Literary Agency. When not writing or teaching, Alexandra spends her time daydreaming, relearning the piano, and planning the next great adventure with her family. She lives in Florida with her husband, son, and hairless pup, dreaming of Colombia.
Courtney Dawson is a children’s book illustrator of many titles including A Vote is a Powerful Thing (Albert Whitman) and The Stars Beckoned (Philomel). She is inspired by the world around her and all of the good in it. Courtney loves to work on projects that are empowering, inclusive, and whimsical. She also loves rainy days and painting to Sam Cooke in her California studio.
Now, here’s our Q&A with Alexandra:
1. What was your inspiration for this story?
Isabel and Her Colores Go to School was inspired by my own experience of starting kindergarten in New York. We only spoke Spanish at home, and when I started school, I spoke almost no English. My story was a little different—I literally got lost in the hallways of my school because I misunderstood the teacher—but I wanted to channel those feelings into Isabel’s story.
2. In the story, your character struggles with the first day of school and not knowing the language. What made you decide to incorporate colors, too? (I couldn’t help but think of the song De Colores while reading it.)
I hadn’t listened to “De Colores” since I was a kid! Thank you for this trip down memory lane.
Though I’m not an artist, I love color—the bolder and brighter the better—and I’m also fascinated by the different names for different shades (I love reading the names on paint chips!) When I started brainstorming for Isabel, I didn’t know I would incorporate color this way, but I knew Isabel was an artist, so I started asking myself, What would the different languages sound like to her? What would she associate them with? For her, Spanish would remind her of home, with the green of her mountains, pinks, yellows, and purples of her mami’s flowers, the brilliant blues of nearby rivers. And, because English is foreign—and scary—for her, she would associate it with storms. As I wrote and revised, I worked at strengthening this connection in both a literal and figurative manner.
3. The story has the Spanish translation right on the pages. Was that part of your original vision for this story, so that Spanish speakers could read and enjoy it, too?
I’ve always wanted to have my stories translated into Spanish, so my family and Spanish speakers could read and enjoy them. For Isabel, though, I wrote and submitted the story in English with Spanish sprinkled in, as it’s what’s most natural for me. It was my brilliant editor Sarah Rockett who suggested having the book as a both an English and Spanish edition. I celebrated! I didn’t realize just how much I yearned for this, and I’m incredibly excited to be able to share this story with English and Spanish speakers.
4. The artwork on the pages is beautiful. Did you have any input in the art process?
Courtney’s art is just so gorgeous! I love how she got the essence of who Isabel and the other characters are and how she captured the play of colors in the artwork. When I first saw her sketches, I knew the story was in great hands. I did get to see the art in a few parts of the process, like the cover sketches and interior pages, and I was invited to give feedback, which I appreciated. But most of my feedback was just me gushing about the illustrations—Courtney’s art just blew me away!
Please enjoy this interview with Jarod Roselló, the author and illustrator of the Red Panda & Moon Bear graphic novel series, and translator Eva Ibarzabal, who helped create the Spanish version, Panda Roja y Oso Lunar.
Romy Natalia Goldberg: First of all, congratulations on both versions of Red Panda & Moon Bear! It’s exciting to have another Latinx graphic novel to add to our shelves, especially one with a Spanish translation.
Jarod Roselló: Thank you! I’m so excited to have it in the world. I immediately sent a copy to my abuela!
The original English version, Red Panda & Moon Bear, was published in July 2019 and Panda Roja y Oso Lunar was published in July of 2020. What was the genesis of the Spanish translation? Was it in the works from the beginning or did the opportunity present itself further along in the process?
Jarod: It wasn’t an original plan, or at least not one that was shared with me at the time I was working on the book. Shortly after Red Panda & Moon Bear was released, IDW Publishing (Top Shelf’s parent company) announced a new Spanish-language initiative, and then I got an email from my editor that my book had been selected by IDW to be translated as part of the first wave of Spanish-language books.
Beforehand I said “original English version” but that begs the question – when you created these characters and wrote the original manuscript was it all in English in your head? Or were there some scenes or phrases that naturally popped into your head in Spanish first?
Jarod: English is my primary language, despite the fact I was raised in Miami by my Cuban family, and spoke Spanish with certain family members who didn’t speak English. We didn’t speak Spanish much in my house, with my siblings and parents, but still, there are certain words, expressions, and phrases that only exist in Spanish for us. I think it’s easy to explain that growing up bilingual or in a bilingual setting, means that you “switch” between languages. But when I use Spanish terms—in my books, or in real life with my own kids—it doesn’t necessarily feel like two separate languages. I wanted the English edition to feel that way as well, that when Spanish appeared it wasn’t a breach in the English, it’s just the way language developed and is used in these communities and families. That matched my own experience growing up and felt true for me.
I’m curious about the process for creating a translation. In addition to yourself, who else was involved?
Jarod: It started with my editor letting me know they were looking for a translator. We decided early on, that someone else would translate it, and that we would look for someone who was either Cuban, Cuban American, or spoke a more Caribbean Spanish, so the setting would hold.
Eva Ibarzabal: When they contacted me for the first time I had serious doubts. I had already translated fiction and biographies for young readers, but graphic novels were way beyond my comfort zone. The approach is completely different, you have space constraints and a unique style, but then I read the English version and fell in love with the characters and the story. I’m very happy with the outcome.
There are so many variations of Spanish out there. In Spanish translations, this is something that really comes through in figures of speech and exclamations. I learned some new ones reading Panda Roja y Oso Lunar, which I assume are specific to the Caribbean. Did everyone speak the same “type” of Spanish? If not were there particular scenes and word choices that generated debate?
Eva: Jarod and I have something in common, we are both Cuban-Americans. I lived in Miami for a short period of time before moving to Puerto Rico, and my family was very attached to their roots and ancestry. I guess that helped me capture the essence of the characters and their way of speaking. I just had to dust off some memories of my own childhood and the comics I used to read back then. Other than that, some sounds and the use of onomatopoeia are the most difficult to translate because in Spanish we tend to use lengthy descriptions instead.
Jarod: There were also some interesting conversations after we got Eva’s script, because we also had a Spanish-language editor working on it, and they had notes about some of the expressions and suggestions for changes. But sometimes, I’d never heard of the expression the editor wanted to use. In the end, my editor let me cast the tie-breaking vote on which one we would use.
This book feels different from other translations I’ve read. It’s clear you had a specific goal in mind.
Jarod: This stemmed from an early conversation with my editor that it shouldn’t just be a translated book, but that the Spanish edition should be a Spanish-language universe, and it should be read that way.
Eva: I think the best compliment a translator can receive is that their work does not read as a translation. You have to digest all the ideas and convey the meaning in the most natural way possible; the text should flow. In the case of a graphic novel, an additional challenge is to be concise, because Spanish tends to be more wordy. I was counting words and measuring spaces all the time to be sure the new text would fit and not take space from the illustrations. It’s definitely like a parallel universe, as Jarod says.
Jarod: And you did such a fabulous job with that, Eva. I loved how you were able to preserve the puns and references, and still capture the spirit and energy of the book.
It sounds like there were two different processes you had to go through – translating the copy and adjusting the content. Let’s talk about the copy first. For a panel where you had a basic sentence that needed to go from Spanish to English, what did you do? I assume it wasn’t as easy as just copying text from a Spanish script and plunking it into your text bubbles.
Jarod: As Eva mentioned, Spanish tends to be longer, not just in the construction of sentences, but individual words can be very long, which created some visual challenges fitting them into the existing word balloons.
One benefit to being both the letterer and the original artist was that I could adjust the word balloons to accommodate the Spanish, just how I write out the English first, then draw the word balloon around it. It’s not quite that simple, either, though, because the word balloons take up visual space in the panel. So, often, I had to redraw certain panels so that relevant imagery wasn’t being blocked or so the visual composition still looked the way I would want it to look.
I wanted to put the same care and attention to detail in the Spanish edition. And I also really love that the English and Spanish editions are not exactly the same: some drawings are new, some panels are modified, and even corrected a few tiny mistakes I found along the way!
Now let’s talk about what sounds like a much more complex process – altering content, both the text and actual images, that simply would not make sense if translated directly into Spanish.
Jarod: A good example of this was in chapter 7. The kids and the dogs head to the library. The kids are reading a picture book in Spanish and the dogs are curious because they don’t know Spanish. There’s a brief conversation about how the kids’ Spanish is a little rusty, and that they need to practice more. In the Spanish edition, though, it’s a Spanish-speaking world, so this conversation wouldn’t have made any sense, because the dogs are speaking Spanish.
So, I rewrote the opening pages to that chapter so that the characters are talking about how comics are real books, and reading comics counts as reading. I redrew a few of the panels as well and edited the others. And we sent that scene separately to Eva to be translated, and then we went back in and swapped pages to put it all together.
Eva: And I was glad of that decision because I already had a big question mark on that page! That’s the advantage of all the team working together and communicating all along. I think the solution was perfect.
Red Panda & Moon Bear: The Curse of The Evil Eye is slated for January 2022. Will there be a Spanish translation as well? Did the experience of translating the first book alter the way you’re writing and drawing the second installment at all?
Jarod: I don’t know if they’re planning a Spanish translation of The Curse of the Evil Eye, but I really hope so! The experience of relettering and sitting with my book in Spanish definitely affected how I approached book 2. The Spanish and Cuban roots of the setting are more visible, there’s a lot more Spanish, too. I feel like reading Eva’s translation taught me what this world looks like in Spanish, and even gave me a little confidence to use more of it. I feel like I can hear the character’s voices more clearly, and that’s helped me understand them and their world better.
Eva: From my point of view, it was a great learning experience which I really enjoyed. So I hope to be part of the team again if the decision to have a Spanish version is made. How about a simultaneous launching? That would be awesome!
Jarod Roselló is a Cuban American writer, cartoonist, and teacher. He is the author of the middle-grade graphic novel Red Panda & Moon Bear, a Chicago Public Library and New York Public Library 2019 best book for young readers, and a 2019 Nerdy Award winner for graphic novels. Jarod holds an MFA in Creative Writing and a PhD in Curriculum & Instruction, both from The Pennsylvania State University. Originally from Miami, he now lives in Tampa, Florida, with his wife, kids, and dogs, and teaches in the creative writing program at the University of South Florida. You can reach him at http://www.jarodrosello.com and @jarodrosello (Twitter & Instagram)
Eva Ibarzabal is a Cuban-Puerto Rican translator, writer and media and language consultant. After completing a BA in Modern Languages and a MA in Translation, Eva worked in print media and television for 20 years, winning multiple accolades for the production of Special News Programs. A few years ago, her love for Literature made her switch to Literary Translation. Her works include biographies, fiction and children books. Her English to Spanish Translation of El mundo adorado de Sonia Sotomayor won the International Latino Book Award in 2020.
ABOUT THE INTERVIEWER:Romy Natalia Goldberg is a Paraguayan-American travel and kid lit author with a love for stories about culture and communication. Her guidebook to Paraguay, Other Places Travel Guide to Paraguay, was published in 2012 and 2017 and led to work with “Anthony Bourdain: Parts Unknown,” and The Guardian. She is an active SCBWI member and co-runs Kidlit Latinx, a Facebook support group for Latinx children’s book authors and illustrators.
From a very early age, young Selena knew how to connect with people and bring them together with music. Sing with Mefollows Selena’s rise to stardom, from front-lining her family’s band at rodeos and quinceañeras to performing in front of tens of thousands at the Houston Astrodome. Young readers will be empowered by Selena’s dedication–learning Spanish as a teenager, designing her own clothes, and traveling around the country with her family–sharing her pride in her Mexican-American roots and her love of music and fashion with the world.
First, here is some information about the creators:
About the author: Diana López is the author of several middle grade novels including CONFETTI GIRL, ASK MY MOOD RING HOW I FEEL, and LUCKY LUNA. She was born and raised in Corpus Christi, Texas, Selena’s hometown. SING WITH ME, THE STORY OF SELENA QUINTANILLA is her debut picture book.
About the illustrator: Teresa Martínez is the illustrator of numerous books for children, including The Halloween Tree and It’s Not a Bed, It’s a Time Machine. She lives in Puerto Vallarta, Mexico, but was born and raised in Monterrey, where Selena frequently visited, becoming part of its culture and its heart. Martínez remains a huge fan of Selena’s music.
Now, some insight about the book from the creators:
From the author, Diana López: I’m so excited to share the cover of my upcoming picture book biography, SING WITH ME, THE STORY OF SELENA QUINTANILLA. I live in Corpus Christi, Selena’s hometown, so I often see illustrations or photographs of her at restaurants or on T-shirts. There’s a Selena mural in her old neighborhood and a memorial, the Mirador de la Flor, which features a statue of Selena gazing at the sea. It also has a giant, white rose, Selena’s favorite flower. I love that illustrator, Teresa Martínez, chose Selena’s most famous concert for the cover of our picture book, but a special treat are the roses lovingly tossed to Selena in gratitude for her music.
Here’s what Teresa Martínez said when asked about her inspiration for the cover: “When I think about Selena, I go back immediately to my Quinceañera party and see my friends singing out loud on the mic Selena’s songs. That passion and energy in her songs. Without a doubt, I had a lot of inspiration with her music, wardrobe, and the feeling of happiness that youth brings. For her book, I opted for a vibrant color palette that was so in use those days, and of course, I couldn’t leave behind the purple color associated with the fantastic outfit Selena wore at the Astrodome, so purple takes an important part in the cover. For this project overall, I wanted the reader to feel involved in her presence through the colors and little details throughout the book.”
As someone who primarily writes middle grade novels, I’m used to “painting” people and places with words. That’s why early drafts of this picture book were a bit wordy. I had to keep reminding myself that a picture book is a collaboration between a writer and an illustrator, and I couldn’t have asked for a better co-creator. When Nancy Mercado, our editor at Dial Books for Young Readers, first shared Teresa Martínez’s portfolio, I could not stop smiling. Her art has color, movement, and whimsy, and I’m so pleased to see these traits on every page in our book, but most especially on the cover, which does a wonderful job of capturing Selena’s beautiful spirit. I can’t wait to share SING WITH ME, THE STORY OF SELENA QUINTANILLA—its art, its story, its joy.
DESCRIPTION OF THE BOOK: As a girl in Mexico City and a boy in New York City ponder moving to each other’s locale, it becomes clear that the two cities — and the two children — are more alike than they might think.
But I’m not sure I want to leave my home. I’m going to miss so much.
Moving to a new city can be exciting. But what if your new home isn’t anything like your old home? Will you make friends? What will you eat? Where will you play? In a cleverly combined voice — accompanied by wonderfully detailed illustrations depicting parallel urban scenes — a young boy conveys his fears about moving from New York City to Mexico City while, at the same time, a young girl expresses trepidation about leaving Mexico City to move to New York City. Tania de Regil offers a heartwarming story that reminds us that home may be found wherever life leads. Fascinating details about each city are featured at the end.
MY TWO CENTS: A New Home/ Un Nuevo Hogar is a friendly comparison of what home means for two, young characters. More importantly, it showcases the intricacies of each character’s home and the memories that make each city special. Each page has bold visuals that highlight each piece of home and what makes it unique to each child. One child lives with his family in New York City, while another child lives with her family in Mexico City. Now, the twist comes in when both of these children will be moving to a new home, which happens to be the location where the other child is currently living. So, think of it as a home location swap! While the text is simple, the reader deeply connects to each child’s life in the city, like their versions of food, concerts, museums, and sports events. The illustrations also hold details that are representative of landmarks from each city. More importantly, each set of pages illustrate what the child will miss the most from their home. The text is available in English and Spanish.
Overall, an addition that represents diverse cities and what makes each one a home. I highly recommend it as a read aloud, or as a part of a community and/or identity unit. At the end of the picture book, the author has also included information on each city’s landmark that is represented in the story. Great for more in-depth research and learning about what makes each major city memorable! Students can also create their own text while using this text as a writing mentor text. In the end, the reader embraces that our homes go beyond the physical location of where we live. Home is the history, the music, the people; in other words, it is everything around us.
TEACHING TIPS: Many of these teaching moments can be implemented in a grades K-5 setting, with a focus on the primary grades.
Researching beyond the text
Illustrations leave ample room for readers to engage in looking for cultural artifacts, like landmarks, clothing, and traditions from each major city
Students can research these landmarks and why it is so important to the city and culture.
Comparing and Contrasting focus
Compare and contrast major cities like New York City and Mexico City
Students can research more about each major city and compare it to their current location.
Students can compare major cities or locations, especially if they have experienced a move
Creating their own book, report, piece of art
Students can create their own book or report on what they love about their home, city, region, and/or country. Students can then present or create written or artistic pieces that showcases all of our homes, and what we will miss if you were to move.
CHECK OUT THE BOOK TRAILERS:
ABOUT THE AUTHOR-ILLUSTRATOR: Tania de Regil studied fashion design at Parsons School of Design in New York City before moving back to her native Mexico City, where she finished her degree. A New Home is her U.S. publishing debut. She lives in Mexico City with her filmmaker husband and travels to the United States frequently.
Her art encompasses a diverse set of media like watercolor, gouache, color pencils, wax pastels, and ink. Both of her debut picture books are published by Candlewick Press. Check out her author page here!
For more information about Tania de Regil, click HEREfor a short Q&A that is a part of our Spotlight on Latina Illustrators series.
ABOUT THE REVIEWER:Dora M. Guzmán is a bilingual reading specialist for grades K-5 and also teaches undergraduate and graduate courses in Children’s Literature and Teaching Beginning Literacy. She is also a current doctoral student in NLU’s EDD Teaching and Learning Program with an emphasis on Reading, Language, and Literacy. When she is not sharing her love of reading with her students, you can find her in the nearest library, bookstore, or online, finding more great reads to add to her never-ending “to read” pile!