For Teachers

Diversity in MG Lit #1

Dear Mixed Up Files followers, diverse literature is important to all of us here at the Mixed Up Files and we are eager to celebrate it—so much so that we decided to make it a monthly feature. Author/Bookseller Rosanne Parry will be heading up the project. She will be taking a very broad look at diversity to include race, ethnicity, religion, disability, class, gender and sexuality. Each month she will take one of these elements and round up 3-6 titles that celebrate it. As always we are eager to have our readers chime in with similar titles. We will be highlighting fiction, non-fiction, graphic novels and MG appropriate picture books. We will archive all the posts under the heading Diversity in MG Lit.

Rosanne has two books coming out in 2019. She has been in a flurry of revisions and copy editing all summer long. She will begin the first of her diverse book roundups on September 15th with a group of books that celebrate the cultures of India and Pakistan.

Writing and Illustrating Muslim characters in children’s literature: Interview and Giveaway with Author Saadia Faruqi and Illustrator Hatem Aly

I am thrilled to interview Author Saadia Faruqi and Illustrator Hatem Aly and discuss their new book – Meet Yasmin!  Saadia and Hatem talk about their experience developing a story with a Muslim main character and why diversity in children’s books matters.

 

Saadia, Yasmin is a brave girl who has a big imagination and loves adventure. Why is it important for you to write/illustrate the story of an empowering ethnic minority character?

 Saadia: So far we’ve seen brown characters mostly in issues books. They typically face a problem – or issue – that directly relates to their identity. For instance a Muslim main character facing Islamophobia, or an African American main character experiencing racism. Although I do believe that those sorts of books are helpful to our understanding of critical social and political issues, it also means that minority groups are otherized further, they’re seen as different, or only viewed in the context of that issue. Yasmin is the antidote to this problem: a Muslim girl in America, a brown first generation American, who is perfectly normal and average, facing all the issues every child her age faces, and having the same happy disposition we expect to see from all our children. It was really important to me not to make Yasmin or her family “the other” – someone different because of their skin color or their religion or ethnic background. There is a sort of empowerment in that normalization that only minority groups can truly understand.

 

Hatem, was it important for you to take the author’s background into consideration while creating the illustrations in the book?

Hatem: It is important, However, I didn’t have to work so hard on being familiar with Saadia’s background since I can relate to many elements of her background already being brought up in Egypt and Yasmin’s family seems so familiar to me in a broader sense. I did work on bringing up some Pakistani visual elements but illustrating Yasmin went organically harmonized with the author’s experience and my own as well.

 

In the recent times, literary agents and publishing houses for children and young adult books have made an open call for submissions from Muslim authors and illustrators. Can you explain why it matters to include diverse characters in children’s and young adult literature?

 Saadia: It’s really crucial to have as much diversity in all sorts of literature, not just in terms of characters but also stories. I actually come from an adult literary background, and I see the same calls for diversity in that age group as well, and it warms my heart to witness these changes in publishing. The reason this matters so much is two-fold (and something we in kidlit talk about constantly): mirrors and windows. My children need a mirror. They need to see themselves reflected in the pages of the books they read. Growing up in Pakistan I didn’t have that. I read exclusively white stories, by white authors, and my worldview was shaped with an extreme inferiority complex because of that. I don’t want my children to have the same, and I know nobody else does either. Also, other children need windows. They should be able to read and enjoy books that show a different sort of family than theirs, a different culture than theirs. This is the only way we can have a younger generation that’s more empathetic and understanding and aware than our previous generations were.

Hatem: It is critically necessary to show diversity in literature of all ages and to express a wider range of life elements in people’s lives. In my work I sometimes pay attention to some things that bothered me as a child but also that I found intriguing. For example, I remember almost all comics and story books took place in a sort of a suburban –house per family- neighborhood and I felt strange finding nobody living in an apartment like myself and most of the millions of people in Cairo alone or at least everyone I know. So I felt alienated but amused from a distance longing for something I can’t define. It seemed to me there was a generic way of living that needs to be challenged and I couldn’t put my finger on the issue exactly until I was older. It’s important for children to see themselves and to see others as well in books.

 

How can parents, librarians, and readers help support books like Meet Yasmin?

 Saadia: The key is not only to read the book but to discuss it. You could use the back matter which has some really good discussion guides for students, and there is also an educator’s guide for teachers. Finally, and for me most excitingly, Capstone has some very cool downloadable activities based on Yasmin, which kids are going to love. I encourage parents, librarians and teachers to take advantage of those as much as possible.

Hatem: The best thing is to read the book, and share it with others! Personally I feel that the most powerful way is to read it to students or story time at public libraries as well as parents to their younger children. I find that helps building bonds between children and books.  I love libraries, so I ask everyone to walk into their local public library and suggest that they buy a few copies for their shelves. Most libraries have book suggestion tools for their patrons, either online or in person. The same goes for your child’s school library.

 

Who are your personal author/illustrator idols?

 Hatem: It’s more of an emergence of inspiration fueled by a mix of interesting people. Many names come to mind, and many I will forget. Some whose work I enjoy and admire are Bill Watterson, Tove Jansson, Maurice Sendak, Jon Klassen, Luke Pearson, Marc Boutavant, Sempé, Zep, Jillian Tamaki, Lynda Barry, Vera Brosgol, Hayao Miyazaki, Naoki Urasawa, Edward Gorey, Kate Beaton, Carson Ellis, Oliver Jeffers and many more.

Saadia: Some of my favorite writers are my own peers, because I believe writing is best done as part of a community. In early reader and picture books I admire Hena Khan who’s been a trailblazer as far as Muslim representation in kidlit is concerned, and really carved a space not only for herself but for others as well. In terms of illustrators, I’m actually a big fan of Hatem Aly, haha! I feel very blessed that he’s part of Team Yasmin because it’s so important for me to have a person doing the art who really understands what it means to be Muslim, and first generation, and sometimes “the other”. He really gets my stories in a way that I think another illustrator wouldn’t have, and I’m very grateful for that.

 

What can readers take away from Meet Yasmin?

Saadia: Readers will enjoy seeing themselves in Meet Yasmin, even if they are very different in superficial ways to Yasmin and her family. Yasmin is literally the every-girl, and her family is the same as every other family. With everything that’s going on politically in our country at the moment, I hope that Yasmin can help readers understand that Americans come in all colors, and that there’s beauty and worth in diversity, despite what they may hear in the news sometimes.

Hatem: I believe that readers will have fun with Yasmin and recognize similarities despite some superficial differences. They will be inspired to be curious, creative, and believing in themselves all the way even if things go wrong sometimes. There are a lot of lessons a child can learn, but there’s also a lot of entertainment which is so important to develop in this age group of readers.

 

For more about Saadia and her work, visit her website. You can also connect with her on Twitter.

For more about Hatem and his work, visit his website. You can also connect with him on Twitter.

Thanks, Saadia and Hatem!

 

Want to own your very own copy of Meet Yasmin? Enter our giveaway by leaving a comment below! 

You may earn extra entries by blogging/tweeting/facebooking the interview and letting us know. The winner will be announced here on Wednesday, August 15, 2018 and will be contacted via email and asked to provide a mailing address (US/Canada only) to receive the book.

 

The Mysterious Tablet of Mystery Words

While digging in your backyard, you uncover a rectangular rock covered in a strange script. Some letters look a bit like English, while others are oddly shaped, and none of it makes any sense.

Who carved the rock? What does it say? And how long has this artifact been buried?

You take your rock to the university. Scholars in the Classical Studies department identify the script as an ancient version of Greek. What you thought was a rock is actually a clay tablet from nearly two thousand years ago!

Also, and I can’t believe I failed to mention this before, the backyard where you unearthed this tablet is located near the Greek city of Olympia, where the original Olympic Games took place, and site of the statue of Zeus that was considered one of the Seven Wonders of the Ancient World.

Could this inscription be related to an ancient athletic event? Could it have had something to do with the statue of Zeus? What secrets will be revealed when the experts finish their translation?

The script on the tablet, when translated, describes the construction activities of an unnamed swineherd, on behalf of his absent master, an unnamed mistress, and an old man named Laertes.

…..[swineherd] he himself built for the swine of his master who was away,
away from/unaided by his mistress and the old man Laertes,
with stones (he had) hauled, and he surrounded/crowned it with wild pear trees (prickly pears)
and he drove stakes outside it in continuous succession
dense and close-set, hewn from black oak:
and within the open court made twelve pigsties

You are informed that many surviving writings from ancient times record inventories or commercial transactions. Or in this case, the construction of a pigsty.

How does this compare with your expectations? How do you feel?

Something about that name, Laertes, strikes you as familiar.

You conduct a search, and find references to The Odyssey, an ancient story of Greek mythology. At the end of a ten-year war and ten-year return, the warrior-king Odysseus, the son of Laertes, arrives home to find his kingdom in chaos, his infant son all grown up, and his wife beset by suitors who all assume that he is dead.

The story is broken into 24 rhapsodes, and the tablet you’ve found is an excerpt from Rhapsode 14. In a story of gods and mortals, sorcery and monsters, seers and spirits, you’ve found the one part devoted to the construction of an ordinary pigsty. And it’s funny because Odysseus, dressed in rags at this point in the story and traveling under an assumed name, is the swineherd’s boss. He is the unnamed “master” of that first line.

Congratulations, you’ve discovered one of the greatest literary works of human history!

How likely is this scenario?

This tablet actually exists. It was recently unearthed by an expedition in Olympia, and represents the oldest existing excerpt of The Odyssey ever found in Greece. And yet, if we didn’t also have the rest of the story, we might easily mistake this masterwork of classical literature for just another record of daily life in ancient times.

It makes me wonder which of those inventories and transactional tablets might also be parts of larger stories that we no longer have.

And two thousand years from now, if archaeologists were to discover a single random page from your favorite book, would they be able to figure out what the story is about, or if it’s a work of fiction at all?

Leave your thoughts in the comments!