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Inspired by a 1996 exhibit at the Minnesota History Center named Unpacking on the Prairie: Jewish Women in the Upper Midwest, comes a heartwarming picture book written by Linda Glaser and illustrated by Adam Gustavson. Hannah’s Way tells the story of Hannah, a young school age girl who has moved with her family from Minneapolis to a new town in northern Minnesota. The reader is brought along with Hannah as she overcomes the anxieties of moving to a new school and trying to make new friends. The central conflict hinges on her class picnic falling on a Saturday, the day of rest for Orthodox Jews in which they cannot work or ride in cars. As the story unfolds Hannah tries desperately to appease her family and her religious beliefs, while also wanting to make new friends that will love and accept her.
Gustavson’s illustrations are detailed works of art with a feel of historical authenticity. The images are large in scope, depicting Hannah’s world with a narrative power as strong as the story.
Hannah’s Way is an uplifting story not only for those who have felt isolated due to religious differences, but for any school age child who has had to move from a previously familiar place to a new home. Although Hannah struggles to balance what it means to be true to her faith, while also wanting to fit in with her classmates, at the end of the book she learns an unexpected lesson about kindness that will move any reader.
Recommendation: Highly Recommended Ages 3+
Reviewer: Erin Koehler
If your readers like the Magic Tree House series, they will probably be interested in Nina and the Traveling Spice Shed. Nina is a British Indian, who really would like nothing to do with India. At school, Nina’s class is doing projects on foreign countries and despite her parents’ strong suggestions she wants to report on any country BUT India. Yet, she arrives late to school and the only country left is India. Not able to face her parents and her disappointment after school, Nina visits her eccentric Aunt Nishi. Aunt Nishi sends her to the spice shed in her backyard and that is where Nina’s traveling adventures begin. Nina’s first stop—there are more books to come—is predictably India. She discovers India is more than “hot weather and poor people”. (more…)
Elan, Son of Two Peoples by Heidi Smith Hyde and illustrated by Mikela Prevost is an artistically captivating and rustic story about thirteen-year-old Elan’s journey to becoming a man across the cultures of Judaism and the Acoma Pueblo. Set in 1898, Elan and his parents travel from their home in San Francisco to Albuquerque, New Mexico where his mother’s family lives. Elan’s father is a Jewish immigrant from Eastern Europe, and his mother is the granddaughter of a Pueblo Indian chief. The story takes place just days after Elan’s thirteenth birthday, a very important coming-of-age marker in both cultures. The reader does get a glimpse of his Bat Mitzvah and his Jewish culture, but a majority of the story focuses on Elan’s trip to New Mexico and the ceremony that honors him as a Pueblo tribesman. (more…)
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
One thing that is important to do when considering books for your children, is to consider the wholeness of a book. Not only should we encourage books which highlight diverse stories, we should also encourage innovation and cultural understanding. “Just Like Home / Como En Mi Tierra” satisfies the first, but is lacking in the latter.
The story follows a girl who emigrates to the United States from Mexico (assumed). The girl is anywhere from 4 – 9 years old, but her age and the age of the intended audience is not specific. The unnamed girl observes the world around her and makes comparisons: this is like home, this is not like home. The English is translated into Spanish and there is a glossary in the back.
However, there are a lot of mistakes. Namely, the title of the book in English is correctly capitalized, but the Spanish is incorrectly capitalized, which sets a very awkward tone for the book: as if the Spanish portion of this story is just tossed in for good measure. There is an air of laziness in the construction of the story and the illustrations. The book feels and looks like those 50 cent books your mom bought you from the pharmacy rack in 1985 and although some of my favorite children’s books came from that same rack, this book has unremarkable characters, sloppy illustrations, and was even offensive in one moment.
On page 20 the unspecified female character is not included in the school yard games. On the next page she says “Not like home,” comparing the exclusion to her life back “home” (again, unspecified OTHER place), but the illustration is what bothers me: Children playing with a pinata. On pg. 20 they are in a school yard, on pg 21 she is playing at a party with a pinata. If this unspecified girl was at a party in America with her family, she WOULD play with a pinata, but the pinata in this specific comparison seems to be working as some kind of cultural indicator which is pinpointed through an overused and lazy stereotype. The pinata, although a staple in Mexican-American and Mexican parties alike, is not some kind of cultural marker as exclusively “Mexican.” It isn’t necessary to toss tacos, sombreros, or pinatas into a book just to pinpoint the “other” culture. If it is contextually relevant, sure, but in this case it is not. “Not like home” should have been a caption for an image which depicted the girl playing in her school yard back home.
In the end, I like to encourage books which use English and Spanish; books which present children of color and their struggles; books which encourage new representations of cultures with a deep awareness of that culture; I want you to buy books that are not just doing these things on a shallow, let’s-just-get-a-brown-kid-on-a-page, kind of book, but books whose goals are deeper and more rooted than that.
Recommendation: Not Recommended; Ages: 3-7
Reviewer: Rachelle Escamilla
December 13th, Atlanta, Ga: African Biracial Orphan Author Launches Two Family History Picture Books
Nigerian-Hungarian Author Theresa Mamah has lived in the United States since she and her twin were orphaned at 13-years-old. The daughter of a Nigerian father and Hungarian Mother, Mamah knew Nigeria as home and Hungary as a destination for maternal-side family reunions and vacations. Preserving the family stories from both sides of her family has been the passion driving her creative endeavors and culminated in the publication of two children’s books, Ice and What the Baby Saw.
She introduces both to the United States Reader at the book Launch, on Saturday afternoon, December 13th where she will be reading from, and signing copies of both books. Full information is on the featured poster and you can RSVP for free to attend. The book launch is from 1pm-4pm. Take your children out for an afternoon of literary fun featuring stories of international, intercultural focus
RSVP for book launch.
California poet laureate Juan Felipe Herrera shares the story of his migrant farmworker childhood through powerful language and colorful illustrations (by Elly Simmons) in Calling the Doves.
Not once is Juan negative about his humble beginnings; he fills these pages with love and poetry. Born on the road to migrant worker parents in central California, Juan grew up in a one-room house his father built on top of an abandoned car he describes as “a short loaf of bread on wheels.” His father makes bird calls that attract doves and his mother recites poetry at dinner, all of this inspiring him: “I would let my voice fly the way my mother recited poems, the way my father called the doves.”
While the language is always evocative, one particular metaphor may confuse readers. All other metaphors work beautifully, for instance, he describes a green canvas as “a giant tortilla dipped in green tomato sauce,” and ”the wolves were the mountain singers.” However, when describing his family eating outdoors, “the sky was my blue spoon, the wavy clay of the land was my plate” may be taken literally by children (and some adults) who might have trouble making sense of these lines.
Besides that instance, this lyrical story accompanied by striking illustrations tell a story rarely seen in children’s literature, from immigration to migration according to the seasons of melon, lettuce, and grapes, to traditional healing arts. A wonderful celebration of migrant and Mexican-American culture, this book is a great way to teach your child poetry as well as diversity.
Recommendation : Highly Recommended. 6+
Reviewer: Yu-Han Chao