uthenticity in the work?
Part 2: Publication Practices
In this post, Mary Margaret provides one very clear example of a book in which the author’s and illustrator’s cultural knowledge (or research) was lacking. In her review, she justified her “not recommended” rating with specifics from the story and the illustrations. She also shared information about the importance of language and translation in relationship to authenticity.
Part 2: Takeaway
This was my takeaway from her responses in this post: “Even though I am culturally competent in both Mexican culture and Spanish language as spoken in (parts of) Mexico and the U.S., I would not be a competent translator for a story situated in Cuban or Puerto Rican culture. It is not appropriate to assume that anyone who is fluent in both English and Spanish can effectively translate any story into the other language.”
Part 3: Authentic Picturebook Stories
Mary Margaret offers three recommendations for determining cultural authenticity. These are her suggestions for librarians/reviewers who are cultural outsiders:
1. If there is humor in the story. Mary Margaret asks herself: “Am I laughing at or laughing with the character?”
2. In addition to characterization and language use, she examines the plot. She asks: “Who has agency and power in this story? Does succeeding or failing, winning or losing, have any connection to a stereotype about which I am aware?”
3. Is the story setting authentic?
Part 3: Takeaway
Mary Margaret’s question about publishing Mexican themed picturebooks is this: “’While a rural setting with a poor family may be ‘appropriate’ for historical fiction, I often wonder, ‘Where are the books with middle class Mexican children and families playing video games, using cell phones and flying to the U.S. to visit Disneyland?’”
Part 4: Authentic Picturebook Illustrations
Since Mary Margaret’s responses to authenticity in story were comprehensive, we decided to carry over the conversation about picturebook illustrations to week four (and did not have the opportunity to explore sociopolitical and historical authenticity on the WOW Currents blog). This post about authenticity in illustration is packed with information that cultural outsiders may find especially illuminating.
Since many errors in illustration are not caught by art editors, it seems that librarians will want to consult cultural insiders about authenticity in picturebook visuals. For many that may be after the fact of purchase. Still, books published with errors can be used in classroom-library lessons as examples for what not to do.
Part 4: Takeaways
Mary Margaret identified several author-illustrators whose work is culturally authentic and shows congruity between story and illustration.
Adriana M. Garcia, illustrator of Xelena González’s book All Around Us (Cinco Puntos, 2017). The story honors traditions while steeped in a contemporary setting.
Yuyi Morales’s magical realism illustrations are perfectly aligned with Laura Lacámara’s story Floating on Mama’s Song (Katherine Tegen Books, 2010).
Duncan Tonatiuh’s Mixtex illustration style provides the perfect blend of contemporary and historical elements in Salsa: Un poema para docinar/Salsa: A Cooking Poem by Jorge Argueta (Groundwood, 2015).
Continuing the Conversation
The information in this interview will be part of an article for publication that includes responses to a survey I conducted in which twenty-six children’s and young adult book reviewers participated. I will also share both the survey and this interview at the Texas Library Association Conference on April 4th in my session titled “Intercultural Understanding through Global Literature.”
And please mark your calendars. On Tuesday, January 23rd at 1:00 p.m. Central, AASL and Scholastic Books are offering a free, one-hour webinar titled: Mirror, Mirror, Who Do You See in Your Books? Reaching Diverse Readers. Read about it and consider arranging your schedule so you can participate.
Botelho, Maria José, and Masha Kabakow Rudman. 2009. Critical Multicultural Analysis of Children’s Literature: Mirror