Still On Representation

From BBC.co.uk

This past weekend, I saw Stick Fly, a play produced by Alicia Keys, featuring Dule Hill, Mekhi Phifer, and Tracie Thoms. I can't say that I loved it, or that I even thought it was *good*, but I am absolutely glad I got to see it. Out of the literally hundreds of shows on Broadway, there are about *three* featuring (or written by) PoC.

As I mentioned, I wasn't crazy about some of the things in this play (for a show about family, I would have included mothers on the stage, and I would not have silenced a woman for speaking truth, but that's just me), but I truly appreciated this writer's humor, characterization, psychological depth, and frank dialogue on race dynamics, class, and colorism among the African-American elite. It's her perspective, her contribution, and I can respect that.

As I thought about it later, I wondered again, what it would be like to see more representations of PoC, in all our myriad expressions, on center screen, on the main stage, in the spotlight. How differently would we navigate life? What new possibilities would we conjure up? What new opportunities would we see that now elude us?

Even after multiple shining reviews in other cities, Stick Fly took almost six years to make it to Broadway for lack of funding and support. I thought about how many wonderful, brilliant stories there are out there that will never see the light of day because there is no financial backing for them. This story was not how I would have written a story about family, but it was a good story that deserved to be on stage -- on Broadway -- nonetheless. How many others are out there just like it, waiting for a producer's approval, an editor's nod, a bookstore's/reviewer's stamp? And how many will never get that nod because the person reading/viewing the story doesn't relate to it, or simply can't see themselves in it?

And then, this morning, I read this post on Zoetrope, about the "dead girl" look on some YA book covers, and I was reminded, once again, that the struggle for representation continues on all fronts.

But I was heartened by this BBC article about Indian youth wanting to see their own faces on stage. Whereas before, the preference was for white faces on the stage, young Indians now want to see their own images and values reflected back to them, in all their unique beauty and complexity. And the result is a uniquely Indian sound, exploding onto the Indie music scene.

History has shown us that independent thinkers/musicians/artists have paved the way for sweeping social and cultural change. I think we're in the midst of some of that same sweeping change here, too, with the balance of power shifting. It's exciting...like we're on the cusp of something very significant, very important. It's slow going, yes, but I'm in it for the long haul.

The Big C

Lately, cancer has been swirling around my life. Earlier in the year, I blogged about fellow YA author, L.K. Madigan, who passed away after a battle with the Big C. Shortly after that, H got a gig working on the show of that same name, the big C, on Showtime. While he was on that show, we found out that a close family member was diagnosed with stage four cancer. Most recently, L.A. Banks passed away. I was surprisingly, and inexplicably, saddened by the death of this woman I've never met. I read her blog for the first time only a few months ago and she seemed to be fighting the good fight. Her blog entries exuded honesty and passion, and I was crushed that the world lost another voice speaking truth to power.

Since I am, and always have been, an alternative kind of gal (and since the battle for accessible health care seems to be sliding down a slippery and corrupt slope) all of this has prompted me to look for alternative options to current, traditional methods of approaching health and healing. In my research, I came across this video which gave me a lot to think about. It's worth watching, even if you're skeptical. I'm big on reading up on everything in every way possible, and this was another angle to the story we're told over and over. I'm also a big believer in questioning the dominant narrative - especially when it's not doing me any good. If you get a chance to see the video, I'd love to know what you think.

In the meantime, my thoughts and prayers (and heart) are with anyone who is struggling with health issues in their lives - whether illness has hit a loved one, or whether you are battling for your own health. Much love and healing vibes your way.

I'm Baaaaack

Back from L.A. and Toronto and happy that the weather has taken a turn for the warmer. It was a pleasure to see the trees in bloom and daffodils beaming in their full glory on the drive in from JFK airport.

The Toronto events were lovely and I had a wonderful time with friends and family. Here are pictures from the Toronto Women's Bookstore event, featuring Zetta Elliott on the left, myself in the center, and Vivek Shraya next to our moderator, Annmarie Shrouder:

Blogger Niranjana Iyer has a great post on the panel and her thoughts on self-publishing here.

One of the more interesting conversations I had at the Saturday book-signing at Chapters/Indigo-Yordale was with a teen. We got onto the topic of bullying and harassment in school and she said that the worse type of "bullying" she ever experienced (her school is predominantly people of colour) was in the form of verbal and sometimes physical harassment from male peers. The terms most often used to denigrate young women are the same ones that were used when I was in high school - "slut", "bitch", "whore", etc.

And just today, Teen Voices posted this article about teenage domestic violence which points to the same type of harassment targeting young women. Here's an excerpt:

Ask a group of teenage girls how many terms of abuse are directed at them in school on a regular basis and they struggle to answer. Every week, they say, boys and young men in their peer group add a new phrase to their lexicon of disrespect.

"At my school we hear three words, slut, sket and slag, every day. It's got so it's not worth challenging it, it is not worth arguing about because it just doesn't change anything," said Bea Larby, 15 [... ] 

"Sket" sites, where pictures of girls are posted by vengeful ex-boyfriends, often in compromising situations, are set up on Facebook and other networking sites, or the images are circulated on smart phone messaging systems, along with a request to give marks out of 10 for the "sket" or "bitch".

'One girl, her ex posted naked pictures of her and sent them around the school,' said Larby. "She left school because everyone thought she was a sket, she used to get bullied in corridors. People would say, look there she goes that sket, but no one did anything to stop it."

The one thing that struck me from my recent visit to a high school in L.A., the conversation in Canada, and the above-linked article was that many things--like this sort of bullying and harassment--have held strong since my days in high school. And as long as power imbalances remain the same in the larger world--with media images depicting young women as racialized and sexualized objects, this type of bullying will keep a stronghold on each new generation of young people.

Raising awareness among young people is important, but equally important is working for change on a larger, systemic level. I think that's why the publishing panel at the Toronto Women's Bookstore was so important to me. What Zetta, Vivek and I were talking about was exactly that - grassroots change, putting power back into the hands of creators, and offering different depictions of young people for young people. All three of us spoke of wanting to create the type of work we needed to see when we were young readers. It is the work of offering alternative visions and representations for young women, queer teens, working class folks, differently-abled teens . . . doors and windows into new possibilities.

If you missed the livestream of that event, you can watch it here. But I don't know how long it will be up, so catch it while you can...

Changing the Face of Publishing from Facing Out on Vimeo.

Upcoming Toronto Events!

Next week, I am going to Los Angeles for a few days, then coming home and turning right around to go to Toronto for a little over a week. Talk about climate change! Though maybe I messed up with the times--should stay longer in the warm spot ;). But I am super, super excited about both, in any case!

In L.A. I get to meet some awesome high school students who will have had an entire week of classes, events, and awareness raising around issues of discrimination, bias, and bullying. And in Toronto, I will be with fellow authors discussing important issues of representation as well as signing books and -- the best part -- meeting and chatting with readers.

The first Toronto event is at the Toronto Women's Bookstore and, as mentioned, I will be discussing issues of representation and how changes in the publishing industry are affecting under-represented voices with fellow authors Zetta Elliott (A Wish After Midnight, 2009) and Vivek Shraya (God Loves Hair, 2010).

And the second event is at the Chapters/Indigo bookstore in Yorkdale Mall. I will be signing copies of Jazz in Love along with fellow authors Mahtab Narsimhan (The Deadly Conch, 2011), Helene Boudreau (Real Mermaids Don't Wear Toe Rings, 2010), and Cheryl Rainfield (Scars, 2010) who will all be signing copies of their recent releases.

If you're in or around the GTA area, please come by to either/both event/s!

Interview With YA Fantasy Author Mahtab Narsimhan

I am delighted to have fantasy author Mahtab Narsimhan join me today in a chat about writing, inspiration, transformation and fantasy! 

Mahtab is a fellow Canadian and her latest novel is The Deadly Conch, the conclusion to the Tara Trilogy (Dundurn Press). I was so thrilled to find another South Asian woman writing fantasy YA when I met Mahtab in Toronto last year, and I immediately knew I wanted to learn more about her. 

Please join me in welcoming Mahtab!

NM: Please tell us about your publishing journey. Did you go the traditional route - getting an agent, then querying publishers?

MN: The road to publication of The Third Eye had quite a few pot holes. It took me about a year and a half to write it. I tried to get an agent and thought I was very fortunate when I landed one at a very reputable agency in Toronto. Unluckily she was not at all right for me or my manuscript. Rejections poured in. She gave up on me after eight months of trying to sell the manuscript. I was quite devastated at the time and ready to give up. But I had invested so much time, effort and sweat in this story that I was compelled to see it through. Also, this was a tribute to my dad. I told myself; I would give up on this manuscript only when every publisher in the world had rejected it.

I joined a critique group called Kidcrit, started by writer, Marsha Skrypuch. Fellow writers who are now close friends helped me streamline the manuscript – “sleekification” in kidcritter terminology! 

At an OLA conference in Jan 2007 I got my first break. Marsha introduced me to the Barry Jowett, the editorial director at Dundurn. He asked to see my manuscript and I sent it to him expecting yet another rejection. Two years of rejection had primed me too well to hope for anything else. To my shock and utter amazement, he said. He wanted to publish my book. What followed was a week of walking on air, a few months of agony as the contract was finalized and signed, and the joy of holding my first book in my hands, knowing that it was born out of countless hours of writing and rewriting but above all, not giving up.

NM: What an inspiring story!! I love tales about people not giving up on something they really believe in. I'm so glad you didn't give up.

So many South Asians writing in English seem to be writing contemporary realistic novels. Why did you choose to go the fantasy route?

MN: I love fantasy as a genre, always have, and always will. I started out reading a lot of Enid Blyton as a child and my favourite then used to be the Faraway Tree series. It was about the adventures of three siblings who discovered a magic tree in the forest which bordered their backyard. Every week, an exciting world floated to the top of the tree. Sometime it was fun, like the land of birthdays or the land of chocolate. Sometimes the world had dangerous goblins or wizards who captured the children as slaves.

Since then, numerous series have caught my interest. Noteworthy are The Dark Materials trilogy by Philip Pullman and the Harry Potter series by J.K. Rowling. Also love Philip Ness’s The Knife of Never Letting Go. Life is tedious enough without having to dwell on it even when I am writing. Fantasy fiction allows me the freedom to veer away from the routine to the totally unpredictable, the fun, and the unimaginable. 

I realized that Asian protagonists were under-represented in children’s literature. I find Indian mythology quite fascinating and thought it would be great to bring it to the world in an interesting and palatable form.

NM: Speaking of palatable forms, I recently wrote a guest post on the dearth of genre stories available for young readers - for example, there are very few romances or mysteries or humour books featuring South Asians in YA. And YA author Y.S. Lee wrote a post called "Antidotes to Earnestness" where she writes that so many Asian-American books tend be "Earnest and Moralistic". Do you have any thoughts on this, and what would the teen Mahtab have liked to read?

MN: Loved your post, Neesha, and look forward to reading Jazz in Love. To answer your question, I believe literature subconsciously reflects the beliefs prevalent at a particular time or of a particular people. I think Asians were brought up this way. This is our culture and our way of life, or at least it used to be when I was growing up. Education and study took precedence over fun and frivolity. Education was the ticket to freedom from poverty for most average Asians, and they were driven to be academic over-achievers by their parents.

In a country where a billion people are struggling to survive, the situation is not in the least amusing and it’s no wonder that so many books written by authors who must now be in their fifties are serious and dealing with the problems of the time. A classic example is A Fine Balance by Rohinton Mistry. A poignant and brilliant book, but not in the least light-hearted. I honestly cannot recall what I read as I teen but a couple of books that come to mind are Jonathan Livingston Seagull by Richard Bach and The Prophet by Kahlil Gibran. And you will notice, both are very serious books. I would have loved something light and funny but I’m not even sure what the teen me would have liked. I used to be quite serious then.

NM: Yes, the serious literature is important and necessary, without a doubt. My issue, personally, is with the fact that for the longest time, that is all we seemed to see. Things are changing at a snail's pace, but it is happening. Hooray for more diverse stories featuring the full gamut of experiences of people of colour!

What are your thoughts on some of the changes happening in publishing, with the explosion of e-readers and digital technology? Are you enthusiastic, or worried?

MN: With the way technology is moving, it was inevitable. As long as our publishers change and adapt to keep up with the times, and we authors continue to get a fair deal for our work, I think we will continue to produce books which will be read by an even greater audience, especially those who would never pick up a book but can read a ton of material on their iPhones or iPads.

There are pros and cons to every situation. We just have to figure out the pros and learn how to use them to the best of everyone’s advantage.

NM: Definitely. Having more options is always a good thing :). You've mentioned that you are a working writer. How do you manage your time between promoting books, blogging, social media, writing, and working? Give us a snapshot of your typical day.

MN: I have a set time, a set place and a goal every day. Every morning from about 6 am to 8 am I devote to writing and I have to churn out 1500 words a day. This includes Saturdays, Sundays and holidays. And yes, even on my birthday!

An interesting fact I discovered is that most habits, good or bad, take about two weeks to form. I have followed this routine, i.e. writing early in the morning in my basement office and giving myself a daily quota, for the last six years. It’s a deeply ingrained habit and allows me to complete the first draft of a novel in about four to six months. In fact, now, if I have not finished my “homework” on a daily basis, I feel terribly guilty and even cranky.

I work with my husband at his office from about 9 am to about 6pm. Evenings are for research, social media and other activities.

I’ve learned over the years that no task is herculean if you break it down into little chunks and attack it every day. That hold true even for writing a novel.

NM: I envy your discipline! Something I keep trying to work on (grin). Will have to try that two week trick...

What is the best fan feedback you've ever received?

MN: I read your book within a day because I just could not put it down.

This was for The Third Eye and I was so pleased! To have your fans devour a book that took you years to write, in a few hours means I accomplished what I set out to do. I knew then, all that trouble, heartache and frustration was worth it!

NM: And I'm sure that reader spoke for dozens of others who are too shy to get in touch!

Tell us your favourite part of writing your trilogy, besides seeing it published :).

MN: For me, writing is a process of self-discovery. I didn’t realize it when I was writing the trilogy but seven years later when I wrote the synopsis for all three novels and the over-arching theme, I realized it was all about believing in yourself and not letting fear stop you from doing what you have to do. Fear of change and of the unknown have always been a huge source of anxiety for me and in writing this story I worked through it along with my feisty heroine,Tara.

Since 2009 when I finished the trilogy, I have embraced a philosophy of change and of constantly challenging myself. I’m surprised and proud to realize that I can meet anything head on without the numbing paralysis that used to overwhelm me at one time.

I quit my full-time, well paying job of twelve years to help my husband, thereby starting a fifth career (I have worked as a Front Office manager, a credit card sales executive, a recruiter, and a VP Operations previously). I learned how to do school presentations, starting with an audience of seventy-five students and working my way up to three thousand. Public speaking no longer terrifies me.

And now whenever I am presented with an opportunity that scares me, I make sure my answer is yes. I’ve never regretted it to date.

NM: I love bold, brave and daring women! I wish you much success with your books, Mahtab, and thank you, again, for taking the time to graciously answer all my questions.

EVERYONE, go buy Mahtab's books here and visit her (very cool) website here!

Interview With Sarah Jamila Stevenson

Today, I am thrilled to host Sarah Jamila Stevenson, author of The Latte Rebellion. I was looking forward to reading this book since I first heard about it and was delighted by the plot turns and the Created Normal of the world in the pages. In other words, the "normal" of this book is PoC, in varying shades and hues, all described in latte terms :D. So, without further rambling from me, here's Sarah, in her own words!

NM: I love that Asha doesn't really have any angst about being a latte - she embraces it and kind of sees it as the norm (and in the world of your story, it IS the norm). What was your own journey to self-acceptance like? Was it long like mine (that body image thing is a pain)? Or was it easy and more of a non-issue?

SJS: I think the key word there is "journey." I feel like the challenges of
journeying toward self-acceptance have changed for me over time, and I
guess I could say that the journey doesn't seem like it's over! As a
latte myself, I felt a lot more caught between cultures when I was
growing up than Asha does in THE LATTE REBELLION. I wanted to be--felt
like--a regular mainstream American teenager, but the Pakistani side
of my family didn't always understand that. I wanted to respect my
Pakistani half without it being the entirety of who I am, but it was
really hard to explain that to my family or my friends or my
classmates. Every once in a while I'd have a big argument with my dad
about, say, why I wanted to go to a school dance--he'd talk about how
unseemly and immodest it was, and admonish me not to dance while I was
there, and while I didn't want to upset him, I also wanted to go and
dance and have fun with my friends. Or we'd argue over why I didn't
want to go to Islamic Sunday school. It made me feel like a terrible
and selfish daughter, but it also infuriated me because I felt like my
views should be respected, too. So I had some anger and frustration
about my identity, until I was able to move away for college and
figure out who I was on my own.

Really, most of the time it was a non-issue. Usually, it wouldn't even
come up unless someone asked me "what are you?" and I'd have to sigh
and give them this long and complicated answer with 7 or 8
nationalities in it. I grew up in a pretty diverse area, so I didn't
feel like I was too unusual.

NM: As I was reading your book, I kept thinking, "Asha needs to hang out with
Sam and Jazz." If you could plan a hang-out date with the three of them, how
do you think it would go? What would they talk about? What would Asha
wear???

SJS: Hee! I love this question. I bet there would be a lot of commiserating
and eye-rolling over strict parents on the part of Asha and Jazz, who
would envy Sam because of her cool, with-it mom. Asha would get the
appropriate amount of sympathy and outrage over the towel-head
incident. She would bring the lattes. :) And, of course, she'd wear a
Latte Rebellion t-shirt and bring shirts for Jazz and Sam!

NM: You mention above that your father is Pakistani. Yet, in your
book it is Asha's mother who is South Asian. What went into your
decision to switch the parent from your own experience?

SJS: In part, it was a little mental trick to keep me from slipping into
the role of identifying too much with the character, and inadvertently
turning her into me or unconsciously modeling her parents after mine.
It was something that worried me a little. Asha and I have some things
in common, but she's definitely not a stand-in for me, and I didn't
even want to be tempted in that direction. I wanted her to be her own
person. And I wanted to challenge stereotypes a little by making her
father--who's NOT the South Asian parent--the strict one.

NM: I read in Ari's interview with you that you did graduate work in
fiction writing, as did I. What would you say were the pros and cons
of doing an advanced degree in fiction writing? In retrospect, now
that you've seen your first book to publication, would you still have
gone that route?

SJS: I definitely would still have gone that route. Prior to my MFA, I
didn't have much knowledge of fiction writing except as an occasional
hobby--my undergraduate degree is in Art and Psychology. I desperately
needed the feedback and the additional background in literature and
craft. And what I've gotten out of it has been so much more than
that--specifically, a committed, diverse and very talented writing
group, and a far more critical eye about writing, both my own and
others'. As for the cons, I think they're the ones common to most
graduate programs, especially in the arts: personality conflicts, the
occasional teacher who played favorites, a relative lack of attention
to the realities of a career in the field. :) Overall, though, it was
a great experience--for me. I'm sure it's not the right route for
everyone, but I'm a school-loving nerd, so...

NM: What are you most proud of accomplishing so far? (This could be either
writing/publishing related, or otherwise general life related).

SJS: Getting my first novel published is definitely way up there! There was
a lot of pressure for success when I was growing up, perhaps
especially because I was younger than most people around me (I
graduated from high school at 16 and undergrad school at 20), and it's
a lot to live up to as an adult with the same advantages and
disadvantages as everyone else. Really, I think I'm the most proud of
having followed my dream of pursuing a career in the arts, despite
various naysayers and setbacks, rather than giving up and doing
something practical. :)

NM: I was very impressed to read somewhere that the doodling inside
the book was yours! As someone who is illustratively challenged, I find
this very impressive. Besides writing and doodling, what are other

ways you express your creativity?

SJS: Besides the graphic design I do as part of my day job, I still
consider visual art one of my vocations, so when I have time and
energy, I try to spend some time making artwork (generally drawing,
painting or printmaking). I can play the piano and sing a little,
though I wouldn't say I was either very creative or particularly
accomplished at it--I just enjoy it. I try to be a creative cook,
mainly because I like to eat yummy food, but again, I'm not going to
be on Iron Chef anytime soon!

Is it fair to say my messy office is one way I express my creativity??
Or is that just an excuse?

NM: What's next? Are you working on something new? I read that you are
fantasy/sci-fi fan - might we see something from you in that genre? :)

SJS: Yes, I love fantasy and sci-fi. I'm currently revising and trying to
find an agent for another YA novel, this one about a girl who develops
the power to hear thoughts in the wake of a family tragedy. (She's
also half South Asian! Go figure.) And I'm trying to get going on a
brand-new novel that's sort of a dystopian-ish steampunk-ish story of
intrigue. (That's all I can say about it for now. I'm still working on
the details and have only written about a page.)

NM: My friends and I sometimes daydream and share our Lofty Goals. Do you
have any Lofty Goals? Please share! These could be along the lines of "one
of my books gets a starred review in Kirkus," "I am asked to be a keynote
speaker at a national conference," "I set up a foundation to offer grants to
fiction writers of latte descent," or "PBS does a special on me and my
work."

SJS: I managed to reach one of my lofty goals, thanks to my book--I got to
be on NPR! It was a local NPR program, but still, that was one of my
lifelong dreams. :) A starred review in Kirkus sounds great, too! I
think the lofty goal that's always floating around in the back of my
head is to be some kind of Intellectual Icon. I'm not sure what that
entails, exactly, but hopefully it includes getting invited to TED
conferences and being consulted as an expert on some impressively
esoteric topic.

NM: I've had some of the TED fantasies, too! ;D Thank you so much,
Sarah, for stopping by!

Me & L.A. Banks - That's How We Roll...

It looks like me and NY Times best-selling author, L.A. Banks, are going the same route with our books. I noticed her most recent release on Smashwords last night, which is the ebook distributor I'm going with, and saw that she listed herself as the publisher. I was so excited you do not even KNOW.

If you're interested in the ebook for JAZZ, it's available right now, here, and will soon go live on the Barnes & Noble and Borders online sites, as well as the Sony and Apple eBook stores within the next few weeks. The print version is on its way and should be available for purchase by mid-January (or sooner).

So exciting! Go, Ms. Banks! It looks like sisters ARE doing it for themselves *grin* (okay, that was cheesy). I'm going to buy her book for sure, and so should you. :)

Roy on Obama's Visit to India & Globalization

Here's an interesting clip from acclaimed Indian author, Arundhati Roy (GOD OF SMALL THINGS), on Obama's recent visit to India.

Roy has been an outspoken activist against corporate greed and globalization for years. She has made some controversial statements and has ardent fans as well as staunch critics. Personally, I love listening to her. Besides the fact that she's beautiful, I love that this creative mind, and acclaimed novelist, has become a voice for the poor--who often have no voice in the face of political and corporate power.

Harlem Book Fair Panel on C-Span

Definitely check out this video of a panel during the Harlem Book Fair, on C-Span. The panel features Jerry Craft, Cheryl Willis Hudson, Venesse Lloyd-Sgambati, Nick Burd and Zetta Elliott . . .

More Links

Check out Nnedi's post on FGM and her right to address the issue in fiction - even while some argue she has no such right because she is not African "enough", or that she is a witch, or that she has never experienced it herself or witnessed a ceremony. Some of the comments make interesting points - my comment is somewhere near the bottom, shortly after a post-racialist one, arguing that because we have Obama, and the likes of Condoleeza Rice, Colin Powell, and Clarence Thomas, racism in the US has essentially been stamped out. Ha. I did not have the energy or inclination to respond to that one.

And here are a few links to articles about what's going on in Toronto around the G20/G8 summit riots. It pains me as a Torontonian to see these, but they're no different from what's going on everywhere. Here's an article with more info from CBC Canada; and here's one from Xtra!. And here's a video with commentary at the end. The interesting stuff, for me, was before the reporter's commentary :P . . .

Honouring June Jordan

In honour of the re-release of HIS OWN WHERE, which I reviewed here, I'm going to put up quotes from the inimitable June Jordan. These are quotes that meant a great deal to me when I first read them. I had the pleasure of meeting Ms. Jordan in the early 1990's, when she visited Toronto and did a reading for Sister Vision Press - a feminist press started and run by women of colour for "challenging and provocative" works written by women of colour. I was young and learning and seeing so many things for the first time. Jordan awed me and blew me away. Her passion, her sense of rhythm, and her absolute, radiating love was what drew me in. I'll never forget that reading. The call for action and change that rose through her depths and made it's impact in that room full of women and men, white and PoC, het and LGBTQ was critical for me during my formative years as a writer and activist. You are greatly missed, Ms. Jordan, but your legacy lives on.

"My life seems to be an increasing revelation of the intimate face of universal struggle. You begin with your family and the kids on the block, and next you open your eyes to what you call your people, and that leads you into land reform into Black English into Angola leads you back to your own bed where you lie by yourself, wondering if you deserve to be peaceful, or trusted or desired or left to the freedom of your own unfaltering heart. And the scale shrinks to the size of a skull: your own interior cage. And then if you’re lucky, and I have been lucky, everything comes back to you. And then you know why one of the freedom fighters in the sixties, a young Black woman interviewed shortly after she was beaten up for riding near the front of the interstate bus––you know why she said, ‘We are all so very happy’? It’s because it’s on. All of us and me by myself: we’re on."
-- from the foreword to Civil Wars, 1980, by June Jordan

"Our own shadows disappear as the feet of thousands
by the tens of thousands pound the fallow land
into new dust that
rising like a marvelous pollen will be
fertile
even as the first woman whispering
imagination to the trees around her made
for righteous fruit
from such deliberate defense of life
as no other still
will claim inferior to any other safety
in the world
[. . .]
And who will join this standing up
and the ones who stood without sweet company
will sing and sing
back into the mountains and
if necessary
even under the sea:

we are the ones we have been waiting for."

Go to JuneJordan.com for more info on Ms. Jordan and her work. Also, look for posts this week by Ari of Reading in Color and on The Rejectionist blog featuring quotes and reviews of HIS OWN WHERE.

More on Race

There's a thoughtful post on race in children's publishing here. I really am glad these discussions are now taking place on blogs and forums where folks with decision-making power might pay careful attention. I also love that more and more editors are looking for work by authors of colour. It's certainly a step in the right direction.

However, I've heard more than one editor say that, while they've thrown their doors wide to submissions by PoC, the work they're receiving seems to be sub-par, not polished, or in need of more work than they have time for in this highly competitive business.

I have a couple of thoughts on that. PoC have not had the same opportunities and privileges that white folks have had for hundreds of years in many parts of the world. To expect equal results from white writers and writers of colour when there has never been a level playing field in terms of economics, social and political power, representation and privilege, is to set oneself up for disappointment and to perpetuate the dynamics already in place.

When I was a more idealistic version of who I am today, I went to work at a women's shelter. I felt strongly about domestic violence and I was a young feminist and I wanted to help. I had never grown up around domestic violence so I was unprepared for what I'd encounter. And it wasn't pretty. I had to learn a whole lot, FAST. It was eye-opening, it was brutal, and it was excruciatingly painful to see just how deep misogyny and patriarchy run in our world. But it was necessary. It showed me the Truth. And the Truth is one of the most solid tools you can have in navigating through life.

If you are a publishing decision-maker who wants to do the right thing by publishing or selling more titles by authors of colour, brava!! But you have to know that there is work to be done. The way the system is currently set up, writers of colour must bend and distort our work so that it is recognizable and appealing to white editors. Editors are not required to bend their reality or lens so that they can understand and relate to the styles, traditions, and aesthetics of PoC. So our work is always judged through a white lens. And the work is read and judged based on whether it will appeal to a white readership. The default assumption is that only brown folks will want to read work written by brown folks. And that white readership is the goal. This is problematic on so many levels.

If you want to create true, lasting change, you can't go in thinking you can keep doing what you've always done, only now it will be with brown faces. Dr. Phil (sorry) says the definition of insanity is to keep doing what you've always done and hope for different results each time (what can I say - my mom is a devoted watcher). It's not the same. There are very real differences between white writers and writers of colour, heterosexual writers and LGBTQ writers, writers who've grown up with lots of money and those who've grown up with without - differences that have painful histories behind them, and sometimes the results are not pretty.

This is the same discussion feminists were having years ago when men ran and owned all publishing houses, and women's writing was not taken seriously. It was too "emotional", it was too "flowery", women didn't write about "serious" things, and women weren't getting published. Men were viewing women's writing through a very male lens and never had to bend or shift their perspective. It was out of this that feminist presses and women's presses began sprouting and taking root. They showed that women could write and there was a market for that work and that it sold. Eventually, these small presses began dying out because the larger publishers began publishing more work by women. AND because there were now spaces for women to write, to nurture and cultivate their careers, there were grants and financial support for women who wanted to take writing seriously. In other words, there were larger, societal changes *in addition to* well-meaning editors. AND, here's the key, there were more women editors.

The children's/teen publishing biz has a whole LOT of women editors now. And two of them are women of colour. Ha, just kidding. It might be five. But the same needs to happen now. This is a subjective business. Editors and booksellers can like whatever they like. Let's just get more - including those who understand and value different aesthetics and traditions, and those who aren't necessarily looking for a polished, refined, brown version of Twilight or Harry Potter or Gossip Girl. Let's think outside of the publishing box we've all been shoved into. Let's get representation of ALL children and their histories/stories. Even if it means taking a little more time to nurture a new writer or new voice, or reading everything you can in a particular genre by authors from different backgrounds and literary traditions.

These are important and necessary changes. Painful, eye-opening ones, too. They might show some of us just how deep the roots of racism run in this country. But they may also show us something more important: the Truth. And that is invaluable in all of our journeys.

Not-Reviews

Lately, I've had several conversations about reviewing books. How one should review a book, whether one should review a book, and if one does happen to review a book, how balanced should it be, etc.

I do not review books. I offer my thoughts and impressions about books primarily by and about PoC (Debs Blog tour notwithstanding). I do this because it is important to me to shine the spotlight on writing by and about PoC (especially by). I do this because PoC do not get published in the numbers that white writers do, we usually don't get lead title status, we are lucky to be picked up by large chain bookstores, and we struggle to get second, third, and fourth books published far more often than our white contemporaries because we first must prove that people other than those who look like us actually want to read what we write.

For that reason, I tend to look for what I like in books written by PoC. A famous person (I don't remember who) once said, "when new shoots poke through, you must shelter them so they can become strong." Or something to that effect.

Authors of colour generally don't get editors and publishing houses saying (or exhibiting behaviour to the effect of), "that's okay - you grow. I'll shelter you until you are strong." If you look at the histories of some of the white authors we celebrate today, a significant chunk were nurtured until they found their readership and built a following. Here are a couple of quotes from this post, by children's author Maurice Sendak (WHERE THE WILD THINGS ARE):

About Where The Wild Things Are, "I knew, I knew, I knew it would cause a lot of trouble. And my editor knew it and all she did was encourage me. 'Go for it, go for it. Don't worry about anything or anybody'."

About his editor, "Her name was Ursula Nordstrom. She made me who I am. She gave me a book every year. She kept me working. I mean, can you imagine mentorship from a publishing house? She intended that I should be an important illustrator. She knew I could be. I had bad habits, I never went to art school, I drew in a clumsy fashion, but she could see beneath that."  [Emphasis mine]

As a new author, it's important to be allowed to find your audience, to be able to build a following, to find your style and voice and unique contribution. Most publishing professionals are quick to tell authors of colour that there is no audience or market for our work. And it becomes almost impossible simply to begin that journey.

So, if you come here to read my thoughts on books by authors of colour, you're going to find a whole lot of support for them - those young shoots breaking through the earth and doing their best to survive. That doesn't mean there isn't work to be done, or that the books are without flaws. And I will, without hesitation, call out PoC on homophobia, class and race issues, gender, etc. But it doesn't mean I have to cut them down just as they're (we're) beginning to grow.

Besides, somebody had to love Twilight despite its (numerous) flaws. If you read a book wanting to love it, you find a way to forgive its shortcomings (see aforementioned Twilight reference).

When I see new works (or reprints) by authors of colour, I read them knowing something about the journey of the author on the other end. And I offer whatever kindness and generosity I can. This path, I know, has not been an easy one for any of us.

If you want "critiques" of these works, you'll no doubt find them in abundance elsewhere on the internet. Especially if these works break new ground, are experimental in any way, or simply offer a perspective not often seen. But here, on my blog and in my space, you will find me with my hands around the new shoots, saying, "Grow."

The "White Mind"

ETA: the link to O'brien's article should work now - sorry about that.

Here's an interesting post on the concept of "White Mind" (as relates to children's writing/publishing) by Anne Sibley O'brien. The article is in the current issue of the Bulletin of the Society of Children's Book Writers and Illustrators.

Here's a quote:

"We belong to a field full of well-meaning people who care about children. If asked, most would surely agree with poet Lucille Clifton (Some of the Days of Everett Anderson) that “the literature of America should reflect the children of America.” I have never met an aficionado of children’s books who I can imagine wanting those books to misrepresent, marginalize or render invisible whole groups of our nation’s children.

So how can it be that in 2010, this is where we find ourselves:

• The percentage of published children’s books featuring characters of color is far smaller than - perhaps less than half - the percentage of people of color in the U.S. population, and the majority of these books are still created by white writers and illustrators.
• Many of the most popular book series, particularly in fantasy, have no significant characters of color at all.
• Cases of “whitewashing” book jackets, of editors requesting that an author erase a character’s ethnicity so that a book “can reach a larger audience,” of booksellers or librarians passing on certain titles because “our community doesn’t respond to those kinds of books,” suggest an assumption that white readers won’t respond to characters of color."

 And then this:

"[White Mind is] part of the explanation for how scores of thoughtful white writers could create so many books with no significant characters of color, or how so few manuscripts by and about people of color get accepted. It’s one of the reasons why our children’s book conferences and conventions are overwhelmingly white, and why I might walk out of a bookstore or library with a stack of picture books, not even noticing that not a single one of them starred children of color.

From writing and illustrating to hiring publishing staff, editing and marketing to selling, buying and reviewing, White Mind affects children’s books today. Unless we become aware of and develop strategies to directly challenge these patterns, white norms will continue to prevail." [Emphasis hers.]

The article reminds me just a bit of Peggy McIntosh's brilliant essay, "White Privilege: Unpacking the Invisible Knapsack" but is specific to children's publishing. Worth a read.

Wiscon Pics

It was amazing. Here are a few pics . . .

Here I am with Guest of Honor, Mary Anne Mohanraj. I first met Maryann over six years ago when we were both panelists at a South Asian women's lit fest. That was before she was a mom - still a powerhouse, but not yet a mom ;).

Haitian SFF writer, Ibi Zoboi, is sandwiched between me and Nora (N.K. Jemison). Apparently, "N" names are very popular among women of color - at least at Wiscon - Neesha, Nora, Nnedi, Nisi, Nalo . . .

Guest of Honor Nnedi Okorafor with Ibi and I after our lunch on day one of the con. I was both delighted and relieved to discover that Nnedi and I share similar (unpopular) views on Avatar, sheltering children from violence, and roles of creation versus destruction in the universe.

Here is my Wiscon roommate, Hiromi Goto, author of the incredible HALF WORLD. She is a brilliant mind, a warm and connected spirit, and a generous, creative soul. She is also a fellow Canadian, fellow child of mushroom farmers, and fellow fierce author of color.

TELL US WE'RE HOME by Marina Budhos

I received a copy of TELL US WE'RE HOME from Atheneum/Simon & Schuster and couldn't wait to crack it open. The story is a twist on the usual teen girl friendship novel - in this tale, the protagonists are Jaya, Maria, and Lola, eighth-grade daughters of maids and nannies in an affluent New Jersey suburb.

This is the paragraph that made my eyes sting:

Lola began to weep. This was it, the steely truth of her life. What she had been fighting ever since they'd come to America. This was a lonely land of firsts, where no one, not even your parents, could help you cross over. And she had no choice but to do it by herself . . . You pushed ahead, in the chilling rain, hoping you didn't die from being first.

That paragraph resonated deeply for me. Maybe because I am one of those "firsts" and know the cutting truth of those words. But also maybe because it is true for so many who've landed on these shores as strangers in a strange land.

Budhos touches on so many issues in this novel of social and personal awakening - the fallacy of the American dream, the myth of meritocracy, entitlement, class-based arrogance/ignorance, and xenophobia, just to start.

The girls' relationship with one another is sweet, but I was most won over by the relationships between the mothers and daughters. All girls are either fatherless, or un-fathered (under-fathered?). The plight of single mothers carrying the full emotional and financial burden of raising their children in a new land that cuts them little to no slack is heart-breaking. Not to mention that these same women must often neglect their own children's needs to tend to the needs and whims of their employers' children (or parents, as the case may be).

Budhos handles these issues with a light, deft touch. And everything is not wrapped up with a pretty bow at the end, either. It is left exactly as Life leaves things - untidy. But TELL US WE'RE HOME  is a satisfying read for both teen readers and adults alike. Pick up a copy now here, or at Indiebound. And visit Marina's site for more info about her and her other works.

HIS OWN WHERE, by June Jordan

The Feminist Press recently sent me a review copy of HIS OWN WHERE by June Jordan. The book was first published in 1971 and was a finalist for the National Book Award. It was the first book written "entirely in Black English." The Feminist Press is reissuing the novel-in-poetry on May 25th and if you don't pick up a copy, you'll be missing out on one of the best YA novels written by one of the master wordsmiths of our time.

HIS OWN WHERE is about Buddy, a young black man in America. It's a tender love story told in language that is stripped down to simple, bold, and beautiful truth:

His mother hungering for order among things themselves, for space she could admire, simply hungering and gone. Where did she go, and Buddy wondering about this last disorder she did not repair. This disordering of life of marriage of her motherhood. Strange lovely woman warm and hungering and gone.

It is a rare and loving depiction of black masculinity - Buddy is sensitive, protective (of love, of vulnerability), nurturing, creative, communicative. He has a loving relationship with is father. Together, they tear down the insides of the home they live in and build it back up so they can breathe...so they can feel free:

Buddy father clean the house down to the linoleum. Remove the moldings. Take away the window drapes and teach him, Buddy, how to calculate essentials how to calculate one table and two chairs, four plates, two mugs. Together they build shelves and stain them. Throw out the cabinets and bureaus opening and closing like a bank. His father teach him hammering and saws and measuring and workshop science. House be like a workshop where men live creating how they live.[...] On duty in the night his father dream and draw the next plan for the next day, working the house into a dream they can manage with their hands.

Jordan paints an unflinching portrait of life in small, cramped homes, parents working day and night for bare essentials, the restriction of movement in the urban landscape, and the desperate need for mobility, growth, expansion. And then, of course, there is teen love and sexual awakening in the midst of it all...

Buddy could never get over this difference between women and their daughters. Like this nurse, this obnoxious, nosy woman who spoke to him like that when they were strangers, she was the mother of his Angela. She was the mother of the girl Buddy felt guilty to be so aware of there right where his father lay, his face asleep, his life dying.

I read this book in one big gulp because I couldn't put it down. Not because of the plot (it's not one of those, "OMG, what happens next?!?!" books), but because of the language. Because of the Truth in its words. Because Jordan left her heart in those pages. And it saddens me that books like these often aren't seen as "lead" titles, or "big sellers" - if they manage to even become published at all.

I wonder what would happen if books like HIS OWN WHERE were published with the enthusiasm of something like the Twilight series. If as much money were thrown behind them and as much buzz were generated. Would we start to see copycats of revolutionary books by black authors? Would there be series after series of books about sensitive, loving, young black men who are gardeners and carpenters, builders and protectors, creators and lovers? Could you imagine . . . ? Books upon books of black and brown people reshaping their landscapes, tearing down and rebuilding the walls holding them in . . . Seriously, could you imagine . . . ?

I would like to get this book as much exposure as possible. If you are a blogger and/or reviewer with a large readership, please email me. I will send you my copy as long as you agree to review/blog about the book and create as much buzz about it as you can in a timely manner (remember, pub date is May 25th...so, within the next month or two).

Everyone else: BUY THIS BOOK.

Some Thoughts on Bullying

[ETA: apologies for the long-ass post. I wrote it over a week and with great care, hoping to get it right. This is an issue I feel strongly about and would love to generate more critical, thoughtful dialogue around. The next few posts will be bite-sized, I promise, to make up for it ;)]

The topic of bullying has come up a lot lately and has taken up much of my mental real estate. The term "bullying" never sat right with me and I had to give it a good sitdown to figure out why. I guess it reminds me a bit of how the AIDS crisis didn't become a CRISIS until Rock Hudson or Magic Johnson came out with it. And then suddenly it had a name and a face that brought it home. Before then, it was countless folks in the gay community, and masses of black and brown people in Africa and India who were dying silently from a disease no one wanted to talk about.

That's how this bullying thing feels to me. Kids have been bullied forever. It's about abuse of power - something children learn is a sanctioned practice in our world. In the world around them, wealthy nations bully those nations with less monetary wealth by bringing them to their knees with debt and impossible-to-repay loans. In the world around our young people, women are bullied into living up to impossible standards of beauty - sometimes carving themselves up, or dying on operating tables to achieve those standards. Working parents are bullied into putting in too many hours for not enough pay while their children are in the hands of inadequate, underfunded childcare. Same-sex couples who've been together for decades are denied basic spousal rights. This is the world we live in with our children, and many are taught it is a right and just world where everything is fine. That nothing needs to be questioned and nothing needs to be challenged.

I think of some of the most recent cases of bullying to have made headlines--all ending in suicide or murder, after relentless abuse by their peers: Reena Virk, murdered; Matthew Shepard, murdered; Carl Joseph Walker-Hoover, suicide; Brandon Teena (upon whose story the film Boys Don't Cry was based), murdered; and most recently, Phoebe Prince, suicide. A brown girl, a gay white teen, a black middle-schooler (taunted for being gay), a lesbian reportedly planning sexual reassignment surgery, and an Irish female immigrant, respectively. Children are very astute. They record every detail and reflect it back. They learn early what is considered valuable in their world and what is devalued. They learn early what they can get away with devaluing and what they will be punished for devaluing. They learn, too, how to use their own power in the ways they see power being used and abused around them.

In every case I've read about bullying, and in my own experience, there were those adults and authority figures who were complicit in the bullying by either turning the other way, or tacitly approving the victimization. And then, of course, there are the systemic infrastructures that privilege some with unearned power over others while never requiring the privileged to acknowledge or even recognize their privilege - lulling them into believing that it is not only deserved, but right. And that those who don't have privilege don't deserve it or haven't earned it.

When I was growing up, we were all bullied - only then we called it racism, and our parents dared not name it for fear of any number of repercussions. Today, my eight-year-old gets bullied and there are "This Is A No-Bullying Zone" signs in the halls of her school. And yet, she is still bullied, and she's not the only one. I've talked to other parents as we agonized over how to deal with it. The toughest part is that, like many of her classmates, she often seeks the approval of the girls who treat her the worst. She wants to be liked by the girls who don't like her. Despite all our efforts at home, she looks out into the world and sees no reflection of her fierce little self. And then believes she's less-than. She comes home and wants to be blonde because, until last year, there were no brown princesses. And when I read about cases like Reena Virk's and Brandon Teena's, I wonder whether seeking approval from the very folks who view you as "lesser" is a common dynamic. And I think - why wouldn't it be, especially as children move up into middle and high school where social acceptance is survival?

So I stopped looking at the issue in terms of "how to stop bullying". I thought, instead, of that classic case of bullying - where a woman is married to a man who beats her. Again, here is a woman who wants to be liked - or in this case, loved - by someone who sees her as less-than. And I thought back to my days in shelters and on hotlines and at demonstrations...what did we do? What were the steps we took?

It was a multi-pronged, grassroots, bottom-up approach. We addressed the issue on many levels: personal, social, political, and economic. The first thing was to empower the woman. She had to believe she was valuable and worthy of better relationships. Next was to present her with options, while working to create more options (shelters, childcare, hotlines, etc.). Then, there was becoming a vocal advocate for women's rights and working, in whatever capacity, for systemic change; finding lawyers who would take pro-bono cases; creating childcare co-ops; and finding or creating affordable housing for single mothers. This wasn't about blaming the victim - it was about focusing on the woman who, very often, up until that point, was functioning in a system that considered her voiceless and unimportant--and empowering her. Then, there was lobbying for stricter punishments and laws for offenders. But this was *at the same time* as building the self-esteem of women and girls who were in abusive relationships and helping them to spot red flags before tragedy.

When I put this in the context of bullying or peer-terrorism among teens, I see how a multi-pronged approach could also be effective. So first, we start with empowering the kids who are easy targets - kids who are quiet, seen as different in some way, who don't fit easily into the mainstream. These would most likely be children and teens of colour, children and teens who don't fit into culturally accepted notions of "feminine" and "masculine", working class kids, etc. We help them find their voices. We help them see that even if their own parents don't see the beauty in them, there is great beauty there. Beauty worth defending and fighting for.

Perhaps this is where children's/MG/YA writers come in. Those of us who stir a little bit of activism into our work (whether we call it that or not) have been giving voice to the silenced since we started putting stories out into the world. It's part of what motivates us and the reason our writing is so important to us. It's the reason the Judy Blumes and S.E. Hintons meant so much to me when I was growing up - they created worlds where girls like me were okay, when we weren't okay in our own worlds. And it's the reason getting under-represented and marginalized voices into print, in the media, and in cultural products is so important. More stories means more perspectives means lots of different values out there.

Next, we present options. Maybe we set up a station at school where anyone who feels truly threatened can go with guaranteed privacy to talk to a qualified professional--a bullying expert of sorts. Someone well-versed in the issues, who has been trained to spot red flags and offer real support and solutions. Or maybe there's a hotline set up for teens and pre-teens to call anonymously if they know something is in the works or being planned against a fellow classmate; and for those who are going through bullying to call and talk to a supportive listener who can offer resources and places to turn if the adults around them aren't listening.

Then, becoming a vocal advocate for the rights of those children and teens who fall outside the margins and working toward systemic change. Again, authors, writers, agents, editors, booksellers, librarians, and other gatekeepers in the publishing industry can play a significant role here. In recent years, there have been more books by people of colour, LGBTQ writers, and working class authors than when I was coming up, but we have a long way to go. Part of empowering young people is to show them reflections of themselves as powerful, valuable, important members of their communities - no less deserving of privilege, love, wealth, dignity and respect than their peers. I know from experience that stories do that. Stories heal and mend and expand. Stories in books, stories in the news, stories in film, on television and in magazines. It's part of the reason I started writing to begin with. I read stories that showed me More. Showed me hope and possibility and another way of being. And I still believe there are those in the publishing industry who are in this for more than just the profit motive - those agents (like mine!), editors, booksellers, etc., who are committed to the young people they serve. The young people we all serve.

Carrie Jones and Megan Kelley Hall recently started Young Adult Authors Against Bullying on Facebook. While I haven't joined the group (this deserves a more complicated post on my relationship with Fb), I whole-heartedly support their efforts. Where some of us might have called it "the way things are" at one point, the issue now has a name--a place to begin. And that helps all our children. In a world of power ab/use where we are pitted against one another in complex ways, addressing power inequities has to start somewhere - and with young minds.

The Fabulous Olugbemisola, Part Two

Here is the rest of my interview with Olugbemisola Rhuday-Perkovich. Again, make sure you check out her book, EIGHTH GRADE SUPERZERO, and check out her website for info about appearances and booksignings!

NM: I especially loved the family scenes in this novel. Whether it was Reggie's family (refreshing to see a *functional* working class black family!) or Charlie and his mom, or the folks at the shelter who were another sort of family. The sibling rivalry between Reggie and Monica was particularly right on the mark - I have a younger brother and we were very much at each other like that, but with this current of fierce loyalty underlying it all. Did you draw upon your own family experiences for these scenes?

ORP: Heh! Thank you. I loved writing the family scenes, and had a lot more that just couldn't fit. My sister and I didn't have the kind of relationship Reggie and Monica had. I have a couple of friends who did...Monica and Reggie were so much fun to write. In the earliest incarnations, Monica was even more of an antagonist -- she and Donovan even teamed up on occasion!  I really loved exploring how both siblings were struggling with image and identity, and how they bonded in that struggle, while always remaining wholly themselves (I hope).

 

NM: That's always the struggle for me, too - making the characters as true to themselves as possible.

 

Tell me about the election. I'm thinking you were probably writing or revising SUPERZERO around the last US election. In fact, you've even mentioned Obama in the novel. Did the US presidential election influence the way you wrote about the election in the book? In what ways?

ORP: I definitely added a few things in later drafts to refer to the election. I think that at a couple of points I tried to allude to the sense of hope/change that emanated from a lot of the response to President Obama's campaign, and some of the opposing ideas that come into play when we consider the role of goverment and politics in our lives. The concept of moral courage came up a lot for me during the election, and that did fit in well with the themes in the book...There were a couple of sarcastic references as well...and the now-President's path was very familiar to me, I've known many young men and women in similar situations, etc.

 

NM: I really like that term, "moral courage." I think it sums up a lot of what I struggle with on a daily basis. And yes, the election in '08 really brought much of that to the fore.

 

I recently did a school visit for readers around the target age for SUPERZERO's readership and couldn't help but recommend it to them. What do you hope young readers will walk away with after reading this story?

ORP: Oh, thank you, Neesha! I think that I hope that those readers might think a bit about who they are, what they stand for, and how that's expressed in their lives on a daily basis. That there are many ideas of heroism, and sometimes that "still, small voice" is the most heroic one. There is one moment in the book that I believe is Reggie's most heroic, and I think it might not be the most obvious.  I believe that there has to be room, in any idea of activism, or any sort of forward movement, for the baby steps, the whispering voices, the quiet thinkers, for taking a few steps backward. And for all of us who come hard sometimes, and soft at others, to know that we don't have to fit into anyone's, even our own, boxes.
 

I hope that readers know that I am writing to them from that place in myself that is both broken-hearted and beautiful to that same place in them; that I'm hoping that we meet and are transformed in some way together. That we're all imperfect, self-conscious, want more, don't even know what the questions are sometimes, much less the answers...and we can all get beyond ourselves, even in very small ways, to make a difference in this world.

 

NM: That answer brought tears to my eyes. Especially the part about, "don't even know what the questions are sometimes." One thing I've learned and know is absolutely true is that there are no absolutes. That everything is as right as it is wrong and most of the time, I don't *really* know which category things fall into. Especially when I think I'm right *grin*.

 

And now, the classic: What's next? Not just what book are you working on now (that too), but where do you see yourself as a writer in, say, ten years? What are you writing? Still MG fiction? Why or why not? 

 

ORP: I'm working on a YA manuscript right now, it has slight touches of fantasy, and deals with themes of grief and guilt, which might be my last in that genre. I have many younger MG and chapter book ideas waiting to be worked on, and one of these days I would love to develop the skills to write a picture book. I have a multiplatform/multimedia project that I started years ago, exploring the lives of girls around the world at different turning points in their childhood and teen years.  For years I've been interested in some of the opportunities to make meaning using digital technology. I will always be teaching in some way; I love it, and am looking forward to a couple of school writing workshops that I have coming up in both early childhood and teen classrooms and libraries.  In my teaching, I love looking at multiple ways to 'write' and create, and reflect; sometimes using arts and crafts techniques, drama, discussion, memoir...just thinking about it is fun!

 

NM: Thanks so much, Olugbemisola!

The Fabulous Olugbemisola, Part One

Today, I am thrilled to feature part 1 of an interview I did with the wonderful Olugbemisola Rhuday-Perkovich, author of EIGHTH GRADE SUPERZERO. I read SUPERZERO and just fell in fast, tumbling love with each of the characters. It is a book full of heart and insight, written with warmth and compassion. And Ms. Olugbemisola is a fierce, quietly powerful force to be reckoned with. Here is part one of what she has to say about writing, her process, the '08 election, SUPERZERO, family, and spirituality...

NM: What was the "nugget" that you started with for this novel?

ORP: I started this novel as part of an application for a workshop with Paula Danziger. It was the night before the thing was due, and I needed to come up with three pages, fast. The image of a ten-year-old Reggie in bed, with the covers pulled up over his head, because he was afraid that a bug was going to crawl into his mouth, was the very first image that I had for this story. Whenever I say that, I realize that it sounds nothing like that book it became! But the character was there.

NM: Wow, what a powerful image! And that initial feeling is exactly what I got from the opening chapters. You captured those anxieties so well.

There are parts of the novel where I feel, intuitively, you would have gone a bit more radical. I think I recognized those parts because I have them in my own novel - areas where I would absolutely have gone in with my feminist, anti-racist self and run amuk, but had to rein myself in, either because of feedback from trusted sources, or because I knew I was pushing it. Am I right in this hunch? If so, could you point to parts where this might've happened?

 

ORP: I think that there were definitely times when I *wanted* to make certain points, and I did hold back because I had to make sure that this book was Reggie's story. I think that especially with a first-person narrative, it can be easy to make the character's voice your own. And I tried that sometimes in the beginning -- Reggie used to also have an older, disaffected brother named Marcus, who spoke in speeches and was usually saying the things that I thought. (Marcus's struggle with racism, my cynicism during the election) I also struggled as an author with thinking too much about how *I* would be perceived by this book. I worried that it wasn't weighty enough, and that it would be dismissed as lightweight, etc. etc. blah blah blah. But then I really had to come to terms with how ridiculous I was being -- either I wanted to tell *Reggie's* story, and be as honest as I could be about it, and connect with those young readers who are/know/could be Reggie and his friends, or I wanted to make it all about me. Instead of writing fully as an adult looking back on childhood days, I had to access who I was at 13 (not who I'd wish I'd been, or thought that I was then), who my friends were, who the 13 year-olds that I know and see are now...Of course, I am writing with the benefit of experience and hindsight and perspective, but I had to make sure that I worked to get out of the way and ask myself at every point if something was *really* part of the story, something that was true to the characters, or was it just something that *I* wanted to say, to wedge in somehow because I thought it would make me look a certain way, or because I was trying to create an opportunity to put me on the page. Humbling work. The most gratifying response recently has been from my sister, who's just reading the book in its entirety now, and said "This doesn't sound like you at all!"

 

NM: What a fantastic answer. I so relate to the "not weighty enough" worries and wanting to inject my current sensibilities into my character's thoughts and actions. It's such a fine balance! 

 

What made you write this novel in a young male voice? And how was that experience? Would you do it again?

 

ORP: I really just started with that character, at that moment; I didn't plan it. I would not have expected to write a book with a male MC, and definitely never planned to. Once I started, though, that was it. It didn't seem right to just change him to a girl, which a couple of people suggested. Now that I've thought about it a little, I don't know that I'd do it again. I suppose it depends on the characters that come to me. But I'm definitely a little self-conscious about it now.
 

NM: Well, Reggie certainly rang true for many folks, including me, so I'm glad he stayed a he :). 

 

I love books that explore spirituality. Tell me a bit about your decision to incorporate themes of spirituality and religion into 8TH GRADE SUPERZERO. Were you worried about it at all?

ORP: I did worry that it would be rejected because of that, and I did submit to my editor, Cheryl Klein, because I thought that, from her blog posts, that she wouldn't dismiss it out of hand for that reason.  And I worried that Christians would think that I should have made Reggie a Christian, or something like that. But it was not a part of the story that I ever considered taking out. It was a part of Reggie's life and person. And it was a part of the lives of so many young people that I'd taught or worked with over the years, in a variety of ways.  They had such great questions, interesting ideas, and always introduced fabulous discussions while we talked about books, daily life, TV, etc. that related to faith and spirituality; it was clear to me that these themes were important parts of their lives in myriad ways. I wanted to 'give back' in a way, to the young people who trusted me enough to share their thoughts on spirituality and faith, because we were able to have those discussions lovingly, and respectfully, even though we each often held different beliefs.

 

NM: I hear you. I've had so many wonderful conversations with young people about religion and spirituality. They are definitely asking the questions and searching for answers - particularly in a post 9/11 world where religion seems to have taken such a front seat in media and political forums.

Thanks, Olugbemisola! 

 

Readers -- stay tuned for part 2 of this interview! And pick up your copy of EIGHTH GRADE SUPERZERO now. Seriously.