COVER REVEAL! The Disturbed Girl’s Dictionary by NoNieqa Ramos

 

Today, we’re excited to host the cover reveal for The Disturbed Girl’s Dictionary, a debut young adult novel by NoNieqa Ramos that has already gotten a starred review from Booklist and a glowing response from Kirkus.

What’s it about? Here’s the official description:

Macy’s school officially classifies her as “disturbed,” but Macy isn’t interested in how others define her. She’s got more pressing problems: her mom can’t move off the couch, her dad’s in prison, her brother’s been kidnapped by Child Protective Services, and now her best friend isn’t speaking to her. Writing in a dictionary format, Macy explains the world in her own terms complete with gritty characters and outrageous endeavors. With an honesty that’s both hilarious and fearsome, slowly Macy reveals why she acts out, why she can’t tell her incarcerated father that her mom’s cheating on him, and why her best friend needs protection . . . the kind of protection that involves Macy’s machete.

How could anyone resist a description that involves both dictionaries and machetes? What?!

Before we get to the cover, the author tells us how she responded to getting her Advance Reader Copies and viewing the cover for the first time.

I have to admit I didn’t open up my ARCs for two weeks. I hugged them. I #bookstagrammed them. I clutched them while flashbacking to all the work that led up to this moment. But what did opening the book mean? I had nightmares that opening my ARC would be like opening Pandora’s box. Because writing a book is like standing outside naked and not expecting anyone to comment on the fact that you have no space between your thighs. But then my soul mate made a comment. Apparently on the inside of the book, lay the real cover, the cover my protagonista Macy Cashmere made for her dictionary, and I thought, that sounds amazing. SOUNDS amazing. Time to crack it open. I peered inside the cover like you’d stare through a keyhole. I could almost feel Macy’s reaction as I did the unthinkable. Read the dictionary “By Macy Cashmere… FOR Macy Cashmere” without her permission.

The cover design by Lindsay Owens and Danielle Carnito is PSYCHEdelic; disturbing and hypnotic just like my Macy. A conduit for Macy’s rage, the imagery surges from page to page until the harrowing end. Thank you Carolrhoda Lab. Thank you, Lindsay and Danielle. Macy would approve.

Now for the cover reveal!

 

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The Disturbed Girl’s Dictionary releases February 1, 2018 (Carolrhoda Lab). You can pre-order it at Indiebound, Amazon, and Barnes & Noble, among other places. You also have a chance to win a copy by entering this GoodReads Giveaway!

 

ABOUT THE AUTHOR: NoNieqa Ramos spent her childhood in the Bronx, where she started her own publishing company and sold books for twenty-five cents until the nuns shut her down. With the support of her single father and her tias, she earned dual master’s degrees in creative writing and education at the University of Notre Dame. As a teacher, she has dedicated herself to bringing gifted-and-talented education to minority students and expanding access to literature, music, and theater for all children. A frequent foster parent, NoNieqa lives in Ashburn, Virginia, with her family. She can be found on Twitter at @NoNiLRamos.

Book Review: They Both Die at the End by Adam Silvera

 

Reviewed by Lila Quintero Weaver

This review is based on an advance reader’s edition.

FROM THE BOOK JACKET: In the tradition of Before I Fall and If I Stay, this tour de force from acclaimed author Adam Silvera, whose debut the New York Times called “profound,” reminds us that there’s no life without death, no love without loss—and that it’s possible to change your whole world in a day.

Mateo Torrez and Rufus Emeterio are going to die today. The two boys are total strangers, but, for different reasons, they’re both looking to make a new friend on their End Day. There is some good news: There’s an app for that. It’s called Last Friend, and through it, Rufus and Mateo are about to meet up for one last great adventure—to live a lifetime in a single day.

MY TWO CENTS: The release date for They Both Die at the End was September 5, 2017. It’s no coincidence that the novel also takes place on that date, with chapters time-stamped to reflect the passing hours. This is no ordinary day for Mateo Torrez, 18, and Rufus Emeterio, 17, both of New York City. An unfailingly accurate notification service known as Death-Cast delivers the news that it is their last day on earth. Sadly, both boys have lost loved ones whose deaths were predicted in the same, bone-chilling fashion.

They Both Die at the End sends readers on a spellbinding adventure, following the two main characters as they squeeze in one more day of living. The story hits the ground running at 12:22 a.m., when Mateo’s phone sounds the eerie Death-Cast alert. Rufus receives his alert not long after that. Yet for all the tension of the ticking countdown, this novel narrates a surprisingly tender friendship that springs up between the two strangers. They connect through the app Last Friend, one of numerous social, cultural, and commercial spin-off products resulting from the launch of Death-Cast, which has been in existence for six years.

By the time Rufus and Mateo’s last day arrives, society has accepted the reliability of the Death-Cast predictions, and has developed norms in response to the ubiquitous presence of so-called Deckers, people who’ve received the last-day warning. This is made evident in a scene where subway passengers realize that a Decker and her Last Friend are among them. A stranger offers sympathy. “Sorry to lose you,” she says to the Decker, and commends them both for spending the final hours together. The Death-Cast phenomenon has changed the landscape of everyday life in other ways. Restaurants offer discounts to Deckers, and at a special amusement park called Make a Memory, Deckers and their companions indulge in simulated extreme sports. Social media has summoned a flurry of responses, too, including CountDowners, a blog devoted to the postings and live-feeds of Deckers, who share real-time accounts of their final hours on earth. Silvera weaves these fictitious cultural creations seamlessly into an otherwise recognizable version of contemporary city life.

How Death-Cast knows when a person will expire is anyone’s guess, but because his mom died in childbirth, Mateo has been death-haunted all his life. Paranoia about dying has kept him from making friends and participating in childhood activities, such as going on sleepovers and roller-skating in the park. Now, with the bitter reality of death squarely before him, Mateo is engulfed in the pain of wasted opportunities. When the End Day news comes, he is home alone. His father, who is hospitalized in intensive care, has been in a coma for weeks, and Mateo’s only other significant connections are with a close friend, Lidia, and her one-year-old daughter.

While Mateo is a loner, who from the safe confines of his apartment has engaged primarily with the digital universe of blogs, games, and apps— Rufus is more of a here-and-now guy: confident, socially connected, and comfortable jumping into new experiences in a way that Mateo never has been. When readers meet Rufus, he’s giving his ex-girlfriend’s new guy a beat-down. Then the Death-Cast ringtone goes off and everybody freezes. Although foster brothers Malcolm and Tagoe are on hand to provide Rufus with backup during the fight, for reasons that aren’t immediately revealed, they can’t help him once the police get involved. So Rufus takes flight alone, into the darkened streets of the city. He needs a friend.

The novel follows Mateo and Rufus from their separate, but equally jarring Death-Cast notices until they connect through the Last Friend app. During the course of their hours together, they bridge the initial awkwardness, and in cementing a friendship, defy the opposing pull of their personalities and lifestyles. Rufus gently goads Mateo to push aside long-held fears, and Mateo responds by embracing new experiences, from small to significant. By the time they land at Clint’s Graveyard—a dance and karaoke club that exists to give Deckers an unforgettable send-off—Mateo is more alive, more himself than ever, and the boys’ friendship turns romantic.

In his debut, More Happy Than Not, Adam Silvera demonstrated a fluid command of speculative fiction. In They Both Die at the End, he repeats that impressive feat, crafting a futuristic world that lands credibly in all its disquieting aspects, yet never forgets that telling a specific story is the most important order of business. Silvera’s ability to weave the strange and disturbing world of Death-Cast into a powerful character-driven narrative keeps readers on the edge to the last page, and drives a keen level of anticipation for the next offering from this gifted writer.

WHERE TO GET IT: To find They Both Die at the End, check your local public library, your local bookstore, or IndieBound. Also, check out GoodreadsAmazon, and Barnes & Noble.

ABOUT THE AUTHOR: Adam Silvera was born and raised in the Bronx. He has worked in the publishing industry as a children’s bookseller, marketing assistant at a literary development company, and book reviewer of children’s and young adult novels. His debut novel, More Happy Than Not, received multiple starred reviews and is a New York Times bestseller. Visit his author site for more information.

 

 

 

ABOUT THE REVIEWER: Lila Quintero Weaver is the author-illustrator of Darkroom: A Memoir in Black & White. She was born in Buenos Aires, Argentina. Darkroom recounts her family’s immigrant experience in small-town Alabama during the tumultuous 1960s. It is her first major publication and will be available in Spanish in January 2018. Her next book is a middle-grade novel scheduled for release in July 2018 (Candlewick). Lila is a graduate of the University of Alabama. She and her husband, Paul, are the parents of three grown children. She can also be found on her own websiteFacebookTwitter and Goodreads.

 

Book Review: Evangelina Takes Flight

 

Review by Cris Rhodes

DESCRIPTION FROM THE BOOK JACKET: It’s the summer of 1911 in northern Mexico, and thirteen-year-old Evangelina and her family have learned that the rumors of soldiers in the region are true. Her father decides they must leave their home to avoid the violence of the revolution. The trip north to a small town on the U.S. side of the border is filled with fear and anxiety for the family as they worry about loved ones left behind and the uncertain future ahead.

Life in Texas is confusing, though the signs in shop windows that say “No Mexicans” and some people’s reactions to them are all-too clear. At school, she encounters the same puzzling resentment. The teacher wants to give the Mexican children lessons on basic hygiene! And one girl in particular delights in taunting the foreign-born students. Why can’t people understand that—even though she’s only starting to learn English—she’s just like them?

With the help and encouragement of the town’s doctor and the attentions of a handsome boy, Evangelina begins to imagine a new future for herself. But will the locals who resent her and the other new immigrants allow her to reach for and follow her dreams?

MY TWO CENTS: Diana J. Noble’s Evangelina Takes Flight is timely to a startling degree. As a work of historical fiction, Noble’s portrayal of upheaval in Mexico caused by the Mexican Revolution and Pancho Villa’s raids on farming villages remains relevant to this day. In confronting the racism and xenophobia rampant at the border, where shops display signs declaring “’No Dogs! No Negroes! No Mexicans! No Perros! No Negros! No Mexicanos!’,” Evangelina’s story parallels contemporary struggles for racial equality (92). As racial tensions build both in the text and in real life, Evangelina’s stand to keep her school desegregated feels remarkably current, and in its demonstration of child activism, Evangelina Takes Flight holds up a powerful example.

Though Noble doesn’t spend much time explaining the political situation of Mexico during the early twentieth century, the book doesn’t suffer from this lack of context. Indeed, told from the first-person point of view of Evangelina, the text should not offer details outside of her awareness. The book begins mere days after Porfirio Díaz was ousted as president of Mexico, an event that certainly would not have reached the secluded rancho where Evangelina lives, let alone Evangelina herself. Yet, as we journey along with the tenacious and imaginative Evangelina from her fictional Mexican town of Mariposa to the United States to escape the violence wrought by Villa, Noble invites the reader to watch Evangelina grow and mature. She might not be able to foment resistance in her native Mexico, but she certainly can in the United States, and eventually does when called upon to stand up for her right to an education.

Though Evangelina is still a child, at least by modern conceptions of childhood (she turns fourteen during the course of the book), she is entrusted with great responsibility, much of it in the field of medicine—leading her to dream of one day becoming a nurse or even a doctor. While this dream defies the limitations put upon her by her race and her gender, Evangelina does cling to some, perhaps stereotypical, tenets of Mexican femininity. She’s excited for her upcoming quinceañera, and she longs for the attention of boys—one boy, in particular: Selim. Evangelina’s blossoming relationship with Selim is doubly interesting because he is Lebanese—a fact that would likely cause some waves among her traditional Mexican family. Though Noble keeps their relationship chaste, the potential of an interracial relationship adds intrigue, and I wish there was more to it. Understandably, however, Evangelina and Selim’s feelings for each other are overshadowed by an upcoming town hall meeting, which will decide if foreign-born students will be allowed to attend school with their white peers.

Though Evangelina Takes Flight confronts historical (and contemporary) racism with aplomb, it still contains some troubling tropes about marginalized peoples, namely the White Savior figure. Evangelina has multiple encounters with the local doctor, Russell Taylor, whose compassion transcends race. Unlike his neighbors, Dr. Taylor is more than willing to help the Mexicans and goes out of his way to treat Evangelina’s Aunt Cristina when she gives birth to twin sons, one of whom is stillborn. Because of his position as the town doctor, Dr. Taylor holds sway with those who seek to segregate the school. He attempts to act as a mediator between the Mexican families and white townspeople, who are led by the mean-spirited Frank Silver. But Dr. Taylor’s intercession strays into White Savior territory when he is the one who discovers a secret that discredits Silver. After revealing Silver’s secret, Dr. Taylor parades Evangelina in front of the crowd at the town hall meeting, ostensibly to demonstrate her intelligence and humanity; but in a moment such as this, she actually becomes less of a humanized figure and more of a token. Additionally, it is not her own words that sway the townspeople to keep the school unified, but her ability to quote from the Bible, in English, that persuades them. While it is possible to read Evangelina as a key activist figure in spite of Dr. Taylor’s intervention, his role in this scene is a little disappointing, coming as it does in a text that otherwise offers so much in regards to racial equality.

Regardless, this book resonated with me on multiple levels. Evangelina’s struggle for independence, respect, and acquiring her own voice is something that many young Latinas, myself included, face today. Noble’s poetic yet accessible prose allows the reader to slip into Evangelina’s world and understand that problems can be overcome with perseverance and bravery. Though the book is at times slow moving and the plot is occasionally sparse, I would argue that such components allow the industrious reader to dive deep and think critically about Evangelina’s circumstances. However, these characteristics may also make this book difficult for reluctant readers. As a result, though this book is marketed as a middle grade novel, it may be more appropriate for experienced or older readers. Even if some parts were troublesome, I still found Evangelina an intriguing and captivating read,. Ultimately, for those looking for a book that faces contemporary issues through the lens of historical fiction, Evangelina Takes Flight certainly fits the bill.

TEACHING TIPS: Evangelina Takes Flight would pair well with other books about school de/segregation or child activists, such as Duncan Tonatiuh’s Separate is Never Equal: Sylvia Méndez & Her Family’s Fight for Desegregation   or Innosanto Nagara’s A is for Activist. In addition, because of its historical setting, Evangelina would also be useful in teaching about the Mexican Revolution, the history of Texas, or historical race relations in the United States.

Evangelina Takes Flight offers lessons on metaphor and imagery, especially in its use of the butterfly as a symbol of resilience. When Evangelina’s grandfather tells her the story of the migratory butterflies for which her hometown of Mariposa is named, she starts to see the butterfly as an image of strength. Students could be guided to find passages where butterflies are mentioned to see how Noble constructs this extended metaphor. Students may also be encouraged to deconstruct the representations of butterflies on the cover of the book in a discussion about visual rhetoric.

ABOUT THE AUTHOR: Diana J. Noble was born in Laredo, Texas, and grew up immersed in both Mexican and American cultures. Her young adult novel, Evangelina Takes Flight, is based loosely on her paternal grandmother’s life, but has stories of other relatives and memories from her own childhood woven into every page. It’s received high praise from Kirkus Reviews, Forward Reviews (5 stars), Booklist Online and was recently named a Junior Library Guild selection. [Condensed bio is from the author’s website.]

 

 

ABOUT THE REVIEWER: Cris Rhodes is a doctoral student at Texas A&M University – Commerce. She received a M.A. in English with an emphasis in borderlands literature and culture from Texas A&M – Corpus Christi, and a B.A. in English with a minor in children’s literature from Longwood University in her home state of Virginia. Cris recently completed a Master’s thesis project on the construction of identity in Chicana young adult literature.

 

An Interview with Author Anna-Marie McLemore about Wild Beauty

 

By Cecilia Cackley

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

Anna-Marie McLemore

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

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

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

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

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

AMM: We do.

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

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

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

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

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

Q: Does the family ever repeat flower names?

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

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

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

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

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

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

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

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

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

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

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

 

Cecilia Cackley is a performing artist and children’s bookseller based in Washington, DC, where she creates puppet theater for adults and teaches playwriting and creative drama to children. Her bilingual children’s plays have been produced by GALA Hispanic Theatre and her interests in bilingual education, literacy, and immigrant advocacy all tend to find their way into her theatrical work. You can find more of her work at www.witsendpuppets.com.

Book Review: The Radius of Us by Marie Marquardt

 

Reviewed by Elena Foulis

The Radius of Us CoverDESCRIPTION OF THE BOOK: Ninety seconds can change a life ― not just daily routine, but who you are as a person. Gretchen Asher knows this, because that’s how long a stranger held her body to the ground. When a car sped toward them and Gretchen’s attacker told her to run, she recognized a surprising terror in his eyes. And now she doesn’t even recognize herself.

Ninety seconds can change a life ― not just the place you live, but the person others think you are. Phoenix Flores Flores knows this, because months after setting off toward the U.S. / Mexico border in search of safety for his brother, he finally walked out of detention. But Phoenix didn’t just trade a perilous barrio in El Salvador for a leafy suburb in Atlanta. He became that person ― the one his new neighbors crossed the street to avoid.

Ninety seconds can change a life ― so how will the ninety seconds of Gretchen and Phoenix’s first encounter change theirs?

Told in alternating first person points of view, The Radius of Us is a story of love, sacrifice, and the journey from victim to survivor. It offers an intimate glimpse into the causes and devastating impact of Latino gang violence, both in the U.S. and in Central America, and explores the risks that victims take when they try to start over. Most importantly, Marie Marquardt’s The Radius of Us shows how people struggling to overcome trauma can find healing in love.

MY TWO CENTS: To write about unaccompanied minors fleeing to the United States from El Salvador, is to talk about violence, family separation, corruption and trauma.  The Radius of Us, written by Marie Marquardt, explores the trauma of assault, gang harassment, abandonment and diaspora in the lives of Phoenix, Ari and Gretchen. Phoenix and his young brother, Ari, flee El Salvador due to gang violence. On their journey to the States, they are kidnapped in Mexico and forced into slavery. When they finally arrived to the U.S., they are arrested and separated. Although the novel begins with Gretchen’s and Phoenix’s first person narratives, we quickly learn how their lives intersect. They both live in the same Atlanta suburb and, although they don’t know it immediately, they’ve experienced traumatic events in their lives that connect them. Indeed, they face their fear of crowds, heights, and learn that trauma cannot completely leave them, and that they cannot be who they once were, yet there is the promise of recovery.

The reader can guess that Phoenix and Gretchen will eventually end up together, but the story is not about their romance. The story centers on the impact of trauma and how each of these characters is able to help the other face their fears. The author slowly takes us through the lives of the main characters and each of the people that play a small or big part in their recovery. Phoenix lives with Sally and Amanda, a couple who takes care of Phoenix while his asylum status is determined.  Phoenix volunteers as a gardener in the “place without a soul”—as Gretchen and her friend Bree call it—a community garden for the residents of the subdivision. We learn quickly that Gretchen suffers from panic attacks. She is homeschooled as a result of this, and is finishing her high school senior year studying from home.  As Phoenix and Gretchen get closer, they both learn—as does the reader—about each other’s pasts: Phoenix’s attempt for a better life in the U.S. for himself and his little brother, his fear of heights and his current immigration status; Gretchen’s assault, which causes her to have panic attacks, and her now estranged college boyfriend. The author explores the issue of trauma slowly and carefully. We see how the characters, at different points, deal with the past by being each other’s support system. Sometimes they listen, they let the other vent, or they hold each other as they re-live or are triggered by a situation that takes them right to the place of trauma. We even see how trauma is expressed differently in different characters; for example, Ari is unable (or unwilling, the jury still out!) to speak, but can draw pictures to deal with his past. We see these drawings in the book, too. The drawings, and Phoenix interpretation of them, allow the reader to see the value of different types of expression, especially as it relates to trauma therapy.

Marquardt does not shy away from issues of xenophobia, and the misunderstanding that exists when someone is in limbo about their immigration status. However, she also shows us the kindness of people willing to lend a hand, and support and advocate for those who have been wrongly persecuted. We see this in the characters of Amanda and Sally, Sister Mary Margaret, and the couple that owns a tattoo shop. Similarly, we see how Phoenix is the person that helps Gretchen heal, while at the same time sacrifices his education and life for his brother Ari.

TEACHING TIPS: In my opinion, it is impossible to teach this novel without providing the reader with the historical context of unaccompanied minors. Whether this is novel used in high school or college classrooms, it is important to understand the devastating effects of poverty and gang violence in places like Guatemala, El Salvador, and Honduras and the difficult decision parents (if they are still alive) must make to send their children to a safer place. Another important topic to explore is the Bestia, the train that transport thousands of Central Americans to the U.S. and about the Mexican women known as Las Patronas who feed the migrants traveling on it.

Another unique element in this novel is the intersection of drawings and tattoos to tell a story. We see Ari’s drawings as memories of his past, the traumatic events that he remembers and his nostalgia for his home country. Although we do not see the tattoos, we know they are used as markers. Gangs use them to identify each other and to mark members as cattle. This, at times, helps Phoenix and Ari survive, but it also brings shame. In the end, the reader can see how these artistic expressions prove to be transformative.

Headshot-OfficialMarie Marquardt is a Scholar-in-Residence at Emory University’s Candler School of Theology and author of contemporary YA fiction. She has written several articles and co-authored two non-fiction books about Latin American immigration to the U.S. South. She also has written three novels for young adults, based in part on her experience working with immigrants in the South: DREAM THINGS TRUE (St. Martin’s Griffin/ September 2015), THE RADIUS OF US (St. Martin’s Griffin/ January 2017) and FLIGHT SEASON (St. Martin’s Griffin/ forthcoming February 2018). She lives in a very busy household in Decatur, Georgia, with her spouse, four children, a dog, and a bearded dragon. When not writing, teaching, or chauffeuring her children, she can be found working with El Refugio, a non-profit that serves detained immigrants and their families.

 

headshot2016ABOUT THE REVIEWER: Elena Foulis has a Ph.D. in Comparative Literature and Cultural Studies from the University of Arkansas. Her research and teaching interests include U.S. Latina/o literature, and Digital Oral History. She is currently working on a digital oral history collection about Latin@s in Ohio, which has been published as an eBook titled, Latin@ Stories Across Ohio. She currently lives in Cleveland, Ohio.

On Fearlessness, and Writing to Change the World: A Guest Post by Author Marie Marquardt

 

By Marie Marquardt

“I am fearless, except when I’m not.”

This is how I describe myself, each time that I gather in a classroom of ESOL students to run writing workshops. It’s part of an exercise developed by Alma Flor Ada and Isabel Campoy, in their fabulous resource Authors in the Classroom: A Transformative Education Process. Each person makes a statement about who they understand themselves to be, or maybe just about how they feel at that particular moment. The statements build together to create poetry – simple, beautiful, honest poetry.

This exercise was first introduced to me by Meg Medina, who has inspired me immensely with her practice of “literary citizenship.” One way that I strive to live into the identity of a literary citizen is by gathering with nascent speakers of English – teenagers full of ideas and energy, with incredible and often heart-wrenching stories to tell, yet struggling to put them into words that are not their first language – and, in some cases, not their second or third, either. I try to be fearless as I read to them from my own stories, but sometimes I’m not.

I worry about how they will evaluate me – the middle-aged white lady whose recent book features characters like many of them – kids who have run away from some of the most dangerous communities in the world, looking for a safe place to live and maybe – just maybe – to one day call “home”.

Group shots and selfies from a recent workshop with ESOL students in a Gwinnett County, Georgia High School.

My very best days as an author are these days, when eager students come rushing up to me after our workshop, asking for selfies; when they tell me about their favorite character; when they marvel at how I learned to cuss like a Salvadoran, or how much I know about making pupusas. I want so much for my books to resonate with them — Their stories inspire me to write young adult novels in the first place.

Because of how profoundly these young adults’ experiences have shaped me, every one of my books has at least one point-of-view character who is an immigrant from Mexico or Central America. For twenty years, as an academic researcher, advocate, and service provider in Latinx immigrant communities in the South, I’ve listened to teen immigrants’ stories, and I’ve seen them unfold. I consider it an honor to create characters inspired by the teens I have had the great privilege to know. They have trusted me with their stories and I feel a great responsibility to convey their truth onto each page.

This is not a process that I take lightly, so I don’t do it alone. I rely on consultants who identify with the cultural traditions and national-origin groups I am representing. They teach me about the nuances of the culture and language, and they help me get a deeper understanding so I can build more robust and honest characters on the page (in other words, they teach me such important skills as cussing like a Salvadoran!).  I also rely on sensitivity readers, and I take their feedback very seriously.

Equally important, I consider it my responsibility to support the work of #ownvoices authors by  mentoring young authors from marginalized communities. I have worked for two years as a volunteer with We Need Diverse Books’ Walter Dean Myers Grant committee, and this year, I’ve pledged to work with ESOL students, facilitating workshops that help them build their own authorial voices and tell their own powerful stories.

I recently read a short interview with Jacqueline Woodson, when she was honored with the Lambda Literary Visionary Award. She said something that I think is damn near perfect: “Write specifically and furiously. Write to change the world.”

I aim to write specifically.

The Radius of Us CoverI can only tell the stories that I know. In the case of The Radius of Us, I felt compelled to write the story of a young asylum seeker from El Salvador because of the relationships I have built with real young adults in similar situations. It has been one of my greatest honors to help run a non-profit called El Refugio, which works with detained immigrants and their families. As part of that work, I have experienced the heartbreak of building friendships with dozens of young asylum seekers from the northern triangle of Central America. I have spent countless hours visiting with these young men in detention, sitting across the glass from them, telephones pressed to our ears. Unlike my story’s protagonist, most of these young men never have the chance to leave detention, until they are deported.

I aim to write furiously.

I am desperate for more people to know and understand the stories of these young men, and I also am, indeed, furious. I have followed some of them back to El Salvador, to see how they are faring after deportation. I have seen the dire circumstances into which our courts return them. I can’t wrap my head around the fact that, in the immigration court that determines the fate of these young men, only 5% are granted asylum. I can’t bear the thought that, like our friend Moises, some of these young people are being sent back to die.

I write to change the world.

On good days (fearless days), I remind myself that writing these stories is an act of compassion. When I allow myself to dive into the experience of Phoenix – an asylum-seeker from El Salvador, or Gretchen – a white suburban girl who was the victim of assault – I practice compassion. I hope that by telling these stories, I can model compassionate action, and I also fervently hope that, once they are out in the world, my stories will open safe, compassionate spaces. I hope that they create opportunities for teen readers to speak honestly with one another, to recognize those insidious systems (like racism and xenophobia) that aim to keep us apart, and also to affirm the beautiful, fragile humanity that we share in common.

I believe that, with more compassion, our world would be a radically different place. Compassion compels us to walk alongside people in crisis, and not to turn away. Compassion drives us to seek mutual understanding, to find those human qualities and dispositions that we share in common, while also not dismissing the profound differences that shape our experiences. Compassion changes the world.

This is what drives me to be fearless (except when I’m not).

Marie Marquardt is a Scholar-in-Residence at Emory University’s Candler School of Theology and author of contemporary YA fiction. She has written several articles and co-authored two non-fiction books about Latin American immigration to the U.S. South. She also has written three novels for young adults, based in part on her experience working with immigrants in the South: DREAM THINGS TRUE (St. Martin’s Griffin/ September 2015), THE RADIUS OF US (St. Martin’s Griffin/ January 2017) and FLIGHT SEASON (St. Martin’s Griffin/ forthcoming February 2018). She lives in a very busy household in Decatur, Georgia, with her spouse, four children, a dog, and a bearded dragon. When not writing, teaching, or chauffeuring her children, she can be found working with El Refugio, a non-profit that serves detained immigrants and their families.