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Saturday, 29 September 2018

Week in Review, September 24th – 28th

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Week in Review

This week on hbook.com…

From the September/October 2018 issue of The Horn Book Magazine: “Board Book Roundup: Treasure Hunting in the Public Library” by Julie Roach

Jennifer A. Nielsen Talks with Roger

Reviews of the Week:

Read Roger: Bring the kids!

Out of the Box:

Calling Caldecott:

Family Reading: Books, fresh and juicy

See overviews of previous weeks by clicking the tag week in review. Find us on Twitter, Facebook, Pinterest, and Instagram to keep up-to-date!



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Banned Books Week 2018

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It’s Banned Books Week! From The American Library Association’s website: “Every year, the Office for Intellectual Freedom (OIF) compiles a list of the Top Ten Most Challenged Books in order to inform the public about censorship in libraries and schools. The lists are based on information from media stories and voluntary challenge reports sent to OIF from communities across the United States.” This year’s theme is “Banning Books Silences Stories. Speak out!” — especially important to keep in mind given that books by and about people from marginalized communities are disproportionately challenged. Look for Banned Books Week events in your area to get involved.

Based on 416 challenges, here are the top ten most challenged books of 2017.

  1. Thirteen Reasons Why written by Jay Asher
    Originally published in 2007, this New York Times bestseller has resurfaced as a controversial book after Netflix aired a TV series by the same name. This YA novel was challenged and banned in multiple school districts because it discusses suicide.
  2. The Absolutely True Diary of a Part-Time Indian written by Sherman Alexie
    Consistently challenged since its publication in 2007 for acknowledging issues such as poverty, alcoholism, and sexuality, this National Book Award winner was challenged in school curriculums because of profanity and situations that were deemed sexually explicit.
  3. Drama written and illustrated by Raina Telgemeier
    This Stonewall Honor Award-winning, 2012 graphic novel from an acclaimed cartoonist was challenged and banned in school libraries because it includes LGBT characters and was considered “confusing.”
  4. The Kite Runner written by Khaled Hosseini
    This critically acclaimed, multigenerational novel was challenged and banned because it includes sexual violence and was thought to “lead to terrorism” and “promote Islam.”
  5. George written by Alex Gino
    Written for elementary-age children, this Lambda Literary Award winner was challenged and banned because it includes a transgender child.
  6. Sex is a Funny Word written by Cory Silverberg and illustrated by Fiona Smyth
    This 2015 informational children’s book written by a certified sex educator was challenged because it addresses sex education and is believed to lead children to “want to have sex or ask questions about sex.”
  7. To Kill a Mockingbird written by Harper Lee
    This Pulitzer Prize-winning novel, considered an American classic, was challenged and banned because of violence and its use of the N-word.
  8. The Hate U Give written by Angie Thomas
    Despite winning multiple awards and being the most searched-for book on Goodreads during its debut year, this YA novel was challenged and banned in school libraries and curriculums because it was considered “pervasively vulgar” and because of drug use, profanity, and offensive language.
  9. And Tango Makes Three written by Peter Parnell and Justin Richardson and illustrated by Henry Cole
    Returning after a brief hiatus from the Top Ten Most Challenged list, this ALA Notable Children’s Book, published in 2005, was challenged and labeled because it features a same-sex relationship.
  10. I Am Jazz written by Jessica Herthel and Jazz Jennings and illustrated by Shelagh McNicholas
    This autobiographical picture book co-written by the 13-year-old protagonist was challenged because it addresses gender identity.

Here’s how the Horn Book reviewed 2017’s most challenged children’s and young adult books.

Thirteen Reasons Why
by Jay Asher
Middle School, High School     Penguin/Razorbill     288 pp.
10/07     978-1-59514-171-2     $16.99

After classmate Hannah’s suicide, Clay receives a box of cassettes she recorded, each side relating the story of a person who figured into her decision. Clay, though he’s not sure why, is one of those people. Told through the voices of angry Hannah and anguished Clay, this quietly suspenseful novel believably conveys their pain, perhaps inspiring readers to self-reflection. RACHEL L. SMITH
reviewed in the Spring 2008 issue of The Horn Book Guide

The Absolutely True Diary of a Part-Time Indianstar2 The Absolutely True Diary of a Part-Time Indian
by Sherman Alexie; illus. by Ellen Forney
Middle School, High School     Little     232 pp.
9/07     978-0-316-01368-0     $16.99     g

The line between dramatic monologue, verse novel, and standup comedy gets unequivocally — and hilariously and  triumphantly — bent in this novel about coming of age on the rez. Urged on by a math teacher whose nose he has just  broken, Junior, fourteen, decides to make the iffy commute from his Spokane Indian reservation to attend high school in Reardan, a small town twenty miles away. He’s tired of his impoverished circumstances (“Adam and Eve covered their  privates with fig leaves; the first Indians covered their privates with their tiny hands”), but while he hopes his new school will offer him a better education, he knows the odds aren’t exactly with him: “What was I doing at Reardan, whose mascot was an Indian, thereby making me the only other Indian in town?” But he makes friends (most notably the class dork Gordy), gets a girlfriend, and even (though short, nearsighted, and slightly disabled from birth defects) lands a spot on the varsity basketball team, which inevitably leads to a showdown with his own home team, led by his former best friend Rowdy. Junior’s narration is intensely alive and rat-a-tat-tat with short paragraphs and one-liners (“If God hadn’t wanted us to masturbate, then God wouldn’t have given us thumbs”). The dominant mode of the novel is comic, even though  there’s plenty of sadness, as when Junior’s sister manages to shake off depression long enough to elope — only to die,  passed out from drinking, in a fire. Junior’s spirit, though, is unquenchable, and his style inimitable, not least in the take-no-prisoners cartoons he draws (as expertly depicted by comics artist Forney) from his bicultural experience. ROGER SUTTON
reviewed in the September/October 2007 issue of The Horn Book Magazine

Drama
by Raina Telgemeier; illus. by the author; color by Gurihiru
Intermediate, Middle School     Graphix/Scholastic     238 pp.
9/12     978-0-545-32698-8     $23.99
Paper ed. 978-0-545-32699-5     $10.99     g

Like Telgemeier’s previous graphic novel, Smile (a 2010 Boston Globe–Horn Book Honor Book), this new one will appeal to a wide range of readers. Seventh-grader Callie Marin loves musical theater, and though she isn’t much of a singer (which she good-naturedly proves to all in a hilarious scene), she expresses and fulfills her passion by working as a set designer for the school drama club. Her second year on stage crew turns out to be fraught with drama, on and off the set. Not only is the musical a love story, but in real life Callie has a crush on eighth-grader Greg, whose younger brother (and fellow stage-crew member) has a secret crush on Callie. Greg, however, is dating Bonnie, who dumps him for her costar in the play, West, who eventually dumps her for the boy whom Callie has just begun to like. Then Greg asks Callie out. Phew! But Telgemeier handles it all with aplomb and, despite the romantic drama, nothing happens beyond a few innocent kisses. She gets her middle-school characters just right — from kids who, like Justin, are gay and know it (“Gay? You can say it! I don’t mind”) to those who, like Callie, wouldn’t recognize a gay guy if he clasped his hands and squee-ed over musical auditions, as Justin does when they first meet. As in Smile, Telgemeier’s graphic artist skills make this novel a pleasure to read and re-read; of special note is her thoughtful use of the page turn — for surprise, for a pause, for emotional effect. JENNIFER M. BRABANDER
reviewed in the September/October 2012 issue of The Horn Book Magazine

George
by Alex Gino
Intermediate    Scholastic    198 pp.
9/15    978-0-545-81254-2    $16.99    g
e-book ed.  978-0-545-81258-0    $16.99

George is, outwardly, a boy. But inside, she is a girl, and now that she is ten, that disconnect is becoming impossible to endure. She tries to tell her (single) mother, but Mom doesn’t seem ready for that conversation. Desperate, George decides to try out for the part of Charlotte in the school production of Charlotte’s Web: maybe if Mom sees her playing a girl’s part, Mom will be able to see who she really is. There are setbacks along the way (the teacher refuses to let a boy audition for Charlotte; Mom discovers and confiscates George’s cache of girls’ magazines; bullies harass her), but with the help of a few supportive allies, particularly best friend Kelly, George prevails. By the last chapter, George has become “Melissa” — all girl, at least for one perfect day on an outing with Kelly, and clearly a preview of what life has in store for her. George isn’t without flaws: the mother’s sudden about-face is too sudden, and author Gino can employ a heavy hand (Mom’s response to one of George’s early overtures: “You will always be my little boy, and that will never change. Even when you grow up to be an old man, I will still love you as my son”). But the heart of this novel — for slightly younger readers than Ami Polonski’s similarly themed and plotted Gracefully Grayson (rev. 11/14) — is George’s achingly poignant struggle to be herself, and that heart beats strong and true. MARTHA V. PARRAVANO
reviewed in the September/October 2015 issue of The Horn Book Magazine

star2 The Hate U Give
by Angie Thomas
High School    Balzer + Bray/HarperCollins    453 pp.
2/17    978-0-06-249853-3    $17.99

Sixteen-year-old Starr Carter lives a life many African American teenagers can relate to: a life of double consciousness. Caught between her rough, predominantly black neighborhood and the “proper,” predominantly white prep school she attends, Starr has learned how to “speak with two different voices and only say certain things around certain people.” This precarious balance is broken when Starr witnesses the shooting of her (unarmed) childhood friend Khalil at the hands of a police officer. What follows is a gut-wrenching chain of events that alters all Starr holds dear. New relationships are forged, old ones are severed, and adversaries arise as Starr’s family, friends, school, and neighborhood react to Khalil’s death, including questioning who Khalil was, and whether his death was justified. Between her neighborhood’s “no-snitching” code and inaccurate media portrayals, Starr must decide whether or not to speak out — and her decision could endanger her life. With a title taken from rapper Tupac Shakur’s acronym THUG LIFE (“The Hate U Give Little Infants Fucks Everybody”), the novel introduces numerous components of the urban experience, “thug life” included. From drug addicts to police officers, most characters are multifaceted, proving that Starr’s world is not all black or white (or black vs. white, for that matter). The story, with so many issues addressed, can feel overwhelming at times, but then again, so can the life of an African American teen. Debut author Thomas is adept at capturing the voices of multiple characters, and she ultimately succeeds in restoring Starr’s true voice. Thomas has penned a powerful, in-your-face novel that will similarly galvanize fans of Kekla Magoon’s How It Went Down (rev. 11/14) and Jason Reynolds and Brendan Kiely’s All American Boys (rev. 11/15).
reviewed in the March/April 2017 issue of The Horn Book Magazine.

And Tango Makes Three
by Peter Parnell and Justin Richardson; illus. by Henry Cole
Preschool, Primary     Simon     32 pp.
06/05     0-689-87845-1     $14.95

Two male penguins at the Central Park Zoo court, build a nest, and raise their (adopted) daughter Tango. Highly anthropomorphized to maximize the sentimental but noteworthy lesson on family diversity, the story gains depth from the biological reality of same-sex penguin partnering. Gentle illustrations of the smiling penguin family add appeal, if not scientific accuracy, to this book based on a true story. DANIELLE J. FORD
reviewed in the Fall 2005 issue of The Horn Book Guide

I Am Jazz
by Jessica Herthel and Jazz Jennings; illus. by Shelagh McNicholas
Preschool, Primary     Dial     24 pp.
8/14     978-0-8037-4107-2     $17.99

A little girl describes how she was born with “a girl brain but a boy body” and that once her parents talked to a doctor to understand more about it, they let her be herself. There is little plot, but the straightforward text and friendly, pastel-hued watercolors fairly successfully simplify the issue of gender identity for a young audience and their caregivers. MAEVE VISSER KNOTH
reviewed in the Spring 2015 issue of The Horn Book Guide

Don’t miss Pat Scales’s “What Makes a Good Banned Book?” (from the September/October 2009 Horn Book Magazine). We’ve also got review roundups of previous years’ most frequently challenged books.

Which banned books are you reading this week?



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The Field

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When I was about four years old, my parents signed me up for a kids’ soccer program. All I remember is feeling terrified when it was my turn to be goalie — and somehow convincing the coach to let my best friend stay in the goal with me. Suffice it to say: soccer was not really my thing, so I was surprised and delighted by my response to The Field, the picture-book debut of both author Baptiste Paul and illustrator Jacqueline Alcántara.

Alcántara was the inaugural winner of the We Need Diverse Books Illustration Mentorship award in 2016, and her work in this book suggests we can continue to expect great things from her. All aspects of The Field — from the landscape orientation to the vibrant pops of red-orange contrasting against shades of green, from the muddy splatters extending beyond the edges of illustrations to the deliberate use of both panels and full-bleed spreads — create a book bursting with joyful energy. The story is presented in lushly realized multimedia illustrations (pencil, marker, gouache, and Photoshop) that capture the immediacy and energy of the game, the players themselves, and their surroundings. Turns out you don’t need to know much about (or even like) soccer to love this book, which follows a group of children on a Caribbean island over the course of a day.

I particularly appreciate the book’s title, which has a kind of monolithic symbolism that transcends this particular game, players, and location. The front endpapers lead us onto a field, our eyes tracking the simultaneous succession across the verso of a young figure in a white jersey, who dribbles a soccer ball through trees and across the gutter toward a field of grazing cattle. Yet, while the book is verbally focalized through the child in the white jersey, the field is the reason he or she speaks. “Vini! Come! The field calls,” the child says; the field itself is a character to which all other characters respond. In fact, the field is the only named “character” that is ever identified as an individual. We encounter groups of friends and of “mamas,” with teammates chosen by pointing to “Ou. Ou. Ou. You. You. You” rather than calling out players’ names.

The child’s recruits are of varying ages, genders, skin tones, skill levels, and gear; a girl wearing a dress and rainboots plays alongside others wearing jerseys and cleats. The titular field, technically a pasture, requires some players to bring goalposts from home to heave into position, while others shoo bemused livestock toward the sidelines. There’s a gentleness to their repurposing of the field — temporary goal structures, balls from home, and an acceptance of the nearby animals — that suggests an awareness of the interconnectedness of all life. In his author’s note, Baptiste Paul describes growing up in an island community similar to that in the book, in which he “did not have electricity, running water, or many toys.” While these children may be aware of, and choosing to minimize, their impact on the natural world, they may do it more out of necessity than choice. How wonderful to see children enjoying a low-impact relationship to the environment, and how frustrating that they don’t have access to dedicated facilities to pursue their passion — yet how important that their experience is represented, and in a format accessible to other children.

Alcántara’s technique, especially her use of perspective, is extremely successful overall, beginning with the front cover: the full-bleed illustration pulls the reader onto the field, watching the ball speed past as other players chase it. Throughout the book, subtle highlighting indicates the path the ball has just taken across the field, and the soft, at times blurred, colors suggest the players’ rapid movements. Other particularly noteworthy tidbits: the uncertain expressions on some players’ faces when the storm hits, even as another sticks out his tongue to feel a raindrop, while still more players cheer, “No way! / Play on!” The dramatic view from behind a goal as “Rain stops. / Sun peeks” and the pearly glow of that peeking sun illuminates a path directly into the goal, scored on the next page in a flurry of paint (mud) splatters and triumphant, outstretched arms and smiles. Then the reader, positioned alongside the mamas and homes on the verso, watches the children play on the recto before, in the next spread, the group returns across the gutter to those mamas and homes as the sun sets.

The soccer ball also takes on particular significance throughout the book. It is elevated  to the same level of importance as the sun or moon by its position in the air on the front endpapers. In the final spread before the back endpapers, a luminescent moon occupies that same position on the page, shining through a gap in the trees over the houses. The back endpapers themselves return us to the field at night while, in the distance, windows glow. One of my few complaints about this book is that this final image is overlaid with text — the author’s note and glossary/pronunciation guide of the Creole words and phrases used in the story — but, all things considered, it’s not a deal-breaker for me.

While the Caldecott is, of course, awarded for distinguished illustration, I can’t not also acknowledge Paul’s multilingual text, which, in its pared-down, action-based, deceptively simple lines, really allows Alcántara’s illustrations to shine. That brings me to my other sticking point: the italicized Creole words and phrases. The conversation about the rationale behind, and impact of, this design choice resurfaced in the children’s lit community recently, and I think it’s worth drawing attention to here. What do you all think? While it may not be within the purview of the author or illustrator, design is an integral part of a book, so I wonder if/how the committee will consider this in their deliberations. I’d love to hear from past committee members about any instances in which typographic choices for non-English words had an impact on a contender’s chances.

Finally, with pleasing circularity, the book closes as it opened, with the repetition of the word “vini!” (“come!”). I’m so grateful for the invitation, and I think you will be, too.

[And the Horn Book Magazine review of The Field can be read here.]



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Grimy, Glorious, Gone. The Divergent Paths of 7 Train Stations

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By MITCH SMITH and EMILY NAJERA from NYT U.S. https://ift.tt/2OiQyci
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By JON PARELES from NYT Obituaries https://ift.tt/2zDSYdg
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By DANYA ISSAWI from NYT Arts https://ift.tt/2NMEtwo
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After Kavanaugh’s Testimony, Three Inconsistencies the F.B.I. Investigation Could Address

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By KAREN YOURISH and TROY GRIGGS from NYT U.S. https://ift.tt/2R8uhfR
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