Everybody is Different & Everyone is the Same: A Primer on Diverse Children's Literature by chuckgon

everybody is different &

everyone is the same

a primer on diverse childrenâ&#x20AC;&#x2122;s literature

everybody is different & everyone is the same

Children need windows and mirrors. They need mirrors in which they see themselves and windows through which they see the world.

rudine sims bishop

colophon

This 6x9 book was designed by Chuck Gonzales on 11/2020 in partial fulfillment for MFA I Studio class at BU.

The typeface used for headers is Whyte Inktrap Bold with a point size of 32, while, sub-headers are Medium, set to 22 and 14.

Suisse Intâ&#x20AC;&#x2122;l Book makes up the body copy, with a point size of 9.

content 8-10 foreword and graph

14-82 select titles

86-115 further reading

foreword It is proven knowledge that children's literature plays a valuable role in the cognitive development of a child. It aids in cultivating emotional intelligence, creativity, and concurrently nurtures a child's social skills, and personality. While there is no shortage of published titles, there is, however, a vast disparity in the diversity of race and culture in characters, illustrations, and storylines.Â First, it is necessary to define the term diverse in conjunction with this project. A diverse book can be synonymous with a multicultural book, or a story with a plot and characters used to acquaint their cultural background, beliefs, or surroundings to an uninitiated audience. It serves as an introduction to a culture or setting. Another form of diverse literature could involve characters of color or mixed races going through everyday situations - a slice of life to subtly reveal to the reader a sense of inclusion and acceptance of others. Studies also reveal that a child recognizing his or herself through literature develops a crucial type of self-love while having the ability to explore and appreciate the cultures of others encourages empathy and understanding. In the thick of rapid globalization and social and racial unrest, it is vital to introduce children to such morals as early as possible through an engaging selection of literature. Offering a more extensive collection of children's books depicting 8

underrepresented groups can help build an engaged and educated community. It can promote and instill love and acceptance in a child at an early age. It opens new avenues for curiosity, safe discussion, and highlights the natural similarities in children regardless of cultural distinction. Given all these reasons, an awareness of the effect of diversity in children's literature may be the cause of the shortage of publications. With an increase in awareness and demand, an uptick in titles will conceivably follow suit. This book attempts to bring to light the positive impacts of diverse children's literature, to raise awareness, and to propose workable solutions for its growth as a movement. I have curated a unique list of diverse titles that, in my opinion, display exceptional illustrations and storytelling. I intend for these to add exposure to the artists behind these works - many of whom are persons of color. Also, articles used as resources to inform this book are attached for further reading purposes. I hope for these to convey a call to action to produce authentic, more inclusive content, and for educators to discern the significant contribution it will have to the learning experience. In conclusion, this book attempts to correct the imbalance by bringing awareness to all stakeholders on the value of diverse children's literature, and the importance of quality, distribution, accessibility, and accuracy in storytelling.

According to a report in 2019 by the Cooperative Childrenâ&#x20AC;&#x2122;s Book Center (CBC), of the 3,134 books published in 2018, 50% feature main characters who are white, 27% accounting for animals, 1% for American Indians, 5% for Latinx, 10% for African/African American, 7% for Asian. To add, only 9% of authors were of color, while 91% were white. In illustrators, 11% were persons of color, and 89% were white.

this graph depicts findings by the cbc in 2018

5% latinx

1% am. indian 7% asian

10% black

27% animals

50% white

main characters in books 10

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author arthur dorros Arthur Dorros has enjoyed words, pictures, and books for as long as he can remember. A photograph taken when he was one and a half years old shows him eating a few. Some of his later experiences led to his creating books. When he was four years old he sat on the tail of

a ten-foot alligator. Fortunately the alligator had been well fed. Out of that adventure grew one of his first published books, Alligator Shoes.

illustrator elisa kleven Elisa Kleven is an American childrenâ&#x20AC;&#x2122;s writer and illustrator of 30 books. She grew up in Los Angeles and currently resides near San Francisco. Her titles have been Booklist editorâ&#x20AC;&#x2122;s choices, and PBS and Rainbow Book selections.

originally published in 1997

abuela

Come join Rosalba and her grandmother, her abuela, on a magical journey as they fly over the streets, sights, and people of New York City which sparkles below. The story is narrated in English, and sprinkled with Spanish phrases as Abuela points out places that they 14

explore together. The exhilaration in Rosalbaâ&#x20AC;&#x2122;s and Abuelaâ&#x20AC;&#x2122;s story is magnified by the loving bond that only a grandmother and granddaughter can share.

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author aya khalil Aya Khalil is a freelance journalist and educator. She holds a master’s degree in Education with a focus in Teaching English as a Second Language. The Arabic Quilt is based on true events growing up, when she moved to the US from Egypt at the age of one. Her articles have been

age of one. Her articles have been published in The Huffington Post, The Christian Science Monitor, The Post & Courier, Toledo Area Parent, and more. She’s been featured in Yahoo!, Teen Vogue, Verona and more.

illustrator anait semirdzhyan Illustrator Anait Semirdzhyan lives in Seattle, Washington. Born in Kazakhstan, raised in Armenia, she moved to the United States with her husband and twins. Her passion for creating characters led her to children’s book illustration. Anait’s enjoys working in various

disciplines, including: pencil, ink, watercolor, and digital. Stella and the Bubble Man is her second children’s book.

originally published in 2020

the arabic quilt: an immigrant story

Kanziâ&#x20AC;&#x2122;s family has moved from Egypt to America, and on her first day in a new school, what she wants more than anything is to fit in. Maybe thatâ&#x20AC;&#x2122;s why she forgets to take the kofta sandwich her mother has made for her lunch, but that backfires when Mama shows up at 16

school with the sandwich. Mama wears a hijab and calls her daughter Habibti (dear one). When she leaves, the teasing starts.

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author/illustrator julie flett Julie Flett won the Governor General’s Award for Children’s Literature for her work on When We Were Alone by David Robertson, and her book Birdsong won the TD Canadian Children’s Literature Award and was shortlisted for the Governor General’s Award. She is the three-

time recipient of the Christie Harris Illustrated Children’s Literature Award for Owls See Clearly at Night: A Michif Alphabet, Dolphin SOS and My Heart Fills With Happiness.

originally published in 2019

birdsong

When a young girl moves from the country to a small town, she feels lonely and out of place. But soon she meets an elderly woman next door, who shares her love of arts and crafts. Can the girl navigate the changing seasons and failing health of her new friend? 18

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author caren stelson When author Caren Stelson first heard Sachiko Yasui speak, she knew she needed to share her story with young people. She eventually made five trips to Japan to interview Sachiko in Nagasaki and conduct additional research. Caren’s book for middle grade

readers, Sachiko: A Nagasa Atomic Bomb Survivor’s Story, was longlisted for a National Book Award and received a Sibert Honor Award, the Jane Addams Children’s Book Award, and the Flora Stieglitz Straus Award.

illustrator akira kusaka

Akira Kusaka is an illustrator and graphic designer who has created advertisements, book covers, children’s books, and more. He has not experienced war, and illustrating Sachiko’s story for A Bowl Full of Peace prompted him to contemplate both war and peace. He

hopes that this book will inspire the next generation of children to think deeply about peace as well. When Akira is not drawing, he plays trombone in a two-man band called Repair. He lives in Osaka, Japan.

originally published in 2019

a bowl full of peace

In this deeply moving nonfiction picture book, Caren Stelson brings Sachiko Yasuiâ&#x20AC;&#x2122;s story of surviving the atomic bombing of Nagasaki and her message of peace to a young audience. Sachikoâ&#x20AC;&#x2122;s family home was about half a mile from where the atomic bomb fell. Her 20

family experienced devastating loss. When they returned to the rubble, her father miraculously found their serving bowl fully intact. This bowl which once held their daily meals now holds memories of the past and serves as a vessel of hope, peace, and new traditions.

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author nicolai campbell Nicola I. Campbell is a renowned Canadian children’s book author. Her books have won many awards, including the TD Book Prize, the Marilyn Baillie Award and the Anskohk Aboriginal Children’s Book of the Year.

illustrator julie flett Julie Flett won the Governor General’s Award for Children’s Literature for her work on When We Were Alone by David Robertson, and her book Birdsong won the TD Canadian Children’s Literature Award and was shortlisted for the Governor General’s Award. She is the three-

time recipient of the Christie Harris Illustrated Children’s Literature Award for Owls See Clearly at Night: A Michif Alphabet, Dolphin SOS and My Heart Fills With Happiness.

originally published in 2017

a day with yayah

Campbell’s quiet story weaves botanical facts with respect for the natural world, naming the plants in the Nle kepmxcin language. Flett’s (Cree/Metis) colorful, calming illustrations blend very well with the tone of the text. display type. The flowers pop against the dark green 22

grass, the display type. The flowers pop against the dark green grass, the relative smallness of the human figures in the landscape emphasizing their relationship with nature. With modern children learning an elder’s wisdom, this makes for a lovely day out.

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author bao phi Bao Phi was born in Vietnam and raised in the Phillips neighborhood of South Minneapolis. He is an author, a poet, a community organizer, and a father.

illustrator thi bui Thi Bui was born in Vietnam and grew up in California and New York. Now all these places are a part of her. She draws and writes and teaches. She recently completed her first graphic novel, The Best We Could Do (Abrams, 2017), which is about her mother and father. 25

originally published in 2017

a different pond

A Caldecott Honor Book that Kirkus Reviews calls “a must-read for our times,” A Different Pond is an unforgettable story about a simple event - a long-ago fishing trip. Graphic novelist Thi Bui and acclaimed poet Bao Phi deliver a powerful, honest glimpse into a 26

relationship between father and son - and between cultures, old and new. As a young boy, Bao and his father awoke early, hours before his father’s long workday began, to fish on the shores of a small pond in Minneapolis.

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author kevin noble maillard Kevin Noble Maillard is a professor and journalist who lives with his family on the 13th floor of a 115-year old bank in the heart of Manhattan. He is a regular writer for the New York Times, and has interviewed politicians, writers, tribal leaders, and even some movie

stars. When he was 13 years old, he won a fishing derby for catching 72 fish in two hours. Originally from Oklahoma, he is a member of the Seminole Nation, Mekusukey band.

illustrator juana martinez-neal Juana Martinez-Neal is an illustrator of books for children, including the Pura Belpre Award winner La Princesa and the Pea. She made her authorial debut in 2018 with Alma and How She Got Her Name, which was awarded the Caldecott Honor. Juana was born in Lima,

Peru, where she grew up surrounded by amazing meals prepared by her mom and amazing paintings made by her dad and grandad. She now lives, eats, and paints in Scottsdale, Arizona, surrounded by her amazing children.

originally published in 2019

fry bread

Fry Bread: A Native American Family Story is so much more than a story about food. From the illustrations to the end papers to the back matter, this is a simple, yet phenomenal story about food, history, culture, diversity, resourcefulness, perseverance, family and comm28

unity. As soon as you open up the book, you are immediately drawn in with the mesmerizing end papers. The end papers list the 573 federally recognized Native American tribes in the United States.

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author atherena vernette Katherena Vermette is a Métis writer of poetry, fiction and children’s literature. Her first book, North End Love Songs, won the 2013 Governor General’s Literary Award for English Poetry. Her first novel, The Break, was shortlisted for the Governor General’s Literary Award for

Fiction and the Rogers Writers’ Trust Fiction Prize. Her National Film Board film this river won the 2017 Canadian Screen Award for Best Short Documentary. She holds a Master of Fine Arts from the University of British Columbia and lives in Winnipeg.

time recipient of the Christie Harris Illustrated Children’s Literature Award for Owls See Clearly at Night: A Michif Alphabet, Dolphin SOS and My Heart Fills With Happiness.

originally published in 2019

the girl and the wolf

While picking berries with her mother, a little girl wanders too far into the woods. When she realizes she is lost, she begins to panic. A large grey wolf makes a sudden appearance between some distant trees. Using his sense of smell, he determines where she came from 30

and decides to help her. Through a series of questions from the wolf, the little girl realizes she had the knowledge and skill to navigate herself--she just needed to remember that those abilities were there all along.

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author lynea gillen Lynea Gillen has been a teacher and counselor for more than 30 years. She is the creator of Mindful Moments Cards, the DVD Kids Teach Yoga: Flying Eagle, and is the author of Yoga Calm for Children. She lives in Oregon.

illustrator kristina swarner Kristina Swarner is the award-winning illustrator of numerous books, including Before You Were Born and Enchanted Lions.

originally published in 2021

good people everywhere

Our world is scary. There are some very bad people out there, and those people make it into our newsfeeds and our fears very easily, especially for children who are learning to build schemas of how to interpret the world. This book reminds us that there are wonder32

ful, good, caringpeople everywhere we turn—and that it’s important to strive to be a good, caring person as they grow up. It’s a great reminder for us, too, as parents to look for the good people, because they’re always there, no matter how bad it gets.

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author karen gray ruelle Karen Gray Ruelle is a decorated author who has written over 20 children’s books.

illustrator deborah durland desaix Deborah Durland DeSaix, a former college professor, has written and illustrated many picture books for children. Reviews for her artwork are outstanding. Booklist praised her art in Know What I Saw by Aileen Fisher saying, “De Saix steals the show, though, with lush, photo-

realistic scenes that are both large enough to sweeten the subtraction lesson built into the 10-to-1 countdown premise.” She now lives in Asheville, North Carolina.

originally published in 2010

the grand mosque of paris

Few Parisians were willing to risk their own lives to help. Yet during that perilous time, many Jews found refuge in an unlikely place-the sprawling complex of the Grand Mosque of Paris. Not just a place of worship but a community center, this hive of activity was an 34

ideal temporary hiding place for escaped prisoners of war and Jews of all ages.

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author/illustrator carson ellis Carson Ellis previously illustrated The Composer Is Dead by Lemony Snicket and Dillweedâ&#x20AC;&#x2122;s Revenge by Florence Parry Heide. She also collaborated with her husband, Colin Meloy, on the best-selling Wildwood series. Carson Ellis lives with her family outside Oregon. 37

originally published in 2015

home

Home might be a house in the country, an apartment in the city, or even a shoe. Home may be on the road or the sea, in the realm of myth, or in the artistâ&#x20AC;&#x2122;s own studio. A meditation on the concept of home and a visual treat that invites many return visits, this loving look 38

at the places where people live marks the picture-book debut of Carson Ellis.

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authors ina r. friedman About. Ina R. Friedman writes books for young people exploring the themes of cultural understanding. She also writes about the impact of the Nazi regime on the lives of young people, Christians, and Jews during the Holocaust.

illustrator allen say Allen Say was born in Yokohama, Japan, in 1937. He dreamed of becoming a cartoonist from the age of six, and, at age twelve, apprenticed himself to his favorite cartoonist, Noro Shinpei.

originally published in 1987

how my parents learned to eat

In World War II Japan, an American sailor and a Japanese woman learn the proper way to eat food in each otherâ&#x20AC;&#x2122;s cultures - with a fork and knife and with chopsticks. Once married, they practice both customs with their daughter.

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authors berta de miguel

kent diebolt

Berta de Miguel is a trained architect specializing in the restoration of historic structures who works as Vertical Access New York City Branch Manager. This position has allowed her to work regularly in Guastavino-designed spaces. Kent Diebolt is the founding part-

ner of Vertical Access LLC, an industrial rope access company dedicated to the inspection, investigation, and documentation of monumental historic buildings.

illustrator virginia lorente Virginia Lorente is an architect based in Valencia, Spain, who has written, illustrated, and published the childrenâ&#x20AC;&#x2122;s book on architecture My Favorite Houses, which won the Serra dâ&#x20AC;&#x2122;Or prize in Spain in 2013.

originally published in 2020

immigrant architect

Rafael Guastavino Sr. was 39 when he left a successful career as an architect in Barcelona. American cities - densely packed were experiencing horrific fires, and he had the solution: The soaring interior spaces created by his tiled vaults and domes made buildings stur42

dier, fireproof, and beautiful. What he didnâ&#x20AC;&#x2122;t have was fluent English. Unable to win design commissions, he transferred control of the company to his US-educated son, whose design work resulted in major contributions to the built environment of America.

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author matt de la peña Matt de la Peña is the author of several critically-acclaimed young adult novels, as well as the celebrated picture book A Nation’s Hope: The Story of Boxing Legend Joe Louis. Matt lives in Brooklyn.

illustrator christian robinson Christian Robinson is the winner of the 2014 Ezra Jack Keats New Illustrator Award, as well as the 2013 Marion Vannett Ridgeway Honor. Christian lives in San Francisco.

originally published in 2015

last stop on market street

Every Sunday after church, CJ and his grandma ride the bus across town. But today, CJ wonders why they donâ&#x20AC;&#x2122;t own a car like his friend Colby. Why doesnâ&#x20AC;&#x2122;t he have an iPod like the boys on the bus? How come they always have to get off in the dirty part of town? Each ques44

tion is met with an encouraging answer from grandma, who helps him see the beauty, and fun in their routine and the world around them.

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author rukhsanna guidroz With a Persian-Indian father and a Chinese mother, Rukhsanna was always drawn to traveling to faraway places. After studying French at King’s College, London, and political science at the Sorbonne, Paris, she left for Hong Kong. There, she worked as a report-

er for the HK Standard newspaper, and later as a producer of the show Hong Kong Today for RTHK’s Radio 3. Inspired by all her life experiences from Europe to Asia, and now to Hawaii, Rukhsanna has many written adventures to share.

illustrator dinara mirtalipova Dinara Mirtalipova is a self-taught illustrator and designer. Born and raised in Tashkent, Uzbekistan, she studied computer science at the Tashkent State University of Economics, however her true passion was always pattern and illustration. Raised in Soviet Uzbek culture,

Dinara’s artwork is greatly influenced by Uzbek and Russian folklore. Currently, Dinara works from her home studio in Sagamore Hills, Ohio. She uses a wide range of materials and tools, such as linoleum block, gouache, acrylic, and more. 45

originally published in 2019

leila in saffron

A colorful journey of self-discovery and identity, this sweet, vibrant picture book follows young Leila as she visits her grandmotherâ&#x20AC;&#x2122;s house for their weekly family dinner, and finds parts of herself and her heritage in the family, friends, and art that surrounds her. 46

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author hena khan Hena Khan is the author of Golden Domes and Silver Lanterns, Crescent Moons and Pointed Minarets, Night of the Moon, and many other books for children. She lives in Rockville, Maryland.

illustrator safa khan Saffa Khan is an illustrator and printmaker born in Dera Ismail Khan, Pakistan, and living in Glasgow, Scotland.

originally published in 2020

like the moon loves the sky

In this moving picture book, author Hena Khan shares her wishes for her children: â&#x20AC;&#x153;Inshallah you find wonder in birds as they fly. Inshallah you are loved, like the moon loves the sky.â&#x20AC;? With vibrant illustrations and prose inspired by the Quran, this charming picture book 50

is a heartfelt and universal celebration of unconditional love.

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author samara cole doyon Samara Cole Doyon is both a second-generation Haitian American and a deeply rooted Mainer, with half of the roots of her family tree reaching generations deep into the soil of the Pine Tree State. She is a freelance writer, teacher, wife, and mother. She has been a regular

contributor at Black Girl In Maine Media and has been featured in the “Deep Water” poetry column of the Portland Press Herald.

illustrator aylani juanita Kaylani Juanita’s mission as an artist is to support the stories of the underrepresented and create new ways for people to imagine themselves. Her work has appeared at the Society of Illustrators and the BBC website, and she is the illustrator of the picture books

Ta-Da! and winner of the ALA Stonewall Book Award for When Aidan Became a Brother. She lives in the Bay Area in California.

originally published in 2020

magnificent homespun brown

Magnificent Homespun Brown is a story - a poem, a song, a celean exploration of the natural world bration - about feeling at home in and family bonds through the eyes your own beloved skin. of a young, mixed-race narrator - living, breathing, dazzlingly multi-faceted, exuberant masterpiece, firmly grounded in her sense of self-worth and belonging. This is 52

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author rita lorraine hubbars Rita Lorraine Hubbard is the author of a number of nonfiction books for adults and runs the childrenâ&#x20AC;&#x2122;s book review site Picture Book Depot. She is the author of Hammering for Freedom: The Story of William Lewis, which was awarded the New Voices Award by Lee & Low Books

and has received three starred reviews. Ms. Hubbard lives in Chattanooga, Tennessee.

illustrator oge mora Oge Mora is the author/illustrator of Thank You, Omu! which won a Caldecott Honor as well as the Coretta Scott King/John Steptoe New Talent Award. It was also selected as a New York Times Book Review Editorsâ&#x20AC;&#x2122; Choice Staff Pick and was chosen by both Publishers

Weekly and School Library Journal as a Best Book of 2018.

originally published in 2020

the oldest student

In 1848, Mary Walker was born into slavery. At age 15, she was freed, and by age 20, she was married and had her first child. By age 68, she had worked numerous jobs, including cooking, cleaning, babysitting, and selling sandwiches to raise money for her church. At 114, 54

she was the last remaining member of her family. And at 116, she learned to read. This is an inspirational story of Mary Walker, a woman whose long life spanned from the Civil War, and with perseverance and dedicationâ&#x20AC;&#x201C;proved youâ&#x20AC;&#x2122;re never too old to learn.

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author anika aldamuy denise Anika Aldamuy Denise is the celebrated author of many picture books, including The Love Letter; Pura Belpré Honor-winning Planting Stories: The Life of Librarian and Storyteller Pura Belpré; Starring Carmen!; Lights, Camera, Carmen!; and Monster Trucks.

illustrator paola escobar Paola Escobar, the illustrator of Planting Stories: The Life of Librarian and Storyteller Pura Belpré, grew up traveling from town to town in Colombia. From a very young age she liked to draw the stories her grandmother Clara told about her ancestors, the country-

side, and animals. Today, Paola is an illustrator who is passionate about telling stories of her own, having published with SM Spain, Planeta, Norma, and more.

originally published in 2019

planting stories

Pura Belpre was the first Puerto Rican librarian in New York City. She helped bring story times and computer classes in Spanish at public libraries. Now, every year the American Library Association gives out an award in BelprĂŠâ&#x20AC;&#x2122;s name. It recognizes books for kids 56

and young adults by Latino writers and illustrators.

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author lesa cline-ransome Lesa Cline-Ransome is the author of many award-winning and critically acclaimed nonfiction books for young readers, including Game Changers: The Story of Venus and Serena Williams; My Story, My Dance: Robert Battle’s Journey to Alvin Ailey; and Before She Was

Harriet. She is also the author of the novel Finding Langston, which received a Coretta Scott King Honor Award and five starred reviews. She lives in the Hudson Valley region of New York.

illustrator john parra John Parra earned a New York Times Best Illustrated Book designation. He also illustrated Green Is a Chile Pepper: A Book of Colors by Roseanne Thong, which received a Pura Belpré Honor and the Américas Book Award: Commended; Marvelous Cornelius: Hurricane

Katrina and the Spirit of New Orleans by Phil Bildner, which won the Golden Kite Award for Picture Book Illustration and was a Bank Street Best Book of the year; and Hey, Wall, by Susan Verde, which School Library Journal called “a must-purchase” in a starred review. 57

originally published in 2020

the power of her pen

Ethel Payne always had an ear for stories. Seeking truth, justice, and equality, Ethel followed stories from her school newspaper in Chicago to Japan during World War II. It even led her to the White House briefing room, where she broke barriers as the only black female 58

journalist. Ethel wasn’t afraid to ask the tough questions of presidents, elected officials, or anyone else in charge, earning her the title, “First Lady of the Black Press.”

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author eddie ayres Eddie Ayres is a musician, teacher and radio presenter. He is notable for his work on the Australian ABC Classic FM radio station, as well as for his numerous charitable efforts.

illustrator ronak taher Ronak Taher is an Iranian-Australian filmmaker and visual artist based in Melbourne, Australia. She started discovering her mission and vision as contemporary storyteller who uses different mediums.

originally published in 2018

sonam and the silence

In Taliban-ruled Afghanistan, Sonamâ&#x20AC;&#x2122;s world is dark and silent. Then one day, she follows a magical melodious sound to a walled garden, and her world is silent no more. The sound is music, and it lifts her up amongst the stars and takes her deeper than the tree 62

roots in the earth. How can she hold on to this feeling in a world where music is forbidden?

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author james berry James Berry was a celebrated Jamaican poet, living in the UK. James received a Coretta Scott King Book Award and the Smarties Grand Prix, and was awarded an OBE by the Queen for services to poetry. He passed away in 2017.

illustrator anna cunha Anna Cunha is an award-winning Brazilian artist who has illustrated more than 20 books. Her work has been shortlisted for the Jabuti Prize and received a Joao de Barro Prize honorable mention.

originally published in 2020

a story about afiya

Some people have dresses for every occasion but Afiya needs only one. Her dress records the memories of her childhood, from roses in bloom to pigeons in flight, from tigers at the zoo to October leaves falling. A joyful celebration of a young girlâ&#x20AC;&#x2122;s childhood, written 64

by the late Coretta Scott King Book Award-winning Jamaican poet James Berry.

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author/illustrator oge mora When not painting in her studio, Oge is in the kitchen cooking her late grandmotherâ&#x20AC;&#x2122;s recipes. Her first picture book, Thank You, Omu!, was a Caldecott Honor, a New York Choice and a Junior Library Guild selection.

originally published in 2018

thank you, omu!

Everyone in the neighborhood dreams of a taste of Omuâ&#x20AC;&#x2122;s delicious stew! One by one, they follow their noses toward the scrumptious scent. And one by one, Omu offers a portion of her meal. Soon the pot is empty. Has she been so generous that she has nothing left 66

for herself? Debut author-illustrator Oge Mora brings to life a heartwarming story of sharing and community in colorful cut-paper designs as luscious as Omuâ&#x20AC;&#x2122;s stew, with an extra serving of love.

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author/illustrator matt lamothe Matt Lamothe is one third of the award-winning design company ALSO as well as the coauthor of The Exquisite Book, The Where, the Why and the How, and The Who, the What, and the When.

originally published in 2017

this is how we do it

In Japan, Kei plays Freeze Tag, while in Uganda, Daphine likes to jump rope. While the way they play may differ, the shared rhythm of their daysâ&#x20AC;&#x201D;and this one world we all shareâ&#x20AC;&#x201D;unites them. This genuine exchange provides 68

a window into traditions that may be different from our own as well as mirrors reflecting our common experiences. Inspired by his own travels, Matt Lamonthe transports readers across the globe and back with this luminous and thoughtful picture book.

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time recipient of the Christie Harris Illustrated Children’s Literature Award for Owls See Clearly at Night: A Michif Alphabet, Dolphin SOS and My Heart Fills With Happiness.

originally published in 2021

we all play

This book celebrates diversity and the interconnectedness of nature through an Indigenous perspective, complete with a glossary of Cree words for wild animals at the back of the book, and children repeating a Cree phrase throughout the book. Readers will encounter 70

birds who chase and chirp bears who wiggle and wobble, whales who swim and squirt, owls who peek and peep, and a diverse group of kids who love to do the same.

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author traci sorell Traci Sorell writes fiction and nonfiction for children featuring contemporary characters and compelling biographies. She is an enrolled citizen of the Cherokee Nation and lives in northeastern Oklahoma, where her tribe is located.

illustrator franĂŠ lessac FranĂŠ Lessac is the illustrator of more than forty books for children. She has lived on the small Caribbean island of Montserrat, in London, and in Australia, and her work has taken her on many adventures.

originally published in 2018

we are grateful: otsaliheliga

The Cherokee community is grateful for blessings and challenges that each season brings. This is modern Native American life as told by an enrolled citizen of the Cherokee Nation. The word otsaliheliga (oh-jah-LEE74

hay-lee-gah) is used by members of the Cherokee Nation to express gratitude. Beginning in the fall with the new year and ending in summer, follow a full Cherokee year of celebrations and experiences.

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author/illustrator felicita sala Felicita Sala is a self-taught illustrator whose work has been exhibited in Europe and Australia. She works and cooks for her family in Rome, Italy.

originally published in 2019

what’s cooking at 10 garden street?

Something delicious is cooking on Garden Street! Pilar is mixing gazpacho, Monsieur Ping is stir-frying broccoli, Señora Flores is preparing a pot of beans, and Josef and Rafik are rolling meatballs. Other neighbors are making mini-quiches and even baba ganoush. When 76

they’re all finished cooking, they gather in the garden to enjoy a delicious meal and each other’s company. Each spread in this storybook offers a recipe from a different culinary tradition.

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author david. a robertson David A. Robertson is an award-winning writer. His books include When We Were Alone, Will I See?, Betty: The Helen Betty Osborne Story (listed In The Margins), and the YA trilogy The Reckoner. David educates as well as entertains through his writings about

Indigenous Peoples in Canada, reflecting their cultures, histories, communities, as well as illuminating many contemporary issues.

time recipient of the Christie Harris Illustrated Children’s Literature Award for Owls See Clearly at Night: A Michif Alphabet, Dolphin SOS and My Heart Fills With Happiness.

originally published in 2016

when we were alone

When a young girl helps tend to her grandmotherâ&#x20AC;&#x2122;s garden, she begins to notice things that make her curious. Why does her grandmother have long braided hair and beautifully colored clothing? Why does she speak another language? Why does she spend so much time with 78

her family? As she asks her grandmother about these things, she is told about life a long time ago, where all of these things were taken away. When We Were Alone is a story about a difficult time in history and, ultimately, one of empowerment and strength.

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time recipient of the Christie Harris Illustrated Children’s Literature Award for Owls See Clearly at Night: A Michif Alphabet, Dolphin SOS and My Heart Fills With Happiness.

originally published in 2014

wild berries

Spend the day picking wild blueberries with Clarence and his grandmother. Meet ant, spider, and fox in a beautiful woodland andscape, the ancestral home of author and illustrator Julie Flett. This book is written in both Enlglish and Cree, in particular the n-dia80

lect, also known as Swampy Cree from the Cumberland House area.

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author julia denos Julia Denos is the illustrator of several books for children, including Grandmaâ&#x20AC;&#x2122;s Gloves by Cecil Castellucci and Just Being Audrey by Margaret Cardillo. She is also the author-illustrator of Swatch: The Girl Who Loved Color.

illustrator e.b. goodale E. B. Goodale is a designer and illustrator with a strong background in stationery. This is her debut picture book.

originally published in 2017

windows

Before your city goes to sleep, you might head out for a walk, your dog at your side as you go out the door and into the almost-night. Anything can happen on such a walk: you might pass a cat, or a friend, or even an early raccoon. And as you go down your street and around 82

the corner, the windows around you light up one by one until you are walking through a maze of paper lanterns, each one granting you a brief, glowing snapshot of your neighbors as families come together and folks settle in.

further reading

jennie mcdonald | collaborativeclassroom.org

diversity in children’s literature: finding your blindspot part II All children need to see themselves and their peers in the stories shared and discussed at school. Kids of color need diverse books because so often they do not see themselves in literature, and therefore feel marginalized, even invisible. White kids need diverse books because they see too much of themselves in literature and this may lead them to feel that they are the center of the world. As Nancy Larrick said 50 years ago in her article in The Saturday Review, and which, sadly, still resonates: Although his light skin makes him one of the world’s minorities, the white child learns from his books that he is the kingfish. Our developers have always tried to select books that fit the instructional needs of the program and fit the urgent social need for diverse books in the classroom. In my last blog, I talked about the importance of checking the results of our good intentions. The CCC Diversity Review Book Project was born out of a desire to find out if we had in fact been inclusive in our book selection-specifically, by analyzing the literature used in our Collaborative Literacy suite of programs. Collecting data about those books would enable us to speak and write knowledgeably about the range of literature we are actually putting into the classroom and understand the messages it sends to students. For this endeavor, it made sense to get outside help from someone 86

knowledgeable about data collection and analysis. Jill Casey agreed to consult, and fortunately forus, she also had experience with social justice projects through her work for Partnerships. With Jill on board, we created an interdepartmental review team of about a dozen folks from customer service, editorial, marketing, program development, Learning Technologies, and publisher relations. This team helped refine the type of data we’d collect and determine how we’d collect it, and then conducted the actual review of the 354 books. The first time the team got together we shared why we wanted to do this project by talking about the role that books played in our lives. These were meaningful conversations that reinforced the relevance of this review. From the get-go, people were engaged, with everyone contributing ideas and energy. To determine what data to collect, we studied the Cooperative Children’s Book Center’s annual review of children’s literature, consulted with Lee & Low Books (a leading publisher of multicultural literature and a vocal advocate for diversity in publishing), and read 10 Quick Ways To Analyze Children’s Books for Sexism and Racism from the Council on Interracial Books. We decided to analyze each of our books by focusing on the following main categories:

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Gender and race of the author and illustrator, gender and race of the main character or a major secondary character, the complexity of those characters, the visual representation of those characters, the book’s setting, and family structure.

For a few busy months we checked out books from an impromptu lending library and struggled with making evaluation decisions. Sometimes, analyzing images posed a particular challenge: Why is the black boy talking to the police officer? But the boy looks at ease, and the officer is a friendly-looking woman. We talked in the office kitchen about books we loved or didn’t, and how to determine the setting or the main character. We also talked about the push to get all the books reviewed by our deadline and wondered about what the results of our study would tell us. We knew that the probability of having achieved perfect inclusiveness across our book selection was unlikely given the context within which our developers worked: While 37% of the U.S. population-and about 50% of K-12 students in the U.S. are members of a racial minority, only about 10% of children’s books published in 1994-2014 and reviewed by the CCBC were by or about people of diverse backgrounds.

And unfortunately, not enough of our books are by authors and illustrators of color, which reflects the publishing industry at large. (According to the CCBC, just over 8% of the books in 2014 were written or illustrated by a person of color.)What can we do better? As for me, I will seek out more books about people of color and will specifically look for those about the several populations that are less well represented-notably, North African and Middle Eastern, which are nearly nonexistent (see the above pie chart). I will be far more alert to who wrote and illustrated the books we bring in to the office, vocally requesting that publishers send more books by, and about, people of color. As our diversity review team looks toward future book reviews, we’ll be thinking about the best way to collect data on disability, gender, and sexuality.

jennie mcdonald | collaborativeclassroom.org

We tried to select categories that could be determined as objectively as possible. We knew that was impossible to do completely, which is one more reason it was important that the review team bring a variety of perspectives to the table.

In summary, even with the deck heavily stacked against us, 41% of the books in the Collaborative Literacy suite are about people of color and there is an even split among male and female main characters. These characters are consistently represented as three-dimensional. This is important because it doesn’t help much to have good minority representation and gender balance if all the familiar stereotypes are simply reinforced by that representation.

angela padron | childrensbookacademy.com

the importance of diversity in children’s books At most of the writing and illustrating conferences or workshops that I’ve attended over the last ten years, the word “diversity” comes up a lot, mostly in the context that the publishing world needs more diverse books. Some editors and agents will say they want to see more main characters of color those who are of some other race other than white, both in the text and in the illustrations. Others will say they’d like more stories with cultural themes. For one thing the world is a diverse place. And the U.S is one of the most diverse countries in the world - if not THE most diverse one. Granted, there are still areas of the U.S. that have populations with predominantly one race or culture, but for the most part we live among hundreds of different languages and cultures every day, especially in areas like New York and California. No matter where you live, the reality is that our country is unique because we have so many people of different cultures and languages represented. The sad part is, though, that I don’t think we do enough to embrace that. Not just when it comes to books but also in schools. Countries in Europe have children learn two or three languages from the beginning of their schooling. Yet in the U.S, foreign language study is optional, and in few places do people promote bilingualism and biliteracy as a 88

benefit to education. Many schools want to push non-English speaking children to learn and speak only English, to ignore their roots and culture while in school and “mainstream” into American culture whatever they consider that to be. Some people might think that the term “diverse books” only means “multi-cultural books,” meaning books about cultural events, like Nochebuena or Kwaanza or Passover, or books with plots and characters based on particular cultural practices, beliefs, or even stereotypes. But diverse books can also involve characters of color in every day situations, or children of mixed races. Think about Don Freeman’s character of Lisa in “Corduroy” or Ezra Jack Keats character of Peter in “The Snowy Day,” “Pet Show,” and “Peter’s Chair,” to name a few. These were books written in the ‘60’s - a decade at the height of segregation and racism - with characters of color in every day situations. Diversity can be brought out in the character’s background, socio-economic status or family life as well. Or diverse books can also deal with characters that have disabilities. Joey Pigza, for instance, is a character with ADHD. We keep hearing that children need to relate to characters in books, to feel as though they can “see themselves” in the character.

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So shouldn’t the books that kids read also reflect that diversity? Shouldn’t kids see white children as well as kids of color on the cover of books, and characters that look like and act like them in stories?

Though I believe the trend to more diverse books is moving, it’s still moving quite slowly. I know I’m doing my part - I love to create illustrations with children of all types that’s actually how I was able to get my two book deals in 2014 and a more recent job illustrating a story for Click Magazine.

However you view diversity, it’s important to think about it when writing or illustrating a story, or when you’re choosing a story from the library for your kids or students. And take some time out to observe and absorb the diversity around you - it truly is great!

angela padron | childrensbookacademy.com

The answer should be a clear YES. But just how many books out there really showcase this reality? Certain companies, like Lee and Low Books, are all about diversity. They market themselves as “an independent book publisher focusing on diversity.” And other publishers have imprints or are working towards diversifying their book lists.

Your story should be one that every reader can enjoy, regardless of race or culture.

When it comes to diversity, here’s the advice I’ve heard from editors and agents: don’t rely on stereotypes, if you want to write or illustrate about characters of a different race or culture other than the one you’re familiar with, do your research to get the facts and details right, your story should use the culture/language/race/disability to move the story OR it can just be an element within the story but with a purpose. In other words, don’t force it or choose to add diversity for the sake of adding diversity.

5 reasons to read a diverse book for your next community read

danielle yadao | diversebooks.org

Mirrors allow you to see yourself represented in a story and explore your identity. It’s been nearly three decades since “Windows, Mirrors, and Sliding Glass Doors” was published by Rudine Sims Bishop. In her essay, Bishop posits, “Literature transforms the human experience and reflects it back to us, and in that reflection, we can see our own lives and experiences as part of the larger human experience. Reading, then, becomes a means of self-affirmation.” This is perhaps the most cited reasons for the inclusion of diverse books in schools and libraries—and for good reason! Our sense of identity, value, and agency are influenced by a wide array of things including home life, school, environment, and society, which includes the books we read. Choosing a book that represents the wider world around us can validate a reader’s belief in their own importance and value as a member of society. Windows bring visibility to cultures different from our own. Another nod to Ms. Bishop is the concept of books as windows. For a community-wide read, this is a big one that we shouldn’t ignore. Books that represent a variety of cultures and people help us understand those who are different than us by opening a window into that 90

experience. If we only see characters and experiences that reflect our own, we’re more likely to believe that our own experience is more important or valid than those that are unfamiliar. It’s important that marginalized children aren’t the only ones reading and being exposed to diverse books, nor are their lives the only ones that will be enriched by reading them. Reading books that represent different abilities, cultures, beliefs, and skin colors help us change our attitude toward those differences. Offering a diverse title for a community read allows the reader to both step into the shoes of the protagonist and have a buffer from their reality. Seeing bullying or injustice happen in the world of a book can give a child a new perspective on what’s happening in their own school or community. Reading builds community unity and inclusivity. One of the reasons to have a community-wide or all-school read is to come together and learn from the book and each other; to become a community of engaged, educated, and empathetic members of society. Ignoring part of the population through reading books about one type of people and culture undermines the program itself.

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Create openings for discussions about what’s happening in current events. Curiosity is one of the most inspiring characteristics of children— they’re little sponges for information! Choosing the right community read provides an opportunity for discussing current events that kids may have heard about on the news, in the classroom, or at home.

slice of normal life that demonstrates that when it comes down to it, we’re all much more similar than we are different. Books of diversity shouldn’t cause discourse among readers, rather, a well-written book reveals that simple truth of the human experience: we’re not so different after all. If you’re planning your next community or all-school read, advocate for a book of diverse representation. specific topic? Is there a topic that is of particular interest to the community or that encourages involvement (such as volunteering, trying new recipes, solving mysteries, etc.)? And if you’re still not sure where to start, take a look at some of my favorite books to use for community-wide as well as allschool reads.

danielle yadao | diversebooks.org

By reading a diverse book for your community or all-school read, it reaffirms the value of everyone in the community and fosters an environment of inclusivity. It gives members of the community the opportunity to learn something new together and unite despite any differences in age, race or ethnicity, ability, or socioenomic status.

Reading about an experience in a book readies a child for a larger discussion in a safe space. For instance, reading a book about Malala Yousafzai can spark discussions about the education of girls and women in Pakistan. The empathy and understanding from reading a book can flow over into having a difficult discussion later at home. Emphasizes similarities because kids are kids no matter how different their backgrounds. Not every book featuring a diverse character spotlights that diversity as a different experience. Sometimes these books are simply a 91

adl.org

why we need diverse books

In recent years, there has been a lot of attention paid to the diversity of children’s books, shining a light on the lack of diversity and amplifying the need for more children’s and young adult literature that reflects our multicultural society. In 2014, an organization named We Need Diverse Books formed, following a regularly trending hashtag with the same name (#WeNeedDiverseBooks) that helped bring attention to the issue. We Need Diverse Books advocates for changes in the publishing industry “to produce and promote literature that reflects and honors the lives of all young people.” In 2015, an African-American 11-year-old girl named Marley Dias brought further awareness of the issue by launching the #1000BlackGirlBooks campaign, highlighting the lack of kids’ books with African American characters. Marley is an avid reader but according to her, was tired of all the books she was given to read at school because they were all about “white boys and their dogs.” She set out to change that and started her campaign to collect and donate 1,000 books that feature black girls as the main character. Marley has amassed more than 9,000 books and is now writing her own book. Often, when educators and others talk about diverse children’s literature, they use the terms “mirrors” and “windows.” A mirror is a sur-

face that forms reflections and when you look into one, you see yourself. Hence, “mirror books” are books that contain reflections of people—their race, culture, gender family, religion, etc.—and enable people to see themselves in books in a variety of ways. Reading books about your own identity group(s) can help people feel good about those parts of themselves. A window is an opening where you can look outside. Hence, “window books” show the people reading them a window into other people, events and places that they might be unfamiliar with. Window books help to expose children to different kinds of people. The Cooperative Children’s Book Center (CCBC) compiles annual data about the diversity of children’s literature and their statistics indicate improvements in recent years; however there is still progress to be made. The number of diverse books being published each year remained steadily low for more than two decades, but in 2014 it began increasing noticeably, which could be due in part to the We Need Diverse Books movement. While the number of diverse books has increased, it is still not on par with the general demographics of our country. Further, the number of books written by people of color is still quite low.

why diversity is important in children’s books

mangoandmarigoldpress.com

In the midst of so much chaos and hurt in the world, it is important more than ever to instill love and inspire acceptance into the hearts of everyone we can. And a perfect place to start is with our children.

Books that include diversity in the background.

As parents, we have an amazing ability to mold and shape these The theme of diversity included in young minds and create lifelong the book doesn’t always need to be morals and values that will help them the center of attention. better themselves and the world. When you are dealing with illustratHaving such frank and important ed children’s books you can easily discussions with your kids can include diversity by including a wide seem awkward and ineffective. So variety of characters. Not all books it is important for parents to find necessarily flesh out the characways to instill these values without ters, but simply including visual seeming like they are preaching to representation can be enough to their children and forcing them to show children that there are many take on such big concepts head on. different kinds of people in our beautiful world. But how do we as parents instill the message of diversity and accepBooks that are written by culturally tance in our children? diverse authors. Well, a great way to start is with books. Whether it’s during playtime, before bed, or anywhere in between, a good book can be a great way to start the conversation and create a new way of thinking without your children even realizing it. What exactly does diversity in books mean? Books about different cultures and people. This is by far the most obvious way to include diversity in a children ’s book by making the subject of the book revolve around the concept of diversity. Whether it is teaching

children about diversity through a story of acceptance, or focusing on a child’s version of real-life events revolving around diversity issues.

Authors of diverse backgrounds such as different cultures, ethnicities and appearances and disabilities can offer a different perspective on life and help widen your child’s views on the world. The author can be writing about anything from cultural traditions and legends to personal experiences and will provide a different point of view than what your child may be accustomed to. Why Is Diversity So Important in Children’s Books? Young children easily absorb things.

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Young children are like sponges, absorbing everything they see and hear. So, it only makes sense to start incorporating diversity and acceptance when they are most likely to take it in.

It makes diverse children feel much more accepted.

mangoandmarigoldpress.com

Children of color, with disabilities or with any other kind of diversity, can sometimes seem different and it is important to represent them Think of how quickly they learn in books. It is also crucial to make words and how much they mimic it easier to accept themselves and what they see around them. If you understand that there is nothing include diversity from the start, it will wrong with them. If your child only instill those ideas and form a sense ever sees white children in books, of acceptance and understanding. it can make the children of other races seem out of place. It is much easier to teach early on. As parents, we have a responsibility If you want to start instilling values to our children to teach them about and teaching acceptance in your diversity and acceptance in the children, it is best to do it from the world. So to get the conversation start. If you wait too long to start in- going at a young age and instill troducing them to the concept and these values, you should incorimportance of diversity, it is more porate books about and including likely that you will get hesitation diversity to your childâ&#x20AC;&#x2122;s collection and even refusal from your children and use it as a great way to bond to want to learn completely new over reading. concepts that challenge what they already know. Books are a great way to bond. Bedtime stories are a fantastic way for you to bond with your children and spend quality time together. If your child comes to expect and enjoy reading together, then it is easy to incorporate plenty of books with a large variety of topics and messages. If you want to get your child reading and instill important values then the best way to do that is to do it together.

tricia elam walker | diversebooks.org

why diverse books are important for everyone not just marginalized kids

When I was eight years old, I wrote and illustrated my first book. My mother, a children’s librarian, showed me how to sew the pages together so it would open like a real book. Children’s books were more precious than jewels to her and she passed that love on to me. The main character was a girl named Doll whose dog had died. Although I’m black, I drew Doll as a white child without even thinking about it. Growing up in the 1950s and 60s, the characters in my favorite stories looked nothing like me, so I suppose I was emulating what I saw—not who I was. My mother worried about the dearth of uplifting black images in children’s literature and made it one of her life’s missions to change that equation.

t o help so I could ensure plenty of multicultural choices. (I am my mother’s daughter after all). One year, a white mother and her child entered the fair where the books were on colorful display at children’s eye level, designed to attract them. It worked; the white child was immediately drawn to the award-winning picture book Mufaro’s Beautiful Daughters by John Steptoe. She approached it with wide-eyed excitement. “Mommy! Can I get this book?” But before she could pick it up, the mother snatched her daughter away with the admonition, “That’s not for you!” ringing in my ears for a long time after.

I wanted to cry for the child who was probably hurt and confused. Why wasn’t the book for her? The She and my dad understood that mother denied her daughter a children thrive best when they see valuable opportunity to appreciate themselves reflected positively in difference. I suppose someone the world so they surrounded us taught her that black books were with art, music, and role models only for black children. What if my that honored our culture. In her mother thought like that? I would position heading the Boston Public never have read a wide variety of School’s library program, my moth- wonderful books that shaped who er worked to ensure that school I am and helped me become a libraries were filled with diverse writer. Anna Deveare Smith once books which she believed were said, and I’m paraphrasing, that important for all children, not just white people didn’t grow up having children of color. to empathize with black characters but black people (of a certain When my own children were grow- age) had no choice because the ing up, they had more access than only images we saw were those of I did to options that celebrated white characters. If that’s true, all them and their experiences. Their the more reason it is important for elementary schools hosted annual white parents to buy books with book fairs and I always volunteered diverse characters and themes.

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When I created Nana Akua Goes to School, I had in mind every young child, not just black kids—because my hope is that my story, of learning to accept difference and be curious rather than ashamed, is a universal theme with a universal lesson. Illustrator April Harrison beautifully depicts children with many different skin tones and hair textures, as exist in real life. The messages imparted through the Adrinkra symbols, such as excellence, power, and unity, are for everyone, too, describing traits and qualities we all aspire to uphold.

tricia elam walker | diversebooks.org

As a new picture book writer, I want to create books for every child by showing them children of color who live, play, and learn like everyone else. Black and brown children will see themselves and be empowered. White children will grow accustomed to seeing people of other races and ethnicities, and have no need to view them as “the other.”

renee i. ting | school of information, research journal

accessability of diverse literature for children in libraries: a literature review The issue of cultural diversity has long been on the radar of librarians specializing in service to children. Since the earliest focus on the availability of quality literature depicting minority cultures, librarians have understood the importance of reaching all children with a message of diversity and inclusion. While there are myriad ways librarians can promote diversity within the library, including programs, events, and services, offering children a diverse collection of books remains an essential component of shaping the choices of young ones. The meaning of cultural diversity has come to encompass “all the shared characteristics that define how a person lives, thinks, and creates meaning” (Naidoo, 2014). These characteristics go beyond what has traditionally been considered culture, such as foods, festivals, and customs, and instead have become a complex mix of factors determined by person’s daily experiences, social factors, and regional or national influences (Nieto, 1999 as cited in Naidoo, 2014). Cultural diversity is not limited to race or ethnicity; it also includes sexual orientation, socioeconomic status, language fluency, and much more. In recent years, there has been much discussion surrounding the issues of increasing the diversity of representation as well as the quality of diverse representation within children’s literature. These discussions focus primarily on the beginning of a book’s life cycle, 98

where the decisions of authors and publishers play a major role. This literature review was originally intended to look at the other end of the life cycle, at how readers make decisions and whether young readers are choosing the diverse titles that are available. After all, it benefits no one to have shelves of books representing diversity if no one reads them. However, there was almost no primary research available on the subject of how children select reading materials, let alone how race and identity play a role in these selections. Consequently, the review was expanded to include bigger questions related to the accessibility of diverse literature in libraries at each step of the reading chain, from the publication of diverse titles to collection development and circulation. It also addresses the more fundamental issue of why accessibility matters, though there was also scant recent literature addressing this. In sum, this literature review addresses the following questions: What does the research tell us is the importance of having access to culturally diverse materials? Of the statistically low number of books featuring cultural minorities that are considered of excellent quality, how many of these titles do libraries actually purchase for their collections? Do children choose culturally diverse books to read?

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What are the factors influencing which books circulate?

The Importance of Diverse Books It is widely agreed within the library profession, and among children’s librarians in particular, that books representing diversity are important. This conclusion feels right; it is intuitively satisfying. But the question remains – what makes diversity so great? The article, “Books Like Me: Engaging the Community in the Intentional Selection of Culturally Relevant Children’s Literature,” looked at how involving community leaders in the selection of African American themed literature for local child care centers and schools changed the way people thought about books and about themselves In this study, teacher candidates selected 61 books that portrayed African American culture and invited Black community leaders to a two-hour event where they perused the books and voted on their favorites. Using grant monies, full sets of the 21 books with the most

The feedback from the participants and teacher candidates was overwhelmingly positive. The teacher candidates described coming to a deeper awareness of racism, segregation, and prejudice. They felt both more connected to the African American community as well as more inspired to work with the children in the community. Community participants also expressed how much they enjoyed the event, how it made them reflect on their own experiences and journeys, and how important history and culture were to pass on to children. This affirms the commonly held belief that when books are “mirrors” in which people see themselves, they have strong positive associations. However, while it is clear from this study that books representing African American culture can have a profound impact on teachers, caregivers, and community adults, the study did not look at the impact these books had on the children themselves. A follow-up study with the recipients of the book sets would have been an informative way to gain an understanding of how a quality selection of books reflecting a child’s own race and culture can affect them. After all,

renee i. ting | school of information, research journal

Each one of these questions will be addressed by presenting pertinent studies and data that shed light on the subject. They can be considered separately, but taken together, the literature forms a larger picture of the importance of diversity, the state of book availability and accessibility, and the challenges that lie therein.

votes were purchased for local child care centers, schools, and churches. The researchers conducted interviews with the event participants a week after the event, and the teacher candidates involved wrote about their impressions of the event in a journal.

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renee i. ting | school of information, research journal

they are the target audience .

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Smith and Lewis (1985) studied how children are affected by race represented in stories. They looked at whether the race of a book’s main character affected recall in black children who listened to stories. In the experiment, 120 Black children between six and seven years old each listened to two stories on cassette tape. One third of the children listened to two stories with Black main characters, one third listened to two stories with White main characters, and one third listened to two stories with non-human main characters. They then answered a survey that tested their recall of the stories. As the researchers expected, recall was greater for children who listened to stories with Black protagonists—but only for the boys. Among girls, the difference was negligible. This, the authors pointed out, could have been related to the genders of the main characters in the stories, most of whom were boys. Unfortunately, because this factor could have influenced the results, the study’s conclusion is not as clear as it could have been. While it is still possible to conclude from this study that boys’ recall is affected by the race of the main characters, it is not that simple. The gender of the main character, as well as other factors such as the reader’s age and background knowledge, may also play a significant role in recall.

In 1992, a teaching student at Michigan State University’s College of Education looked directly at how reading multicultural books affected children. The study was conducted over the course of a school year in the third-grade class taught by the author. Kuperus (1992) used literature pertaining to three social studies units on Japan, China, and Native Americans to introduce culture, history, and discussion. Using surveys, interviews, observations, journal writing, and class discussions throughout the year, Kuperus was able to document changes in the children’s attitudes and thinking about unfamiliar people and cultures. Kuperus (1992) found that the children’s attitudes were influenced positively; after reading the literature and learning about other cultures, they expressed more understanding, empathy, and global awareness compared to the beginning of the school year. This confirms the belief that reading books about unfamiliar people benefits everyone, and that books are a “window” into the lives of others. While the conclusions of this study are consistent with what educators intuitively believe, it must be considered carefully, since it was not peer-reviewed.It also prominently relied upon the observations and analysis of a single researcher and a single class of 23 children. This paper sheds light on how children are affected by literature, but its conclusions

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cannot be considered the most authoritative.

The evidence gathered from these studies shows that while the influence of diverse literature is anecdotally and intuitively positive, the research itself may not be academically rigorous. Practitioners in librarianship and education, however, seem to take for granted the idea that diverse literature always has a positive benefit both to readers who see themselves mirrored in a diverse book and to those who see characters unlike themselves through the window of literature. This theory holds up in practice, as there are no studies demonstrating a negative impact on readers. Importance of Diverse Literature

Every year, the Cooperative Children’s Book Center at the University of Wisconsin compiles data on the number of diverse children’s books published in the United States. According to the CCBC, 3,400 children’s books were published in 2015. Of these, 14.8% were about racial minorities, including Africans or African Americans, Native Americans, Asians or Asian Americans, and Latinos. This number represents an increase over previous years, but it is still well below the corresponding percentages within the U.S. population, as reported by the Census.

renee i. ting | school of information, research journal

In fact, there is very little decisive information about the effects of diverse literature on young readers. Cheesman and DePry (2010) cite several more studies in the article “Critical Review of Culturally Responsive Literacy” that seem to offer evidence of how diverse literature correlates to academic achievement, but they point out that each study has flaws or makes unsubstantiated conclusions. Speaking specifically of the culturally responsive teaching (CRT) movement in which teachers “use students’ culture as a foundation for learning,” they state that “more rigorous study is needed to establish this promising practice as a fact”.

If we assume that there are benefits to diverse literature as both mirrors and windows, then the availability of such books is of utmost concern. The United States Census Bureau declared that as of July 1, 2011, more than half of children under the age of one were racial minorities. As of 2016, this group of children is ready to enter America’s education system, and it is critical that there are books there for them.

A 2010 report, “Inside Board Books: Representations of People of Color,” looked at all board books published between 2003 and 2008 to determine the extent to which groups of color were represented. The researchers found that 89.9% of the books contained white characters, with 59.6% containing only white characters. Only 36.6% contained one or more 101

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renee i. ting | school of information, research journal

people of color, while 10.1% contained only people of color. Given these statistics, those charged with developing children’s book collections are facing an uphill battle to find suitable books that represent diverse populations. In recent years, there have also been inquiries that looked at library collections to assess the level of diverse representation in their books. The broadest and most comprehensive of these is “Diverse Population, Diverse Collection? Youth Collections in the United States” (Williams & Deyoe, 2014). In this study, the researchers first developed their own list of 1,421 books that included the highest quality books from recent years representing racial and ethnic minority groups, people with disabilities, and lesbian, gay, bisexual, transgender (LGBT) characters. The authors then used WorldCat to search for each book on the list, and they compiled all the U.S. holdings data for every format of each title. Williams and Deyoe (2014) found very specific data on the over 5,000 libraries that included any diverse books in their collections. They found that public libraries held the most, though their holdings still varied widely by region, size, and expenditure levels. Many libraries owned books with racially diverse characters, but none with LGBT characters or those with disabilities. Unfortunately, even 102

among libraries that spent the most, one-third “did not achieve the minimal level for representations of racial/ethnic diversity or representations of disability, while half did not meet the minimal level for representations of LGBT orientation in youth collections” (Williams & Deyoe, 2014, p. 116). Similarly, a smaller study looked only at LGBT books for youth within school media centers in two states and found that that up to 10% of students in eighth grade self-identify as LGBT (Oltmann, 2015, p. 25). High school media centers in one northeastern state and one southern state were studied to see if any collection patterns emerged. First, Oltmann compiled a list of 110 LGBT books of high quality and then compiled a sample of high schools from each state. Each high school’s online catalog was combed to determine how many listed titles were in each collection. Oltmann found no significant differences between schools from the different regions, or most other variables, and an average of 20% of the research list was listed in each school’s catalog. Both Williams and Deyoe’s study and Oltmann’s study highlight that library collections vary widely when it comes to representing diversity. A high number of libraries have almost no diversity in their collections at all, while others have a significant collection. However, even the most diverse collections do not come close to representing the

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full spectrum of diversity in the US.

renee i. ting | school of information, research journal

In â&#x20AC;&#x153;Missing Faces, Beautiful Places: The Lack of Diversity in South Carolina Picture Book Award Nominees,â&#x20AC;? Kurz (2012) took a different approach to assessing collections. After assuming that books nominated for the South Carolina Picture Book Award would be purchased and displayed prominently by librarians, Kurz analyzed the content of the nominated books to assess the quantity and quality of representation of racial minorities. Of the 112 nominated books since the inception of the award, but excluding those with non-human main characters, 61% featured white characters. Of the 22.4% that featured black characters, 12 of the 17 featured Africans, rather than African Americans. Clearly, award selection committees were not choosing books that represented the diversity of the South Carolina population.

the culture that a book represents. It is also unclear whether the low numbers of diverse books that are already available in libraries are circulating. More research into circulation patterns and selection patterns regarding diverse books could help librarians optimize their budgets and marketing plans to fully utilize the resources that they already have.

The quantitative data on library collections speaks clearly. While the reasons behind the collection choices have not been pursued in any of these studies, they nonetheless illuminate the problem of underrepresentation of diverse cultures in library collections. It is not clear that simply having diverse books available on a shelf will result in children picking them up. There are many more factors involved with book selection than the race of the main character or 103

kimmie fink | weareteachers.com

kids don’t just need diverse books, they need diverse authors Even the most cursory inventory of U.S. children’s literature reveals a lack of diversity in book characters (it’s a whole lot of boys and dogs— just ask Marley Dias). There’s been a commendable effort to provide students with windows and mirrors by increasing the number of books with diverse main characters in classrooms and school libraries. But it’s not enough—kids need access to diverse books by diverse authors. The term #OwnVoices was coined by writer Corinne Duyvis to refer to books by authors from marginalized or under-represented groups writing from their own perspectives. (Think: The Hate U Give by Angie Tho as.) That’s important because a lot of diverse characters are written by people who don’t share their identities. In fact, a study by the Cooperative Children’s Book Center found that last year, only 46.4% of children’s books featuring Black or African characters were written or illustrated by Black or African authors and/ or illustrators. And that’s a huge problem for our kids. Here’s why they need #OwnVoices books: They're more autherntic. It’s not that you can’t write effectively outside your own experience, but think about it. One of the first lessons we’re taught is to write what we know. When we write from what we ourselves have lived, we speak from a place of authority. We are also better able to produce nu104

anced work that rings true to those with similar experiences. They're more accurate. Privileged people have told the stories of marginalized communities. Even when well-intentioned, many of those books are inaccurate and, in some cases, even harmful. For example, as much as I love The Snowy Day, Ezra Jack Keats’s book Goggles has been widely criticized for showing Archie and Peter playing in what appears to be a dump. One of the benefits of #OwnVoices literature is that it comes from a place of deep understanding one can only achieve through lived experience. They capture a range of experiences. These books aren’t about a single group. They represent a variety of identities, including LGBTQ+, people of color, people with disabilities, and religious minorities. The more #OwnVoices books that are available, the more likely all students are to find books that resonate with them. Having a wide variety of books also gives students insight into the lives of folks who are different from them. They empower. Students with marginalized identities crave books that reflect their experiences. Seeing themselves in the books they read can be validating and show them that they’re not

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alone. Sometimes, finding out that the author doesn’t share their identity takes away from the impact because “they don’t really understand me.” They inspire. kimmie fink | weareteachers.com

Kids who see published authors who identify as they do may be inspired to become writers themselves. Another argument for promoting #OwnVoices books is that minority group authors face many hurdles to publishing that majority group authors don’t. So lifting up diverse authors now can help open up that path for budding authors of the future.

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rxreading.org

diversity in children's literature

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Recognizing the importance of diversity in children’s literature, Rx for Reading is committed to providing a books for children and teens that represent a wide range of identities. Explaining her choices as a writer of children’s literature, Zetta Elliott, a black author, comments, “I write predominantly about Black children because I grew up believing I was invisible in the real world, and it hurt just as much to discover that I was also invisible in the realm of the imaginary. . . . Ultimately, I try to tell stories that give voice to the diverse realities of children. . . . I write books my parents never had the chance to read to me. I write the books I wish I had had as a child” (“Why I Write”). Other writers of children’s literature echo these sentiments about diversity in children’s literature. Walter Dean Myers observes, for example, that although he loved literature as a child, the absence of black characters in a white-dominated world diminished his desire to read–it was only when, as a teenager, he read a Baldwin story humanizing black people that his hope in literature was rekindled (“Where Are the People of Color in Children’s Books?”). Diverse representations in children’s literature are important not only because children are empowered by seeing themselves in books, but also because children’s worldviews are expanded by seeing people who are different from themselves represented in books. As children’s book author

Christopher Myers explains, “I want the kids who read my books to have a framework with which to understand the people they might meet, or even the people that they are becoming. I want the children who see my books to see an encounter with the other as an opportunity, not a threat” (“Young Dreamers”). In short, every reader benefits from diverse literature. Unfortunately, although children in the United States represent a diverse population–in terms of gender, race, class, (dis)ability, and cultural and religious customs–the body of children’s literature published each year is overwhelmingly homogenous, as are the participants in the children’s book industry. Further, diversity in children’s literature has stagnated as the population continues to diversify (Low). For example, although nearly 25% of US students are Latino or Latina, only 3% of children’s books on the market are written by or represent Latino people (Blair). This trend holds for all non-white races and ethnicities: a study by the Cooperative Children’s Book Center of the University of Wisconsin-Madison found that fewer than 8% of children’s trade books received by the university in 2012 were about people of color (Dodson). A disproportionate number of children’s book authors are white, as are a disproportionate number of staff members in the publishing industry, who make decisions about which books will be adopted

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rxreading.org

by publishing houses (Low). Children’s literature also suffers from a gender imbalance. A study of nearly 6,000 children’s books from the twentieth century found that male characters, including male people and especially male animals, outnumbered female human and animal characters, and that gender roles were often stereotyped in the books (Flood). Few children’s books include disabled people, and when they are represented, disability often functions as something to be “healed” by good behavior (Day). Representations of people with different religious and cultural customs are also lacking (Robert; Safah). To help correct these imbalances, commentators encourage public libraries and schools to purchase diverse children’s literature, publishing companies to solicit and accept books representing a wider range of identities, and children’s book authors to take more risks and to be thoughtful about whom they represent in their stories. Parents and educators can also seek out the many wonderful diverse children’s books already on the market to share with the children in their lives.

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why children’s books that teach diversity are more important than ever

bj epstein | the conversation.com

If you think back to your childhood, what sticks with you? For many people, it’s those cosy times when they were cuddled up with a parent or grandparent, being read a story. But bedtime stories aren’t just lovely endings to the day or a way to induce sleep, they are also a safe way to experience and discuss all sorts of feelings and situations. So even when children think they’re just being told about an adorable bunny’s adventures, they are actually learning about the world around them. We know that children’s books can act like both mirrors and windows on the world. Mirrors in that they can reflect on children’s own lives, and windows in that they can give children a chance to learn about someone else’s life. We also know that this type of self-reflection and opportunity to read or hear about different lives is essential for young people. Research on prejudice shows that coming in contact with people who are different – so-called “others” – helps to reduce stereotypes. This is because when we see people who initially seem different, we learn about them and get closer to them through their story. The “other” seems less far away.

as a first intro to an outside world. Representing the world Despite knowing how important it is for diversity to be represented in our day-to-day lives, many children’s books are still littered with white, male, able-bodied, heterosexual, cisgender, nominally Christian characters. And research suggests that over 80% of characters in children’s books are white – which clearly doesn’t reflect the reality of our world. All of these reasons are why the We Need Diverse Books movement was set in motion in 2014, stemming from a discussion between children’s books authors Ellen Oh and Malinda Lo. The movement aims for more diverse children’s books to actually be created and for these works to be available to young people. And while we need people to actually write them, we also need publishers to produce them, and bookstores, libraries, and schools to stock them. As someone who researches children’s literature, I think we’d have fewer conflicts in the world if we all read more diverse literature and lived more diverse lives.

I like to think that if we had more diverse children’s books, featuring a But while it may be ideal for chilbroad range of characters in many dren to actually meet people from different jobs and situations, as different backgrounds in person, if well as more diverse role models in that isn’t possible, books can serve the media, young people would 108

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feel empowered, and they’d believe that when they grow up, they could be anyone and do anything they wanted. And they’d look at their friends and think the same for them, and they’d grow up respecting and appreciating everyone’s talents.

Role models But books aren’t just about “others”. When we see people like ourselves in the media, including in fiction, we get a glimpse of who we might become, and we feel validated. We can gain role models and inspiration through literature. Perhaps partly in response to people’s growing awareness of the need for role models – whether in person or in literature – one young black girl, Marley Dias, started a campaign to find 1,000 “black girl books”. Dias recommends works such as Brown Girl Dreaming by Jacqueline Woodson, One Crazy Summer by Rita Williams-Garcia, Chains by Laurie Halse Anderson and I Love My Hair by Natasha Anastasia Tarpley.

Just featuring a minority character isn’t enough to create quality diverse literature, but it is a first step. And while there are some useful websites that recommend diverse children’s books and even literary awards dedicated to promoting such works, much still needs to be done. Along with the increased worries today about immigrants, refugees, and general “otherness”, some societies seem to be headed towards a sense of false nostalgia about a time when the world was controlled by whites.

bj epstein | the conversation.com

With this mindset present, issues such as race or religion wouldn’t even play a subconscious role. And it would mean that within a generation or two, we wouldn’t read articles about appalling and depressing statistics, and we wouldn’t need campaigns to increase diversity in literature, academia, or anywhere else.

But I wonder how many of those “black girl books” feature black girls in prominent roles, such as working as professors, doctors, teachers, or even as presidents of nations. I have a suspicion that the percentage would be disappointingly low.

Given this is not how the world is or should be, we owe it to young readers to show them reality in the books they’re reading. Perhaps then the next generation will be less frightened of the “other” if they get to meet them and learn about them from an early age.

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finding their story books and characters to reflect our diverse world

scholastic.com

Diversity in children's books has a highly-inclusive meaning. Diversity in children’s books has a broad meaning among kids and parents. A majority of parents and a near majority of kids ages 9–17 say diversity in children’s books includes people and experiences different than their own, various cultures, customs, religions, settings and living situations. And while not as commonly cited, many believe diversity in children’s books also includes differently-abled people, people of color and LGBTQ people. About six in 10 parents (58%) report diversity is extremely or very important in the books their child reads, and nearly four in 10 kids ages 9–17 (38%) agree. When asked why this is important, parents predominantly responded with answers related to learning about differences and understanding the world. As one father of a 14-year-old girl said, “The world is a diverse place. My child should be able to experience stories of those who are not just like her, or just look like her, or live like her. She should be able to learn that people come in all shapes, sizes, colors, belief systems and educational or cultural backgrounds, so that she is ready to engage with the world in an authentic way.” Many families want more books to 110

include diversity. About half of kids ages 9–17 and parents overall agree “I wish there were more books available that include diversity.” This sentiment increases to 76% of kids and 69% of parents who also agree diversity in children’s books is important. The desire for more diverse books is strongest among Black children and their parents, followed by Hispanic families, then by families of multi-racial, or Asian backgrounds. The data also suggest that highly-visual reading materials resonate with both parents and children who believe it is important that the books children read include diversity. Parents who say diversity is important are more likely than other parents to prefer their child reads story books (58% vs. 48%), picture books (28% vs. 19%), comic books (27% vs. 15%) and magazines (20% vs. 15%). They are also far more likely to say it is important their child experiences books with characters that look like him/her (59% vs. 25%). Similarly, children who say reading books with diversity is important to them are more likely to say they like to read story books (47% vs. 30%), and these children are more likely to agree that it is easy to find books with characters that “look like me” (63% vs. 45%). Desire for diverse children's books is on the rise.

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number look for those who break stereotypes. Three percent look for LGBTQ characters. As one 17-year-old girl shared, “Life is different for everyone so I would like to understand the differences.” Kids seek out and learn from characters in books.

Black and Hispanic families as well as families of multi-racial, Asian or other racial backgrounds are the most likely to look for books that include diverse storylines, characters or settings. Notably, ﬁnding these diversity-related characteristics is just as important to parents of Black children as ﬁnding books that help their child imagine and understand other people’s lives, make their child think and feel, as well as books that inspire kids to do something good or make them laugh.

While a good story is, of course, a key factor that influences a parent or child’s desire for a book, a book’s characters are an important driver of preference and integral to the overall social-emotional benefits of reading. The top three types of characters kids ages 6–17 want in books do not vary across gender, age or ethnicity and reflect the reader’s own aspirations: characters who they want to be like because they are smart, brave or strong, who face and overcome challenges, and who are “similar to me” . A 13-year-old girl simply stated, "I like to read books [about] girls my age who can achieve things beyond reach, who overcome difficulties and become great.”

Similarly, while just over one in 10 kids ages 9–17 look speciﬁcally for characters that are culturally or ethnically diverse, Black children are the most likely to seek out these characters (24% compared to 18% of children of multiple, Asian or other races, 16% of Hispanic children and 7% of white children). One in 10 children ages 9–17 also looks for characters who are differently-abled, and a similar

Overall, four in 10 kids agree that there has been a character—ﬁctional or a real person—whose story taught them a life lesson. One 11-year-old girl shared that Auggie, a character from Wonder by R.J. Palacio, inspired her “because even though people made fun of him for the way he looked, he still found a way to make [it] through the day, every day…It just goes to show that you don’t have to be

scholastic.com

Both kids ages 12–17 and parents of children across ages are more likely today than they were in 2016 to want books with diverse storylines, characters or settings (18% of kids, up six points; 31% of parents with kids ages 6–17, up ﬁve points; parents of chil dren ages 0–5 up nine points to 36%). Since 2016, parents are also more likely to want culturally or ethnically diverse characters (21% to 29%, up eight points) and differently-abled characters (16% to 23%, up seven).

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what someone thinks you should be, or act how someone thinks you should act. You just have to be you.” Many other children cited historical ﬁgures, with one 10-yearold girl saying of Martin Luther King, Jr.: “He taught me that you can be proud of your color and you can accomplish anything no matter who you are.” Kids selected real-life people and ﬁctional characters in equal numbers, illustrating the impact that both book formats can make in a child’s life. Parents know that characters build characters. To determine what parents value most, this year’s survey asked them to prioritize the qualities they hope their children develop as they grow. Responsibility, self-confidence, honesty, respectfulness and kindness top the list. Parents know that developing these qualities can be challenging, and they overwhelmingly agree that books and reading can help, with 95% agreeing that characters in books can help their children develop these positive qualities. A similar percentage of parents with children under five also agree.

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dren (50%, up nine points from 2016), Overcome challenges (47%, up six points), Help kids understand people who are not like them (37%, up nine points), and Break stereotypes (24%, up seven). As one mom with a six-year-old daughter shared, “Not everyone is exactly the same as my child. So a vast selection of characters helps her understand more about the world around her.” Frequent readers want even more from books and characters. The Kids & Family Reading Report punctuates that the more kids read, the more likely it is that the social-emotional side of literacy is reﬂected in their views on books and characters.

A focus on character-building has increased since our last survey. In this edition, parents are more likely to want characters who:

Frequent readers are more likely to say that reading ﬁction and nonﬁction is a way to help them understand the world. They are also more likely to say that reading makes it easier to talk about and understand things that are happening in the world. Frequent readers are also more apt to seek out books with characters who they want to be like because the characters are smart, brave or strong; and perhaps due to this, they are more likely to say there is a character they have admired or learned a lot from. In the same vein, they more often say a book has helped them through a difficult time.

Can be role models to their chil-

Frequent readers ages 9–17 are

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scholastic.com

more likely to say it is extremely or very important to them that the books they read include diversity (50% vs. 23% among infrequent readers). They are also more likely to deďŹ ne diversity in books as including people and experiences different than their own (57% vs. 49%), various settings and living situations (52% vs. 43%), people of color (36% vs. 26%) and differently-abled people (34% vs. 26%).

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read books with your children, the more diverse the better

laurie edwards | wbur.org

In a throwback to my own bookish childhood, my second-grader is completely enamored of “The Babysitters Club” series, often requesting the faded paperbacks via inter-library loan and bemoaning the fact that I didn’t save my own original copies. We were performing our usual bedtime routine recently: she reads on her own for a while, then my husband or I read a book out loud and chat with her before switching off the light. That night, she picked “Keep Out, Claudia!,” where Asian-American babysitter, Claudia Kishi, is turned down for babysitting by a family because of her race. It is a relatively progressive installment of the 1980s and 1990s series, which is set in a fairly homogeneous, fictional suburban Connecticut town. Little kids are naturally inquisitive and don’t let injustices slide; my 8-year-old wanted to know why a family would treat Claudia that way. What followed was an important conversation about racism and prejudice. It unfolded in an organic, accessible way, driven by my daughter’s questions and rooted in a concrete example we could talk about with characters that meant something to her. The benefits of reading aloud to our children are well known. For infants and very young children, it helps them learn how to speak and encourages bonding. For older 114

children, who are independent readers, reading aloud encourages continued bonding and helps them make sense of their world. According to the 2017 Scholastic Kids & Family Reading Report, 62 percent of surveyed parents of children aged 3 to 5, read aloud five to seven days a week — but the drop off is significant as children get older. Only 38 percent of parents read to their children aged 6 to 8, while just 17 percent of parents read to their children aged 9 to 11. This decline occurs at the same time children’s consciousness of the wider world grows sharper and more probing; when opportunities to answer questions and check in become more precious. From fairy tales and parables to picture books and chapter series, stories have long been a fundamental way we introduce values and morals to children and foster empathy. It’s not just a question of reading aloud, then; what we read also matters. Given the rise in hate crimes over the past three years and the damaging rhetoric and polarizing policies that permeate the headlines and airwaves these days, empathy seems in short supply. While the talk my daughter and I had about “Keep Out, Claudia!” was spontaneous, I’ve become a lot more intentional about the books we read and discuss together. I make sure she has agency in what she chooses to read, but is

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also exposed to more diverse choices and issues, from different religious and cultural traditions to stories of refugees and immigration.

It’s important for children of color and other minorities to see representations of themselves in the books that they read. They need more mirrors. My daughter and other young readers — who are typically surrounded by people who look just like them and see similar experiences and characters in the books they read. Of course, scholars, librarians, teachers and advocates have long known this. They know that most importantly, children of all backgrounds benefit from seeing characters whose experiences are different from their own. The growing #weneeddiversebooks movement casts as its mission “putting more books featuring diverse characters in the hands of all children,” and offers a comprehensive set of resources and recommended titles. Children don’t turn to books because they

When my daughter spent the last night of our vacation staying up late to finish "Amal Unbound," Aisha Saeed’s bestselling novel about a young Pakistani girl’s experience with indentured servitude and her quest to return to school, it wasn’t because of the conversations about girls’ access to education it inevitably entailed. Rather, it was because the book is a richly detailed, engrossing story and she cared about Amal’s fate.

laurie edwards | wbur.org

Scholar Rudine Sims Bishop introduced the terms “windows” and “mirrors” to describe books in the early 1990s, and this frame remains incredibly useful in today’s climate. Books that are mirrors reflect back our own experiences and associations, while books that are windows give readers a view of a new perspective.

yearn for “teachable moments” or want a vocabulary to talk about injustice; they want to read a good story.

I recognize the inherent privilege I have in seeking out opportunities to tackle these topics with my daughter. So far, and unlike many children, her experiences with racism and bias have largely occurred within the pages of books, not in the real world. Books aren’t the panacea for all that ails us, and conversations alone won’t solve the disparities in our world, but diverse books give parents a way to shape the conversation we have with our children about these issues, and they give children a natural entry point into an existing dialogue. It’s one we can’t afford not to have.

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