Book Review: My Papi Has a Motorcycle by Isabel Quintero, illus by Zeke Peña

 

Review by Emily R. Aguiló-Pérez

DESCRIPTION OF THE BOOK: When Daisy Ramona zooms around her neighborhood with Papi on his motorcycle, she sees the people and places she’s always known: the tortillería!, Abuelita’s church!, Franky, the barking Labradoodle! She also sees a community that is changing around her. But as Daisy and her papi reach the homestretch, the purple, blue, and gold sky glowing behind them, she knows that some things, like the love from her papi and family, will never change. With vivid illustrations and text bursting with heart, My Papi Has a Motorcycle is a young girl’s love letter to her hardworking dad and to the feeling of home we always carry with us.

The book is also available in Spanish as Mi papi tiene una moto.

MY TWO CENTS: Through this book, Quintero writes a love letter to her father “who showed [her] different ways of experiencing home” and a love letter to Corona, California, “a city that will always be a part of [her]” (Author’s note). The book begins with Daisy reading a book as she waits for her father to come home and take her on a ride around the city on his motorcycle. A wonderful feast to the eyes on this first page is the intertextuality that illustrator Zeke Peña provides: the book Daisy is reading is Lowriders to the Center of the Earth (written by Cathy Camper and illustrated by Raul the Third). It is a small, yet delightful, nod for readers who are familiar with the book series.

As the duo sets off on their journey, they pass many sights that are staples of Daisy’s city. There’s her Abuela’s church, Joy’s Market – where Mami buys Daisy’s gummy bears –, Rocket Repair, and Don Rudy’s Raspados – Daisy’s favorite place for shaved ice, which seems to have closed down. This is a point of concern for Daisy, who notices how disappointed her father is and affirms that she will not be the only one who misses the place. It comes as a happy surprise for her, then, when at the end of her journey that evening Don Rudy comes by with shaved ice, now in a small and portable cart.

Not only does the reader go on a tour of these places that Daisy enjoys, but we also get a glimpse into her life, her family’s life, her neighborhood, and some of the important history about the city. Passing by the murals painted around, Daisy explains their importance: “We roar past murals that tell our history – of citrus groves and immigrants who worked them, and of the famous road race that took place on Grand Boulevard a hundred years ago.”

As they race their way through Grand Boulevard, Daisy imagines being part of the races, the crowd cheering her on. The way Quintero weaves some of the history with Daisy’s daily life and imagination is brilliant, as readers are able to see the city through her eyes – lovingly and full of admiration – and at the same time they learn some of its history, as Daisy learns it, too.

In her author’s note, Quintero explains how the story was inspired by her own childhood in Corona, California. Through her words and Peña’s illustrations, she wanted to honor the immigrant workers, like her grandfather, who did the majority of the hard labor that helped establish the city, and a lot of the U.S. She explains that while the murals [Zeke Peña] created were imagined, the history they depicted was real.” These details, such as the city holding the road race on what is now known as Grand Boulevard, or the fact that Corona was known as the “Lemon Capital of the World” because of all the citrus that was cultivated there, were all present in the journey Daisy takes the reader.

There is so much heart in this book! It is clear how much Daisy loves and admires her papi, whose voice – she says – touches everything, even when everything around them is noisy. It doesn’t matter what else is going on, her father is central in her life. She admires his work as a carpenter, a job that he has had since he first arrived to the country, showing the reader not only his hard work, but how much she appreciates him for spending this sacred time with her even when he comes home really tired.

The language is very literary and the descriptions are vivid. One of my favorite combinations of vivid descriptions in the text and detailed imagery in the illustrations comes from a spread where Daisy describes how she and her dad take off on the motorcycle. She says the shiny blue metal up the motorcycle glows in the sun, making the sky blue and purple and gold. This rich imagery is further enhanced by Peña’s mix of colors and his placement of the duo at the center of a pool of gold, as if they were riding right into the sun. Peña’s use of comics elements like speech bubbles or onomatopoeic graphics like “VROOOOOOOM” when the motorcycle is revving up are a perfect fit for Quintero’s words.

Daisy and her papi’s motorcycle ride around the city is more than just a ride; it is really her life. And no matter how far she goes from the city or how many changes it undergoes, it will always be a part of her. This really shows how important this place is for her and how much of her identity is tied to it. Quintero closes the narrative with Daisy enjoying her shaved ice, sitting with her papi. Lovingly, Daisy thinks about her town and “all the changes it’s been through,” and finds comfort in knowing that in her little house with her family “there are things that will always stay the same.” “Mañana we fly again,” her dad assures her.

TEACHING TIPS: This book makes for a wonderful read aloud for all ages. It would be a strong mentor text for writing, and teachers could focus on:

  • The use of vivid descriptions
  • The importance of setting(s) in a story
  • Characterization

In addition, the book’s detailed illustrations can be great for teaching or developing visual literacy, asking students to explore how the illustrations support the text.

For older readers, the questions Quintero poses in her author’s note can be used for teaching this book. Who are the people who build our cities and form our communities? Who are the people who get streets named after them, and who are the people who lay the asphalt? These could become the basis of individual or collective research projects for students to learn more about their communities.

IsabelQABOUT THE AUTHOR: (from the dust jacket) Isabel Quintero is the daughter of Mexican immigrants. She lives and writes in the Inland Empire of Southern California. Isabel is the author of Gabi, A Girl in Pieces, which received the Morris Award, the Ugly Cat & Pablo chapter book series, and was commissioned to write Photographic: The Life of Graciela Iturbide, which was awarded the Boston Globe-Horn Book Award. One of her favorite memories is riding on the back of her papi’s motorcycle as a little girl.

 

Zeke PenaABOUT THE ILLUSTRATOR: (from the dust jacket) Zeke Peña is a cartoonist and illustrator working on the United States/Mexico frontera in El Paso, Texas. He makes comics to remix history and reclaim stories using satire and humor; resistencia one cartoon at a time. Zeke studied Art History at the University of Texas Austin and is self-taught in digital illustration. The graphic biography he illustrated titled Photographic: The Life of Graciela Iturbide received the 2018 Boston Globe-Horn Book Award.

 

 

 

headshotABOUT THE REVIEWER: Emily R. Aguiló-Pérez is an Assistant Professor of English (Children’s Literature) at West Chester University of Pennsylvania. Her teaching and research are in the areas of children’s literature (particularly Latinx literature), girlhood studies, and children’s cultures. Her published work has focused on girlhood as represented in literature and Puerto Rican girls’ identity formation with Barbie dolls. She has presented research on Latinx children’s books at various conferences and has served on children’s book award committees such as the 2017 Lee Bennett Hopkins Poetry Award and the 2018 Pura Belpré Award. Currently, she is part of the Pennsylvania Center for the Book’s “A Baker’s Dozen” committee.

 

 

Cover Reveal: Todos Iguales: Un Corrido de Lemon Grove/All Equal: A Ballad of Lemon Grove by Christy Hale

We are delighted to host the cover reveal for Christy Hale’s picture book, Todos Iguales: Un Corrido de Lemon Grove/All Equal: A Ballad of Lemon Grove, which will be published by Lee & Low Books.

Before we reveal the cover, here is some information about the author-illustrator, taken from her website:

 

Christy HaleAs a young child I resisted the temptation to make marks in books by drawing on a handy little pad of paper. I tore off my “illustrations” and tucked them along side the appropriate writing passage. By age ten I decided to become a writer and illustrator. At this time my best friend and I acted out all the books we loved. A favorite was Harriet the Spy. We dressed up in disguises, lurked around the neighborhood, and took notes of anything interesting we observed. Then we began writing and illustrating our own stories after school.

I have created books as long as I can remember. I studied calligraphy, bookbinding, letterpress and all other means of printing, typography, design, illustration, and desktop publishing.

I received a B.A. in Fine Arts and Masters in Teaching at Lewis & Clark College in Portland, Oregon, then worked as an art educator for several years. I relocated to New York, earned a B.F.A. in illustration at Pratt Institute, then worked in publishing as a designer and art director. I taught at the Center for Book Arts and as an adjunct professor in the Communication Design department at Pratt Institute—all while beginning my illustration career. I’ve illustrated many books for children and now am writing stories as well.

At the end of 2001 I relocated to Northern California with my husband and daughter. I continue to work as a writer, illustrator, designer, art director, and as an educator—offering programs at museums, schools, libraries, and for staff development. I teach an online course in Writing for Picture Books through the illustration department at the Academy of Art University in San Francisco.

Now, here is some information about the book from the publisher:

Twelve-year-old Roberto Álvarez loved school. He, his siblings, and neighbors attended the Lemon Grove School in California along with the Anglo children from nearby homes. The children studied and played together as equals.

In the summer of 1930, the Lemon Grove School Board decided to segregate the Mexican American students. The board claimed the children had a “language handicap” and needed to be “Americanized.” When the Mexican families learned of this plan, they refused to let their children enter the new, inferior school that had been erected. They formed a neighborhood committee and sought legal help. Roberto became the plaintiff in a suit filed by the Mexican families. On March 12, 1931, the case of Roberto Álvarez v. the Board of Trustees of the Lemon Grove School District was decided. The judge ruled in favor of the children’s right to equal education, ordering that Roberto and all the other Mexican American students be immediately reinstated in the Lemon Grove School.

This nonfiction bilingual picture book, written in both English and Spanish, tells the empowering story of The Lemon Grove Incident–a major victory in the battle against school segregation, and a testament to the tenacity of an immigrant community and its fight for equal rights.

Finally, here is the cover of Todos Iguales: Un Corrido de Lemon Grove/All Equal: A Ballad of Lemon Grove:

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TODOS IGUALES FC hi res

The book releases August 13, 2019 and is available for pre-order now.

 

Book Review: The Moon Within by Aida Salazar

 

Review by Cris Rhodes & Mimi Rankin

DESCRIPTION OF THE BOOK: Celi Rivera’s life swirls with questions. About her changing body. Her first attraction to a boy. And her best friend’s exploration of what it means to be genderfluid. But most of all, her mother’s insistence she have a moon ceremony when her first period arrives. It’s an ancestral Mexica ritual that Mima and her community have reclaimed, but Celi promises she will NOT be participating. Can she find the power within herself to take a stand for who she wants to be?

The Moon Within releases tomorrow, February 26, 2019.

CRIS RHODES’S REVIEW: Aida Salazar’s debut verse novel unfolds through metaphor, captivating poetry, and unabashed discussions of menstruation and maturation. I have never read a book where menstruation has been explored with such openness—and that’s even as Celi does everything in her power to dodge and delay the moon ceremony her Mima wants to throw upon Celi’s first period! Celi’s unease with her body’s changes resonated with me. At the risk of oversharing—I remember that anxiety and the strange sense of loss when starting one’s period well. Salazar adds complexity to this already confusing time by layering Celi’s menstrual journey with her first real crush and the dawning realization that her best friend, Marco, is genderfluid.

Salazar’s choice to utilize Indigenous Mesoamerican terms to explain Marco’s (I’m using this name as Salazar switches to using it nearly exclusively in the latter half of the text, though Marco’s feminine name is still occasionally used) gender identity is intriguing. Salazar writes, “Marco has Ometeotl energy / a person who inhabits two beings / the female and the male at once.” I don’t think I can adequately explain the beauty of this explanation. On the other hand, I want to be clear that, at the same time as it’s a big step to have a genderfluid Latinx character in children’s fiction, this construct could’ve been pushed further. We experience Marco through the filter of Celi. When reading, I found myself having to temper my disappointment that the queered character was not the main character with my admiration for the open and honest way with which Celi’s maturation (both physical and mental) is handled. I cannot be too disappointed though, because, ultimately, The Moon Within does so much to further representation in Latinx children’s literature. Its unapologetic depictions of Afro-Latinx identity, menstruation, gender, sexuality, bullying, colonialism, just to name a few, are invaluable.

One of the most intriguing parts of The Moon Within, for me, was Celi’s mother and Moon Ceremony. When I was reading, I was reminded of one of my favorite slam poems: “The Period Poem” by Dominique Christina. Celi’s mother wants her to be empowered by her period. And there is power in the period. But when you’re a kid, the only power it wields is embarrassment—a power Celi perfectly embodies. I found myself chuckling at Celi’s embarrassment in one line, and in the next, Salazar would sweep me off my feet, and I’d be cringing and hiding alongside Celi. I’d wager many a person who’s had a period can relate to Celi’s impulse to hide from her family and to downplay her maturing body. Nevertheless, Mima’s insistence that Celi have a Moon Ceremony is rooted in not just a desire to ensure her daughter not feel shame at the natural functions of her body, but also in a personal conviction to reclaim her Indigenous Mexican heritage. Celi feels an intimate pull toward the Moon, la Luna, and in her later discussions of the moon as Coyolxauhqui, the Aztec goddess, we see her start to embrace her mother’s mission.

For readers who are torn by their culture, by their bodies, by their friendships, The Moon Within is a must-read. And, honestly, I think it’s a must-read for anyone, anywhere. This verse novel’s melodious language, unapologetic tone, and loving care for its characters and readers is evident and shouldn’t be missed.

MIMI RANKIN’S REVIEW: I discovered this book from the author herself during the USBBY’s Outstanding International Books presentation. Following the committee members’ comments on the themes of the list, Salazar was presented as the keynote speaker. She spoke about the importance of language for Latinx people, particularly children. Latinx children in the United States grow up in between worlds; they are often the very definition of “third culture kids.” Salazar opens up an interesting set of questions regarding this language use for Latinx kids with her novel, The Moon Within, written in verse.

Celi Rivera is a biracial, multicultural preteen girl in Northern California who loves to dance the Puerto Rican Bomba. Celi is on the brink of womanhood, and she certainly does not want to discuss it with her Mima, Papi, or little brother Juju. Mima prepares her Moon Ceremony, an ancient indigenous Mesoamerican celebration of a girl’s first menstruation, while Celi begins developing her first crush on the skateboarding Ivan. After one of Celi’s Bomba performances with her best friend, drummer Magda, Ivan insults Magda’s gender-bending style and appearance.

This coming-of-age story about first heartbreak, identity of both gender and culture, and how to decipher, for the first time, your own beliefs is even more powerful through the use of verse. The style allowed me to more fully connect to Celi’s perspective emotionally and emphasized the universality of what it means to be a young woman regardless of culture. Still, the beauty of this title is not just that Salazar fearlessly and effortlessly discusses the female body and menstruation in a way that has not been done since Judy Blume’s classic Are You There God? It’s Me, Margaret, but that she enlightens the world to the Mexica reverence to the woman.

What I love about this book is that it is not only a point of mirroring and relation for Latinx children, but it is a point of education for non-Latinx children. Only occasionally interspersed with Spanish, the story feels both personal and universal; duality is a later theme in the text, so this may have been intentional on the part of Salazar.

Another exciting aspect of Salazar’s book is the perspective on sacred Mesoamerican spiritual beings, particularly the xochihuah. This gender-expansive being was “more often seen through a sacred lens, with respect” as “some evidence shows”. In this claim and the one that follows in the author’s note, this being that was neither exclusively female nor male may very well not have been revered. Still, in this not knowing, Salazar makes a conscious choice to utilize the ancient being from her ancestors and speak to a modern audience on allowing children to wholly be themselves. Continuing with the integration of Mesoamerican cultural practices into this text, Salazar includes an English translation from scholar David Bowles of The Flower Song. According to Salazar, this is the only known piece of literature documenting the Moon Ceremony and it just so happens to be written in verse.

All in all, I thoroughly enjoyed this heartfelt and quick read and expect to see it making a lot of buzz for awards next year.

TEACHING TIPS FROM CRIS RHODESThe Moon Within would prove a lovely addition to any middle school classroom library (or high school, or elementary school—I maintain that anyone could and should read this book, though it does speak more clearly to readers of a similar age to its protagonist). It would be particularly useful in an ELA unit on poetry, but it would also be a great addition to a health class or sex education. It would also be a great way for students to experience traditional cultural practices—like the bomba dancing and drumming Celi and Marco practice.

 

PictureABOUT THE AUTHOR: Aida Salazar​ is a writer, arts advocate and home-schooling mother whose writings for adults and children explore issues of identity and social justice. She is the author of the forthcoming middle grade verse novels, THE MOON WITHIN (Feb. 26, 2019), THE LAND OF THE CRANES (Spring, 2020), the forthcoming bio picture book JOVITA WORE PANTS: THE STORY OF A REVOLUTIONARY FIGHTER (Fall, 2020). All books published by Arthur A. Levine Books / Scholastic. Her story, BY THE LIGHT OF THE MOON, was adapted into a ballet production by the Sonoma Conservatory of Dance and is the first Xicana-themed ballet in history. She lives with her family of artists in a teal house in Oakland, CA.

 

 

 

ABOUT THE REVIEWER: Cris Rhodes is a lecturer in the English department at Sam Houston State University. She recently completed a Ph.D. in English with an emphasis on Latinx children’s literature. Her research explores the intersections between childhood activism and Latinx identities.

 

 

 

MimiRankinABOUT THE REVIEWERMimi Rankin has a Master’s Degree with Distinction in Children’s Literature from the University of Reading in the United Kingdom. She is currently a Marketing Manager for a company working with over 25 publishers worldwide. Her graduate research focused on claims of cultural authenticity in Hispanic Children’s Literature and her dissertation received highest marks.

Spotlight on Middle Grade Authors Part 9: Aida Salazar

 

By Cindy L. Rodriguez

This is the ninth 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 Aida Salazar.

Aida Salazar​ is a writer, arts advocate and home-schooling mother whose writings for adults and children explore issues of identity and social justice. She is the author of the forthcoming middle grade verse novels, THE MOON WITHIN (Feb. 26, 2019), THE LAND OF THE CRANES (Spring, 2020), the forthcoming bio picture book JOVITA WORE PANTS: THE STORY OF A REVOLUTIONARY FIGHTER (Fall, 2020). All books published by Arthur A. Levine Books / Scholastic. Her story, BY THE LIGHT OF THE MOON, was adapted into a ballet production by the Sonoma Conservatory of Dance and is the first Xicana-themed ballet in history. She lives with her family of artists in a teal house in Oakland, CA.

The Moon Within is her debut novel, which releases on Tuesday!! Here is the publisher’s description:

Celi Rivera’s life swirls with questions. About her changing body. Her first attraction to a boy. And her best friend’s exploration of what it means to be genderfluid.

But most of all, her mother’s insistence she have a moon ceremony when her first period arrives. It’s an ancestral Mexica ritual that Mima and her community have reclaimed, but Celi promises she will NOT be participating. Can she find the power within herself to take a stand for who she wants to be?

 

 

 

 

Aida Salazar

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

A. I began to write when I was thirteen years old after the suicide of my seventeen-year-old sister. Poetry was my first refuge. It was the place where I began to express and unravel the pain I felt in my grief over losing my beautiful sister in such an incomprehensible way. Poetry, too, was how I made sense of the simultaneous changes happening to my body, to my mind, inside my community and life. That creative connection was special and it quietly flowed through me and accompanied me while I navigated high school and began college and tried to discover what I wanted to be and do with my life. It remained tucked away in my journals until I was 18 when, for the first time, I read the work of other Latinx writers while in a Latinx literature course. That class not only saved me from academic probation (because I got an A to balance out my terrible grades) but it revolutionized my existence as a Xicana and my own writing that had been hidden in those journals. It was as if the work of Sandra Cisneros, Helena Maria Viramontes, Rudolfo Anaya, Lorna Dee Cervantes, among others, gave me permission to share my own writing with a very Xicana perspective with the world. I could dare call myself a writer because I had their great example.

 

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

A. Middle grade is a tremendously fertile space from which to write because there is a unique tension between two worlds. Middle grade readers, I think, possess the innocence, rich sense of wonder and play inherent in childhood, while at the same time, they are discovering deeper feelings and learning about things beyond their immediate lives that push against childhood. There are so many questions that beg to be answered, so many stories that beg to explore those questions and a new, almost magical, awareness that enfolds as they bloom into wiser beings.

 

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

A. There are so many! I am especially drawn to stories from people of diverse backgrounds, those that break from the white, heteronormative literary cannon. I loved Bird in a Box and The Red Pencil by Andrea Davis Pinkney – it was actually after reading the latter that I was inspired to write The Moon Within in verse; Echo by Pam Muñoz Ryan is a masterpiece (as is just about anything she writes); As Brave As You by Jason Reynolds; Margarita Engle’s Hurricane Dancers; See You in the Cosmos by Jack Cheng; One Shadow on the Wall by Leah Henderson, Front Desk by Kelly Yang; A Long Walk to Water by Linda Sue Park; and Shooting Kabul by N.H. Senzai; George by Alex Gino; some older titles that are evergreen for me – Bud Not Buddy by Christopher Paul Curtis, Locomotion by Jaqueline Woodson, and Roll of Thunder, Hear My Cry by Mildred D. Taylor. However, the middle grade novels emerging from Las Musas (the first kidlit debut group of Latinx writers) have me most excited because they are opening the cannon wider than we have ever seen. Look for great middle grade stories by Anna Meriano, Emma Otheguy, Jennifer Cervantes, Yamile Saied Mendez, Hilda Solis, Mary Louise Sanchez and Claribel Ortega!

 

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

A. Don’t be afraid to believe in your poems though they may seem awful and as if they could help no one. Believe in their pain and in their heart because one day that very vulnerability will touch someone else’s life in ways you least expect. And when that magical moment comes, you will realize the meaning in the risk you took in believing.

 

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

A. Middle grade novels are important because they can be the source of inquiry, of discovery, of refuge, of delight, and inspiration while on the tight rope between childhood and adolescence.

 

 

photo by Saryna A. Jones

Cindy 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 (Bloomsbury 2015). She also has an essay in Life Inside My Mind (Simon Pulse 2018). She can be found on FacebookTwitter, and Goodreads.

Celebrating the Love Sugar Magic series by Anna Meriano

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Words by Anna Meriano, Art by Cecilia Cackley

To celebrate the paperback release of Love Sugar Magic: A Dash of Trouble by Anna Meriano and the release of the sequel, Love Sugar Magic: A Sprinkle of Spirits, please enjoy these profiles of the main characters in the series, along with collage portraits by Cecilia Cackley. Look for the books at your local bookstore or library and try making some of the sweet treats that each of these characters loves! Happy reading and baking!

First, here’s information about the newest book in the series:

LOVE SUGAR MAGIC A SPRINKLE OF SPIRITS JACKET

Leonora Logroño has finally been introduced to her family’s bakery bruja magic—but that doesn’t mean everything is all sugar and spice. Her special power hasn’t shown up yet, her family still won’t let her perform her own spells, and they now act rude every time Caroline comes by to help Leo with her magic training.

She knows that the family magic should be kept secret, but Caroline is her best friend, and she’s been feeling lonely ever since her mom passed away. Why should Leo have to choose between being a good bruja and a good friend?

In the midst of her confusion, Leo wakes up one morning to a startling sight: her dead grandmother, standing in her room, looking as alive as she ever was. Both Leo and her abuela realize this might mean trouble—especially once they discover that Abuela isn’t the only person in town who has been pulled back to life from the other side.

Spirits are popping up all over town, causing all sorts of trouble! Is this Leo’s fault? And can she reverse the spell before it’s too late?

Anna Meriano’s unforgettable family of brujas returns in a new story featuring a heaping helping of amor, azúcar, and magia.

Now, here are the character profiles:

 

IMG_9046Isabel:

Age: 18

Power: Influence. First-born Isabel can manipulate the emotions of people around her, making them artificially happy, calm, or even scared. It’s a dangerous power to have, so she uses it carefully, except sometimes when she gets mad at Marisol.

Personality: Isabel is the oldest sister, and she takes on a lot of responsibilities both at home and at the family bakery. She’s patient with Leo and loves studying magic and adding decorative details to baked goods.

HP House: Ravenclaw

Favorite recipe: Tres Leches cake because it’s fun to make and decorate for different occasions. (https://www.youtube.com/watch?v=i8LpO047bXw)

 

 

IMG_9045Marisol:

Age: 16

Power: Manifestation. Second-born Marisol can pull small objects out of thin air, which comes in handy to stock up her makeup and nail polish collection. She can’t summon anything too large or heavy, but she comes up with a lot of creative ways to annoy Isabel or accomplish tasks with her power.

Personality: Cranky teen Marisol would much rather spend time with her friends than work at the bakery, either on everyday chores or on special magical recipes. She may not be the most patient sister, but she’s a strong ally when things go wrong.

HP House: Gryffindor

Favorite recipe: Payaso cookies because they’re easy and you can text while the dough freezes. (https://www.youtube.com/watch?v=xgKJXDnlZKU)

 

 

IMG_9043.jpg

Alma & Belén:

Ages: 15 (Alma is one hour older)

Powers: Alma and Belén share their third-born power with each other and with their aunt Tía Paloma. All three can see and talk to ghostly spirits from the other side of the veil, and they can summon the spirits so that others can hear or even see them as well. It takes a lot of energy, so it’s good that they each have a partner to work with.

Personalities: Belén and Alma are usually in their own world, whether they’re inventing secret languages, dressing like their favorite fictional characters, or talking to ghosts. Still, they’re dedicated to their family and focused on honing their skills.

HP Houses: Alma: Slytherin (or Ravenclaw) Belén: Ravenclaw (or Slytherin)

Favorite recipe: Pan de muerto because it’s great for contacting spirits! (https://www.youtube.com/watch?v=38Hu6afbEHQ)

 

 

IMG_9047Leo:

Age: 11

Power: Like the rest of her family, Leo can use her baking magic to make cookies that fly, bread that brings luck, and all sorts of pastries with supernatural side effects. But she doesn’t know yet what her special individual power will be. Those powers are usually based on birth order, but Leo’s the first ever fifth-born daughter, so her powers are still a mystery!

Personality: Leo is the baby of the family, which means she sometimes worries about being left out or kept in the dark. She is determined to prove herself as a baker and a bruja, but that determination can lead her to make decisions that aren’t always the best. Like, for example, the time she accidentally put a love spell on her friend and then shrank him!

HP House: Gryffindor

Favorite recipe: Puerquitos (also known as marranitos)! (https://www.youtube.com/watch?v=l2UNs9W7YUw)

 

 

IMG_9044Caroline:

Age: 11

Power: Leo’s abuela once told her that magic works in everyone’s life and provides them with a special ability or gift, the thing they’re meant to do. Caroline has a lot of talents, but she hasn’t figured out exactly what her special gift is yet.

Personality: Caroline is Leo’s best friend, a good student and clever plotter. Because of her family in Costa Rica, she can help Leo translate things to and from Spanish. She loves to read and always shows her appreciation for her friends.

HP House: Hufflepuff

Favorite recipe: roles de canela (cinnamon rolls) of all types, from the ones in the vending machine at school to the dry easy to eat ones from the bakery to the gooey delicious ones Leo makes at her house sometimes. (https://www.youtube.com/watch?v=IgIHugi7TOI)

 

 

ANNA MERIANOABOUT THE AUTHOR: Anna Meriano is the author of the “Love Sugar Magic” series, which has received starred reviews from Kirkus, School Library Journal, and Shelf Awareness. A Houston native, she graduated from Rice University with a degree in English and earned her MFA in writing for children from the New School. Anna works as a tutor and part time teacher with Writers in the Schools, a Houston nonprofit that brings creative writing instruction into public schools. In her free time, she likes to knit, study American Sign Language, and play full-contact quidditch.

 

 

cecilia-02-originalCecilia Cackley is a Mexican-American playwright and puppeteer based in Washington, DC. A longtime bookseller, she is currently the Children’s/YA buyer and event coordinator for East City Bookshop on Capitol Hill. Find out more about her art at www.ceciliacackley.com or follow her on Twitter @citymousedc

 

Bilingual Border Kids: The Dilemma of Translating Summer of the Mariposas into Spanish

By David Bowles

Pretty soon after Summer of the Mariposas was published by Tu Books in 2012, teachers in the US started asking for a Spanish translation. This story of Mexican-American sisters who go on an odyssey into Mexico, confronting obstacles both supernatural and all-too-human, resonated with Latinx readers, and teachers especially wanted immigrant children and other Spanish-dominant ELLs to have full access to the narrative.

But author Guadalupe García McCall (and editor Stacy Whitman) had a very specific vision for the translation. The novel is narrated by Odilia Garza, oldest of the sisters, and it was important that her voice stay true to that of border girls like Guadalupe, even in Spanish.

Ideally, that vision meant hiring a Mexican-American from the Texas-Mexico border to translate the novel.

Five years later, Stacy approached me (full disclosure: she’s publishing a graphic novel that Raúl the Third and I created, Clockwork Curandera). I was excited at the chance to translate a book that I loved and had been teaching at the University of Texas Río Grande Valley, one written by a great friend, to boot!

Guadalupe and I dug in at once. As I translated, she was always available as a sounding board. I’ve discussed the particulars of our collaborative process on the Lee and Low Blog as well as in the journal Bookbird, but here I want to focus on a particular post-publication issue.

Some people just don’t like the translation.

Specifically, a couple of reviews—in Kirkus and elsewhere—fault the Spanish used in the translation as occasionally a “word-for-word” echo of the English, replete with Anglicisms.

Fair enough. I’m not going to actually claim there’s no truth to the critique. But there are some things you should definitely know before you leap to judgment.

The most important one is … most of that English flavor? It’s on purpose.

Quick digression. When I hear these sorts of complaints, they feel to me like code for one or more of the following: 1) this doesn’t read like typical juvenile literature written in Spanish; 2) this isn’t a recognizable Latin-American dialect of Spanish; 3) this feels too English-y in its syntax (though not ungrammatical); and 4) this has been clearly translated by someone who grew up in the US and was schooled primarily in English.

What none of those points takes into account is an obvious and pivotal fact. This book is a first-person narrative, by a Mexican-American teen. The strange Spanish? It’s how she sounds.

Guadalupe Garcia McCall and David Bowles

Let’s talk for a minute about Guadalupe García McCall and David Bowles. Both Mexican-American (yes, I’m half Anglo, but my family is Mexican-American and I identify as such). Both from the border (Eagle Pass/Piedras Negras versus McAllen/Reynosa). Both schooled EXCLUSIVELY in English (no bilingual education, no early efforts to promote our Spanish literacy). Both of us were robbed of that linguistic heritage. Both of us went on to earn degrees in English that we used to teach middle- and high-school English courses.

Our native dialect is border Spanish. Pocho Spanish, some would rudely put it. Rife with English syntax and borrowings, centuries-old forms and words that the rest of Latin-American might giggle or roll their collective eyes at. But it’s Spanish, yes it is. Aunque no te guste.

Now, I started studying formal Spanish in high school, then went on to minor in it for my BA and MA. I ended up teaching AP Spanish Literature for a time, etc. This process gave me a second, formal, literary dialect. I also have lived in Mexico, and I married a woman born in Monterrey. That’s where my third dialect arises, a version of Northern Mexican Spanish.

So, when I set out with Guadalupe to craft the voice of a border kid who loves to read and still has roots in Mexico, this mestizaje of Spanish dialects is what we hit upon.

It amazes me to no end that writers can do odd and/or regional dialogues all the time in English, but a similar attempt in Spanish elicits disapproving frowns.

I’m sorry, but not all books need to be translated into some neutral, RAE-approved literary Spanish. Some are so deeply rooted in a place, in a community, that we have to insist on breaking “the rules.”

To wrap this apologia up, I’ll just toss out two excerpts from chapter 8. No critic has added specifics to their negative reviews, but I will.

As a counter to the implication that the translation is too word-for-word, let’s look at this passage.

“Yup. According to this, the National Center for Missing and Exploded Children is looking for us,” Velia continued reading on.

“Exploited,” I corrected.

“What?” Velia asked, looking at me like I was confusing her.

“Exploi-t-ed, not exploded,” I explained. “The National Center for Missing and Exploi-t-ed Children.”

“Whatever,” Velia said.

Here’s the Spanish version.

—Pos, sí. Según esto, el Centro Nacional de Niños Desaparecidos y Explotados nos está buscando —continuó Velia—. Qué bueno que en nuestro caso no hay bombas.

—Claro que no hay bombas, mensa —corregí.

—¿Cómo? —preguntó Velia, mirándome como si la confundiera.

—Explotados en el sentido de “usados para cosas malas”, no explotados como “volados en pedazos por una bomba” —expliqué—. Ese centro busca a niños secuestrados, esclavizados, etcétera.

—Ah, órale —dijo Velia.

With the exception of “mirándome como si la confundiera” (someone else might’ve said “con una mirada confundida” or some other less English-y variation), the passage doesn’t ape the English at all. Sure, I can see some Spanish speakers objecting to “como si la confundiera,” expecting it to be followed by “con X cosa” (confusing her with X thing). But, yikes, this is pretty much the way lots of border folks would say it.

The other example is from the first paragraph of the chapter:

After I got back to the dead man’s houseI told Inés they were all out of newspapersthen we ate breakfast in record time.

Cuando volví a la casa del difuntole dije a Inés que ya se habían agotado los periódicos y luego desayunamos en tiempo récord.

Yes. Each part of that Spanish sentence is a (grammatically correct) mirror of its English equivalent.

Yes. There are multiple ways to have translated it more freely so that it doesn’t echo the original as much.

Yes. There are more “Mexican” ways of saying “in record time” than the (still pretty common) Anglicism “en tiempo récord.”

But that’s not what we were going for here. As a result, some people are going to not like my translation, just like some editors don’t like the peculiar voices of writers of color in English, with their code-switching and so on.

There are gatekeepers everywhere. Pero me vale.

ABOUT THE WRITER-TRANSLATOR: A Mexican-American author from deep South Texas, David Bowles is an assistant professor at the University of Texas Rio Grande Valley. Recipient of awards from the American Library Association, Texas Institute of Letters and Texas Associated Press, he has written thirteen titles, most notably the Pura Belpré Honor Book The Smoking Mirror and the critically acclaimed Feathered Serpent, Dark Heart of Sky: Mexican Myths, and They Call Me Güero: A Border Kid’s Poems. In 2019, Penguin will publish The Chupacabras of the Rio Grande, co-written with Adam Gidwitz as part of The Unicorn Rescue Society series, and Tu Books will release his steampunk graphic novel Clockwork Curandera. His work has also appeared in multiple venues such as Journal of Children’s Literature, Rattle, Strange Horizons, Apex Magazine, Translation Review, and Southwestern American Literature.