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Pe’tehn Raighn-kem Jackson has been reading since she was 18 months old. Now three, she memorized and recited Countee Cullen’s poem, “Hey Black Child” for a Black History Month event. 7 online invited her to perform the poem on air on February 25th of this year.
She and her parents speak a little about teaching a child to read and write early on. They’re just a start. Do you have a video or photos of your child reading or reciting a story? If so, we’d love to share your child’s enthusiasm for books and literature with our Diverse Kids Books community. Submit your photos or videos to us in accordance with the guidelines on our Children Read Submissions Page.
With Books and Bricks: How Booker T. Washington Built a School by Suzanne Slade & Nicole Tadgell #BookerTWashington #DiversekidsBooks
With Books and Bricks by Suzanne Slade is a beautifully written biography of an important historical figure whose life story is not nearly as well-known as it should be. Delicately illustrated by Nicole Tadgell, the book chronicles Booker T. Washington’s evolution from enslaved biracial boy to dedicated educator and leader.
Washington was nine when the Civil War ended and all slaves were freed. But, as Slade writes, “Booker didn’t feel free. He had to work long hours in a salt mine so his family could survive.” Having been drawn to books as a child, he begs his mother to get him a book “And somehow, as often happens with mothers, a miracle appeared,” in the form of a spelling book. (more…)
Poems in the Attic by Nikki Grimes and Elizabeth Zunon #WeNeedDiverseBooks #WeHaveDiverseBooks #DiverseKidsBooks #Blackpoetry #MilitaryKid
Poems in the Attic is the picture book story of a seven-year-old African American girl who, during a visit to her grandmother’s attic, finds a box of poetry that her mother wrote as a child. Her mother’s poems are full with the yearning for an Air Force father who is often away and the wonder of discovering new places as the family moves again and again when her dad returns from deployments.
Nikki Grimes, the author makes several bold, creative choices in the telling of this story. The protagonist is never named and the story has a polyphonic poetic narrative voice. The protagonist’s mother’s voice comes through on the right side of the pages in the Tanka poems the protagonist is reading and the protagonist’s voice is represented on the left side of the pages in free verse poetry. (more…)
This is a somber and sobering collection of poems with illustrations which attempt to capture the kind of cruelty that nobody wants to explain to their children, but we have to, don’t we? Nelson writes, “Forget him not. Though if I could, I would / forget much of that racial memory,” and she writes with such charge, with such sorrow that sits in your mouth, the kind of sorrow that you don’t want to swallow because if you do, maybe you’d forget.
Marilyn Nelson remembers the lynching of Emmett Till in 1955; she was nine. Emmett was 14 years old, and the book, although strong enough for the minds of adults is gentle enough for a discussion with a bright, open child. The vocabulary is advanced, probably more suited for a pre-teen, but a smart 8 year old would be fine with the language. In fact, it could be a good vocabulary building book with phrases like parallel universe and terms like witness and atrocity.
While reading the piece I often wondered, is this the kind of thing you read with a child? And over and over the answer is yes. Nelson addresses this in her foreword, where she explains the form which her poems take, “Instead of thinking too much about the painful subject of lynching, I thought about…the strict form [and how it is] a way of protecting myself”. So would a parent have to delve into the harsh topic of lynching? Not unless you felt your child was ready for such a thing, but this book would still reach out to your child because children are smart and understanding. They have sadness and complications. They understand our sadnesses, our triumphs and sorrow, and although deep and dark, sadness must break to light. The illustrations in this book lend themselves to brightness, they call on those silver-lining moments, and they represent, just as Emmett Till does, innocence.
Recommendation: Recommended; Ages: mature 8 year olds – 14
Review by Rachelle Escamilla
Jacqueline Woodson’s lyrical memoir, Brown Girl Dreaming, is memorable, and not only because it won the prestigious National Book Award in 2014, the 2015 NAACP Image award and is a 2015 Newberry Award Honor Book. At its roots, Brown Girl Dreaming feels distinctly American.
Woodson’s memoir speaks of a connection and separation with family as she reflects on her birth in Ohio, her early years in South Carolina, and her family’s move to New York City. Throughout the memoir she recalls the absence of her father, the strength of her grandparents’ love, and the disconnect of what makes a place “home” as she moves between the American North and South during the 1960s and 1970s.
Woodson’s narrative is linear: the book is organized into four parts and chronologically follows Woodson’s life from her birth to the later stages of her childhood. Told completely in poetic free verse, Woodson’s poetry is easily accessible, following more traditional modes of form and lineation. Each poem is powerful, yet they work cohesively to tell Woodson’s childhood stories of learning to love writing and herself.
Brown Girl Dreaming is not a story that will disappear lightly. Its themes are strikingly contemporary as Woodson’s young narrator lets the reader in on a journey that seeks to understand how race and faith shape a person’s childhood, family, and friendships. This book is one that walks quietly and affects deeply. In short: Brown Girl Dreaming is a book to return to, and a book that will continue to hold its head high for a long time.
Recommendation: Highly Recommended, Ages: 11+
Reviewed by Erin Koehler
It’s as important for babies and toddlers to feel like their emotions are understood and validated as it is for them to learn how to express how they feel, whether it’s through body language or words. A Kiss Means I Love You, a picture book with photographs of diverse children and families in various emotional and physical states, does just this.
Ranging from a smile to coughs and sneezes, the formula of “a ___ means I’m ___” will help babies and toddlers expand their vocabulary for expressing themselves, and hopefully develop sympathy and empathy through seeing the different children in various moods and states in the book. Like Dr. Seuss’s My Many Colored Days, the simple words on each page may help a child feel their emotions validated and shared by others.
This book would be great for daycares, especially diverse ones—my daughter took it to school and the toddlers matched one another’s names to the children on the pages, seeing themselves in them. A Kiss Means I Love You makes a good bedtime story as well, ending with the familiar line (in a new order), “I love you…goodnight.”
Reviewer: Yu-Han Chao
Recommended: 2-5 years
This is a story about finding peace. Many of the Children’s books which feature Latin or South American children leaving home often cling to the concept of acceptance. The characters yearn to be part of the new culture’s home, or they have a desire to accept their current state of life or accept that nothing will ever be the same.
Acceptance is a very complicated and almost jarring concept. In this book, Eduardo is moving, and he must come to terms with this movement. He feels confused when children are playing football with a brown, egg-shaped ball, while he understands futbol to be different. He has to constantly accept that this new world is different, confusing, unreal.
Soon the unreal becomes real: the hillsides turn color “…the color of the sun” (12), the trees began to lose their leaves and stand like skeletons (13), and the winter comes with all of the anticipation of Christmas. The book reels forward, moved by the rich, dark illustrations and the comforting, and repetitive call of Eduardo, whose acceptance of this world is suspended in disbelief, and he repeats “No se puede” (that can’t happen).
Despite the title’s suggestion, the story is not driven by the concept of Christmas, but by the treasure within a secret box which can only be opened at Christmas. As time moves on, Eduardo’s hard reality begins to smooth. He learns and grows. Eventually he accepts the changes around him. Acceptance is no longer an indicator of difference, abruptness, or shock; acceptance begins to smooth into peace. And on the last page, the reader is given a very strong, and comforting message of peace.
Reviewer: Rachelle Escamilla
Age group 2 – 9