Children's Literature: Why Kids Need Diverse Books Each year, the Cooperative Children’s Book Center studies how many children’s books were published in that year by or about African Americans, American Indians, Latinos and Asians.
A list drawing on the work of children's librarians Jeanne Lamb, Elizabeth Bird, and many of their colleagues, who are at the forefront of promoting diverse titles to readers in New York City and beyond, year after year, through NYPL's 100 Titles...
The difficulties of translating for or about children are well documented2 but my feeling was that Anglophone children express different attitudes towards the aforementioned language of love. In my translation, when Chouki ...
Recently, there’s been a groundswell of discontent over the lack of diversity in children’s literature. The issue is being picked up by news outlets like these two pieces in the NYT, CNN, EW, and many...
“That sounds just like my dad!” one of my students exclaimed. “That must be a grown-up saying that!” offered another. We were in the midst of reading Antoinette Portis’s Not a Box and my second graders were bursting with excited insights about just who the off-page narrator might be.
On its surface, Not a Box seems simple — a young rabbit repeatedly advocates for imagination by reiterating that no, his box is not a box, but whatever he wants or dreams it to be. The seeming simplicity of Not a Box, however, is extremely deceptive.
As a teacher interested in cultivating curiosity and creativity in my students, I am always on the lookout for books that deviate from the standard idea of “book” that my students hold. Due to its intriguing off-page narrator and its clever illustrations, Not a Box certainly differs from the usual elementary school fare.
The off-page narrator, whom we never see, drives the book with constant interrogation about what the rabbit is doing with the box. My students knew right away that the questions were not coming from the character they saw on the page, but from a source outside the book. They also knew that the rebuttals were coming from the rabbit and cheered its increasingly adamant responses to the off-page narrator.
While Davies hasn't translated any children's nonsense poetry from the Arabic, his work on Ahmad Faris al-Shidyaq's Leg over Leg certainly faced similar difficulties. At the talk, Davies suggested that there are only texts “that ...
Bank Street School librarian Allie Bruce found herself facing a complicated question from a sixth grader about the lack of minorities on YA book covers, starting with Julia Alvarez's Return to Sender. The question led Bruce on a year-long lesson on diversity in children's literature with a sixth grade class and—some surprising results.
Children’s and young adult books aren’t just pleasant ways for kids and teens to start experiencing literature. They’re literary and powerful in their own right, and they have the potential to stay with readers in a much more meaningful way than books written for adults could. They’re not just books—they’re a part of who we are and how we got that way.
"Indeed, why hide translators? While I can easily find dozens of children’s nonfiction books about authors, firefighters, artists, nurses, and even lawyers, I turn up none about translators. Surely we could accustom children to the idea that, just as stories have been brought to them from all corners of the world, remarkable people called translators have been able to re-voice them in English. Surely many children would be keen to know.
A raíz de la publicación de este blog han sido varias las personas que se han dirigido a mí para preguntarme qué deberían hacer (cómo prepararse, qué estudiar…) para ser editores de literatura infantil y juvenil. Probablemente la respuesta que esperaban tenía que ver con que es bueno estudiar esta u otra licenciatura, aquel u otro máster, saber determinados idiomas, hacer cursos de corrección, de estilo… y, por supuesto, leer mucho.
Pero, según pensaba en la obviedad de esta respuesta, constataba que las preguntas verdaderamente importantes tienen que ver con por qué y para qué quiere uno ser editor de LIJ (y de hecho, estaría bien preguntárselo para cualquier profesión u oficio).
Así que, para ir despejando el camino, podríamos clasificar los motivos en dos grupos bien sencillos: razones inadecuadas para querer ser editor de LIJ y razones adecuadas para querer serlo… Porque si uno se hace editor de LIJ por las razones equivocadas, tiene la frustración asegurada. Claro está que, de todos modos, entrar en esto por las razones adecuadas tampoco garantiza la felicidad.
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