Book Review: Pelo Bueno/Good Hair by Yolanda Arroyo Pizarro, illustrated by Brittany Gordón Pabón

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Presented by Sujei Lugo

As a children’s librarian at a public library system in the U.S., and in a neighborhood with a high percentage of Latinxs (mainly Dominicans & Puerto Ricans) and Spanish-speakers, I’m oftentimes being asked for children’s literature in Spanish, de allá. Allá being our islands and archipelago in the Caribbean that we want our children, and ourselves, to feel connected to in different ways including children’s books. Yes, it is a challenge to acquire books from Dominican Republic and Puerto Rico, and limited vendor options and collection development policies that present more restrictions and barriers that opportunities to expand our collections don’t make this endeavor easy.  It is usually through my trips to Puerto Rico and with the help of outside funds and grants that I’m able to get children’s books in Spanish directly from local bookstores, authors, and illustrators in Puerto Rico. I wonder about the experiences and challenges of fellow library workers and educators to get relevant and important children’s literature in Spanish into the hands of our children. Barriers aside, it is important to also highlight, promote, and support Puerto Rican children’s authors and illustrators that are creating, working, and surviving in Puerto Rico. Here at Latinxs in Kid Lit, we will try to continue to review and showcase children’s literature written in Spanish (sometimes available in English) from Puerto Rico and other Latin American countries. 

Today we are highlighting a review of the picture book Pelo Bueno, written by renowned AfroBoricua author Yolanda Arroyo Pizarro, and illustrated by Brittany Gordón Pabón. The review is written by two fellow Puerto Rican librarians, Mercy Delgado Cordero & Jeanmary Lugo González, who don’t only give their insights about the book, but also discuss their participation in an activity where Pelo Bueno was used as a conversation piece about racism in Puerto Rico, afroamor & afroreparación. This is our second review written in Spanish.

Resumen:

La abuela Petronila demuestra todo el amor que siente por su nieta, al contarle historias familiares. También brinda lecciones sobre la defensa del cabello natural. Este es un cuento que resalta las raíces de la afropuertorriquenidad y que infunde orgullo para que crezca la autoestima en nuestros nietos y nietas, hijos e hijas.

Reseña por Mercy Delgado Cordero y Jeanmary Lugo González

Pelo bueno es un cuento infantil que busca combatir el racismo desde la afroreparación concientizando sobre el llevar el pelo natural como símbolo de respeto, identidad, autoestima, orgullo, cuidado y valoración. Este hermoso y cálido cuento, en voz de su autora, es un llamado al afroamor y a la afroreparación.

Consideramos este cuento uno de justicia racial empoderado por dos personajes femeninos afrodescendientes. La portada del libro y los colores de las ilustraciones son de tonalidades verde, negro y marrón, proporcionando un contraste de la naturaleza (lo natural) con la piel evidentemente negra. Los dos personajes del cuento son femeninos, personajes que cuestionan sus propias realidades incluyendo sus semejanzas. El cuento es narrado por una niña que es evidentemente negra, quien describe la relación con su abuela como una de amor, comprensión, sabiduría y diversión. La relación de los personajes es semejante a la de la autora con su abuela, llamada Petronila. Por eso en cada página podemos sentir esa cercanía y ese sentimiento de amor, cuidado y protección. 

La portada del libro nos presenta una persona mayor, por sus codos arrugados, peinando el afro de una niña con rostro sonriente. Los colores presentados en la portada los vamos encontrando en las otras páginas del libro ilustrado por Brittany Gordon Pabón.

Me gusta cuando la abuela Petronila peina mis caracolitos. Así le dice ella a mi pelo rizado rizadito“, es la primera línea del cuento. El acto de peinar y ser peinado es una conexión de amor, cuidado, respeto, confianza, y cuando se tiene el pelo bueno, también es un asunto de conocimiento, sabiduría y ancestralidad. La abuela Petronila, personaje femenino evidentemente negra, representa la sabiduría y el amor. Desde el comienzo de la narración se expone la relación de la abuela con su nieta. La importancia de la herencia, lo heredado como símbolo de unión y fuerza.

Acto seguido, se ve a la niña buscando refugio en su abuela, el conflicto: la burla por su pelo en la escuela. En la conversación de la niña con su Abuela, podemos ver como la pequeña ha sufrido de bullying o acoso escolar, recibiendo comentarios de sus compañeros refiriéndose a su cabello como “pelo malo” o Afro. Agresiones racistas que están institucionalizadas y enraizadas en el imaginario de la sociedad puertorriqueña. Petronila con la sabiduría de los abuelos, le pregunta con suspicacia si su pelo había hecho algo malo, y la invita a ignorar a quienes la molestan, pero sobre todo comienza a detallarle las maravillas de su pelo bueno y todas sus posibilidades. En forma de un divertido juego se peinan, hacen trenzas, ponen turbantes, y va explicándole toda la magia, la alegría y los misterios que esconde cada peinado, con referentes históricos de la cultura afropuertorriqueña.

Pelo Bueno es una invitación desde la ternura a desaprender el tan mentado “Pelo malo” con el que nos criamos las afrorizadas. Es deconstruir la frase más utilizada por años, llamar al pelo afro “pelo malo”. Cuestionando entonces por qué es malo, si no ha hecho daño a nadie. “Tu pelo no es malo, tu pelo no es travieso, tu pelo no es desobediente. Tu pelo no se porta mal, no miente, no ofende, no humilla, no se burla. Por eso tu pelo no puede ser malo. Tu pelo no ha hecho nada malo” (p.10).

Es una historia que infunde valores de respeto, autoamor, aceptación y orgullo ancestral. Es por esas razones una herramienta social poderosa para educar desde la sensibilidad y la fantasía, la magia y la alegría, que nos evoca un momento especial entre abuela y nieta. Entretiene, pero a la vez, es puro aprendizaje de lo que significa ser afrodescendiente, con los referentes históricos a los que alude la autora. Por ejemplo, cuando le comenta que se puede hacer trenzas, le dice: “Recuerda que las trenzas para nuestras abuelas eran muy importantes. Con las trenzas se dibujaban mapas de escape cuando nuestras ancestras eran esclavizadas” (p. 12). Las historia de nuestros afros, es la historia de una raza cimarrona que lleva siglos luchando por su libertad, justicia y respeto, y este cuento lo trabaja desde la ternura y cuidado del cabello. 

Pero es sin duda el momento de la historia en el que la niña le devuelve el cariño, las atenciones y lo aprendido, haciéndole lo mismo a su abuela en su pelo rizado rizadito, blanco, blanquito. Un mensaje de que este libro cumplirá su misión, cuando tras disfrutarlo y aprender del afroamor, compartamos ese conocimiento con los demás sobre el respeto al cabello natural. 

El hecho de que la niña no tenga nombre permite que cualquiera pueda verse reflejado en ella, identificarse, ponerse en su lugar. Este aspecto es clave y convierte al libro en uno único en su clase en cuanto a la pertenencia que debe apelar la literatura infantil. Poder vernos representados en un libro, ver a personajes similares al lector, le hace sentir parte del mundo. Convirtiéndose entonces en una herramienta para la justicia racial que buscamos apelar en nuestra sociedad.  

El libro de Yolanda Arroyo Pizarro logra conectar con quien lo lee, es imposible no recordar nuestras afrovivencias en cada página, reconocerse en ellas e ir sanando en cada palabra, con la carga emocional y de poder ancestral que recoge, con las memorias de las agresiones racistas sufridas. Sobre todo para quienes comienzan un proceso de aceptación a su cabello natural, este hermoso y sonoro libro les da un empujoncito. Pelo bueno es un viaje a la aceptación de lo afro, al conocer sus orígenes y enaltecer el orgullo de la negritud, es un proceso de fortalecimiento interior desde la significancia de la experiencia de cada lector. Es un mensaje de respeto al otro y su diversidad racial y cultural, es la respuesta a una búsqueda de redención personal produciendo un sentimiento por conocer y enorgullecernos de nuestra historia, de nuestros ancestros. Este es un libro infantil, con una historia que trasciende edades y generaciones. Lo puede leer un niño o una niña de 6 años, como una joven adulta de 38 años, y ahogarse en un llanto tierno y nostálgico. Son todas posibilidades que evoca esta lectura. 

Por esta razón en Puerto Rico se ha utilizado este libro como herramienta educativa y afroreparativa, para hacer actividades, foros, conversatorios, entrevistas, lecturas en voz alta. Ocupa un lugar privilegiado en salones de belleza de cabello afrorizado y poco a poco va llegando a los salones, bibliotecas y hogares puertorriqueños. 

TEACHING TIPS

Este libro puede ser utilizado en las clases de español e inglés ya que recientemente fue traducido al inglés. Además en tópicos de:

  • inclusión y diversidad
  • historia y afrodescendencia
  • autoestima 
  • bullying
  • cuidado del cabello natural

Se puede leer en grupo y desarrollar un diálogo afroreparativo con discusiones sobre la autoestima, sanación y aceptación. Una posible actividad es ir leyendo el cuento en voz alta e ir recreando los peinados que le hace la abuela a la niña. También, es importante resaltar para los educadores la campaña #ennegrecetuprontuario con la que la autora promueve que se incluyan en los currículos recursos sobre afrodescendencia y afrodescendientes. Mientras que el llamado a los bibliotecarios debe ser que #ennegrezcansuscolecciones. Pero, además de la adquisición del mismo, las bibliotecas lo pueden incluir en los clubes de lectura y llevar a cabo diversas actividades creativas, para grandes y chicos.

Un ejemplo de una actividad es la realizada por la Biblioteca de la Universidad de Puerto Rico en Bayamón el 23 de abril de 2020: “Pelo Bueno: Lectura y conversatorio sobre el cuento infantil que busca combatir el racismo desde la afroreparación”. En la misma, celebrada durante la Semana de la Biblioteca, que este año su lema era Encuentra tu lugar, se leyó en voz alta el cuento y luego se dio paso a un conversatorio con 15 afrorizados. Un diálogo desde el corazón sobre lo que les evocó la lectura del cuento Pelo bueno desde su experiencia personal y desde sus diversas trincheras como educadores, bibliotecarios, profesores, estilistas de pelo rizado, influencers del movimiento afropuertorriqueño, chef y artistas. Un cuento infantil desde la perspectiva de 15 adultos emocionados por los recuerdos que les evocaba escuchar el relato. Risas y lágrimas fueron testigos de un hermoso evento de amor y afroreparación. Dando lugar al lema de Encuentra tu lugar que es lo que busca el cuento infantil, ofrecernos un lugar común para vernos y encontrarnos, ir sanando.

El libro se puede adquirir a través de Libros 787, Aparicio Distributors, Inc., Librería Norberto González, Librería Mágica Por medio de Amazon puedes adquirir las versiones en español e inglés. Además de Barnes & Nobles.

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Yolanda Arroyo Pizarro es directora del Departamento de Estudios Afropuertorriqueños, proyecto performático de Escritura Creativa que responde a la convocatoria promulgada por la UNESCO de celebrar el Decenio Internacional de los Afrodescendientes. Dirige la Cátedra de Mujeres Negras Ancestrales con sede en EDP University en San Juan, Puerto Rico y ha sido invitada por la ONU al Programa “Remembering Slavery” para hablar de mujeres, esclavitud y creatividad en 2015, y presentar el Proyecto de la Cátedra en Harvard University en 2017.

La autora es madre de una preciosa hija de nombre Aurora, en quien se ha inspirado para escribir poemas, cuentos cortos y novelas. El blog virtual de la autora en internet se titula Boreales, y ha sido provocado por las hermosas luces boreales y australes que se pueden ver desde el Polo Norte y el Polo Sur, también en claro homenaje a su unigénita. Sus escritos promueven maravillosas lecciones que denuncian la justicia social y la igualdad entre todos los seres humanos. También visibilizan apasionados enfoques sobre la discusión de la afroidentidad y la derogación del racismo. 

Esta activista a la que le encanta escribir sobre las lanchas de su pueblo natal, Cataño, ha ganado los siguientes galardones: Premio Nacional del Instituto de Literatura Puertorriqueña en 2008, Premio Nacional de Cuento PEN Club de Puerto Rico en 2013, y Premio del Instituto de Cultura Puertorriqueña en 2012 y 2015. Fue elegida como una de las escritoras más importantes de América Latina en 2007 durante la iniciativa Bogotá 39 y ha sido elegida Escritora del Año en Puerto Rico en 2016. Ha publicado los libros infantiles y juveniles: Thiago y la aventura del huracán. (Editorial EDP University, 2018) Las Reyas Magas (Editorial EDP University, 2017) Negrita linda como yo: versos dedicados a la vida de la Maestra Celestina Cordero (Cátedra de Mujeres Ancestrales, 2017) Oscarita: la niña que quiere ser como Oscar López Rivera (Cátedra de Mujeres Ancestrales, 2016) María Calabó (Cátedra de Mujeres Ancestrales, 2016) Las caras lindas (Editorial EDP University, 2016) Capitán Cataño y las trenzas mágicas (Editorial EDP University, 2015) Thiago y la aventura de los túneles de San Germán (Editorial EDP University, 2015) Mis dos mamás me miman (Editorial Boreales, 2011) La linda señora tortuga (Ediciones Santillana, 2017).

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Mercy Delgado Cordero: La Dra. Mercy Delgado Cordero es una apasionada bibliotecaria con 12 años de experiencia en el contexto universitario, tanto público como privado. Es la encargada de la Colección Puertorriqueña y el Archivo Histórico de la Biblioteca de la Universidad de Puerto Rico en Bayamón. También es profesora del programa graduado de Bibliotecología en Cambridge College. Pero sobre todo se considera una líder cultural. Ha dedicado su vida académica y profesional a estudiar y trabajar con libros y por los libros. Tiene la convicción que la lectura y la educación tienen un poder único de transformación social y personal, que nos asegurará tener un mejor País. Tiene un bachillerato en Literatura Comparada e Historia del Arte, un postgrado en Edición y Artes Editoriales, una maestría en Ciencias de la Información-Bibliotecología y un doctorado en Liderazgo de Organizaciones Educativas; todos de la Universidad de Puerto Rico, Recinto de Río Piedras.

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Jeanmary Lugo González: Bibliotecaria profesional puertorriqueña. Cuenta un bachilletaro en Literatura Comparada y un grado de maestría de la Escuela Graduada de Ciencias y Tecnologías de la Información ambas de la Universidad de Puerto Rico, Recinto de Río Piedras.  Comenzó su carrera profesional como bibliotecaria auxiliar en la Biblioteca Gerardo Sellés Solá de la Universidad de Puerto Rico, Recinto de Río Piedras. Actualmente trabaja en la Colección Puertorriqueña de la misma institución. Desea continuar desarrollándose como bibliotecaria académica con interés en las destrezas de información y la promoción de programas, servicios y colecciones.

Book Review: Federico and the Wolf by Rebecca J. Gomez, Illustrated by Elisa Chavarri

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Reviewed by Sonia Alejandra Rodríguez, PhD & Ingrid Campos 

DESCRIPTION OF THE BOOK: With his red hoodie on and his bicycle basket full of food, Federico is ready to visit Abuelo. But on the way, he meets a hungry wolf. And now his grandfather bears a striking resemblance to el lobo. Fortunately, Federico is quick and clever—and just happens to be carrying a spicy surprise! Federico drives the wolf away, and he and Abuelo celebrate with a special salsa. Recipe included.

OUR TWO CENTS: Rebecca J. Gomez’s Federico and the Wolf  is an illustrated book about a young boy named Federico who is sent to the market to pick up ingredients to make pico de gallo with his abuelo. As he travels through a forest-like park, he meets a hungry lobo who wants his food. When Federico says no the lobo comes up with a plan and meets Federico at his abuelo’s shop. The lobo dresses up as Federico’s abuelo and tries to eat him. Using chiles and peppers. Federico is able to ward off the lobo. 

With Federico and the Wolf  Gomez and Chavarri present a retelling of the classic tale, The Little Red Riding Hood. The differences from the classic tale and Gomez’s is that the protagonist is a Mexican-American boy in a modern setting. In this version, Federico is sent to the marketplace to find ingredients such as jalapeños, onions, garlic, limes, and fresh herbs with which to make Pico de Gallo. Instead of the classic red cape, Federico wears a sleeveless red hoodie and his basket is attached to the front of  his bike, which he uses to get to the market and to Abuelo’s shop through a park with a forest feel. Instead of chopping down the wolf with an axe, Federico uses his peppers and chiles to lure the lobo away and rescue his abuelo. There are a few Spanish words sprinkled throughout the story that are simple enough to translate with context clues from the narrative and from the illustrations. However, the book does include a glossary of Spanish words and as an added bonus, a recipe for Pico de Gallo. The differences in this retelling make Federico and the Wolf  a classic in and of itself. 

 Elisa Chavarri’s illustrations include colorful and bold images. One of the most vibrant scenes is the marketplace. There are many details any observant reader can point out, such as guitars, flores, the jars of red and green goods, and other people walking around with their bags. Federico’s bag has a luchador face on it. The market has fruit stands and a churro vendor. What makes the scene more colorful is the papel picado hanging above the market. The illustrations of the lobo are excellently done and are humorous, such as when he dresses up as abuelo and eats the chiles. Chavarri’s detail for facial expressions on the main characters adds another layer of complexity to the story.  From the cover, the wolf looks mischievous and cunning. Federico, on the other hand, has a sly smile that makes him look confident and like he can certainly outwit the lobo. When brave Federico shoves an habanero in the wolf’s mouth, Federico’s hand looks tiny in comparison to the conniving wolf’s enormous teeth. And in the next scene, Federico stands with hands on hips, like a superhero, while the wolf’s wild eyes are red and full of tears, tongue sticking out showing readers just how spicy a habanero can be. Chavarri’s illustrations complement the story perfectly. 

Additionally, Gomez’s use of rhyme makes the story even more entertaining for young readers. Gomez follows an ABCB rhythm which gives the story the classic fairy tale, sing song, feel. The rhyme scheme creates an additional layer of fun for readers. For example, the story opens with:

  Once upon a modern time

a boy named Federico

left to buy ingredients 

to make the perfect pico. 

In this quatrain, or set of four lines, the last word of the second line rhymes with the last word of the fourth line. It might be fun to let younger readers find the rhyme words as they read. For the most part, the entire story is told in the ABCB rhyme pattern, which readers will definitely catch as they follow Federico through the story. 

We find Gomez and Chavarri’s Federico and the Wolf  significantly powerful because it represents a young, brown, Mexican-American boy standing up to the “big, bad wolf” threatening his existence. Just like in the story about Little Red Riding Hood, the wolf in this version can be read as a representation of many social threats in the child’s life. Federico is not afraid, although he is surprised to see the wolf in his abuelo’s clothes, because unknowingly his journey prepared him for this moment of confrontation. Federico uses the ingredients for Pico de Gallo to attack and disempower the wolf. By using these ingredients, Federico depends on his family knowledge and on his heritage to survive and thrive. Readers, young and old, will find themselves cheering for Federico.

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ABOUT THE AUTHOR: Rebecca J. Gomez has been writing stories and poems for kids since she was five years old. She also loves to hike, draw, and play games with her husband and their three children. She has co-authored four picture books with Corey Rosen Schwartz. Federico and the Wolf is her first solo picture book.

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ABOUT THE ILLUSTRATOR: Elisa Chavarri is a freelance illustrator originally from Lima, Peru. She did much of her growing up in Northern Michigan where she now resides with her husband, 6yr old Lucia, and 3yr old Marcel. Elisa graduated with honors from The Savannah College of Art and Design, where she majored in Classical Animation and minored in Comics.  

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ABOUT THE REVIEWERSSonia Alejandra Rodriguez, PhD is an Associate Professor of English at LaGuardia Community College (CUNY) where she teaches composition, literature, and creative writing. Her academic research focuses on decolonial healing in Latinx children’s and young adult literature. Sonia is a Mellon Emerging Faculty Leader.

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Ingrid Campos is a 19-year-old college student interested in Latinx Literature. After graduating from LaGuardia Community College (CUNY) this year with an associates in Writing and Literature, she will continue her studies at Queens College to earn her Bachelors in English Education 7-12 . Ingrid was born and raised in Queens, New York. As a Mexican-American living in Queens and graduating from the public school system, Ingrid is inspired to become a high school teacher. One of her main goals is to center academic curriculums around more diversity and inclusivity towards Black and Brown students.

Cover reveal for Sing With Me: The Story of Selena Quintanilla/Canta conmigo: La historia de Selena Quintanilla by Diana López, illus by Teresa Martinez

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We are delighted to host the cover reveal for Diana López’s picture book Sing With Me: The Story of Selena Quintanilla, which will be published simultaneously in Spanish: Canta conmigo: La historia de Selena Quintanilla. The Spanish version was translated by Carmen Tafolla. Both are illustrated by Teresa Martinez and will be published by Dial Books on April 6, 2021!

From a very early age, young Selena knew how to connect with people and bring them together with music. Sing with Me follows 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.

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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.

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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.

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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.

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Finally, here is the cover of Sing with Me: The Story of Selena Quintanilla/ Canta conmigo: La historia de Selena Quintanilla:

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Sing with Me: The Story of Selena Quintanilla is available now for pre-order!

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Book Review: ¡Vamos! Let’s Go Eat by Raúl the Third with color by Elaine Bay

Review by Sonia Alejandra Rodríguez, PhD and Ingrid Campos

DESCRIPTION OF THE BOOK: In this new Vamos! title, Let’s Go Eat, Little Lobo is excited to take in a show with wrestling star El Toro in his bustling border town. After getting lunch orders from The Bull and his friends to help prepare for the event, Little Lobo takes readers on a tour of food trucks that sell his favorite foods, like quesadillas with red peppers and Mexican-Korean tacos. Peppered with easy-to-remember Latin-American Spanish vocabulary, this glorious celebration of food is sure to leave every reader hungry for lunch!

OUR TWO CENTS: ¡Vamos! Let’s Go Eat by Raúl the Third with color by Elaine Bay centers Little Lobo, his dog Bernabé, and his rooster friend, Kooky Dooky. Little Lobo takes his delivery services to El Coliseo to meet Luchador star, El Toro, who asks Little Lobo to get lunch orders for him and all of his famished wrestling friends before the big show that night. Little Lobo, Bernabé, and Kooky Dooky visit different food trucks and food stands in the area to find some of their favorite Mexican dishes such as tacos, tamales, churros, aguas frescas, and many more delicious treats. 

¡Vamos! Let’s Go Eat is crowded with fun, humorous characters from cover to cover: from a snake with a sombrero slithering up a utility pole, to a tortoise driving a “Tortas Tortuga” truck with “despacito” blazoned across the side, to “Armor Dillo,” a luchador armadillo covered in armor, and so much more. The illustrations are also action-packed, mimicking the high energy of any good lucha match. The cars speed by leaving zig-zag “vroom” behind. The floor retumba like waves at the rumble of the luchadors’ hungry tummies. Puffs of smoke or exhaust rise as Little Lobo dashes from one place to the next. Elaine’s color choices bring the book to life–resembling Little Lobo’s lively neighborhood. Additionally, readers will find many words for different types of foods, animals, and actions as part of the illustrations. On one spread, when Little Lobo first meets all the luchadores, their names are drawn to match their styles, like the “L” in “Lizarda” is as long as their tongue. On another page, when Little Lobo goes to pick up dessert, there are so many options that the words fill up half the page: “Flan,” “arroz con leche,” “churros,” and more. Raúl and Elaine give every inch of the pages something new for readers to find with every read.

¡Vamos! is also an extraordinary book for showcasing bilingualism in Spanish and English. Some of the speech bubbles offer immediate translation of the Spanish words and phrases: “Un poquito de esto. Un poquito de lo otro. A little of this. A little of that.” Other speech bubbles or words in the illustrations don’t offer direct translations; instead, the illustrations serve as context for translation. An example of this is when Little Lobo sits to watch the lucha, and the vendor shouts, “¡Cacahuates! ¡Palomitas! ¡Soda!” There’s no direct translation on the page but instead the reader can see the vendor toss a bag of peanuts at Little Lobo. On other pages, the English and Spanish serve as a call and response. When Little Lobo and Bernabé make it to El Coliseo for the first time, Little Lobo asks, “¡¿Qué es eso?!” and one of the luchadores responds with, “That’s our bellies. We are very hungry.” Additionally, there’s a food glossary at the end of the book, which readers can refer to if they are unfamiliar with the words. The author also encourages readers to use a Spanish-English dictionary to look up words not found in the glossary, which is a significant way to encourage proactiveness and agency in young readers. 

The heart of this story is not only Mexican food but also love and respect for street food vendors. Raúl does an excellent job at representing the diversity of street food, the types of kitchens where the food is made, and kinds of characters who make the food. After getting the long list of food orders from the luchadores, Little Lobo, Bernabé, and Kooky Dooky head outside to shop from the different food vendors. The narration reads, “A food truck is a kitchen on wheels. Food of all kinds can be prepared there. Some food sellers used modified bikes or wagons.” There are also food sellers selling out of a cooler and from a box around their neck. Additionally, in ¡Vamos!, Raúl shows that street food vendors are an important staple of any community and demonstrates how street food vendors support one another. For example, at one point in the story, Little Lobo notices: “At the elotero, the corn boils in the giant tub right on the cart. Macho gives all his husks to Tammy. She uses them to wrap her tamales.” Here, the vendors support one another by sharing supplies to create food that’ll feed a community, but the example also demonstrates how conservation is an innate part of many Latinx cultures; nothing goes to waste. 

By capturing the diversity and beauty of Mexican food and street food vendors, Raúl challenges negative stereotypes that currently may exist around both of these cultures. At a time when street vendors are under constant policing and harassment, a book like ¡Vamos! is essential reading to expand young peoples’ understanding of culinary practices and respect for those who make the food and for those who deliver it.

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ABOUT THE AUTHOR-ILLUSTRATOR: (From his website) Raúl The Third is an award-winning illustrator, author, and artist living in Boston. His work centers around the contemporary Mexican-American experience and his memories of growing up in El Paso, Texas and Ciudad Juarez, Mexico.

Lowriders in Space was nominated for a Texas BlueBonnet award in 2016-2017 and Raúl was awarded the prestigious Pura Belpré Award for Illustration by the American Library Association for Lowriders to the Center of the Earth. He was also a contributor to the SpongeBob Comics series.

¡Vamos! Let’s Go to The Market! is Raúl’s first authorial project, which he wrote and illustrated, and is colored by Elaine Bay.

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ABOUT THE REVIEWERSSonia Alejandra Rodriguez, PhD is an Associate Professor of English at LaGuardia Community College (CUNY) where she teaches composition, literature, and creative writing. Her academic research focuses on decolonial healing in Latinx children’s and young adult literature. Sonia is a Mellon Emerging Faculty Leader.

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Ingrid Campos is a 19-year-old college student interested in Latinx Literature. After graduating from LaGuardia Community College (CUNY) this year with an associates in Writing and Literature, she will continue her studies at Queens College to earn her Bachelors in English Education 7-12 . Ingrid was born and raised in Queens, New York. As a Mexican-American living in Queens and graduating from the public school system, Ingrid is inspired to become a high school teacher. One of her main goals is to center academic curriculums around more diversity and inclusivity towards Black and Brown students.

Book Review: Dancing Hands: How Teresa Carreño Played the Piano for President Lincoln by Margarita Engle, illus. by Rafeal López

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Review by Dora M. Guzmán

DESCRIPTION OF THE BOOK: As a little girl, Teresa Carreño loved to let her hands dance across the beautiful keys of the piano. If she felt sad, music cheered her, and when she was happy, the piano helped her share that joy. Soon she was writing her own songs and performing in grand cathedrals.

Then a revolution in Venezuela drove her family to flee to the United States. Teresa felt lonely in this unfamiliar place, where few of the people she met spoke Spanish. Worst of all, there was fighting in her new home, too- a Civil War.

Still, Teresa kept playing, and soon she grew famous as the talented Piano Girl who could play anything from a folk song to a sonata. So famous, in fact, that President Abraham Lincoln wanted her to play at the White House! Yet with the country torn apart by war, could Teresa’s music bring comfort to those who needed it the most?

MY TWO CENTS: Dancing Hands is a biographical picture book about María Teresa Carreño Garcia de Sena that embraces creativity, family, and music during turmoil in Venezuela and the United States. Teresa, also known as Piano Girl, learns early on that music is an art for others to enjoy in the moment and in their hearts. Despite inevitable conflict in both her home country, Venezuela, and her new home, the United States, music becomes her refuge. Playing the piano calms the storms, brings together her family, and inspires other artists, and even the president in office, Abraham Lincoln.

While the text is in English only, the language used to describe Teresa’s talent is filled with poetic and descriptive language. It moves the reader through a narrative timeline of events and emotions. The illustrations are phenomenal and invoke more emotions as the reader learns about Teresa’s life changes. The use of acrylic paint and its textured shades contrast against the sharp lines and fierce colors that spread across each page. Each page has strategically placed colors and imagery placement to convey the story’s mood. Still, Teresa’s life experiences and talents remain front and center, with her connection to her music and cultures highlighted. My favorite moment in her story is when, as a young child, Teresa inspired other musicians to come and create music. It shows how far and wide her inspiration reached even at a young age!

TEACHING TIPS: Many of these teaching moments can be implemented in a K-5 setting, with a focus on the grades 3 and up.

  • Writing Mentor Text
    • Descriptive language: The author provides a plethora of metaphors and descriptive language that can serve as models for student writing when used to describe objects, moments, and feelings.
    • Mini lesson on adjectives and verbs
  • Addition to a biography unit or music unit
    • The historical note at the end of the book can serve as a catalyst for further research into the life of María Teresa Carreño Garcia de Sena. Student researchers can also find out more about her music and how it added to the arts during and after her time.
    • In music class, students can learn more about her compositions, as well as listen to her music compositions to add to their study.
  • Author and illustrator study
    • Pair this text with other picture books written by Margarita Engle and compare her writing style as well as the characters.
    • Pair this text with other picture books illustrated by Rafael López and compare his artistic style.

Listen to María Teresa Carreño Garcia de Sena’s composition called La Falsa Nota played by another pianist.

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ABOUT THE AUTHOR: Margarita Engle is the Cuban-American author of many acclaimed books, including two other collaborations with Rafael López, Bravo! and Drum Dream Girl, as well as The Flying Girl; All the Way to Havana; Miguel’s Brave Knight; The Surrender Tree, a Newbery Honor book; Jazz Owls; The Poet Slave of Cuba; and her memoirs Enchanted Air and Soaring Earth. She lives in central California. Visit her at margaritaengle.com Follow her on Twitter: @margaritapoet

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ABOUT THE ILLUSTRATOR: Rafael López was born and raised in Mexico, a place that has always influenced the vivid colors and shapes in his artwork. He now creates community-based mural projects around the world and illustrates acclaimed children’s books, including The Day You Begin, Bravo!, Drum Dream Girl, We’ve Got the Whole World in Our Hands, and Book Fiesta! Rafael divides his time between Mexico and California. Visit him at  https://rafaellopez.com/

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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!

Book Review: Dear Abuelo by Grecia Huesca Dominguez, illus. by Teresa Martinez

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Review by Sonia Alejandra Rodriguez, PhD & Ingrid Campos 

DESCRIPTION OF THE BOOK: There is much Juana is going to miss as she moves from Mexico to New York, but nothing more than her abuelo. Through letters to her grandfather, Juana details her flight, he new apartment, and her first days of school, where everyone speaks a language she barely understands. When Juana makes her first friend, though, things begin to change.

OUR TWO CENTS: In Grecia Huesca Dominguez’s Dear Abuelo (2019) Juana and her mother immigrate from Mexico to New York. Through letters written to Abuelo, who is back in Mexico, she details her feelings about  new and anxious experiences, like traveling on a plane for the first time, settling in her new apartment, and her first day of school. On the bus ride, Juana notices everyone speaking in English, she has trouble understanding and speaking despite having practiced. In school, Juana’s teacher does not pronounce her name correctly; this incident makes her feel discouraged. In the following letters, Juana tells Abuelo that she’s  met a new friend, Elizabeth, who is also from Mexico. Elizabeth speaks both English and Spanish and explains to the teacher how to say Juana’s name correctly. Juana finds the library and meets the librarian. The librarian shows Juana books written in Spanish, and this inspires Juana to write stories in English and Spanish. 

Teresa Martinez’s illustrations center a young, brown girl with bright rosy cheeks and short curly  hair. Martinez’s vibrant illustrations of  Juana’s experiences align brilliantly with her feelings, such as  depicting the feeling of anxiety or nervousness with her use of  grey and darker backgrounds and using splashes of bright greens, oranges, and yellows to capture Juana’s  feelings of zen and excitement. Mexico is represented with the use of bright flower garlands across the pages and those flowers are lost when Juana lands in New York in the middle of winter. At first, there aren’t any flowers at school because Juana has a difficult time fitting in. Once she meets Elizabeth, after the teacher pronounces her name correctly, and after finding books in Spanish, the flower garlands around the frame of the pages return. Not only are the flowers a connection to Mexico, but they also represent growth and opportunity. 

A significant aspect in Dear Abuelo is the use of the letter format to tell the story. The story ends with Juana maybe one day writing her own stories, but the entire book is an example of just that. The letters are a powerful device that allows Juana to process her emotions that come with leaving one’s homeland behind and needing to start anew. The letters are also a wonderful way to strengthen long distance family relationships, which helps Juana feel less lonely.  The letters also suggest that Juana is taking control of her own narrative; she is in control of the story she tells. 

Another significant aspect of Dear Abuelo is the importance of  embracing the uniqueness in names and the importance of connecting with family history through naming. The mispronunciation of (im)migrant student names in the American classroom is a far too common experience. Continual mispronunciation or mockery of a student’s name because they don’t sound or look “American” is an imperialist and white supremacist practice to try to other, marginalize, and erase people’s history, culture, and future. We appreciate that it was Elizabeth, also a child, who had the courage to disrupt assumed power relations and correct, and teach, the teacher how to say Juana’s names. It is also important that the teacher was open to learning something new. 

Dear Abuelo focuses on the Mexican immigrant experience that many children coming to the U.S at a young age might relate to. This picture book illustrates common hardships, including having a language barrier, the trouble of meeting new people, or finding interest in activities like the ones Juana participates in the book, such as playing in gym class or riding the bus. Other picture books that center a similar experience and conversation include Juan Felipe Herrera’s The Upside Down Boy  (2006) and Amada Irma Perez’s My Diary From Here to There (2009). 

Grecia Huesca Dominguez and Teresa Martinez do an excellent job at balancing the struggles young immigrants experience with the joys of still being a child. We wholeheartedly recommend this book to children and parents to read together and discuss the similarities and differences between Juana’s experiences and those of the readers. 

TEACHING TIPS:

  • Ask students to write letters to one another, to the teacher, to someone in their family.
  • Encourage students to also include an illustration or a flower garland border (or a different symbol that represents something about themselves).
  • Ask students to write about the origin and/or history of their names, about being the “new kid” at school, or about making friends.
  • More advanced students can probably write about the more difficult themes around immigration and belonging.

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Photo: Tracy Lane/Benchmark Education Company

ABOUT THE AUTHOR: Grecia Huesca Dominguez moved from Veracruz, Mexico, to New York when she was ten years old. She started writing poetry while pursuing her BA in English and Creative Writing at CUNY Lehman College. She initially used poetry as a coping mechanism and soon began to use it as a way to chronicle her life as a single mother and undocumented immigrant, and her Latinx identity. Her first poem, “Marilín,” was published in 2015. Since then, she has published more poems and written three books.

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ABOUT THE ILLUSTRATOR: Teresa Martinez grew up in Mexico loving to draw and decided to study graphic design. She spent many afternoons reading books on art in the university’s library. She also took many painting courses and even went to Italy for a short course at the Leonardo da Vinci School (Florence). Eventually she started working as a children’s book illustrator and has been doing that ever since. Now Teresa lives in Puerto Vallarta, Mexico.

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ABOUT THE REVIEWERS: Sonia Alejandra Rodriguez, PhD is an Associate Professor of English at LaGuardia Community College (CUNY) where she teaches composition, literature, and creative writing. Her academic research focuses on decolonial healing in Latinx children’s and young adult literature. Sonia is a Mellon Emerging Faculty Leader.

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Ingrid Campos is a 19-year-old college student interested in Latinx Literature. After graduating from LaGuardia Community College (CUNY) this year with an associates in Writing and Literature, she will continue her studies at Queens College to earn her Bachelors in English Education 7-12 . Ingrid was born and raised in Queens, New York. As a Mexican-American living in Queens and graduating from the public school system, Ingrid is inspired to become a high school teacher. One of her main goals is to center academic curriculums around more diversity and inclusivity towards Black and Brown students.