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.
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!