¡Felicidades! to the 2018 Pura Belpré Award Winners and Honor Books

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Congratulations to the authors and illustrators who were honored at the American Library Association’s Midwinter conference!

The newest Pura Belpré Awards went to Ruth Behar for Lucky Broken Girl and Juana Martinez-Neal for her illustrations in La Princesa and the Pea.

Click on the links below to get more information on the creators and their work!

Spotlight on Latina Illustrators (including Juana Martinez-Neal)

The Road to Publishing: Juana Martinez-Neal on Landing an Agent

In the Studio with John Parra

Spotlight on Middle Grade Authors: Pablo Cartaya

Spotlight on Middle Grade Authors: Celia C. Pérez

Pura Belpré Award (Author) honoring Latino authors whose work best portrays, affirms, and celebrates the Latino cultural experience. Click on the cover images to see our review of the title or to get more information.

Winner:

Lucky Broken Girl Cover

Honor books:

     

 

Pura Belpré Award (Illustrator) honoring a Latino writer and illustrator whose children’s books best portray, affirm, and celebrate the Latino cultural experience. Click on the cover images to see our review of the title or to get more information.

Winner:

Honor Books:

     

Book Review: The Epic Fail of Arturo Zamora by Pablo Cartaya

 

Review by Jessica Agudelo

DESCRIPTION OF THE BOOK: Save the restaurant. Save the town. Get the girl. Make Abuela proud. Can thirteen-year-old Arturo Zamora do it all or is he in for a BIG, EPIC FAIL? For Arturo, summertime in Miami means playing basketball until dark, sipping mango smoothies, and keeping cool under banyan trees. And maybe a few shifts as junior lunchtime dishwasher at Abuela’s restaurant. Maybe. But this summer also includes Carmen, a poetry enthusiast who moves into Arturo’s apartment complex and turns his stomach into a deep fryer. He almost doesn’t notice the smarmy land developer who rolls into town and threatens to change it. Arturo refuses to let his family and community go down without a fight, and as he schemes with Carmen, Arturo discovers the power of poetry and protest through untold family stories and the work of José Martí.

MY TWO CENTS: Much to my delight, there were a number of titles released in 2017 that filled me with pride and transported me back to my days as a middle school book worm. The Epic Fail of Arturo Zamora was among them. Arturo’s story possesses familiar hallmarks of coming of age tales, a first crush, a crummy summer job as a dishwasher (albeit at his family’s beloved restaurant, La Cocina de la Isla), and self-discovery. With equal measures of humor and heart, Pablo Cartaya’s middle grade debut is sure to leave readers anxious for an invite to the Zamora family Sunday dinners. What truly makes The Epic Fail special, though, is how Cartaya burnishes deeper themes like family, community, gentrification, and cultural identity with nuance and irresistible charm.

When Wilfrido Pipo, a villainous real estate developer, saunters into Canal Grove looking to build a luxurious high rise, Arturo and his family fear the move will drastically alter their Miami neighborhood. Pipo intends to buy the city-owned lot next to La Cocina, which the Zamoras also planned to bid on, hoping to expand their restaurant. In order to convince community members to back his development plan, Pipo throws fancy events and raffles off all-expenses-paid trips. Arturo senses Pipo’s duplicitous nature and is spurred into action by Vanessa, his activist cousin, and Carmen, his new crush. Together, they hatch plans, one involving a Hulk disguise, to further investigate Pipo’s shady background and resist his ambitions. Gentrification and activism are timely topics, but their weightiness can feel overwhelming and disheartening, especially in light of news about Dreamers, to name one example. Cartaya does his best to impart readers with some hope. Arturo and his family picket and attend public forums at city hall, actions which, whatever the ultimate result, display a sense of agency, a power Arturo realizes he possesses.

At one protest, Vanessa holds a picket sign reading “Family is Community-Community is Family,” a succinct summation of two overarching themes. For Cartaya, family is not just those related by blood, but those with whom you choose to spend time, and sometimes, inadvertently share space. We readily throw longtime friends under the family umbrella, but Cartaya implores readers to consider neighbors, even the most eccentric among them, as members of our extended families. La Cocina itself is an extension of the family’s dining room, where an array of regulars eat, local businesses build partnerships (the restaurant buys its meat and greens from area vendors), and everyone is welcome.

Cartaya’s portrayal of an ample list of secondary characters is one of his greatest successes. He depicts a variety of personalities using distinct and vivid details, bringing the community of Canal Grove to life. Whether it is Arturo’s best friend Bren, a hopeless dork perpetually trying to look and sound like Pitbull, or Aunt Tuti, who has a penchant for dramatics, but is a fierce defender of her family, readers will surely recognize at least one, if not many, of Cartaya’s characters. Arturo may be the hero of the story, but it is the people around him who inspire his actions and give his mission purpose. His fight to save the family restaurant is also a fight for the preservation of his hometown, a love he shares with the people of his community, who, in turn, make that community a place worth loving. In one passage, Arturo wonders where Pipo’s own family might be, “All that success and I never heard him talk about anyone who he cared about.” Arturo’s realization reminded me of Harry Potter’s own assessment of Voldemort in Order of the Phoenix, whom he pities for being equally rootless. A poignant message about community that traverses Hogwarts and Canal Grove.

As Arturo’s Abuela’s health declines, she gives Arturo a box of photos and letters from his Abuelo, which reference the poet José Martí. The poet is a link to his grandfather and his Cuban heritage. Arturo is pulled in by Martí, a figure emblematic of embracing multiple cultures and causes. Growing up in the U.S. has resulted in Arturo’s imperfect Spanish, and yet, he “sometimes used Spanish words when English words couldn’t fully explain what I needed to say.” Although awkward in many aspects of his life, Arturo moves through his multitudes with spectacular ease. The narrative of struggling to balance cultural identities has shifted. Of course, stories about cultural struggle are necessary, but it was wonderful to see Arturo just be himself. It allowed me to let out a deep breath I didn’t realize I was holding in.

I could go on and on about The Epic Fail of Arturo Zamora. How touched I was by the depictions of Abuela’s tenderness, his mom’s quiet struggle becoming matriarch of the family, Arturo’s admiration for Carmen’s colorful braces, and of course, the food (recipes included as backmatter). This novel was a true joy to read from beginning to end. A rare feat, even in children’s literature.

ABOUT THE AUTHOR: Pablo Cartaya is the author of the acclaimed middle-grade novel, The Epic Fail of Arturo Zamora (Viking, 2017); Marcus Vega Doesn’t Speak Spanish (Viking, 2018); and two forthcoming titles in 2019 and 2020 also to be published by Viking. He is a Publisher’s Weekly “Flying Start” and has received starred reviews from Kirkus, Booklist, and Publisher’s Weekly. For his performance recording the audiobook of his novel, Pablo received an Earphone Award from Audiofile Magazine and a Publisher’s Weekly Audiobooks starred review. He is the co-author of the picture book, Tina Cocolina: Queen of the Cupcakes (Random House, 2010), a contributor to the literary magazine, Miami Rail; the Spanish language editorial, Suburbano Ediciones; and a translator for the poetry chapbook, Cinco Poemas/Five Poems based on the work of poet Hyam Plutzik. Pablo visits schools and universities throughout the US and currently serves as faculty at Sierra Nevada College’s MFA in Creative Writing. http://www.pablocartaya.com / Twitter: @phcartaya

 

J_AgudeloABOUT THE REVIEWER: Jessica Agudelo is a Children’s Librarian at the New York Public Library. She has served on NYPL’s selection committee for its annual Best Books for Kids list, and is currently a co-chair for the 2018 list. She contributes reviews of English and Spanish language books for School Library Journal and is a proud member of the Association of Library Services to Children and REFORMA (the National Association to Promote Library and Information Services to Latinos and Spanish Speakers). Jessica is Colombian-American and was born and raised in Queens, NY.

 

Spotlight on Middle Grade Authors Part 4: Pablo Cartaya

 

By Cindy L. Rodriguez

This is the fourth 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 Pablo Cartaya.

Pablo Cartaya is the author of the acclaimed middle-grade novel, The Epic Fail of Arturo Zamora (Viking, 2017); Marcus Vega Doesn’t Speak Spanish (Viking, 2018); and two forthcoming titles in 2019 and 2020 also to be published by VikingHe is a Publisher’s Weekly “Flying Start” and has received starred reviews from Kirkus, Booklist, and Publisher’s Weekly. For his performance recording the audiobook of his novel, Pablo received an Earphone Award from Audiofile Magazine and a Publisher’s Weekly Audiobooks starred review. He is the co-author of the picture book, Tina Cocolina: Queen of the Cupcakes (Random House, 2010), a contributor to the literary magazine, Miami Rail; the Spanish language editorial, Suburbano Ediciones; and a translator for the poetry chapbook, Cinco Poemas/Five Poems based on the work of poet Hyam Plutzik. Pablo visits schools and universities throughout the US and currently serves as faculty at Sierra Nevada College’s MFA in Creative Writing. www.pablocartaya.com / Twitter: @phcartaya

Pablo Cartaya

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

A. I’ve been a storyteller since I was a little kid performing originally written shows in my living room every time my parents had someone over for dinner. During cena I would quietly (sometimes not so quietly) go over story ideas that would lead to epic performances en la sala while the guests and my parents ate dessert and sipped cafécito on the sofa. My parents always encouraged that creative spirit. In many ways, Mami and Papi were my first inspirations. Since those early days I’ve always had stories swirling around my imagination. These stories have taken many forms over the years: writing plays, teleplays, telenovelas, picture books, nonfiction, poetry (sometimes really bad poetry), and then one fateful day in graduate school, the voice of a fourteen year old Cuban American kid named Arturo made his way into my consciousness. It was the first time I let the character in the story do the talking. What I found was a kid who was like me and who had dared to dream himself into the narrative. The process of discovering Arturo’s world has been one of the great joys of my creative life. In a way, The Epic Fail of Arturo Zamora is a lifetime in the making of becoming the writer I am today.

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

A. I don’t actually choose to write middle grade novels. It’s more like a bunch of thirteen and fourteen year olds make the loudest noise in my sub consciousness. I believe writing is an act of submission to the fictive state. Allowing a story or a character to take hold and dictate the terms of what, when, where, and how the narrative will go. As the writer I give in and let the character tell me what he or she wants to talk about. It’s frightening at times but there is something about that act of discovery that is exciting and enlightening. A character usually pops into my head and a scene plays out. For example, in my next novel, Marcus Vega Doesn’t Speak Spanish, I imagined this really tall, brooding fourteen year old trying to convince his little brother who has Down syndrome to take a bath. From there, I started asking these characters questions and they revealed parts of their lives they wanted to tell. After that it’s all about revising, revising, and more revising to get to the heart of the character’s story.

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

A. Ah! This question is always the hardest! How do you pick a favorite child? You can’t do it! Okay I’ll name some but they are by no means a final list! We’ll just call it a fluid favorite, okay? As a kid I devoured everything Jules Verne – Twenty Thousand Leagues Under the Sea is one of my all time favorites although I don’t know if it qualifies as distinctly middle grade. I also think it’s important to recognize the great work contemporary middle grade authors are writing. Jason Reynolds is doing some pretty incredible work. I just finished Patina and it’s awesome. Celía Perez has a kick butt middle grade out called The First Rule of Punk, Rita Williams Garcia’s Clayton Bird Goes Underground is fantastic. I happen to adore R.J. Palacio because Wonder was the first novel my daughter read from beginning to end and it made her a lover of books. There are so many! Make me stop! Make me stop! I see a great mix of characters and stories out there and I’m excited for what’s to come from these and many other brilliant authors in the field.

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

A. Don’t be afraid to fail. You are not perfect nor should you try to be. Find your voice and hold onto it for dear life. Is that too much advice? Would my thirteen-year-old self just ignore me? Probably.

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

A. They are sneaky deep. It’s the time where wonder, adventure, occasional failure, and the possibilities of happiness coexist to create a sense of hope for the future. It’s also a place where kids get to be kids and goof off from time to time. I like that mix.

 

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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.

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.

Spotlight on Middle Grade Authors Part 1: Margarita Engle

 

By Cindy L. Rodriguez

This is the first 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 Margarita Engle, a Cuban-American author who is one of the most prolific and decorated writers in Kid Lit.

Margarita Engle

Margarita Headshot

Margarita Engle is the 2017-2019 national Young People’s Poet Laureate, and the first Latino to receive that honor. She is the Cuban-American author of many verse novels, including The Surrender Tree, a Newbery Honor winner, and The Lightning Dreamer, a PEN USA Award recipient. Her verse memoir, Enchanted Air, received the Pura Belpré Award, Golden Kite Award, Walter Dean Myers Honor, Lee Bennett Hopkins Poetry Award, and Arnold Adoff Poetry Award, among others. Drum Dream Girl received the Charlotte Zolotow Award for best picture book text.

Margarita was born in Los Angeles, but developed a deep attachment to her mother’s homeland during childhood summers with relatives. She was trained as an agronomist and botanist. She lives in central California with her husband.

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

A. I have been writing poetry since I was a small child, so I think my passion for composing verses grew naturally from loving to read. It was not something I consciously decided to try, just something I did the way I ate, slept, and breathed. As a teenager, I did make a conscious decision to try writing fiction, and I began to dream of someday writing a book about the history of Cuba. That finally happened, but not until I was in my 50s. The Poet Slave of Cuba was published in 2006, and The Surrender Tree in 2008, launching a long series of verse novels about Cuban history. By then, I had already published a great deal of poetry, technical botanical and agricultural articles, and a couple of adult novels about modern Cuba, but I have never been happier than when I write for children.

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

A. Most of my middle grade novels tend toward the tween end of the age range, perhaps because I was eleven in 1962, at the time of the Missile Crisis. Losing the right to travel to Cuba was a traumatic, surrealistic experience. I believe that a part of myself was frozen at that age, and did not thaw until 1991, when I was finally able to start visiting again. Now, I love to write for children who crave adventure, and still believe in the wonder of nature, children who are not yet embarrassed to love their families, even though they dream of independence.

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

A. There are so many! How can I choose? I’ll try, with apologies to all the fantastic authors I’m leaving out. Some of my favorite middle grade books are actually memoirs, rather than fiction. I love Alma Flor Ada’s Island Treasures, Jacqueline Woodson’s Brown Girl Dreaming, and Marilyn Nelson’s How I Discovered Poetry. For fiction, most of my favorite middle grade novels are written in verse: Inside Out and Back Again, by Thanhha Lai, Under the Mesquite, by Guadalupe García McCall, and Words With Wings by Nikki Grimes. I love books that travel to other countries, so I’ll sneak in Solo by Kwame Alexander and A Time to Dance by Padma Venkatraman, even though they lean toward YA. If I had to choose one middle grade prose novel, it would be the very poetic Echo, by Pam Muñoz Ryan.

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

A. Don’t be so self-critical. It’s okay to be a bookworm. Stop trying to please everyone else. Just be yourself.

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

A. Middle grade novels are important because that is the age when children are imaginative, wonder-filled, curious, and open to learning about the whole world.

 

Margarita’s newest verse novel about Cuba is Forest World, and her newest picture books are All the Way to Havana, and Miguel’s Brave Knight, Young Cervantes and His Dream of Don Quixote.

Books forthcoming in 2018 include The Flying Girl, How Aída de Acosta learned to Soar, and Jazz Owls, a Novel of the Zoot Suit Riots.

                                                                                                        

 

 

photo by Saryna A. Jones

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, 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.