Tuesday, December 9, 2008
Muslims in America, an Investigation of Children's Literature
The books I have chosen are all acclaimed reads. Why I have picked them over other acclaimed books is because of their individual strengths. "Muhammad" serves to give a youth-friendly approach to learning the foundation of Islam in a respectful and informative manner. "Silly Chicken" creates its own sense of normality which pushes the boundaries of what is normal, while maintaining a humorous and human tone. "My Name Is Bilal" encourages students to have pride in their own identities, even if this means being different. "Nadia’s Hands" has a similar approach, but focuses on a young girl rather than a boy.
"Muslims in Children's Books" an Article
“Muslims in Children’s Books” by Rukhsana Khan
I had originally decided on another article to comment on, but as I was researching “Nadia’s Hands” I came across this probing article. Khan says, “The desire to fit in, the intense longing to be part of the community, is hardwired into our psyches.” She speaks to one of the main focuses in our multicultural and diverse literature class; that there is extreme importance in children being able to see themselves in literature. This idea builds the foundation of a reading audience. Children will want to read more if they find it important, and if what they are reading seems to say that they are not important (the lack of “seeing” characters like them in literature), then they will be less likely to want to read.
Khan points out that there have been many books published about Islam now in this post-9/11 America to address misconceptions. Muslims have certainly been pushed forward from the background of American society. In her article, Khan addresses some misconceptions herself, such as, “that Islam encourages terrorism. Not at all. The targeting and terrorizing of innocent civilians is strictly forbidden in Islam.” Khan also argues that stories such as Aladdin are very outdated and do not help contemporary Muslim children feel represented in the literature society.
Khan also warns against superficial outsider stabs at creating “minority literature”. She is referring to such concepts we discussed in class like the “Cinderella” story that is filled with multicultural characters (the “__Cinderella” story). Khan emphasizes that “in many ways Islam is more than a “religion,” it is a way of life.” This is something that may be harder for outsiders to “get right”, but if well researched, Khan suggests, the book can be of great quality.
The Khan article brings to light not only misconceptions and an insider/outsider debate, but I have learned more than that which class discussed. Khan’s strength in her article lies in her hope, “to see the trend move away from these “Muslim as victim” scenarios. In these stories, being Muslim is part of the conflict. I'd like to see a character's Islamic identity be like wallpaper, part of the setting–providing flavor but definitely not part of the problem.” The only book in my collection that does not highlight Islam as being in conflict is the book she wrote, Silly Chicken. This article has not only enlightened me, but ensures that everyone can still learn. Khan’s anecdote at the end describes how her mind was opened a little wider. She was initially offended by the story, The Librarian of Basra, but a woman in Iraq helped change her mind. Instead of looking at the story of a librarian saving books compared to the lives around her that could not be saved, the Iraqi woman saw the story as about a woman who found that she could make a positive difference in a destructive world. Books are just books—not bulletproof vests or protection against bullying—but they can truly make all the difference. That Khan was relieved just to see a comic strip of a “normal” Muslim woman proves that literature of all sorts have worth.
I had originally decided on another article to comment on, but as I was researching “Nadia’s Hands” I came across this probing article. Khan says, “The desire to fit in, the intense longing to be part of the community, is hardwired into our psyches.” She speaks to one of the main focuses in our multicultural and diverse literature class; that there is extreme importance in children being able to see themselves in literature. This idea builds the foundation of a reading audience. Children will want to read more if they find it important, and if what they are reading seems to say that they are not important (the lack of “seeing” characters like them in literature), then they will be less likely to want to read.
Khan points out that there have been many books published about Islam now in this post-9/11 America to address misconceptions. Muslims have certainly been pushed forward from the background of American society. In her article, Khan addresses some misconceptions herself, such as, “that Islam encourages terrorism. Not at all. The targeting and terrorizing of innocent civilians is strictly forbidden in Islam.” Khan also argues that stories such as Aladdin are very outdated and do not help contemporary Muslim children feel represented in the literature society.
Khan also warns against superficial outsider stabs at creating “minority literature”. She is referring to such concepts we discussed in class like the “Cinderella” story that is filled with multicultural characters (the “__Cinderella” story). Khan emphasizes that “in many ways Islam is more than a “religion,” it is a way of life.” This is something that may be harder for outsiders to “get right”, but if well researched, Khan suggests, the book can be of great quality.
The Khan article brings to light not only misconceptions and an insider/outsider debate, but I have learned more than that which class discussed. Khan’s strength in her article lies in her hope, “to see the trend move away from these “Muslim as victim” scenarios. In these stories, being Muslim is part of the conflict. I'd like to see a character's Islamic identity be like wallpaper, part of the setting–providing flavor but definitely not part of the problem.” The only book in my collection that does not highlight Islam as being in conflict is the book she wrote, Silly Chicken. This article has not only enlightened me, but ensures that everyone can still learn. Khan’s anecdote at the end describes how her mind was opened a little wider. She was initially offended by the story, The Librarian of Basra, but a woman in Iraq helped change her mind. Instead of looking at the story of a librarian saving books compared to the lives around her that could not be saved, the Iraqi woman saw the story as about a woman who found that she could make a positive difference in a destructive world. Books are just books—not bulletproof vests or protection against bullying—but they can truly make all the difference. That Khan was relieved just to see a comic strip of a “normal” Muslim woman proves that literature of all sorts have worth.
The article can be found:
http://www.schoollibraryjournal.com/article/CA6367083.html?industryid=47087&q=Nadia%27s+Hands
http://www.schoollibraryjournal.com/article/CA6367083.html?industryid=47087&q=Nadia%27s+Hands
Muhammad
"Muhammad" by Demi is not the average bedtime story. In this picture book, the basis of the Islamic religion is outlined by following the origins and life of the prophet Muhammad. Although the actual depiction of the prophet is not allowed by Islamic law, readers can look at the other characters on the page to read expressions and mood. The book is very text heavy, but the pictures give listeners a lot to look at.
Religion can be a volatile subject in the classroom, but Demi provides a text that is respectful and not a critique. Likewise, this text is in no way a “recruitment” for Islam either. Although the book is nonfiction, one must always be aware that all communication (of ideas, etc) is powered by voices, and all voices are shaped by experiences and perceptions. Still, this book proves to be informational and not argumentative.
I find this book a necessary part of my collection because it shares the concept of Islam in a friendly, open, and comprehensible manner. Although it is quite dense in comparison to many other books, it has good flow and does not drag. The words and the artwork are respectful of the religion, and the author gives her references in the back. This book is a far cry from the violence seen on television and emphasizes the peaceful aspects of the religion. It can be helpful to encourage children to question the media and keep an open mind.
Religion can be a volatile subject in the classroom, but Demi provides a text that is respectful and not a critique. Likewise, this text is in no way a “recruitment” for Islam either. Although the book is nonfiction, one must always be aware that all communication (of ideas, etc) is powered by voices, and all voices are shaped by experiences and perceptions. Still, this book proves to be informational and not argumentative.
I find this book a necessary part of my collection because it shares the concept of Islam in a friendly, open, and comprehensible manner. Although it is quite dense in comparison to many other books, it has good flow and does not drag. The words and the artwork are respectful of the religion, and the author gives her references in the back. This book is a far cry from the violence seen on television and emphasizes the peaceful aspects of the religion. It can be helpful to encourage children to question the media and keep an open mind.
Nadia's Hands
"Nadia’s Hands" by Karen English tells of young Nadia, whose excitement over being chosen to be the flower girl is marred by the embarrassment of wearing traditional mehndi hand decorations. Nadia worries, “it wouldn’t wash off, and she didn’t want to go to school like that on Monday.” This book deals with the same issue as "My Name is Bilal". That is, the children fear that they will not fit in because their religion is not the same as others’. Nadia realizes how happy the decorations make her family and learns to have pride in them.
This book is necessary for the collection because it touches on such an important theme (having pride in one’s identity). Part of what makes it valuable is that it is about a young girl (opposed to the male protagonist in "My Name is Bilal"). Girls in the classroom may be able to relate to the excitement of the flower girl role. All can sympathize with Nadia as her patience is tried (waiting for the mehndi to dry).
"Nadia’s Hands" is a book with characters that have dimension (her cousins, for example, analyze Nadia’s aisle performance with a sneering scrutiny after warning her about what they did wrong). The story does not drag, even with the incorporation of some vocabulary terms (defined on the front pages). The fact that the characters are so human is especially important in this post-9/11 America. The earlier that children can develop an open mind, the easier it is for them to learn tolerance and acceptance.
This book is necessary for the collection because it touches on such an important theme (having pride in one’s identity). Part of what makes it valuable is that it is about a young girl (opposed to the male protagonist in "My Name is Bilal"). Girls in the classroom may be able to relate to the excitement of the flower girl role. All can sympathize with Nadia as her patience is tried (waiting for the mehndi to dry).
"Nadia’s Hands" is a book with characters that have dimension (her cousins, for example, analyze Nadia’s aisle performance with a sneering scrutiny after warning her about what they did wrong). The story does not drag, even with the incorporation of some vocabulary terms (defined on the front pages). The fact that the characters are so human is especially important in this post-9/11 America. The earlier that children can develop an open mind, the easier it is for them to learn tolerance and acceptance.
My Name Is Bilal
Dr. Asma Mobin-Uddin wrote My Name is Bilal because “she had difficulty finding good books in this area to read to her children,” the back informs. In this story young Bilal learns that he can be proud of his religion, his name, and his identity. One of the most powerful moments is when he declares, “My sister and I are Muslims…And America is our country. We were born here.” Mobin-Uddin even mentions at the beginning that part of the reason Bilal and Ayesha feel so uncomfortable is because they have moved from an area with many Muslims to few. Students may be able to relate to feeling like they are the “only ones” at their school.
Although the book has a great message about feeling okay about being different, I wonder why the author chooses to write about Bilal and not Ayesha. It is Bilal that ultimately stands up to the bullies. It is Bilal who plays basketball and feels more accepted. Why not Ayesha? A female Muslim voice would stand more powerfully through the silence, especially since Americans have heard so much about the abuse some Muslim women have encountered in the Middle East.
The name is a pivotal part of identity, especially when it deviates from the “norm” of the society to show ethnicity, religion, or language. The book may ultimately be too optimistic when Bilal and the bully Scott become friends. However, that it shows how an activity (prayer) that the majority do not partake in can be incorporated into everyday life is a hugely positive message. It implies that one not only can display one’s identity freely, but in everyday life, too. This book serves to be both a “mirror” and a “window” for listening students.
Although the book has a great message about feeling okay about being different, I wonder why the author chooses to write about Bilal and not Ayesha. It is Bilal that ultimately stands up to the bullies. It is Bilal who plays basketball and feels more accepted. Why not Ayesha? A female Muslim voice would stand more powerfully through the silence, especially since Americans have heard so much about the abuse some Muslim women have encountered in the Middle East.
The name is a pivotal part of identity, especially when it deviates from the “norm” of the society to show ethnicity, religion, or language. The book may ultimately be too optimistic when Bilal and the bully Scott become friends. However, that it shows how an activity (prayer) that the majority do not partake in can be incorporated into everyday life is a hugely positive message. It implies that one not only can display one’s identity freely, but in everyday life, too. This book serves to be both a “mirror” and a “window” for listening students.
Silly Chicken
Silly Chicken by Rukhsana Khan initially appears to just a silly book about a little girl who is jealous of a chicken her mother loves. Little Rani, however, lives in a remarkable situation compared to many American school children. She and her mother, Ami, live in Pakistan. This Pakistan is painted in quite a different light than the violent one commonly seen on the news channels. The neighbors are friendly and the tonga rides are fun. However, Rani is just like many of the American students. She becomes jealous when her mother is gives attention to a sibling and seems to “love her hen better than me.” The idea of sibling rivalry powers the story, even if the “sibling” is a chicken.
It is not difficult for students to see themselves in Rani and the humanity within her. Some students may be able to identify with Rani when she goes to visit the grave of her father. Even though the lifestyle depicted in the book may be foreign to many students, because it is not contrasted against Western world standards, Silly Chicken displays its own normalcy. Students are not caught up with how different everything is; they are able to see how it just is. This book does not preach that all people are they same—everyone has different experiences, even in the same neighborhood—but does not dwell on how different everyone is either.
The basic elements of the story work well and it is not a struggle to find meaning in the story. The plot is straightforward, and told in a giggle worthy matter-of-fact tone. Rani’s voice is strong as she opens the story, “Ami loves her hen better than me. She calls her Bibi. I call her Silly.” Rani’s resentment is apparent, but the character is still lovable, “She acts more like an old woman than a chicken.” The humor is especially attractive to young audiences.
It is not difficult for students to see themselves in Rani and the humanity within her. Some students may be able to identify with Rani when she goes to visit the grave of her father. Even though the lifestyle depicted in the book may be foreign to many students, because it is not contrasted against Western world standards, Silly Chicken displays its own normalcy. Students are not caught up with how different everything is; they are able to see how it just is. This book does not preach that all people are they same—everyone has different experiences, even in the same neighborhood—but does not dwell on how different everyone is either.
The basic elements of the story work well and it is not a struggle to find meaning in the story. The plot is straightforward, and told in a giggle worthy matter-of-fact tone. Rani’s voice is strong as she opens the story, “Ami loves her hen better than me. She calls her Bibi. I call her Silly.” Rani’s resentment is apparent, but the character is still lovable, “She acts more like an old woman than a chicken.” The humor is especially attractive to young audiences.
Tuesday, November 18, 2008
Talk
For fans of Boy Meets Boy I encourage you to check of Kathe Koja's Talk. The YA novel focuses a lot on theatre, something that I can relate to from my high school years. The author's from the Detroit area--and I always find that sort of thing special to think about as I read the novel. Do it! Read it! Talk about it!
Subscribe to:
Posts (Atom)
