By Jeannine Perez, Ph.D.

"The chief test of civilization is amount 'difference' it can tolerate and absorb - one characteristic all primitive societies a horror diversity."

—Sydney Harris
Teaching Exceptional Children
Vol.32 No.3 Jan/Feb 2000

In reviewing and selecting multicultural literature for children, it's easy to overlook a large segment of our society, the 'culture of the different.' I see differences as positive, but being perceived as different can also be a source of pain and feelings of rejection. Marching to a different drumbeat, by choice or not, isn't always easy. A good selection of literature addresses the challenges, achievements, pain and joys of being (in some way) different. Children and adults better understand each other when offered multiple perspectives.

The Invisible Woman

Thrust into the world of the different several years ago by an injury, I learned a harsh truth. As I struggled painfully in my walker, I realized I was invisible! Busy, bustling people glanced at me, and then away, as though I were not there.

There are reasons for our reactions to differences. We may feel unsure of how best to help. We are uneasy, and avoid eye contact. We may even feel threatened by what we cannot control or understand, and throw a cloak of invisibility so as not to see. I knew this, of course, but at the time it was cold comfort. It was also a revelation. Invisibility is a common experience for adults and children with disabilities, who are often made to feel like non-beings.

Being invisible impacted my teaching style and made me rethink my choices in children's books. For one thing, I broadened my concept of "special needs." Children feel different for many reasons. Physical disabilities certainly, but also other, less obvious factors can set children apart: different ways of speaking or learning, toxic environments or rejection at home, emotional traumas or a behavioral disability. Good literature and storytelling expand awareness of the depth of human complexity, and help us begin to appreciate and accept diversity in our community, in our own school, and, if the stories really speak to us, within ourselves. This is true multiculturalism.

Guideposts to Selecting Literature

I keep these things in mind when selecting literature for my classroom:

universal themes of overcoming adversity (myth and folklore)

characters and stories that show diversity is a plus

plots that emphasize choice

Overcoming Adversity: the Heart of Myth and Folklore

Here is an instance in which myth and folktales go beyond entertainment. Mythical heroes and heroines face challenges and tests. Although the tales usually end "happily ever after," these endings are seldom the result of easy answers. They are set in motion because of a change in the main character, not in the surroundings. Think of universal themes with variations across all cultures: Cinderella, The Ugly Duckling, Jack the Giant Killer. With these archetypal characters, changes begin internally: a shift in self perception, a willingness to take risks, and also an acknowledgement of possibilities. As the character grows and changes, the perceptions of others are in turn affected. In challenging situations, and often with few resources beyond the will to triumph, these characters exert powerful influence in their own lives and eventually effect change. Heady elements for children who may have little control over physical circumstances!

Add nuances and layers of meaning to folktales by hunting for variations of popular stories. For example, The Rough Face Girl by Rafe Martin (Algonquin), Murfaro's Beautiful Daughters by John Steptoe (African), The Korean Cinderella by Shirley Climo, Cinderella Bigfoot, Laughter Ever After by Mike Thaler (familiar European, but with a humerous twist), and Vasilisa (traditional Russian), are all variants of Cinderella, one of the world's most universal of themes. There are many more.

Although myths and folktales are most attractive to younger children, older students can enjoy them, too. Include a class discussion about the underlying themes, and how they relate to your students' own lives.

Diversity is a Plus

Reading about diverse characters and situations empowers children to recognize they are not alone. We all need to see ourselves at least occasionally in the books we read. Unfortunately, while the quality and quantity of books celebrating people from different cultures are on the rise, books that feature differently-abled children as protagonists or major characters are harder to find.

The 1972 film Butterflies are Free featured Eileen Heckart as a children's author. To inspire her blind son, she created a series about a blind boy named Danny Dark who solved mysteries and went on heroic quests. The screenwriter who invented that bit of characterization was ahead of his time (he still is). Nevertheless, with diligent searching books can be found.

Choice is Key to Survival

Books that offer choices to their characters are also important. To a child who is confined or limited by circumstances, choice often seems like a priviledge reserved for others. One of the most important skills a teacher can pass on to her students is the ability to recognize options. "I can't do this!" becomes, "What can I do to get past this obstacle?" With self confidence they decide, "I can switch plans or figure out how to change conditions. Maybe I need a different goal. It's OK to ask for help, or I can do it in a different way. Perhaps I'd rather do something else instead." Options are a powerful tool for daily survival, and key to long-term success. Good books reinforce this spirit.

The Path from Acceptance to Change

Respecting differences is never enough. Change is a part of life. First we acknowledge, then celebrate changes for the adventures they can become. To do that, we don't need books spotlighting differences as anomalies, and we don't need sugar coated plots or easy answers. For me, a physical barrier became a time to grow, and I lived a happy ending. Not all physical, emotional or behavioral challenges are so easily 'fixed,' however. Satisfying books reflect changes, struggles, and endings that are not always expected.

Here are some books with a diverse array of protagonists who choose not to let their "differentness" define them:

Joey Pizga Loses Control by Jack Gantos. Joey Pizga, the unlikely, disaster-prone hero first introduced in Joey Pizga Swallowed the Key, is back and better than ever in this excellent sequel about a bright child with Attention Deficit Disorder (ADD). With his "meds" (medication) finally under control, Joey turns to his next challenge -- getting to know his estranged father. But his father thinks medication is for sissies, and Joey faces a painful decision no child should ever have to make: please his father, or do what he must to take care of himself? A Newbery Honor book. Reading level: ages 9-12.

Bluish by Virginia Hamilton features a trio of girls who form a fragile friendship. One of them, Natalie, has leukemia and uses a wheelchair. How they work out the dynamics of their relationship and come to terms with Natalie's "differentness" makes for compelling reading, with a little bit of an edge. Reading level: ages 9-12.

Freak the Mighty by W.R. Philbrick. Here is an odd couple, if ever there was one: Max, a large, lumbering, learning disabled boy, known as the class "retard," and Kevin, a nerdy, brilliant boy with a condition that limits his growth (he's 2 feet tall). Together they are greater than the sum of their parts. Their unlikely friendship leads to adventure and self-discovery, and allows them to achieve together what they could not achieve alone. Reading level: ages 9-12.

Out of the Dust by Karen Hesse presents Bille Jo, a girl of the Oklahoma Dust Bowl in the time of the Great Depression. An accident robs Billie Jo of her mother and leaves her hands badly damaged. Drowning in his own sorrow, her father is unable to offer comfort. Written in blank verse, Out of the Dust is a haunting portrait of a child who struggles to survive in bleak circumtances. Billie Jo finds no easy answers, but she does survive. Winner of the 1998 Newbery Medal. Reading level: ages 9-12.

Tangerine by Edward Bloor. Paul Fisher is a legally-blind 7th grader who, with the help of his thick-lensed eyeglasses, is nonetheless a first-rate soccer goalie. When the family moves to Florida, however, things change. Paul's new school classifies him as "handicapped" and therefore ineligible to play. While Paul tries to deal with his new "disabled" status, his older brother, who seems to have a perfect life, is self-destructing. A complex story with many strands, Tangerine was nominated for multiple awards. Reading level: young adult.

A good resource for books featuring differently-abled children is Exceptional Parent Library: A Special Needs Bookstore on the Internet at www.eplibrary.com. (Click on "Our Products," then "For Young People.")

*****

Jeannine Perez, Ph.D. has been teaching in the classroom for 24 years, focusing on early childhood and special education. She earned her Masters in Early Childhood, another in Counseling, and a Ph.D in Art Education/Art Therapy from Illinois State University. To keep busy while recuperating from an injury, she prepared for and achieved National Board Certification. Perez presently teaches an inclusive fourth grade class at Acoma Pueblo, New Mexico.

Dr. Perez is the author of three books:

Explore and Experiment: Adventures in Nature and Science for Young Children, First Teacher Press, 1988.

Hands-On Science, First Teacher Press, 1991.

Peace in Any Language, Humanics Publishing, 2002.

Send comments to  readacross@nea.org

"We're not creating a multicultural country, it's already here!"

—Rudolpho Anaya

Rudolfo Anaya is widely known as the author of Bless Me, Ultima, a classic, award-winning bestseller about a young Hispanic boy coming of age in rural New Mexico.

In addition to other works for adults, Anaya has written The Farolitos of Christmas and Farolitos for Abuelo for children. Beautifully illustrated by Edward Gonzales, they portray a little known way of Hispanic life in New Mexico.

What prompted you to write for children and young adults?

After Bless Me, Ultima was published in 1972 I was invited to visit schools to speak about my novel. I grew concerned that many Hispanic children lacked literacy skills. Back then there were no books in the curriculum that portrayed our Mexican American reality. That was a good reason for me to write books that began to tell our story. Also, I grew up in the oral tradition listening to a lot of cuentos, folktales. I used to tell my granddaughter those stories. Given these elements, it seemed natural to want to write for children.

What do you hope to accomplish with your books?

I hope my books present some of my New Mexican culture which includes Hispanic and Native American traditions and ceremonies. When children read stories that relate to them they are more apt to want to read. I hope my stories build self esteem and self interest, that is, an interest in our history. We need the stories of our community told so we can see ourselves as actors in the drama of life.

What do you think of multicultural children's literature today?

Multicultural children's literature is a field of flowers, and it truly is becoming a rainbow of many colors. But we still have a long way to go. I visit many schools and libraries where there isn't a single book by a Hispanic writer on the shelf. Hispanic parents need to be involved by making sure our literature is represented in the schools and libraries. Children's literature also teaches history, and when children do not see their history in school they began to think it is not worthy of learning.

How can we encourage young people, particularly young people of color, to write children's books and books for young adults?

Years ago I was involved in a very interesting publishing effort by Houghton Mifflin. Their editors invited a group of Latino/a writers to a conference. Their goal was to encourage us to write in the children's literature field. That was a great idea! I don't know if that particular effort has continued, but I firmly believe all publishers need to recruit Hispanic writers through such pro-active efforts. Writers write for the love of writing and to make a living. It helps to have an interested publisher.

Where do you get inspiration? Where do you go for your research?

Inspiration comes from my love of storytelling. I need to write, that's my role in life. The more I write the surer I am that I'm a writer. I write using my New Mexican culture as the background. I write about what I know. I wrote a story about a roadrunner, and I didn't need to research. We have those birds running around our neighborhood. On the other hand, if I write about a particular tradition or ceremony, I may want to read some factual accounts.

What do you think draws children or young adults to your books?

My books give children a sense of belonging. Children are sensitive. They need that sense of identifying their inner selves with the stories and illustrations in books. When I published my first children's book, The Farolitos of Christmas, I went to classrooms and showed the children the illustrations before I read the story. Edward Gonzales did an excellent job of capturing the reality of our brown-skinned New Mexican children. Suddenly the world was not all about Dick and Jane. The illustrations created a mirror of our reality, and the colors of our faces and the background were ours! Those illustrations speak a thousand words.

I went all the way through college and never saw a Mexican American as a hero in a book. We need to correct that! It's time to see our multicultural reality in books.

You make school visits. What's the best question you've ever had?

The best question is always, "Why did you become an 'Arthur?'" Then they want to know how old I am and how much money I make.

Has anything or any child or educator surprised you during a visit?

I love going into elementary classrooms, because they are always a world full of surprises. What creates those surprises is the creativity flowing through the children. I praise the good teachers who can exist all day in that soup of creativity.

Where can educators go to find a greater diversity of books, voices, and images?

With the internet there is no excuse for not finding multicultural books. Librarians are always a resource. The bottom line is our students need to know the variety of communities in our country and in the world. We're not creating a multicultural country, it's already here! We can't hide our heads in the sand. Let's prepare our children for the wonderful variety that is life.

Send comments to  readacross@nea.org

"When was the last time you read out of your comfort zone?"

—Michelle Y. Green

Michelle Y. Green is a freelance writer who lives, writes, and raises two sons in Upper Marlboro, Maryland. A graduate of the University of Maryland, College Park in Journalism and The Johns Hopkins University Masters Program in Writing, she teaches "The Art of Writing for Children" at The George Washington University.

Willie Pearl, Green's first historical fiction series for families, was nominated for the 1990 Newbery Award and Coretta Scott King Award for Children's Literature, and was awarded the 1991 CRABbery Award for Children's Book of the Year. It was also used as core curriculum for fourth grade in the Compton, California school district. The second book in the series, Willie Pearl: Under the Mountain, received the 1993 Children's Literary Award for Multicultural Publishing. A Strong Right Arm: The Story of Mamie "Peanut" Johnson (Dial Books for Young Readers), was released 2002.

When Michelle Y. Green set out to write Willie Pearl, a historical fiction series based on the life of her mother, she thought to tell a simple family story. Ten years and tens of thousands of copies later, she realizes this award-winning series represents so much more. NEA's Read Across America talks to the author about the value of family stories, the decline of multicultural literature, and the importance of both for today's children.

How did Willie Pearl come about?

In the mid-1980s when "multiculturalism" was the buzzword, I'd heard a mainstream publisher was looking to create a historical fiction series based on an African American girl. I created the first four chapters of Willie Pearl merely as a writing sample. Once under way, I realized this was an opportunity to do so much more than preserve a personal family story from my mother's childhood. Here was a way of exposing a little-known slice of Americana -- life in a Depression-era coal mining camp; of tearing down cultural stereotypes; and of creating a positive role model for children embodied in the character of a gutsy 10-year-old girl, Willie Pearl.

Why are family stories so important?

It's natural for emerging writers to write about a subject that's close to the heart. That's what makes writing family stories so perfect for children because, good or bad, every child has a family experience that's unique. Ask any author: writing about what you know is empowering. Many children, who feel they otherwise don't have a voice, can be instant experts when it comes to telling others about their family.

Family stories are a great way for children to come together and explore culture: What do you eat for breakfast? How come you don't have a Christmas tree? Why is your hair like that? What do your brothers and sisters do together for fun? It's while sharing the family stories of others, through storytelling and authentic multicultural literature, that we learn not only about our differences, but how much we have in common. It's a non-threatening way for dialogue to begin.

You used "authentic" in describing multicultural literature. Why?

I'm a baby boomer, and like most of my generation I cut my teeth on Dick and Jane. As a young girl, my literary role models were Laura Ingalls Wilder and Nancy Drew. I can honestly say that I can't remember reading a book with a central character who looked like me until midway through high school. The Civil Rights movement of the 60s and the Black Power movement of the 70s, however, compelled people of color to focus on the importance of identity and self-awareness. At the same time, America was becoming more and more ethnically diverse. Multiculturalism became not only politically correct, it became its own market niche.

Sadly, many mainstream authors and publishers saw multiculturalism in the 80s as a publishing Gold Rush. Books by and about people of color suddenly became a priority in the marketplace as "multicultural materials" became line items in school and library budgets. Yet, there was no consensus as to what constituted quality multicultural literature. We saw everything from reissued classics with colorized characters, to animal folktales, to stereotype-laden stories by mainstream authors and illustrators with insufficient assimilation into the culture they chose to write about.

Authentic multicultural literature, I believe, suggests that the person creating it has an intimate, trustworthy knowledge of that culture because he or she is a member of that culture or has been immersed through assimilation. It's the quality of difference between a biographer who uses primary sources and one who uses secondary accounts, between an eyewitness and someone watching the evening news. It's what makes you trust the subtleties of Amy Tan's Joy Luck Club as opposed to the version I might write because I happen to be intrigued by Chinese culture.

Is the multicultural literature trend stalled?

The dismal statistics seem to speak for themselves: Out of 5,500 children's books published last year, only 300 were by and about people of color. When you realize that one out of five children in this country today speaks a language other than English in the home, and that by the year 2020, one of every two students in the United States will be a person of color, that's not good news.

Many feel the pendulum has swung the other way and that the need for multicultural books has already been satisfied. Yet, I'm hopeful. New voices are constantly emerging. Many in the publishing community -- mainstream publishers, multicultural publishers, small minority presses -- continuing to produce works of excellent quality. Educators, parents, and children themselves are making more knowledgeable choices.

What can educators and parents do to make multicultural literature a part of the fabric of everyday life?

Check the culture connection. Read author bios from flap copy, reviews, and publishers' web sites to see if the author/illustrator has more than a casual connection to the culture.

Cross cultural borders. Don't wait for Black History month to recommend a book about African American culture, or go looking for a book about Native Americans at Thanksgiving. Offer a child balanced reading that incorporates books about other cultures all year round.

Infuse multicultural books across the curriculum and in read-at-home activities. During math, try a counting book with an ethnic flair. Experience history from another's cultural standpoint. Have readers role play characters from cultures outside their own during social studies.

Broaden your own palate. Model reading on your own. As adults, we all have our favorite genres and authors. But when was the last time you read out of your comfort zone to explore another culture?

Buy and recommend multicultural books. For yourself, your kids, to donate, as gifts for others. Bottom line, publishing decisions are based on simple economics: If you buy it, they'll print more!

Befriend your school librarian. These children's book specialists can recommend quality multicultural books from authentic sources as well as share books reviews, catalogs from multicultural publishers, and other trade resources such as the MultiCultural Review, Horn Book, and School Library Journal.

Stay abreast of trends. Seek out professional forums, periodicals, online journals, discussion groups, book fairs, and trade shows to help expose you to the wide range of good choices that are available.

Visit Michelle Y. Green's web site for more information about this talented author and her works.

"This is not tokenism, it is the broadening of our nation's literary horizons."

—Joseph Bruchac

Joseph Bruchac, storyteller, writer, poet and musician, lives in the Adirondack foothills of New York, in the same house where his maternal grandparents raised him. His Abenaki heritage is a constant source of inspiration, and he works extensively to preserve Abenaki culture, language, and traditional Native skills.

Author or co-author of more than 70 books for children, Bruchac holds a B.A. from Cornell University, an M.A. in Literature and Creative Writing from Syracuse, and a Ph.D. in Comparative Literature from the Union Institute of Ohio.

What prompted you to write for children and young adults?

On one level, I have to say that I became a writer because I loved to read. The excitement of reading led to my wanting to share things I cared about through writing. Sharing has always been a very important theme in my life -- part of the belief that we must always give back as much as we get.

I began as a poet and still write a great deal of poetry which has been published in such journals as American Poetry Review, The Paris Review and hundreds of small literary magazines. About twenty-five years ago, though, I began to focus on retelling traditional stories and writing for younger readers. As a father with two young sons, I found myself becoming aware of how poorly, how inaccurately, how insensitively, American Indian people were portrayed in books for kids, even such well-loved books as Little House on the Prairie.

What do you hope to accomplish with your books?

I don't think I've ever consciously set out to accomplish anything other than telling a story as well and truthfully as I could. Communication, clarity, and honesty have been my hope. If, along the way, I have given people a better and fuller picture of Native peoples and cultures then I am very pleased. Please note my use of the plural. American Indian cultures, languages, and individuals are so incredibly varied. I want people to be aware of that diversity and complexity.

How would you like teachers teachers and parents, who may be accustomed to innacurate or stereotypical portrayals of Native Americans, to use your work?

First of all, I hope they will look at my work with open minds. People become very attached to those old portrayals and may really love such books as Knots on a Counting Rope, Anna and the Old One, The Indian in the Cupboard and The Sign of the Beaver, which have some heart-warming messages in them but are deeply inaccurate and, in some cases, racist in their portrayals of Indians. Read what I have written, consider the sources of my work, and compare it with other books that may have given one-dimensional or stereotyped pictures of Native people.

Second, I hope teachers won't see my work as the be-all and end-all. If, for example, they read my novel Sacajawea, I hope it will lead them to seek out more information about the Shoshones and other Native peoples in the book, especially from the Shoshones themselves. (Luckily, a great many Native American Nations now have or are developing their own web sites, so access is easier than in the past.)

If teachers read my new novel from Scholastic, The Journal of Jesse Smoke, A Cherokee Boy on the Trail of Tears, I hope they'll look at the web site of the Cherokee Nation or buy a tape or a book by Gayle Ross (one of the finest American Indian storytellers and a descendant of Chief John Ross of the Cherokee), such as How Turtle's Back Was Cracked.

Do Native American children have specific needs when it comes to seeing themselves portrayed in books?

Yes. Honesty instead of stereotypes. Complexity instead of simple-minded pictures of either "noble savages" or "murdering redskins." And present-day images, as opposed to only seeing Indians in the past. When you can find yourself in a good book, find an image that inspires you and gives you hope, you may begin to use that image to shape your own dreams.

What do you think of multicultural children's literature today?

I'm very encouraged. Not only are more voices being heard, they are worthy of being heard by any standards. Further, the presence and success of such truly multi-cultural presses as Lee and Low is a very good sign. This is not tokenism, it is the broadening of our nation's literary horizons. After decades of staring at the same white wall, we've begun looking out the windows at the mountains and opening our doors to the possibilities of new, exciting and life-changing journeys. But we are just at the start of those journeys. We need to step through the door.

Who are other Native American authors you believe are making a real mark on children's literature today?

Among those writers who are currently active, there are several people making such a mark:

I've already mentioned Gayle Ross (Cherokee), who is both a storyteller and a writer.

Virginia Driving Hawk Sneve (Lakota) has been at this the longest--several of her books that were first published decades ago have been reissued and she is writing a wonderful non-fiction series on various tribal nations for Holiday House.

Then there is Michael Lacapa (Tewa/Apache/Hopi) who is a writer, a storyteller AND the illustrator of his books.

Louise Erdrich (Ojibwa), already one of America's finest novelists (note that I did not say "finest Native American novelists"--she is just one of the best) has made a recent and quite wonderful entry into writing for children with picture books and her superb, highly praised novel The Birchbark House.

Geri Keams(Navajo), another professional storyteller and former actress has now done several picture books.

A number of others have either written mostly for adult audiences or just started publishing. As a result, none of them have more than one or two books for children now in print. I'm hoping to hear more in the future from such people as:

Joel Monture (Mohawk)

Simon Ortiz (Acoma)

N. Scott Momaday (Kiowa)

S.D. Nelson (Lakota)

Cynthia Smith (Creek)

Virginia Stroud (Cherokee)

Richard VanCamp (Dogrib)

Cheryl Savageau (Abenaki)

There is a lot of Indian talent out there and I hope publishers are paying attention.

How can we encourage young people, particularly young people of minority cultures, to write children's books and books for young adults?

By publishing them. We do not have enough outlets for young "minority" writers. We need more publishers willing to take a chance on the unknowns. We also need good mentoring, both in school and beyond. I belong to an organization called Wordcraft Circle that was founded in 1992 by Laguna Pueblo teacher and writer Lee Francis, who directs the Native American Studies program at the University of New Mexico, to provide one-on-one mentoring to young Native writers and storytellers. We also have a newsletter, an on-line magazine, yearly awards and conferences. Hundreds of American Indian writers have been involved over the last decade. Sherman Alexie, for example, a powerful young American Indian author for adults, has worked with us as a mentor for a younger Native writer.

Where do you get inspiration? Where do you go for your research?

It is different every time. Sometimes my first source is a dream. At other times it is a story that someone tells me. It may come from reading a news article or from such memorable experiences as climbing a mountain in Oklahoma with a Cheyenne friend before dawn to greet the sun. Or it may come from memory. When I do research I look in every direction I can think--from libraries to knowledgeable elders. (I also try to purchase my own copies of every book in print on the subject--which is how I came to have the entire set of the Journals of Lewis and Clark edited by Gary Moulton.) I do look at the Internet, but there I urge caution. I have found a lot of misinformation online. A LOT!

Where can educators and parents go to find a greater diversity of books, voices, and images?

Here are two books I'd recommend. One is the classic and ground-breaking study of Native Americans in children's literature, Through Indian Eyes by Beverly Slapin and Dorothy Seale, published by Oyate. The other is Multicultural Voices in Contemporary Literature by Frances Ann Day, from Heinemann.

*****

For more information, including Joseph Bruchac's touring schedule and list of published works, visit his web site.

Send comments to  readacross@nea.org

"My art is there to touch the soul."

—Edward Gonzales

Edward Gonzales is well known for fine art depicting Hispanic culture. In addition to his paintings portraying the lives and values of Chicano families, Gonzales also produces a bilingual poster and calendar series promoting literacy, learning, and cultural identity.

In 2001, Gonzales served as New Mexico's honorary chair for NEA's Read Across America

Gonzales illustrated the award-winning children's book by New Mexico author Rudolfo Anaya The Farolitos of Christmas, and its sequel, Farolitos for Abuelo (both Hyperion Books for Children/Walt Disney).

Tell us about your background.

My parents were both originally from New Mexico, and we moved from Los Angeles to New Mexico after I was born so that we children could get to know our grandparents. Though my parents weren't particularly well educated, they were very strong on education, particularly my mother. She pushed me hard toward a high school degree and was proud when I went on to college.

Why did you become an artist?

I've always been interested in art. I remember doing my first drawing for my grandmother. She'd brought me colored pencils and paper and a little book on Daffy Duck when I was four years old. She was surprised that I was able to draw Daffy so well. I had teachers who encouraged me, but most of all I read about art. I had read so much by the time I was in seventh grade I had a graduate knowledge of art and art history.

When I returned from Vietnam and got a degree in art, I decided my art was going to focus on the Chicano identity. One reason I felt compelled to do this was the lack of realistic images of Hispanics. As a child growing up in New Mexico, I wondered where the positive images of my culture were. I decided to use my art in a positive way to show how much our culture shaped New Mexico.

Why did you create the poster series on literacy and learning?

I wanted this series to send the message that Hispanic families want a good education for their children as much as anyone. Each of these paintings supports the theme that education is paramount in the Chicano family and culture. Everyone is appalled at the statistics that show Mexican Americans doing poorly in school, but you never hear about the families who've sacrificed themselves to make sure their children have a sound education.

I wanted a visual means to say, even to children who have struggled in school, that education is important. I just finished a painting called "My Mother the Teacher," and it depicts a mother at the kitchen table surrounded by children doing their homework. That's a part of our heritage. It's also saying to the dominant Anglo culture and others that we have the same belief systems and expectations. We're not raising taggers and little gangsters. We're more alike that they realize. Everyone wants a good education for their children. That's my social message and I want to do it in fine art.

How are educators using the series?

What's great is that the poster series is being used in classrooms and school districts from California to Delaware. Educators are using them for the positive role models they show. Hispanic children and adults are depicted learning, teaching, and helping others. It helps Latino children see themselves and it helps others understand our culture. The fact that the posters are bilingual also sends a strong message. We are a nation of many cultures and many languages. In New Mexico, there are many African Americans who speak Spanish well, and in our own community, young people need to grow up with the language of their culture. We should not fear other cultures, we should embrace them, that's why my art shows the beauty of my people. My art is not for decor. My art is there to touch the soul.

*****

To see more of Edward Gonzales's artwork and find out how to purchase the literacy poster series, please visit his web site.

All images of artwork courtesy of and copyright by Edward Gonzales.

"Don't wait for black history month to recommend a book about african american culture, or go looking native americans at thanksgiving. offer child balanced reading that incorporates books other cultures all year round."

—Michelle Y. Green

In the November, 2000 issue of NEA Today, Joseph Bruchac, Abenaki storyteller, publisher, and children's book author, shared his thoughts on enriching your bookshelf with multicultural works. The following is reprinted with permission from NEA Today. Please visit NEA Today Online, the cyber-edition of the National Education Association's flagship publication.

Why the need for multicultural literature?

Children need every kind of role model that is appropriately available. Our children come from an incredibly wide range of backgrounds and have many different ways of experiencing the world. We need to read and experience, with authenticity, things that come from their point of view to be a fully rounded human being.

What do you mean by 'authenticity'?

Sometimes books are written by people who imagine a world they've never lived. As a result, we get books full of factual errors, stereotyping, and pictures that are not helpful to anyone.

How can you discern a book's cultural authenticity?

Look at the sources cited and the acknowledgements made by the author. It's important to get a clear and detailed citation - if that's missing, be suspicious.

If you come across a story that is described generically as "an African story," for example, instead of being tied to a specific tribe or region, you should question its authenticity.

Unfortunately, even today, we see books with pictures of other cultures that are the equivalent of Italians wearing kilts and speaking with German accents.

How can educators develop a multicultural library or reading list?

Make a list of the finer writers out there, and make it a class project to write and ask for their recommendations. Contact publishers who have catalogs and a variety of resources, such as Lee and Low Books.

I strongly recommend the Multicultural Review as a source for reviews and interesting articles. And it's incumbent upon librarians to read regularly such publications as the Small Press Reivew which looks at the diversity of publications out there. *****

For more: Visit Joseph Bruchac's web site.

Send comments to  readacross@nea.org

"i like to tell contemporary stories that are pieces of children's lives."

—Almira Astudillo Gilles

Almira Astudillo Gilles was born and raised in Manila, Philippines. She moved to the U.S. fifteen years ago to pursue graduate studies at Michigan State University. Since then, she has: married and had kids, moved about the Midwest, finished her Ph.D. in Social Science, taught in the MBA programs of several Chicago universities, consulted, and, happily for readers everywhere, switched to a writing career.

Willie Wins, published by Lee and Low, is Gilles's first book for children. Her work has also appeared in Skipping Stones, a multicultural children's magazine. She is currently working on several projects in different genres, mostly for children.

What prompted you to write for children and young adults?

In my previous career, I put my degrees to use teaching MBA and undergraduate business courses and consulting. It took a diagnosis of hypertension for me to realize I needed and wanted a change. I've always been able to communicate well with younger people, and I've had years of polishing my writing skills, although not in creative fiction. So one weekend I sent my family off to Wisconsin, did some deep thinking and, after a course in children's writing, plunged in.

What do you hope to accomplish with your books?

I write mostly fiction featuring multicultural characters, specifically Filipino. Filipinos are one of the largest Asian minority groups in the country, certainly the fastest growing in California. We are in a unique position though, because many waves of immigrants were medical professionals and already fluent in English, and often assimilated quickly. However, Filipino culture is so rich and our history so complex that I think Filipino-Americans deserve to be understood and appreciated, like any other minority group. I find that most of the Filipino literature for children in the U.S. focuses on legends and folktales; I like to tell contemporary stories that are pieces of children's lives.

How would you like teachers to use your work?

My work usually has many layers. Let me use Willie Wins as an example. On the surface, it could be just a story about a boy's decision to trust his father. If you look deeper, the dynamics become more complicated: How does Willie feel about his heritage? What is the true meaning of victory? What does the coconut shell represent? Although this is a picture book, teachers from several grade levels can certainly explore the story from multiple angles. I also like to write poetry, which is certainly a form of expression meant to leave space for the reader to fill in with their own thoughts. If my work serves as a springboard for conversation or contemplation (collective or singular) then I consider my time well spent.

What do you think of multicultural children's literature today?

I am happy about the general receptiveness of publishers to multicultural writing, and how scrupulously they guard authenticity. There are many strong voices speaking of African-American and Hispanic experiences, but fewer Asian-Americans and Native Americans. While I don't think it should be a matter of equal representation, the more writers telling their stories the better. In order for tolerance to become part of our lives, exposure to what's different should be so pervasive that it ceases to be alien, different, forbidding. I would like to see, at this point, more true-to-life stories than folktales. Having said that, if a fantasy featuring a character of color so captures the interest of readers that it causes a change in attitude, that's great.

Who are authors you believe are making a real mark on children's literature today?

This list reflects my personal favorites: Katherine Paterson for her engaging historical fiction; Naomi Shihab Nye for her poetry anthologies which feature works from all over -- she has just a lovely view of the world; Cynthia Rylant for her strong prose and the reach of her talents (picture books, early readers, young adults); Paul Fleischman for innovative forms in prose and poetry. I could go on extolling the virtues of many other writers, but these are for me as comfortable as a soft, old bathrobe -- I like to wrap myself in their works.

How can we encourage young people, particularly young people of color, to write children's books and books for young adults?

First we have to get to them, physically and emotionally. We have to go to where they live and gather, and, particularly in the case of Asians, eat. Young people today are so media savvy they have learned how to sift through and discard messages quickly. And there are differences in the way groups communicate. Some cultures are more comfortable with the spoken rather than written word. There is also the issue of literacy: for young people to write, they must read, and the better their reading skills the more they will want to attempt work of their own. Experimentation is good: exposing them to different kinds of writing and genres provides more choices and they will most likely find something that clicks. For example, graphic novels (illustrated) are beginning to develop a following. Lastly, in my appearances and school visits I've found that many young people are attracted to writing, but they often need a catalyst, and the more personal the connection the better.

Where do you get inspiration? Where do you go for your research?

Ideas for characters come from observing people, so I like crowds, festivals, parks. I get a lot of ideas for stories from current events. Much of my initial research is web-based, although the further along I get in my piece the more I venture out to the real world for images and behaviors. For a novel I'm currently working on based on a real person, I'll be referring to his diaries which, fortunately, I have access to. Curiosity is probably the most valuable tool I have; I follow a thought and it leads to the most unexpected places.

You make school visits. What's the best question you've ever had?

Most questions are about the writing process. Students are always astounded by how many drafts I have to write. The best comment I've ever had came from a fourth grader, who wrote in a thank-you note that if I came back he would bring me a gift. Another child asked me to sign my name on his List of Famous People: I was number two, and he was number one!

Has anything or any child or educator surprised you during a visit?

Whenever I talk about writing I give a sample of my poetry, mostly haiku because it's convenient to discuss. I am constantly amazed by how sensitive children are and by the depth of their understanding. Also, boys and girls both are moved by the same things: the beauty of nature, the thrill of sport. Given the proper encouragement, they will open up and be creative.

Where can educators go to find a greater diversity of books, voices, and images?

Aside from events and places that showcase books, I recommend getting closer to your target group. Historical museums are very good sources. In Chicago we are fortunate to have many that house the cultural heritage of various groups. We have a saying in the Philippines: "If you don't know where you've come from, how can you know where you're going?" In heritage festivals you get acquainted with several generations of a cultural group, from old-timers who wear their national dress with pride to younger people born and raised in the U.S. There are also a number of ethnic newspapers which have articles written in English, and you get a sense of how they use the language, what is important and immediate to them.

Send comments to  readacross@nea.org

This list of must-have multicultural books was compiled by the Cooperative Children's Book Center, School of Education, University of Wisconsin-Madison. It is reprinted here by permission.

The following titles are listed by age.

Preschool
Ages 5-7
Ages 7-9
Ages 9-12

• What a Wonderful World by George David Weiss and Bob Thiele, illustrated by Ashley Bryan. Atheneum, 1995.(Multi-ethnic)
• One Afternoon by Yumi Heo. Orchard, 1994. (Asian Pacific American)
• Grandmother's Nursery Rhymes/Las Nanas de Abuelita by Nelly Palacio Jaramillo, illustrated by Elivia. Holt, 1994. (Latino)
• Margaret and Margarita/Margarita y Margaret by Lynn Reiser. Greenwillow, 1993. (Latino)
• Baby Says by John Steptoe. Lothrop, 1988 (African American)
• I Love My Hair! by Natasha Anastasia Tarpley, illustrated by E. B. Lewis. Little Brown, 1998. (African American)
• Baby Rattlesnake by Te Ata, illustrated by Mira Reisberg. Children's Book Press, 1989. (American Indian)
• You Are My Perfect Baby by Johce Carol Thomas, illustrated by Nneka Bennett. HarperCollins, 1999. (African American)
• Round Is a Mooncake: A Book of Shapes by Rosanne Thong, illustrated by Grace Lin. Chronicle, 2000. (Asian Pacific American)
• Where Did You Get Your Moccasins? by Bernelda Wheeler, illustrated by Herman Bekkering. Peguis, 1986. (American Indian)
• More, More, More, Said the Baby: Three Love Stories by Vera B. Williams. Greenwillow, 1990. (Multi-ethnic)
• Do You Know What I'll Do? by Charlotte Zolotow, illustrated by Javaka Steptoe. HarperCollins, 2000. (African American)

• Drumbeat... Heartbeat: A Celebration of the Powwow by Susan Braine. Lerner, 1995. (American Indian)
• Grandfather Counts by Andrea Cheng, illustrated by Ange Zhang. Lee & Low, 2000. (Asian Pacific American)
• Halmoni and the Picnic by Sook Nyul Choi, illustrated by Karen M. Dugan. Houghton Mifflin, 1993. (Asian Pacific American)
• Hairs/Pelitos by Sandra Cisneros, illustrated by Terry Ybáñez. Knopf, 1994. (Latino)
• Abuela by Arthur Dorros, illustrated by Elisa Kleven. Dutton, 1991.(Latino)
• Honey, I Love, and Other Poems by Eloise Greenfield, illustrated by Leo and Diane Dillon. Harper, 1978. (African American)
• The Good Luck Cat by Joy Harjo, illustrated by Paul Lee. Harcourt, 2000. (American Indian)
• Celebrating Families by Rosemarie Hausherr. Scholastic, 1997. (Multi-ethnic) Mirandy and Brother Wind by Patricia McKissack, illustrated by Jerry Pinkney. Knopf, 1988. (African American)
• Shades of Black: A Celebration of Our Children by Sandra L. Pinkney, photographs by Myles C. Pinkney. Scholastic, 2000. (African American)
• Giving Thanks: A Native American Good Morning Message by Jake Swamp, illustrated by Erwin Printup, Jr. Lee & Low, 1995. (American Indian)
• Morning on the Lake by Jean Bourdeau Waboose, illustrated by Karen Reczuch. Kids Can Press, 1998. (American Indian)

• My Name Is Maria Isabel by Alma Flor Ada. Atheneum, 1993. (Latino)
• From the Bellybutton of the Moon, and Other Summer Poems/Del Ombligo de la Luna, y Otros Poemas de Verano by Francisco X. Alarcon, illustrated by Maya Christina Gonzalez. Children's Book Press, 1998. (Latino)
• Golden Tales: Myths, Legends and Folktales from Latin America by Lulu Delacre. Scholastic, 1996. (Latino)
• The People Could Fly: American Black Folktales by Virginia Hamilton, illustrated by Leo and Diane Dillon. Knopf, 1985. (African American)
• Maples in the Mist: Poems for Children from the Tang Dynasty by Minfong Ho, illustrated by Jean and Mou-sien Tseng. Lothrop, 1996. (Asian Pacific)
• John Henry by Julius Lester, illustrated by Jerry Pinkney. Dial, 1994. (African American)
• Baseball Saved Us by Ken Mochizuki, illustrated by Dom Lee. Lee & Low, 1993. (Asian Pacific American)
• Wings by Christopher Myers. Scholastic, 2000. (African American)
• The People Shall Continue by Simon Ortiz, illustrated by Sharol Graves. Children's Book Press, 1988. (American Indian)
• Tar Beach by Faith Ringgold. Crown, 1991. (African American)
• What's the Most Beautiful Thing You Know about Horses? by Richard Van Camp, illustrated by George Littlechild. Children's Book Press, 1998. (American Indian)
• Justin and the Best Biscuits in the World by Mildred Pitts Walter. Lothrop, 1998. (African American)

• Through My Eyes by Ruby Bridges. Scholastic, 1999. (African American)
• American Indian Animal Stories by Joseph Bruchac. Fulcrum, 1992. (American Indian)
• Bud, Not Buddy by Christopher Paul Curtis. Delacorte, 1999. (African American)
• The Birchbark House by Louise Erdrich. Hyperion, 1999. (American Indian)
• The Journey: Japanese Americans, Racism and Renewal by Sheila Hamanaka. Orchard, 1990. (Asian Pacific American)
• Oh, Freedom! Kids Talk About the Civil Rights Movement with the People Who Made It Happen by Casey King and Linda Barrett Osborne. Knopf, 1997 (Multi-ethnic)
• Family Pictures/Cuadros de Familia by Carmen Lomas Garza. Children's Book Press, 1990. (Latino)
• Now Is Your Time! The African-American Struggle for Freedom by Walter Dean Myers. HarperCollins, 1992. (African American)
• The Tree Is Older Than You Are by Naomi Shihab Nye. Simon & Schuster, 1995. (Latino)
• Esperanza Rising by Pam Munoz Ryan. Scholastic, 2000. (Latino)
• Quilted Landscape: Conversations with Young Immigrants by Yale Strom. Simon & Schuster, 1996. (Multi-ethnic)
• Roll of Thunder, Hear My Cry by Mildred D. Taylor. Dial, 1976. (African American)
• The Rainbow People by Lawrence Yep. HarperCollins, 1989. (Asian Pacific American)
• The Friends by Kazumi Yumoto. Farrar Straus Giroux, 1996. (Asian Pacific)

Please visit the Cooperative Children's Book Center for a multitude of information and resources about children's literature.