The Problem with Poetry

For the record, just because a par­tic­u­lar notion is repeat­ed, over and over again, does­n’t nec­es­sar­i­ly make it true. The earth is not flat, nor is it the cen­ter of the uni­verse. Peo­ple of African descent are not intel­lec­tu­al­ly infe­ri­or to the white race. And con­trary to what you may have heard, over the years, from (well-mean­ing?) edi­tors and agents, poet­ry can, and does, sell.

Par­don me if I pre­sume to know what I’m talk­ing about, but I am, in fact, sit­ting on a love­ly sofa, set in a small, but beau­ti­ful home, paid for by a career built on writ­ing chil­dren’s poet­ry and nov­els-in-verse. I believe that qual­i­fies to say a thing or two on the sub­ject, yes?

Poetry booksI recent­ly spoke at a con­fer­ence at which I heard it stat­ed, unequiv­o­cal­ly, that poet­ry does­n’t sell. When those words hit the air, I want­ed to leap out of my skin. I’ve been hear­ing that old adage since I first entered this field more than 30 years ago. Had I, for a moment, tak­en that oft-repeat­ed state­ment to heart, I’d have no career. The 50-plus books I’ve pub­lished, most of them chil­dren’s poet­ry, or nov­els-in-verse, would not exist. I would nev­er have won the NCTE Award for Excel­lence in Chil­dren’s Poet­ry, nor awards for my body of work, or the ALA Nota­bles, Coret­ta Scott King Award and Hon­ors, or any of the oth­er awards and cita­tions my poet­ry has earned. None of it would exist if I’d believed that well-worn idea.

To be fair, if you are a poet, it is high­ly unlike­ly that you will become wealthy work­ing in this genre, no mat­ter how well you hone your craft. That much is true. But chances are, you already know that. I would wager that most writ­ers, keen on this par­tic­u­lar genre, aren’t look­ing to make a killing in the mar­ket­place. They sim­ply have a pen­chant for the lyri­cal line, and a pas­sion for metaphor. Like me, they pen poet­ry because they, quite frankly, can’t help them­selves. Poet­ry is in them. It’s part of their DNA. Poets don’t val­ue their work in terms of fis­cal weight, and that’s where we dif­fer from agents and editors.

Agents and pub­lish­ers are in the busi­ness of mak­ing mon­ey by sell­ing books. We all under­stand that, although I wish inter­est in pro­duc­ing a rich and diverse vari­ety of qual­i­ty lit­er­a­ture for the next gen­er­a­tion, were more wide­spread. Still, we should­n’t be sur­prised when agents and pub­lish­ers push for vam­pire lore while the genre is hot, or dis­cour­age dystopi­an nov­els when they feel the trend is wan­ing. Not so long ago, writ­ers were dis­suad­ed from cre­at­ing books for teens, as there was yet no per­ceived mar­ket for them. That makes sense, right?

But. Aren’t we glad Judy Blume ignored the naysay­ers, back in the bad old days, and wrote nov­els for teens any­way? Aren’t we glad Jack Pre­lut­sky and Shel Sil­ver­stein beat the poet­ry drum before verse was in vogue? Aren’t we grate­ful for Myra Cohn Liv­ingston, and Eloise Green­field, and Lucille Clifton, and Arnold Adoff, and a host of oth­er poets who’ve enriched the lives of young readers?

poetry books and books-in-verse

I attend­ed the first inau­gu­ra­tion of Pres­i­dent Oba­ma, in 2009. One of my favorite moments of the cer­e­mo­ny was the read­ing of a poem. I love that poet­ry has played a part in inau­gur­al cel­e­bra­tions of the past. Each time a poet has risen to that great podi­um it is a reminder that this genre has some­thing sub­stan­tial to offer. Poet­ry can pro­voke, chal­lenge, dis­turb. It can soothe our souls, or spur us on to great­ness. It can inspire, uplift, and make the heart soar. How­ev­er, poet­ry can accom­plish none of these things if it is not written.

I’m all for being hon­est with poets about the real­i­ties of the mar­ket­place. I know that poet­ry, in the main, does not sell as well as prose. But it can, and does, sell. Is the field extra­or­di­nar­i­ly com­pet­i­tive? Absolute­ly. Is craft­ing qual­i­ty poet­ry dif­fi­cult? Of course it is. All good writ­ing involves a huge invest­ment of time, ener­gy, and often, research. But that’s a lousy excuse for telling a gift­ed poet, who has a han­ker­ing for haiku, who eats and sleeps sim­i­le, who mires him­self in metaphor that he or she should give up the very idea of pen­ning poet­ry as a lit­er­ary career.

Here are a few thoughts: the next time you come across a poet who clear­ly demon­strates a gift for this genre, don’t tell him to hide his light under a bas­ket. Instead, tell poets to be smart about their choice of sub­ject, to research the mar­ket to make sure their ideas haven’t already been done, to con­sid­er the needs of school cur­ricu­lum and shape their work accord­ing­ly so that their books of poet­ry will be as mar­ketable as pos­si­ble. Encour­age them to con­sid­er nar­ra­tive books in verse—novels, biogra­phies, his­tor­i­cal fic­tion, cre­ative non-fiction.

On the oth­er hand, if the writer has no gift for this genre, tell him so. If his poet­ry is not top­i­cal, tell him that. If his poet­ry is not age-appro­pri­ate, tell him that. If you, per­son­al­ly, lack the know-how, or frankly, the inter­est in sell­ing poet­ry, tell him that. But please, what­ev­er you do, don’t tell a poet not to be a poet. That’s a bit like telling a leop­ard not to have spots!

ph_novelsinverseOne last thing: While poet­ry may, indeed, be dif­fi­cult to place, it is not impos­si­ble. So please, please stop telling tomor­row’s poets that poet­ry does­n’t sell. If you do, you might as well tell them that New York Times best­seller Ellen Hop­kins is a fig­ment of our col­lec­tive imag­i­na­tion; that Sonya Sones and Prince Hon­oree Helen Frost do not exist; that New­bery Hon­oree Joyce Sid­man does not exist; that J. Patrick Lewis, and Nao­mi Shi­hab Nye, and Paul B. Janeczko, and Jack Pre­lut­sky, and Sara Hol­brook, and Jamie Adoff, and Tony Med­i­na, and Mar­i­lyn Nel­son, and Geor­gia Heard, and Mar­i­lyn Singer, and X.J. Kennedy, and Jane Yolen, and Mar­gari­ta Engle, and Lee Ben­nett Hop­kins, and Pat Mora, and Allan Wolf, and Gary Soto, and Eloise Green­field, and Nik­ki Grimes, and a host of oth­er work­ing, pub­lish­ing, award-win­ning poets do not exist. And that, my dears, sim­ply isn’t true.

The Prince of Peace

NativityEvery now and then, some­one in my life nudges me to write my mem­oir. I nod and make rea­son­able excus­es for putting it off. I’ve got this chil­dren’s series to fin­ish first; my com­pre­hen­sive work­shop notes require all my atten­tion; I’ve got a con­fer­ence keynote to pre­pare; my car needs a tune-up; the win­dows need wash­ing; isn’t it time for a pedi­cure? Some of these are actu­al­ly legit­i­mate oblig­a­tions, of course, but authen­tic or con­coct­ed, they all get in the way of progress on the memoir.

Some­day, I’ll get around to craft­ing a com­plete mem­oir, but God keeps telling me that it’s time to share a bit of it, right now. No, I don’t hear voic­es, except for the occa­sion­al char­ac­ter from one of my sto­ries. But God does effec­tive­ly com­mu­ni­cate to me through oth­er peo­ple, through my devo­tion­als, through his Word—pretty much any way that he can get my atten­tion. Which, I admit, can require a con­sid­er­able amount of effort on his part. Some­times, I can see God bang­ing his head against the wall of heav­en, say­ing, “What is with this chick? Is she deaf?” Of course, we both know that I’m not, and soon­er or lat­er, God gets through, and I tell him, like I did this morn­ing, “Okay, Lord. Mes­sage received.” He wants me to share, so I’ll share.

Ready? You’ll need to sit down for this one.

I once had a beau­ti­ful lit­tle girl named Taw­fiqa. If you’re a dear and espe­cial­ly old friend, you know that. Oth­er­wise, this may be news to you. I don’t talk about her much, most­ly because I don’t want to go there. In 1974, my gor­geous girl drowned in a pool at the babysit­ter’s. She was just shy of 4 years old. I won’t try to con­vey the depth of my grief, because it was bot­tom­less. Besides, lan­guage is thor­ough­ly inad­e­quate to the task. What I can tell you, though, is that, in all the years since, when­ev­er I learn of the death of a child—anyone’s child—my heart is hurled back to the emo­tion­al tsuna­mi of my own loss. What’s more, in those ago­niz­ing moments, noth­ing sep­a­rates me from the moth­er of that oth­er child. In that instant, the moth­er and I are one. As such, the mas­sacre in Con­necti­cut laid me low.

My imme­di­ate thoughts were not of the red-flag issues oth­ers raised fol­low­ing the massacre—gun con­trol, men­tal ill­ness, and the per­va­sive nature of vio­lence in our cul­ture. No. My imme­di­ate thoughts were of the moth­ers, whose hearts had just been ripped from their bod­ies, just like mine. No past tense was nec­es­sary. This kind of pain is present con­tin­u­ous. No lan­guage can approach or con­tain it.

Wrench­ing as this news was, and con­tin­ues to be, I know exact­ly where to go with my grief. I gath­er the shat­tered pieces of my heart, and the hearts of all those moth­ers, and fathers too, and lift them up to God in prayer. I’ve had a bit of practice.

When my daugh­ter died, all those years ago—yesterday?—a sound came out of me that was more ani­mal than human. Then, once I could catch my breath, I began to whis­per the most the­o­log­i­cal­ly sophis­ti­cat­ed prayer I could muster: Help me, God. Please, help me. I fol­lowed that with three days of fast­ing, at the end of which I asked Jesus to come into my life and fill me up. And he did. Best deci­sion ever!

Yeah, yeah, I know. You’ve heard it all before, but I don’t care. I had come to the end of myself, and I need­ed help to take that next breath. The child, who bare­ly filled that tiny cof­fin, was­n’t just any human being. This was the pre­cious soul I’d car­ried in my own body for nine months, the warm, wig­gling infant I’d nursed at my breast. This was flesh of my flesh, bone of my bone, and her sud­den, hor­rif­ic, inex­plic­a­ble absence—from my life, from the world—sucked all the air from my lungs, and left me prone. The death of your child will do that to you. Even the mem­o­ry clogs my windpipe.

In those dark days, I need­ed solace, com­fort, and strength. I went to the Cross to find it, and I did. But I received some­thing more, in the bar­gain. I was grant­ed a gift of peace. I’m not talk­ing about some warm fuzzy feel­ing, or numb­ness, or the absence of pain. No. I’m talk­ing about an unfath­omable, pal­pa­ble, pure sense of peace about the loss of my child. Did that peace eclipse my grief? Not even for a mil­lisec­ond. But it did sus­tain me through­out my mourn­ing, and it gave me the assurance—no, the certainty—that there was both light and life-abun­dant for me at the end of this unimag­in­able, pain-paint­ed tun­nel. God’s peace made it pos­si­ble for me to live, heart open and hope­ful, going for­ward. And that, as they say, is worth shout­ing about.

In this tech­no­log­i­cal­ly evolved age, many in our cul­ture make light of the Chris­t­ian faith, but it is no feath­er on the wind. It is stub­born, and stur­dy, and more pow­er­ful than some imag­ine. What hap­pened in and through me in the days fol­low­ing my daugh­ter’s death made that clear to all those around me.

One evening, I got a call from the adult son of the babysitter—we’ll call her Jane. Jane, it seemed, was incon­solable. Since my daugh­ter’s drown­ing in her fam­i­ly’s pool, Jane had tak­en to bed, wracked with guilt, swim­ming in tears, and unable to func­tion. Her wor­ried son asked if I would please agree to see her. I did.

I vis­it­ed Jane’s home, the house in which my daugh­ter had breathed her last, and I found a woman bereft indeed. She was unable to care for, or even engage, her own chil­dren, safe in the next room. It was impos­si­ble that I should feel pity for her, but I did. I took her in my arms and I rocked her, and com­fort­ed her while she wept. I told her that I held no mal­ice toward her, that I did not blame her for my daugh­ter’s death. I’d leave it to God to sort out blame, I said. As for me, I clung to the belief that I would see my daugh­ter again, some day.

Slow­ly, Jane calmed down, and I gath­ered myself to leave. I encour­aged her to ral­ly her­self. After all, she had a fam­i­ly who des­per­ate­ly need­ed her. Then I left, nev­er to see Jane again.

I look back on that day, and I shake my head in won­der. Whose arms were those wrapped round the woman who was, at least indi­rect­ly, respon­si­ble for the death of my child? Those arms were God’s. He loved her through me, spoke words of for­give­ness and com­pas­sion through me, accom­plished some­thing I nev­er could have done on my own. When I talk about the pow­er of faith, and of God’s love, and of God’s peace, that’s what I’m talk­ing about. And when I think of those moth­ers in Con­necti­cut, it’s the love of Christ, and his heal­ing, and his per­fect peace that I pray for—for them. As for that bot­tom­less grief I men­tioned? Only God’s reach is long enough to touch it.

Each Christ­mas, as I the dec­o­rate the house and trim the tree, gath­er with loved ones and sip cider, write my Christ­mas poem and wrap presents, I remem­ber the gift of peace I received from the Prince of Peace him­self. His gift is avail­able to all who seek it, and that’s some­thing worth cel­e­brat­ing, isn’t it?

Mer­ry Christmas!

The Chick-Fil‑A Fiasco

speech bubblesThe ques­tion must be asked: What is Amer­i­ca com­ing to? A pri­vate cit­i­zen who owns his own busi­ness, albeit a large one, makes a state­ment about his per­son­al opin­ion on a hot-but­ton issue, and those who hold a dif­fer­ing point of view respond by orga­niz­ing a move­ment to put said cit­i­zen out of busi­ness. Real­ly? Seriously?

Cor­rect me if I’m wrong, but haven’t we buried thou­sands of young men and woman who gave their lives to secure the rights and free­doms all Amer­i­cans are blessed to enjoy? And don’t those rights and free­doms include the free­dom of speech? And, unless some­one altered the Con­sti­tu­tion and all its amend­ments when I was­n’t look­ing, that free­dom applies to all Amer­i­cans, not just those with whom we hap­pen to agree. Trust me, I’m none too fond of state­ments by, say, mem­bers of the KKK, with regard to their opin­ions of Black folk. How­ev­er, as hate­ful as I might find their speech, I acknowl­edge their con­sti­tu­tion­al right to it.

The sim­ple fact that we dis­agree with some­one’s stat­ed opin­ion, no mat­ter how vocif­er­ous­ly, does not give us some sort of moral high ground to threat­en their liveli­hood. And, do keep in mind, we’re talk­ing about a pri­vate cit­i­zen, here, not some­one hold­ing pub­lic office, serv­ing at the fed­er­al, state, or even city lev­el. Nor are we talk­ing about some­one in a posi­tion to leg­is­late pub­lic pol­i­cy. The brouha­ha might make a bit more sense if we were. As it is, what this sit­u­a­tion boils down to, in my hum­ble opin­ion, is one set of Amer­i­cans ham­mer­ing anoth­er Amer­i­can for hav­ing the audac­i­ty to express a per­son­al opin­ion con­trary to their own. If we keep down this road, we won’t have to wor­ry about ene­mies from with­out. We’ll be doing a pret­ty bang-up job of sab­o­tag­ing our­selves from within.

If you don’t like the opin­ion of Chick-Fil-A’s CEO, or any­one else, for that mat­ter, feel free to say so—even loud­ly, if you must. But once you’ve made your point of view clear, for good­ness sake, move on. This is Amer­i­ca, after all, remem­ber? Every­body gets to have his say.

Censorship

censorshipBan­ning books, rip­ping them from class­room shelves, de-fac­to cen­sor­ship at the point of publication—what the bleep is going on, here?

Okay. I’ll try to calm down, but the effort required is tremendous.

Deep breaths. Let me begin, again.

When I was a lit­tle girl, I was an avid read­er. The library was my sanc­tu­ary, and sto­ry was my safe place. I lived between the pages of a book. That said, the books of my child­hood let me down in one respect. Too few of them fea­tured char­ac­ters who looked like me, or who shared my life expe­ri­ence. Read­ing book after book after book with­out see­ing my face reflect­ed began to make me feel invis­i­ble.  No child should ever feel that way between the pages of a book.

As an author of books for chil­dren and young adults, I have devot­ed more than 30 years to address­ing that imbal­ance, by cre­at­ing lit­er­a­ture fea­tur­ing chil­dren of col­or, pri­mar­i­ly African Amer­i­can and His­pan­ic. The impact of that work, and the work of oth­er authors of color—Latin, Asian, Native Amer­i­can, as well as African American—has already been felt in the gen­er­a­tion that fol­lowed ours. But we’re still play­ing catch-up, in many ways. There remain gen­res in which our voic­es have been too sel­dom heard, fan­ta­sy and sci­ence fic­tion among them.

Now, just when our chil­dren are final­ly begin­ning to feel a sense of inclu­sion and empow­er­ment, our books our being banned from school class­rooms. And, yes, I said our because I align myself with any eth­nic group tar­get­ed for cen­sor­ship. There is no Latin chil­dren’s book com­mu­ni­ty, or Asian chil­dren’s book com­mu­ni­ty, or Native Amer­i­can chil­dren’s book com­mu­ni­ty. There is only the chil­dren’s book com­mu­ni­ty, and what affects one mem­ber affects all.

Cen­sor­ship harms all chil­dren, not only the tar­get­ed eth­nic group du jour. A book is the safe place for a child to learn about anoth­er cul­ture. It is there that chil­dren come to under­stand that all humans are more alike than dif­fer­ent. I was remind­ed of that in a let­ter I received from a read­er who wrote: “I learned that no mat­ter how dif­fer­ent we are on the out­side, we’re all pret­ty much the same on the inside.” That is one of the great lessons to be learned from books fea­tur­ing Latin, Asian, Native Amer­i­can, Mid­dle East­ern, African, and African Amer­i­can char­ac­ters. Only some­one, or some state, that wants to per­pet­u­ate the racial divide would take issue with that.

Are you lis­ten­ing, Arizona?

Of course, race-relat­ed cen­sor­ship is not the only kind out there.

Today, I’ve got anoth­er itch to scratch.

What set me off more recent­ly? An attack on author Rachel Held Evans for her blog about the stran­gle­hold Chris­t­ian book­stores have on the Chris­t­ian pub­lish­ing indus­try. She wrote about the frus­tra­tions felt by many believ­ing authors who find them­selves cre­ative­ly straight-jack­et­ed by a mar­ket­place that prefers its lit­er­a­ture san­i­tized, and a lit­tle left of real­i­ty. I res­onat­ed with much of what she had to say, and felt pressed to add my voice to the argument.

I’m livid about peo­ple try­ing to dic­tate what a Chris­t­ian writer can, and should, write.  Or, for that mat­ter, try­ing to dic­tate what can and should con­sti­tute “Chris­t­ian fic­tion.” Let me explain.

I’m some­thing of a rar­i­ty. I’m an author who pub­lish­es on both sides of the aisle, name­ly with both Chris­t­ian and sec­u­lar pub­lish­ers. Over the years, I’ve noticed that as long as I’m focused on pic­ture books, the prob­lems are, for the most part, slight. How­ev­er, the minute mid­dle grade and YA fic­tion is the genre, hold your hors­es. “Lan­guage” sud­den­ly becomes an issue. And by “lan­guage” I mean so-called edgy words like “damn” or “hell.” (“Shit” is com­plete­ly out of the ques­tion.) As for sub­ject mat­ter, let’s not men­tion witch­es, or pros­ti­tutes, or—gasp—homosexuals. Mind you, I’ve nev­er fea­tured gay char­ac­ters in any of my fic­tion, nor used the word “shit,” but I most cer­tain­ly object to the idea of being told that I can’t.

Here’s my prob­lem. I’ve been a stu­dent of the Bible since 1974 and, in all that time, I’ve noticed the fol­low­ing: sto­ries in the Holy Bible include pas­sages on witch­es, sor­cer­ers, medi­ums, pros­ti­tutes, pimps, racists, adul­ter­ers, despots, and homo­sex­u­als, among oth­ers. These sto­ries do not sug­gest that one should become a pimp, witch, pros­ti­tute, etc. But the Word of God does not shy away from their men­tion, or instruct read­ers to ignore the real­i­ty of their existence.

Some of the sto­ries we find in scrip­ture are cau­tion­ary tales, some are tales of redemp­tion, while oth­ers focus on trans­for­ma­tion. Instead of push­ing for a lit­er­a­ture that is “safe”—something the Bible nev­er was—why not allow the cre­ators of Chris­t­ian fic­tion the free­dom to fol­low the mod­els found in scripture?

Con­sid­er this: Father Abra­ham pimps out his wife, Sarah, not once, but twice. The prophet Hosea mar­ried a whore, and did so on God’s instruc­tion. Rahab, a pros­ti­tute, became a hero of the faith, and an ances­tor of King David and, through him, an ances­tor of Jesus Christ. What, exact­ly, do Chris­t­ian book­sellers do with those sto­ries? Are you going to tell me that such sto­ries are good enough for the Holy Bible, but not good enough for con­tem­po­rary Chris­t­ian authors?  Really?

I real­ize noth­ing I say here is going to con­vince these book­sellers to take off their blind­ers, but still. One must speak out. Thank you, Rachel Held Evans, for tak­ing the lead.

I’m not sure I know how to take on the cen­sors. I only know that silence won’t work.

The Lord nev­er neglect­ed to call a spade a spade. Nei­ther will I.

An Award by Any Other Name

Planet Middle SchoolMy lat­est nov­el, Plan­et Mid­dle School, was nom­i­nat­ed for an IMAGE Award, the only award for which it was nom­i­nat­ed, in fact. It did­n’t win.

Plan­et Mid­dle School received won­der­ful reviews includ­ing one star. It’s got­ten great feed­back from fans. Every­one who has read it loves it. But the nov­el did not win an award. Does that matter?

On the eve of the Oscars, my thoughts turn to awards. Actu­al awards are worth sur­pris­ing­ly lit­tle. I’m talk­ing about the medals, stat­uettes, and crys­tal fig­urines them­selves. They cost only a few dol­lars. Yet, we imbue those awards with mean­ing that makes them seem price­less. But, why?

Sup­pose I write a great book, but a pan­el of three, or six or twelve judges deem anoth­er book to be the year’s “best.” Is my great book no longer great? Is great no longer good? Is good no longer good enough?

Here’s a thought. We are not called to be the best. We are called to be our best. It’s cru­cial that we under­stand the dif­fer­ence between the two.

I love watch­ing fig­ure skat­ing. It is the sport I fol­low most close­ly dur­ing the Win­ter Olympics. But one thing that always dis­turbs me is how often win­ning sil­ver or bronze for an event is treat­ed as a fail­ure. All the emphasis—by ath­letes, coach­es, and com­men­ta­tors alike—is on the gold. Win the gold and, well, you’re gold­en. Win any­thing less and so, it seems, are you. That’s cer­tain­ly the way Debi Thomas felt the year she was beat out by Kata­ri­na Witt for the top prize. She took home the bronze in the ladies com­pe­ti­tion, the first African Amer­i­can woman to do so, as I recall. Yet, her third-place fin­ish was prac­ti­cal­ly mourned.

How many hun­dreds of ath­letes did every skater, ski­er, luger, have to beat out to even win a place on that Olympic team? For my mon­ey, any­one who makes the team is already a win­ner. How about cel­e­brat­ing that? The argu­ment works for authors, as well.

I remem­ber the first book con­ven­tion I attend­ed. it was the ABA con­fer­ence held in Las Vegas (yes, I’m dat­ing myself. This con­fer­ence is not even called ABA any­more. But nev­er mind.) I walked onto the exhib­it floor and gasped. There were acres of books laid out before me, a sight I’d nev­er even imagined.

As I strolled down aisle after aisle, past booth after book filled with new­ly pub­lished books, I won­dered how on earth I would ever make my mark in a field so enor­mous. Then, the impos­si­ble hap­pened. I did. So did a lot of oth­er authors.

A few authors, a pre­cious few, have won the New­bery, the gold medal of chil­dren’s lit­er­a­ture. I’m not one of them, but I am in great com­pa­ny. (Jane Yolen, any­one? Gary Schmidt? What about Nao­mi Shi­hab Nye? The list is too, too long.) Does not win­ning the New­bery mean that our books aren’t good, or even great? Of course not.

We have all made the team.

We are already winners.

Out of the thou­sands, upon thou­sands, of man­u­scripts sub­mit­ted to pub­lish­ers each year, ours were select­ed for pub­li­ca­tion. Ours were noticed. Ours won fans. Ours moved read­ers to laugh­ter and tears. We need to let that be enough. I need to let that be enough.

Say it with me: We are not called to be the best. We are called to be our best. You can’t get bet­ter than that.

The Color of Character

Book CoversFor the record, I’ve nev­er had a nose job, or tried to bleach my skin. I do not straight­en my hair—not that there’s any­thing wrong with that. The fact is, for decades now, I have worn my hair nat­ur­al in cel­e­bra­tion of my African her­itage. I am now, and have always been, black and proud.

That said, I take issue with the fact that review­ers rou­tine­ly begin every dis­cus­sion of my books by iden­ti­fy­ing my char­ac­ters as African Amer­i­can. Now, before you chime in with com­ments about eth­nic pride (“My Greek friends refer to them­selves as Greek Amer­i­cans,” one woman told me, while anoth­er said “I’d nev­er call myself Greek-Amer­i­can”) that’s not what I’m talk­ing about, here. Under con­sid­er­a­tion here are how books are defined in terms of race.

As I not­ed in a con­ver­sa­tion on Face­book, if I were Ital­ian, no review­er would refer to the char­ac­ters in my book as Ital­ian-Amer­i­can, unless that her­itage was of par­tic­u­lar con­se­quence in the sto­ry­line. Yet, when it comes to my books, no such dis­tinc­tion is made. The specter of race is raised right out of the gate, with every title, near­ly every time, sub­ject notwith­stand­ing. Just recent­ly, I read an oth­er­wise won­der­ful review of my lat­est nov­el, Plan­et Mid­dle School that did exact­ly that.

Sigh.

I know it’s pos­si­ble to write a thought­ful review of this book with­out men­tion­ing race because K.T. Horn­ing cre­at­ed one for Book­list. Now, since I’ve been in the busi­ness for more than 30 years, and most of my books have cen­tered on char­ac­ters of African Amer­i­can descent, it can be assumed, with­out prej­u­dice, that my new book does so as well. How­ev­er, race is by no means ger­mane to the sub­ject or treat­ment of this par­tic­u­lar nov­el. You’d nev­er know that, though, accord­ing to the first review ref­er­enced above. Why does that mat­ter? I’m glad you asked.

I under­stand why librar­i­ans might want to be able to quick­ly iden­ti­fy titles of par­tic­u­lar inter­est to African Amer­i­can read­ers. And were I a first, or sec­ond, or third time author, with no track record, or body of work, or sta­tus in the chil­dren’s book com­mu­ni­ty, one might argue the impor­tance of men­tion­ing race, at least ini­tial­ly, in con­nec­tion with my titles. How­ev­er, none of that is the case.

At this stage of the game, most peo­ple involved with, or mak­ing use of, chil­dren’s lit­er­a­ture know that I’m African Amer­i­can, and that my pri­ma­ry char­ac­ters are, in the main, African Amer­i­can, too. Mind you, I’m not sug­gest­ing that I’m “famous” in the sense that we speak of celebri­ties (God for­bid!), but mere­ly that I am well estab­lished in the chil­dren’s book com­mu­ni­ty, and it is a fair­ly sim­ple mat­ter to ascer­tain that the char­ac­ters of most of my books are African Amer­i­can with­out hav­ing the fact men­tioned in review after review after review. Besides, the cov­er art makes it plain, does it not? (I’ve all but begged pub­lish­ers to con­sid­er cre­at­ing cov­ers for my books that are not always race-spe­cif­ic, but to no avail!)

“But,” you ask, “what if the cov­er art is not includ­ed in the review?” No prob­lem. Take two sec­onds to go to IndieBound.org or Amazon.com or the Barnes and Noble web­site, click on the title in ques­tion, and up pops the telling cov­er art, in no time flat. Prob­lem solved. And oh, by the way, if race is the only com­mon denom­i­na­tor book buy­ers are inter­est­ed in, they’re free to check out the spe­cial list­ings pub­lish­ers pro­duce each year to high­light their own black and mul­ti­cul­tur­al titles. Most pub­lish­ers’ cat­a­logs I see, these days, have a sec­tion set aside for those titles. And don’t for­get the annu­al Pub­lish­er’s Week­ly issue on black books in—when is that? February?

Of course, my issue with the whole race ques­tion in dis­cussing chil­dren’s lit­er­a­ture (or any lit­er­a­ture, for that mat­ter) is, if you will, more than skin deep. I have a prob­lem with seg­re­gat­ing teach­ing or read­ing prac­tices in all schools, whether a school is seg­re­gat­ed or racial­ly mixed. Be a stu­dent black, brown, yel­low, or white-skinned, he should be encour­aged to read a diverse selec­tion of good books by authors of every race. Period.

Is a book well writ­ten? Is the sto­ry well told? Will the sub­ject mat­ter res­onate with read­ers? Does the book have the poten­tial for mak­ing an emo­tion­al con­nec­tion with read­ers? These are the kinds of ques­tions teach­ers and librar­i­ans should be focused on. In the case of books in which race is cen­tral to the sto­ry­line, race should absolute­ly come in for a men­tion. But where it does not, it should not. That is my contention.

Race, as an explic­it des­ig­na­tion in books, has a mar­ket­ing com­po­nent that can’t be over­looked. Books iden­ti­fied as “black” are fre­quent­ly mar­gin­al­ized in the mar­ket­ing plan. Their appeal is auto­mat­i­cal­ly con­sid­ered to be nar­row­er than books writ­ten by Cau­casian authors, some­times even when those books are about non-white char­ac­ters. The point-of-view is assumed to be uni­ver­sal, sim­ply by virtue of the white author’s race. In the sell­ers’ mind, a so-called “black book,” i.e., a book writ­ten by a black author, should be exclu­sive­ly mar­ket­ed to black buy­ers. As such, said books are rarely made avail­able in out­lets locat­ed in pre­dom­i­nant­ly white neigh­bor­hoods. This makes me crazy because I have avid fans in those neigh­bor­hoods, too. I know because I meet them dur­ing my school vis­its, and find their let­ters among my fan mail. Luck­i­ly for me (and them?) they were exposed to my work at their local library.

I can’t help but won­der how many stu­dents are miss­ing out on these read­ing expe­ri­ences because my “black books” aren’t being mar­ket­ed to a broad­er audi­ence. I nev­er know whether to ball my fists or cry.

I find myself annoyed by review­ers who give my books left-hand­ed com­pli­ments. In the first sen­tence of their review, they’ll men­tion the African Amer­i­can lead char­ac­ter. Then, in the final sen­tence, they’ll offer some ver­sion of “but the sto­ry has uni­ver­sal appeal.” Well, duh! If that’s the case, why both­er to point out the fact that the char­ac­ter is African American?

(A ques­tion just came to me. Can you imag­ine refer­ring to a com­put­er pro­gram design, or a med­ical break­through, or a work of archi­tec­ture as “black” sim­ply because the cre­ator was African Amer­i­can? I’m just won­der­ing. Where do we draw the line?)

As I sit at my com­put­er, typ­ing this blog, I think back on some of the gor­geous­ly craft­ed, well-imag­ined books I read last year as a judge for the Nation­al Book Award. I would hate to think that African Amer­i­can stu­dents will miss out on the titles that don’t hap­pen to fea­ture African Amer­i­can char­ac­ters, or that white stu­dents will miss out on those books that do. What a cry­ing shame!

I might be inclined to shrug my shoul­ders and say, “Maybe it’s just me,” except I know it isn’t. There are oth­er authors of col­or who are bugged by this issue, as well. (And what about those authors who are from South Africa, but are not black? What kind of box do review­ers put their books into? Oh, what a tan­gled web we weave when first we prac­tice to give race more than its due!) Still, I can’t speak for all authors of African descent. It’s quite pos­si­ble that some are con­tent to have their entire body of work boiled down to the col­or of their skin. As for me, I’d rather be known for writ­ing books that are mov­ing, inspir­ing, impact­ing, emo­tion­al­ly charged, beau­ti­ful­ly writ­ten, clev­er­ly con­struct­ed and—oh, yeah—universally appealing!

But that’s just me.