By Andrea García, Hofstra University, Hempstead, NY, and Carmen Martínez-Roldán, Universtiy of Texas, Austin, TX

Literature educates not only the head, but the heart as well. It promotes empathy and invites readers to adopt new perspectives. It offers opportunities for children to learn to recognize our similarities, value our differences, and respect our common humanity. In an important sense, then children need literature that serves as a window onto lives and experiences different from their own, and literature that serves as a mirror reflecting themselves and their cultural values, attitudes, and behaviors. Bishop, cited in Wolf, 2003

Literature can become a conduit-a door-to engage children in social practices that function for social justice. Botelho & Rudman, 2009, p. 1

When inviting teachers to share their initial responses to Return to Sender, focusing on the ideas or themes that resonated personally to them as readers, Cynthia created a Graffiti Board response that zeroed in on the larger sociopolitical issues that frame the story. Return to Sender has the potential not only to serve as window and mirror for many readers but also to invite children and teachers to engage in social practices that function for social justice. Throughout the novel, Alvarez presents a multiplicity of voices on critical issues with consequences for social justice, such as the issue of immigration and undocumented immigrants. This week we would like to focus on one specific event in the story: the town meeting held in the school lunchroom. Julia Alvarez captured both the anti-immigrant discourse and a critical alternative discourse. The first discourse is represented in that scene by Mr. Rossetti who proposes, “So, I want to put a motion forward that says that anyone who’s not here legally needs to be rounded up” (p. 189), an ideology enacted in real life by Immigration and Customs Enforcement through “Operation Return to Sender” in 2006.
(Continued)

By Andrea García, Hofstra University, Hempstead, NY, and Carmen Martínez-Roldán, Universtiy of Texas, Austin, TX

In our work as Latina teacher educators, we prepare teachers to be successful literacy educators in a multilingual world. In our teaching, we use high quality children’s and adolescent literature in order to invite our students to read multiculturally (Hade, 1997). That is, through small group and whole class literature discussions, we engage pre-service and in-service teachers to make personal connections with the literature and to take a critical stance to explore questions that often reveal the many sociopolitical forces shaping the education of minority students in the United States. These include interpreting signs of power, race, class, and equity, among others, as they are represented in the literature.

In the past, we have selected books that address some of the familiar challenges encountered by recent immigrants to the United States, including the process of adapting to a new schooling practices and language learner. We have also used books that describe the day-to-day complexities of living in between two cultures from the perspective of cultural insiders. Examples include A Step from Heaven by An Na (2001), Tangled Threads by Pegi Deitz Shea (2003) or Behind the Mountains by Edwidge Danticat (2002)

This semester, Carmen and Andrea have planned for a Digital Literature Discussion Project with students enrolled in a graduate teacher preparation program in New York, and in an undergraduate program in Texas. During the month of March, our WOW Current posts will help to facilitate an online literature discussion of Return to Sender. This latest book by outstanding Latina writer Julia Alvarez, was recently announced as the recipient of the American Library Association’s prestigious Pura Belpré Award, which every year recognizes excellence in children and adolescent literature that “best portrays, affirms, and celebrates the Latino cultural experience.”
(Continued)

by Jeanne Fain, Middle Tennessee State University, Murfreesboro, TN and Julia López-Robertson, University of South Carolina, Columbia, SC

We wanted to hear Yuyi’s insights on publishing and inquire about her future plans. Additionally, we wanted to end our blog with children’s responses to Yuyi’s work. We asked our colleague Robin Horn from Galveston Elementary in Chandler, AZ and a preschool teacher associate of Julia’s at Spears Creek Road Child Development in Elgin, SC to share responses from Yuyi’s new book with Tony Johnston, My Abuelita. The children responded sharing their stories and connections with the book.

Jeanne: What are your thoughts about children’s publishing especially in regards to bilingual children’s literature?
(Continued)

by Jeanne Fain, Middle Tennessee State University, Murfreesboro, TN and Julia López-Robertson, University of South Carolina, Columbia, SC

I have been questioned about my use of Yuyi Morales’s skeletal Señor Calavera in preschool classrooms. Some teachers were initially hesitant to read about him, so I asked Yuyi about her perspectives on him. I wanted to get the insider’s perspective on him and I wanted to hear what children had to say about him. First, we’ll let Señor Calavera share his own search for identity.

WOW! Did you know Señor Calavera has his own My Space account? He does. Maybe you should be his friend there. He’d be a good friend to have because he’s also a decorated story teller. Unfortunately (or fortunately?), something happened on the way to the ALA Pura Belpre book award ceremony.
(Continued)

by Janine M. Schall, University of Texas-Pan America, Edinburg, TX

In previous posts I talked with author Xavier Garza about his books for children. I’d like to share more children’s responses to Xavier’s work in this bonus post. I’d also like to ask other teachers and librarians to share by commenting here how they have used multicultural literature with their students. How do students respond to multicultural literature? How do teachers and librarians facilitate this response?

Angie Hilton read Zulema and the Witch Owl with her fourth grade students in Alamo, Texas. Her students then created an artistic response. I’ve included some of their work in this slide show:

(Continued)

by Janine M. Schall, University of Texas-Pan American, Edinburg, TX

On this fifth Monday of November, we continue our focus on children’s author Xavier Garza. In this post, Xavier answers questions from 2nd and 3rd grade students at Ynes B. Escobar Elementary in Roma, Texas. Student questions were video taped and transcribed. Xavier’s responses follow the transcription.

Mr. Xavier Garza, what gave you the idea to write the storyJuan and the Chupacabra? Like were you looking around and something gave you the idea?

Xavier: The idea came to me from my childhood memories. When I was little my cousins and I would pretend to hunt for monsters in the fields found in the back of our grandfather’s house. We would hunt for everything from La Llorona to the Chupacabras, but we never did catch any of them.
(Continued)

by Janine M. Schall, University of Texas-Pan American, Edinburg, TX

This is the last of a four part interview with author and illustrator Xavier Garza, 2005 América’s Award Honor Book winner. This interview was conducted electronically by Janine Schall.

The luchador "El Toro" from Lucha Libre-The Man in the Silver Mask

Janine: The illustrations in your books are striking and attractive to kids. Juan and the Chupacabras was illustrated by someone else. Was that a publisher’s decision? Were you able to collaborate with April Ward or was she given your text to work with on her own?

Xavier:That was strictly the publisher’s decision. At the time that I got the contract for Juan and the Chupacabras, my book Lucha Libre still hadn’t come out. I was viewed as not having any experience in the field of children’s book illustrations, which I have to admit is very different from just being able to draw and paint. A lot of work goes into producing these illustrations, and you have to learn to work with art editors. Making illustrations for a book isn’t a one person show. After Lucha Libre came out and received very favorable reviews for the art as well as the story, it opened the door for me to ask to illustrate all of my own books. Zulema and the Witch Owl was also done with Arte Público, and featured my own illustrations. I love my book Juan and the Chupacabras, but I would be lying if I said that I don’t wish that I had done the illustrations myself. I however must say that April Ward did a wonderful job working on the book. Her art alongside the sketches done by Felipe Davalos who was the original illustrator of the book, but who had to drop out of the project due to scheduling complications, were truly beautiful. I have never met April Ward, and this isn’t uncommon when it comes to an author and an illustrator working on a book. They are often kept apart so as to give the illustrator more freedom to turn the writer’s vision into his or her own.
(Continued)

by Janine M. Schall, University of Texas-Pan American, Edinburg, TX

This is the third of a four part interview with author and illustrator Xavier Garza, 2005 América’s Award Honor Book winner. This interview was conducted electronically by Janine Schall.

Janine: All of your picture books are English/Spanish bilingual. What made you decide to write bilingual books?

Xavier: I am a firm believer in the advantages that come from being able to speak more that one language. While I agree that everyone should learn English, I see no reason to give up the tongue of your ancestors. I disagree with those who spout an English only point of view. I find it silly that they would seek to portray an individual’s ability to be bilingual as being something bad. They forget that America isn’t composed of just one culture; she is a varied and diverse nation that is made up of many, many different tongues, traditions and ideas. She is forever changing, never staying constant for too long.

Janine: It’s lovely to hear such a strong defense of bilingualism — even here in the Valley I sometimes hear teachers denigrating Spanish. I imagine that growing up in Rio Grande City it would be difficult not to be bilingual, but was that something that your family and/or schools supported? I noticed that you don’t do your own translations for your books. Why is that?
(Continued)

by Janine M. Schall, University of Texas-Pan American, Edinburg, TX

La Lechuza comes after naughty children, illustrated by Garza

This is the second of a four part interview with author and illustrator Xavier Garza, 2005 América’s Award Honor Book winner. This interview was conducted electronically by Janine Schall.

Janine: A number of your books deal with traditional, folkloric aspects of Hispanic culture such as the Chupacabras and La Lechuza. Why do these characters keep recurring in your writing? Why do you think children enjoy these figures so much?

Xavier: We love our Cucuys. We love to be scared. (Continued)

by Ann Parker, The University of Arizona

I wish I had a book.
I wish for all kids around the world to have books.
I wish I had an endless supply of books.
I wish that I could have history books.
I wish everyone would read a book they enjoy!
I wish everyone could read.
I whish I could red a book for the wrld.
Reading and own lots of books.
I wish I could levetat when ever Id wish.
I wish animals and I could talk.
I mirmaid real.
I wish for a dinosaur.
I wish I could fly!

(Continued)