Community Event with Children's Literature Librarian Linda Salem

Hello, Children’s Literature scholars! 

We want to invite you all to join Children’s Literature Librarian, Linda Salem, in a public reading of author and illustrator Takeo Takei’s Aruki Taro. Takeo Takei is well-known by manga artists for his 139 kampon books and children's illustrated works. Aruki Taro has been somewhat forgotten, but Linda has translated it, giving us an introduction to Takei’s other works. Besides this introduction, the presentation will also include a history of Japanese illustration. The event is this upcoming Wednesday, October 20th, at 6:30 pm in the Shiley Special Events Suite at Central Library. The event is hosted by the San Diego public library and will be in-person. 

To learn more and register for the event please follow this link: 

https://sandiego.librarymarket.com/events/takeo-takei-aruki-taro-and-japanese-childrens-literature-illustration 

We hope you can attend!

-NA

Being Both “Teacher” and “Student”

Education has always been an essential part of my life, even at a young age. I’ve always looked forward to going to school, as it felt like a safe space for me. I also looked at my teachers and professors in absolute awe as I saw them as the pinnacle of knowledge, the holder of all truths, and I wanted to be that. 

This semester I had the remarkable opportunity to hold the title that I felt so fondly of. During my final year as a graduate student, I was offered a TA position, in which I built my schedule and syllabus from scratch to teach English 220: Introduction to English. I quickly learned that I now hold two titles: teacher and student. It’s a strange phenomenon because from eight in the morning until lunch I am the teacher. I make lesson plans, email students, grade assignments, and am front and center in the classroom to lecture with curious eyes on me. But then my role is reversed once I attend my grad seminar and make my way to my desk. Often, my roles may intertwine, such as when my students ask insightful questions and inform me of things I haven’t heard of or considered. 

Being a full-time graduate student while teaching my very first course is a constant rollercoaster of emotions. One moment, I love what I’m doing; I enjoy attending my classes and giving my students help and resources, but then the next, I feel burned out, overwhelmed, and frustrated because I put myself on the back burner. Finding a balance between work, school, family, friends, and yourself is difficult, but it’s mandatory. Otherwise, you’ll end up feeling like your work is burdensome, but it isn’t; it’s simply a lot, and that’s okay. Being honest with myself, my peers, professors, and even my students has been a huge relief for me, and it reminds you that this feeling of chaos and distraught isn’t just a “you” thing. Having those open and honest conversations reminds me of how far I have come and that I should be proud of the progress I have made. Whether I am the teacher or student, it is all a learning experience, and I’m thrilled that at least I am fortunate enough to have this significant memory in my lifetime. 

-LA

Interview with Professor Lashon Daley

 The NCSCL is honored to present an interview with Dr. Lashon Daley, the Department of English and Comparative Literature’s new assistant professor of children’s literature. The interview was conducted online by Natalie Alvarez and Lara Amin, graduate assistants for SDSU’s National Center for the Study of Children’s Literature. We thank Professor Daley for taking the time out of her busy schedule to talk with us, and we’re proud of the opportunity to better acquaint our readers with our newest professor and her exciting work!

Tell us a bit about yourself: Where are you from? What were some of your favorite books as a child? How did you become interested in children’s literature and childhood studies, and what do you find particularly interesting about it?

I grew up in Miami, Florida, and spent most of my childhood climbing the mango tree in my backyard and the avocado tree in my front yard. As a result, I rarely read for leisure. Being outside and playing with my siblings brought me more joy than reading on my own. And to be honest, I hated reading. I preferred making up stories in my mind and telling them to my very attentive collection of stuffed animals. I did begin writing down my own stories when my mother gave me my first journal at the age of seven. I wrote my first children’s book shortly thereafter. It was about a blue rose that did not know how to bloom and had to learn on its own. 

When I eventually began to tolerate reading, I fell in love with serial collections like The Berenstain Bears by Stan and Jan Berenstain, Clifford the Big Red Dog by Norman Bridwell, and Spot by Eric Hill. In addition, I’ll Fix Anthony by Judith Viorst was also a favorite because it mimicked my experience of being the youngest child and allowed me to feel seen.

As you can see, my love for children’s literature was a slow burn. It finally caught fire when I was working as a marketing assistant at the Louisiana Children’s Museum in New Orleans. I had the privilege of working with my colleagues to implement children’s educational programs, and childhood literacy was a major part of our core mission. I had a running knowledge of what was popular in the industry, what books were used to hit literacy goals, and essentially what made a good children’s picture book. So, I decided to write my own. My children’s book, Mr. Okra Sells Fresh Fruits and Vegetables, was published in 2016 by Pelican Publishing, and it launched me into the industry in a new way. Performing the text at festivals and in classrooms made me even more curious about children’s literature. When the book was released, I was in my first year of my doctoral studies at UC Berkeley. Through a series of research pursuits, children’s literature, especially children’s literature as it intersects with Black girlhood studies, eventually became one of my research fields.

Children’s literature is a fascinating field of study because of its depth and breath. Essentially everyone from children, to parents, to educators, to librarians, to the top 

scholars within the field, to the illustrators, to the writers themselves all, play a role in expanding this field of study. The infinite possibilities of where this field can go means that I am limitless in my research. And for me, that is a beautiful place to be. 

When you applied to SDSU, what aspects of the university and the Department of English and Comparative Literature did you find most attractive?

While my Ph.D. is in Performance Studies, my heart has always been based in English and Comparative Literature. I received my BA in English, my MA in Folklore, and my MFA in Writing. So applying to the department felt like a homecoming for me. I was extremely impressed by my colleagues Phillip Serrato and Joseph Thomas, whose research interests are so fascinating. I felt that I was going to be among scholars who also remained curious and limitless in their approach to the field and to their research. I felt a strong connection to so many of the professors in the department, who are not only top scholars, but also creatives as well. Plus, the opportunity to work with, teach, and mentor English majors and minors is an absolute dream. 

What were the most significant challenges or obstacles for you during or post-graduate school?

When I was pursuing my MFA in Writing at Sarah Lawrence College, I had a desire to pursue publishing after graduation. I did not. However, that desire manifested itself again while I was preparing for my qualifying exams in the third year of my doctoral program. I was feeling so overwhelmed by the requirements of becoming a top scholar that I considered leaving my program. I began to research the job market in publishing and even applied for a position at a children’s literary publisher. I never told my advisor because I knew that she would talk me out of it. Once I passed my exams, I did feel much more confident in my ability to complete my degree. I am grateful that I persevered because now I have the opportunity to continue my research and to be in conversation with those within the industry. 

What seminars would you like to teach? Tell us about them and how they relate to your research. 

I would love to teach a seminar on research methods for fiction writers. Since I pursued my MFA before pursuing my PhD, I feel like I missed out on some crucial knowledge on how to conduct research for my creative master’s thesis. Being taught the craft of writing is super important, but I believe that teaching research methods in MFA programs would be a game changer. I am a really great example of why this is important. For my MFA thesis, I was writing a young adult novel about a Black girl coming to terms with heartache and grief after the tragic passing of her father. Now as a scholar at the intersection of children’s literature and Black girlhood studies, I feel much more equipped to write and construct a world for my character that is based in real-world research.

Which of your current projects excites you the most?

I have some children’s picture book manuscripts that I put on hold in order to complete my dissertation. I am excited about returning to those manuscripts. And then, of course, I am excited about turning my dissertation into a book.

What advice would you give to a student starting graduate school in 2022? 

When you wake up in the middle of the night with the perfect word or sentence for your manuscript, write it down immediately. You will NOT remember it in the morning. 

**

Thank you so much to Dr. Daley! We’re grateful to have the opportunity to showcase SDSU’s brilliant new professor of children’s literature!

- (NA) & (LA)

Review of Home is Not a Country by Safia Elhillo

Book cover for Safia Elhillo's Home is Not a Country

 

About two weeks ago, I looked at the Young People’s Literature nominees for the 2021 National Book Award. I wanted to see which books I had read and which to add to my ever-growing reading list. Since I had been on the lookout for novels-in-verse, Safia Elhilo’s Home is Not a Country particularly interested me. Then, while browsing the stacks at The National Center for the Study of Children’s Literature, I noticed we had a copy of it. This felt like fate! I knew this had to be my first review for the semester. 

Home is Not a Country takes place in the early 2000s and follows the story of Nima as she navigates loneliness, family dynamics, friendship, and nostalgia for a home she’s never visited. These complex issues are explored in only 224 pages. 

My reading of this book was hybrid, meaning that I read both the book and listened to the audiobook. The author’s narration of the audiobook enhanced my experience of the book. I could feel the emotions Nima goes through and the loneliness she experiences. Nima attributes this loneliness to her mother. This is the introduction the reader gets to Nima and her mother’s relationship. The organization of the poems itself tells you what parent she values more and points to the complicated relationship she has with them. Nima’s relationship with her parents, especially the one with her mother, was my favorite aspect of the novel. Her mother is Nima’s sole caretaker, and a lot of the resentment Nima feels is directed towards her. Their relationship reminded me of how children of single parents tend to glorify the parent that is absent from their lives, and this is definitely present in Home is Not a Country. 

There’s an instance in which Nima contemplates what her mother must have sacrificed to come to America:

I can’t help but imagine

that her life was enormous before we came here

loud & crowded & lively as any party...(36)

Nima talks about how her mother’s life became smaller with her move to America. She recognizes that her mother is as lonely as she is. I loved this because it made me realize something about my own family. As my world expanded due to moving to a different country, my parent’s world shrank. In the name of progress and opportunity, parents sacrifice lives they’ve built-in their home countries and say goodbye to social relationships they may have. They give away their support systems for their children. I think this was so important to include in the book, for Nima to understand how living in a different country has affected her parents as 

well as her.

Image of Home is Not a Country’s backflap which includes a picture of the author, Safia Elhillo by Aris Theotokatos

The novel has a bit of magical realism, which I was not expecting. However, it was a welcomed surprise. This element takes the form of self-doubt and realizing where you belong. One of Nima’s desires is to see her homeland through the eyes of her family, to experience it as they did. When Nima wishes for such, she gets to live it but at a cost. These moments highlight how important it is for us to view the whole picture instead of what we believe to be true. Sometimes truth isn’t present because it can hurt us, but knowing that truth allows us to see the world clearly and appreciate the life we have. This is what Nima experiences in those instances of magical realism. They are absolutely beautiful and poignant. The book uses magical realism for its climax, which wonderfully brings together all the threads of the story. I had read books where magical realism was in the narrative from beginning to end, but not one like this. That’s one of the reasons why this book became such a memorable experience. 

The writing is gorgeous and lyrical. Here’s an example from one of my favorite poems in the book “A Single Possibility”:

she isn’t my sister    we are opposite ends of a single

possibility   an only child    forming in 
our mother’s belly   waiting to be shaped by a name
once & for all...(155)

One thing that stood out to me was the formatting of the poems, the spacing within them allows the reader to breathe and ponder the lines carefully. The blank spaces in this piece drive the meaning of the words and tell the reader which words deserve a closer look. My favorite part of this excerpt is the line “we are opposite ends of a single/possibility.” The line stood out because it shows how Nima thinks only one version of her is possible. Her lack of consideration for change is put beautifully and succinctly. Elhillo writes about complex contemplations of the self in such a distinct manner and I’m excited to read more of her work. In Home is Not a Country, Safia Elhillo presents a magical exploration of family bonds and how understanding ourselves brings upon an understanding of those who love us.

- (NA)