WNDMG

We Need Diverse Middle Grade: What it Means to Write Diverse Books

We Need Diverse MG
We Need Diverse MG

Artwork by Aixa Perez-Prado

I’ve been looking forward to this day with great excitement: today marks the debut post for our new series, We Need Diverse Middle Grade.

Our mission: We celebrate and promote diversity in middle-grade books, and we examine the issues preventing better equity and inclusion on the middle-grade bookshelf. We intend to amplify and honor all diverse voices.

We Need Diverse Middle Grade will post once a month, drawing on work from our own team of contributors as well as from guest authors, editors, agents, teachers, librarians, and booksellers. You can count on our presence here on Mixed-Up Files to shine a light on the stories, work, and truth of all those who are still underrepresented in this field. You’ll be able to recognize our monthly posts by seeing our WNDMG  logo: the diverse world we envision. Our artwork is by contributor Aixa Perez-Prado.

Guest Posts for We Need Diverse Middle Grade

If you’re interested in being considered for a guest post slot on WNDMG, please feel free to email: mufcommunications@gmail.com.  Please Note: We do not pay for guest blog posts.

And without further ado, I want to introduce our first WNDMG author, the talented Saadia Faruqi. Saadia is a former MUF contributor, and she is also the author of the YASMIN series, A PLACE AT THE TABLE (with author Laura Shovan) and A THOUSAND QUESTIONS.

 

WHAT IT MEANS TO WRITE DIVERSE BOOKS

By Saadia Faruqi

 

Every time I write a post on Instagram, I chose from a number of hashtags. One of these is #DiverseAuthors and I always chose it with an internal cringe. Why do I need to be called a diverse author? What’s so diverse about me?

I’m just a person writing books about my and my children’s experiences, and for all that to have a label – no matter how well meaning – is often a source of discomfort for me. At the same time, I realize that the work I do is important, and needed. My life experiences as an immigrant, as a mom of first-generation brown kids, inform everything I do, and every single word I write. I share our family’s journey in so many different ways. So many diverse ways.

A Series of Diverse Firsts

The good news is that books about marginalized communities and identities – diverse books – are becoming more popular. When I wrote the Yasmin series, it was the first traditionally published early reader series written by a Muslim American author. It was also the first series with a Muslim girl on the cover, wearing her traditional Pakistani dress and using Islamic words like “salaam”. Nobody knew what the reception of such a unicorn among books would be.

Meet Yasmin

But the success of Yasmin and so many other “diverse” books has shown that there is definitely a huge market for them. “Diverse kids” are hungry for books that center them and their experiences. “Diverse parents” are eager to buy books like mine for their children. Teachers and librarians, even if they aren’t “diverse” themselves, are realizing the value of introducing a different culture and identity in their spaces.

Branching Out

Over the years, I’ve grown more daring. From Yasmin I progressed to writing middle-grade novels. With co-author Laura Shovan, I wrote A Place at the Table, a multi-diverse book about not one but several marginalized identities. Muslim. Jewish. Pakistani. British. Immigrant. Mentally ill. The response has been heartwarming. We’ve spoken with teachers and parents and students themselves. Everyone loves this story, because they can all see something of themselves in this book.

A Place At the TableSaadia Faruqi and Laura Shovan

((Read our interview with Saadia and Laura about A PLACE AT THE TABLE here.))

Universal Diversity

Does that mean we are all “diverse”? This is an interesting question. If “diverse” means different from the norm, then most of us are diverse in some way or the other. If diverse means unique, we are definitely all so.

My most recent book A Thousand Questions is perhaps the most unlike my other work, because it’s set in another country. This is the story of Mimi, a Pakistani American girl who spends her summer vacation in Pakistan with her grandparents. It is also the story of Sakina, the Pakistani servant girl who works at Mimi’s grandparents’ home. Both are foreign to the other. Both look at the other and see DIVERSE.

A THOUSAND QUESTIONS

I choose to set A Thousand Questions in Pakistan because I wanted to explore how we are all different, yet the same. How we tend to look for differences in others and forget the similarities. I wanted my readers to see how one can travel half-way across the world and still find people who are exactly like us in terms of their feelings and their dreams and their fears.

Diverse Books are Just Good Books

Although A Thousand Questions is a perfect example of a diverse book, it actually is the opposite in terms of what it hopes to achieve. It shows how we are similar, alike, comparable. It shows that maybe what we think of as “diverse books” are actually just good books. Amazing stories about amazingly diverse experiences that we can all learn from, whether we are adult or kid readers.

My stories are “diverse” only because they’re outwardly different. They may be set in a different country, or the characters may speak a different language, or eat foods you’ve never heard of. But under the skin, these stories are universal in nature. Similarly, I may have brown skin or wear a hijab or speak Urdu, but underneath all that I’m a human being just like you. I’m a writer just like any other.

I hope that my books – all diverse books – bring home this essential message to readers.

Author Saadia Faruqi

Saadia Faruqi is an interfaith activist and author. Visit her website at www.saadiafaruqi.com.

Diversity in MG Lit #21 Political Activism

We are in the final throes of the 2020 campaign, and I want to highlight some non-fiction books on activism in a variety of forms.
Enough is Enough: how students can join the fight for gun safety by Michelle Roehm McCann (Beyond Words Hillsboro, OR 10/2019) There is only one good thing about the closure of schools due to the pandemic—just one—and it’s this, there hasn’t been a mass shooting at a school since March. It’s the first spring in more than 20 years without multiple mass shootings at American schools. What I appreciate about this book is that it doesn’t vilify hunters and target shooters. Rather it shines a light on data behind why America’s death rate from gun violence is 4 to 6 times higher than every other country in the world. There are interviews of many young gun safety advocates and plenty of practical advice for how to get involved in the issue.
One Person No Vote: how not all voters are treated equally by Carol Anderson This is a young readers version of Anderson’s acclaimed book about voter suppression. It could not be more timely. This one is a bit dense for young MG readers but it will open their eyes of the older readers in a powerful way
Kid Activists: True tales of childhood from Champions of Change by Robin Stevenson, illustrated by Allison Steinfeld. This is the latest installment in a popular series which includes Kid Inventors, Kid Scientists, Kid Authors & Kid Artists. It features activists from history as well as contemporary times. Frederick Douglas, Malala Yousafzai, Harvey Milk, Dolores Huerta and many others. The text is straight forward and includes a generous size font and illustrations making this a good choice for younger MG.
Sometimes People March by Tessa Allen is a picture book about demonstrations and protests. The text is very spare and the illustrations invite lingering. Both contemporary and historical protests are depicted and there’s more information in the back matter.
Into the Streets: a young person’s visual history of protest in the United States by Mark Bieschke is a look at political, human rights and labor protests. This one is fully illustrated and best for the older end of MG.
You Call This Democracy: how to fix our government and deliver power to the people by Liz Rusch She unpacks the most difficult aspects of American politics, how can a person who lost the popular vote win the presidency? Why are so many people disenfranchised? Why does money have so much political influence? Who draws the boundaries of voting districts? Tough questions and here are clear and concise answers to steer you through difficult times.
Dictionary for a Better World: poems, quotes, & anecdotes from A to Z. by Irene Latham & Charels Waters Illustrated by Mehrdokht Amini.  This one is harder to describe. It’s a collection of meditations, beautifully illustrated on words like Ally, Compassion, Respect, Kindness, Nature, Voice, Witness. It’s a book to treasure and talk about.
I Voted: Making a choice makes a difference by Mark Shulman and Serge Bloch is an introduction to the act of voting and what it means. This is for the very youngest readers and is more balanced and bipartisan than almost anything I’ve read this year. I’d use it with 1st to 3rd graders.
Letters from Young Activists: todays rebels speak out is not for kids but by kids for adults. So if you’re looking for inspiration or worried about the future, curl up with a cup of coffee and listen to what young activists have to say. It’s awesome!

Cynthia Leitich Smith of the new HarperCollins imprint, Heartdrum

Heartdrum logo

The latest diversity in children’s book data released by the Cooperative Children’s Book Center (CCBC) at the University of Wisconsin-Madison shows the publishing slice for American Indians/First Nations books stayed relatively flat. This percentage increased only slightly from the 2015 data (0.9%) to 1% reported in 2018. The excellent infographic, Diversity in Children’s Books 2018 by David Huyck and Sarah Park Dahlen, visually represents this striking data.

There is a need for action.

The first step has been around a long time for the readers and educators who have found it. It’s the abundance of exceptional Native content produced by exceptional Native creators. I highly recommend digging into Native kidlit and giving these books a try. You’ll be glad you did.

A solid and promising second step came recently from a major publishing house. HarperCollins Children’s Division is taking a step forward with the announcement of their Heartdrum imprint. Better yet, this exciting new imprint will be led by two awesome and talented individuals, Cynthia Leitich Smith and Rosemary Brosnan. Today, we are honored at From the Mixed-Up Files to have Cynthia Leitich Smith graciously answer a few questions about Heartdrum.

Cynthia, welcome! Thank you for being our guest and sharing this great news about Heartdrum.

What does having a Native imprint at major publishing house mean to you personally, now and for the future, as an author, advocate, and enrolled member of the Muscogee Creek Nation?

It’s a signal that Native voices and artistic visions are more fully welcomed and embraced by children’s-YA book publishing per se. It is a noteworthy and encouraging intersection between the industry and the intertribal Native literary community—most importantly, young readers, centering Native children and teens.

When we think personally, “community” is the first, most important word that comes to mind.

As excited as all us Native Kidlit fans are for the news of the Heartdrum imprint, we mustn’t look past the tremendous creative work that has been and will be released in the future from independent publishers. Can you touch on some of those wonderful houses?

We must remember that tribal presses and Native-owned presses are and should always be the leaders in this industry conversation. We must also pay tribute and continue to support small presses that have been at the forefront of bringing Native voices and visions to kids from the start.

When seeking out Native literature, we’re all blessed to have high-quality titles from houses like Salina Bookshelf, Lee & Low/Tu Books, Charlesbridge, Cinco Puntos, Levine Querido, Native Realities Press, and Chickasaw Press (among others).

(A huge shout out to Lee & Low for taking a strong leadership position in encouraging more diversity and accountability within publishing as an industry and to Tu editor Stacy Whitman for bringing more Native voices in speculative/genre fiction into the world.)

This moment is also a testament to the importance and guidance of groundbreaking elder authors and illustrators like Virginia Driving Hawk Sneve, Michael LaCapa, Tim Tingle, Lucy Tapahonso, Joy Harjo, Joseph Bruchac, Louise Erdrich, and Simon Ortiz…to new and rising stars like Christine Day, Dawn Quigley, Darcie Little Badger, Eric Gansworth, Julie Flett, Monique Gray Smith, David Alexander Robertson, Angeline Boulley, and Brian Young (among others).

Likewise, we should all be sure to herald breakout individual titles on big-house publisher lists from new sensations like At Mountain’s Base, written by Traci Sorell, illustrated by Weshoyot Alvitre (Kokila/Penguin Random House), Fry Bread, written by Kevin Noble Malliard, illustrated by Juana Martinez-Neal (Roaring Brook/Macmillan) and the forthcoming We Are Water Protectors, written by Carole Lindstrom, illustrated by Michaela Goade (Roaring Brook/Macmillan)(among others).

(A huge shout out to Traci Sorell for her leadership in the Native children’s-YA literary creative community.)

Together, these Native literary and visual artists have proven that authentic, well-crafted Native writing and illustration can entertain, inform, delight, foster empathy, validate and connect.

And their accomplishments didn’t come easily. They have persevered and broken through barriers of bigotry, misconceptions, and stereotypes—navigating and pushing against literary defaults to non-Native conventions and sensibilities. And that battle is still ongoing.

What is Heartdrum’s origin story?

Turning to the Heartdrum imprint, it should be noted that credit for the idea goes to Ellen Oh at We Need Diverse Books. And of course, she—like so many of us—was made more aware of the Native children’s-YA publishing book landscape in part from the hard work of folks like CCBC, former ALA President Loriene Roy, the American Indian Library Association, Drs. Debbie Reese and Jean Mendoza of the American Indians in Children’s Literature blog, and rising voices like Kara Stewart and Alia Jones.

Ellen and the CCBC team are wonderful examples of friends who went above and beyond.

Remember that every act of support from each of us makes a difference.

Every Native or non-Native teacher who shares an authentic Native-focused book—especially when it’s not November; every Native or non-Native family member or friend who gives one to a beloved child….

As a fan, I’ve enjoyed the recent resurgence in Native-created content. Can you highlight some of these changes which have given Native creators in the industry the space they deserve?

Last year, author Debby Dahl Edwardson organized LoonSong: Turtle Island, a workshop for Native writers, that led to deep friendships and ah-ha moments that will long impact children’s literature in exciting ways.

This year SCBWI welcomed me to its Board of Advisors, and I’m working with a terrific committee of luminaries on diversity, equity and inclusion initiatives.

Bank Street College featured several Native voices at this fall’s book festival.

Just last month, educator Jillian Heise organized and moderated a Native author panel at NCTE. And Native representation was up at that conference across the board.

KidLitCon has announced that Dawn Quigley will be their upcoming keynote speaker.

Children’s librarians introduced authors like Traci Sorell and Kevin Noble Maillard to elementary students at their schools.

Native booksellers like Red Planet Books & Comics in Albuquerque and Birchbark Books & Native Arts in Minneapolis (among others) have become essential destinations.

Of late, Meghan Goel, the children’s book buyer and programming director, at Austin’s legendary independent bookstore, BookPeople, reached out to ask how she and the store could better support Native voices, and she took positive action from there, including writing a related article for Publishers Weekly.

The work of today’s veteran advocates is echoed and carried forward from Indigo’s Bookshelf: Voices of Native Youth.

I could share so many more examples—including this interview at Mixed-Up Files!

All of this is to say: We’re talking about a steadily building groundswell of support, over many years, that has been the most successful when Native voices have taken the lead and true friends have listened respectfully and responded proactively in cooperation.

What role do you envision for Heartdrum in advancing Native literature and literacy?

The Heartdrum imprint is another next step forward. Actually, it’s a leap of faith.

Twenty years ago, a big-house editor, Rosemary Brosnan, took a risk on my first book, Jingle Dancer, a contemporary Native story about a young girl bringing together regalia with the help of women of every generation of her family and community. Launching the Heartdrum imprint with her feels as though our journey has come full circle. And now, we’ll begin again with the goal of helping to nurture and lift more Native creative folks and books, to benefit generations of young readers.

A house with the reach and resources of HarperCollins, dedicating itself to this initiative, will be a game-changer for the future of children’s-YA book publishing.

Heartdrum will offer page-turning, heartfelt, sometimes joyful, sometimes reflective books that will speak to generations of young readers.

My hope is that Heartdrum books will validate fellow Native literary and visual artists of all ages—from preschoolers to elders. I also hope that educators will take note of our emphasis on tribally specific, contemporary (and perhaps futuristic) stories to recognize that Native people hail from distinct Nations with past, yes, but also a present and future.

We’ll be inclusive when it comes to the intersectional identities. There is so much diversity within Indian Country—intertribally, culturally, linguistically, in terms of faith, socio-economic status, body type, gender, orientation, and so on. If, say, a Native author with a disability reflects that experience on the page, we’re not going to say, “Your layers of identity are too much for the mainstream market to process.” We understand that the human experience is not a check-one-box proposition.

Joy, fun, and humor will be ever-present in the mix with more serious themes.

We’ll prioritize the needs of kid readers, especially Native kids.

Beyond that, I hope friends and colleagues take this moment to reflect on their relationship to Native literature and diverse and inclusive literature more broadly. And that’s something we’ll continue to do, too.

We must all be asking ourselves with each step forward: How can we do better?

I’m also deeply grateful that WNDB and HarperCollins are making it possible to organize annual workshops for Native writers to nurture their writing journeys. No doubt that some writers we’ll be working with will go on to publish with the Heartdrum imprint and some will go on to publish with other houses.

We’ll be filled with joy about them all!