Janelle B. Mathis, University of North Texas, Denton, TX
Stories of immigration to the United States are not new in children’s and adolescent literature. Earlier stories often depict immigration in a joyful, nostalgic way as people journeyed to America, most frequently from Europe, in search of a better way of life. However, recent titles explore immigration through a more critical lens as authenticity issues and the current focus on social justice impact the portrayal of social issues in literature. Such social issues include the ongoing debates in the U.S. that focus on immigration laws and potential reform. These debates present perspectives that are seated in ideologies representing a spectrum of beliefs as to whether immigration, both legal and illegal, should be prohibited in this country or acknowledged as necessary to maintain the current work force. Of course, there are additional issues as a result of immigration that involve the personal identity of immigrants, their involvement in their newly found communities, reaching immigrant children in classrooms where they may not speak the dominant language, and other complexities that are often not addressed when entering new cultures. It is not surprising, then, that we now meet characters in books whose lives are forever changed in a variety of ways as they immigrate to the U.S. So, who are these characters? What are their stories? What languages and cultures do they bring with them? Does literature represent the immigrant experience in all its complexity? Are critical topics missing in the stories read by both immigrants and those who have never been outside of the U.S.? Are we as readers and teachers aware of these complexities—enough to be able to seek out particular books and to use them effectively with students to establish insight into the people who make up their fellow community members? What is the potential curricular role of children’s literature about immigration. Should immigrant literature be “core” literature in social studies and other multicultural studies? By that we mean, with few exceptions, aren’t we all the descendants of immigrants and/or reflect the immigrant experience or a blend of cultural traits in some way?
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Last week I wrote about the challenge of evaluating fairy tales for cultural authenticity and the tools that help meet that challenge. In this post I explore the question: should there be zero tolerance for cultural inaccuracies in fairy tales? I’ll by describing the process of evaluating a novel-length version of Cinderella set in China.
Evaluating fairy tales can be a challenge especially if the setting is another culture or country. Serving on the Children’s Literature Assembly for the National Council of Teachers of English 
Fairy tales fueled my imaginary life as a child. In my play I became Snow White, Cinderella, and sometimes even the Prince when my friends insisted they must have a turn at the “main parts.” The romance of the tales captured my interest. Waiting for sleep at night, I would create new versions of the stories, always starring myself as the heroine.
Because I like to travel, as I mentioned in my last post, geography has become of real interest to me. How can we engage international literature without thinking about geography?
First, I like reading about where I have been. The reading is enriched when I can picture it. I pull the images from my memory to help envision the world to which the author has led me. Secondly, the reading enriches my experience of the places I have traveled. It’s also great to find books to read about a place—whether fiction or informational—when planning to travel in it. Some fun texts for cities across the globe are the Miroslav Sasek series such as This is London and This is Rome. These books were written in the 1960s and 1970s, but have “this is today” excerpts that help students see how cities change over time.
If you ask me what I came to do in the world, I, an artist, will answer you: I came here to live out loud. — Emile Zola
I am on a hunt. I am searching for the variety of ways international literature might be conceptualized by teacher educators, teachers, and teacher candidates. I am also interested in the ways in which they might address and differentiate between international and multicultural literature as well as how they perceive various other terms that might be used for literature that, well, transcends its native borders. I became interested in such a venture because it seemed as though as much as I discussed what I suggested was the difference between, say, “international” and “multicultural” literature, the terms and their nuances seldom transferred to my students. Was I not trying hard enough? Was I being too esoteric? Needless to say, I found the phenomenon intriguing, and so thought I would broach the topic via WOW Currents.