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 Khan also argues that stories such as Aladdin are very outdated and do not help contemporary Muslim children feel represented in the literature society.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.

The article can be found:
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.

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.

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.

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.

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!

Of Abuela's, Bubbe's, and Nana's...

Today I went to a funeral. I hated seeing my family so grim and red-eyed. We knew that the end was nearing as the not-getting-better e-mails started to come at a quickening pace, but it didn't make things any less sad. I feel selfish because I'm sad not just for the passing of my family member, but because I know this is just the beginning. I haven't been to many funerals--thankfully!--but this person was of my grandmother's generation-ish. He was the son of her (much) older brother. I loved him and I'll very much miss his presence, but I'm really worried about my grandparents now.

What has any of this to do with Confessions of a Closet Catholic by Sarah Darer Littman? My grandma had a stroke too. The day before Thanksgivings. Almost a year ago. And we thought she'd die. This book made me cry. I hate how I've finally started to really appreciate my older relatives and now I feel like it's almost too late. Their lives are so RICH with--with things that we hardly relate to now-a-days. My grandmother's family are/were farmers. Now we've entered into a very dark age of commercial farming and their livelihoods are becoming extinct. The "family farm" is dying out as my family is, too.

I loved Project Mulberry because it highlighted sustainable farming. Things in our recent history have proved that there is SO much HOPE left in this world--but we have to rise to the occasion. We have to look back on the lives of our grandparents and remind ourselves where we've come from--before Y2K and jelly sandals and video games and the internet--and reacquaint ourselves with things that are good and DON'T come from a package shipped overnight.

Farming isn't something uniquely American--but it's what a lot of the United States has its foundation in--and if that foundation becomes plastic, mass-produced, and heartless...what then becomes of what we build on top? I'm not saying that we should go and take back every single commercially owned farm (although that IS I think one of the best things we could do to bring a better quality of life to many (including chickens! cows! and pigs!), create jobs, and remind ourselves that happiness doesn't come out of a tube)...

What I mean to emphasize is the importance of those who have come before us, and I feel grateful that I still have my grandmother around to learn from (although she does tire faster these days)---and that Confessions is a book like Bridge to Terebithia that still touches me even though it's "children's literature". Adults should read this stuff!!! Nobody grows out of:

"I wonder if it takes being afraid of someone dying to realize how desperately you want them to always be there," (p.115).

And what about the parts about the mother-daughter talks--and that they both end up feeling like they understand each other more?
I really wish that I could have had this book to read when I was younger--it has true, real heart. I definitely could have identify with someone who feels like an outsider (heck, I sometimes do now!)--and I have a sneaky suspicion that more people feel that way than care to talk about it.

Yet the book does--without being too didactic about it--share some Jewish culture with its readers. (ding! ding! something that we discussed in class!) I noticed some Yiddish words thrown in--and NOT explained. I remember talking about this in class--how sometimes when words are directly translated and repeated, it interrupts the flow of the text, especially for bilingual readers.

I'm (obviously) blown away with what this novel inspires--as well as the warm, welcoming, inclusiveness of the novel. It may deal with someone wrestling with religion, but I don't feel that it turns away non-religious peoples. I don't feel it makes an argument against those who don't follow religion--even though her mother's parents aren't strict about their religion and seem to go for "community rather than spirituality," (p.145) they aren't portrayed as "bad people".

I feel that although this is a long post, there's still so much to talk about...
Anyway, it's a book I definitely recommend.

Habibi Reality

This stuck out when I was scanning BBC World News Headlines. At first I was going to use it as an example of how our Western, Israel-backed media usually emphasizes one side over the other. Remember how the West Bloomfield schools banned the book, Habibi? From my not-all-knowing perspective, I think that the book ban was not a productive action. It surprised me (in a growing, mind-expanding way) in Habibi when the author discussed violence against the Arabs in Jerusalem. I think is a good, balancing idea to show how there really is violence on both sides--contrary to what I usually hear about in the news. Habibi showed mostly one view--and our media shows another. It reminds me that all people--not just the victors--have a story.

Here's the article:
"Residents of Israel town describe Arab-Jewish rioting"

Did it surprise you too?

Sydney Taylor Award

The Sydney Taylor Award, created in 1968 (originally named Shirley Kravitz Children's Book Award)

Purpose: to recognize a real portrayal of Judaism in children's literature, to encourage publication of outstanding books of Jewish content, emphasize highest literary quality while informing parents, students and teachers.

Selection Criteria: "best exemplifies the highest standards of literary expression, attractive illustration/design, compelling content, and authentic portrayal of the Jewish experience" and broad appeal to both Jewish and non-Jewish audience (Gold Medal winner). (The Honor Book wears a silver medal and may have a narrower audience, excellent but not best literary expression).

There are two categories: picture book/short informational [younger readers]
novel/longer nonfiction [older readers]

Sponsor: Association of Jewish Libraries (AJL)

Selection Committee:
6 members
must be members of AJL National
must have broad knowledge of Judaic children's literature

Coincidentally, all members (as of 2003) are librarians or directors of libraries across the nation, including Rachel Kamin of West Bloomfield, MI!

The winners this year (2008) are:
The Bedtime Sh'ma: A Good Night Book by Sarah Gershman
The Entertainer and the Dybbuk by Sid Fleischman

And the award goes to...

"The danger, which to some degree has become the reality, is that this kind of rule balkanizes literature...

[note: this is a word with a history: "1920, in reference to the Baltic states"]

...There is less pressure on the general public to read, understand, appreciate and develop a fine critical eye for African-American literature..."
Marc Aronson suggests.

I think this is a weak argument. First of all, in class time and again we discuss the dangers of the label "children/adolescent literature"...it's like the Disney movies: we think that, because it's for children, it is therefore innocent. We know that this is not true. I think society runs into the "danger, which to some degree has become the reality" that people don't--for ANY children's lit--"develop a fine critical eye". We in this busy society don't always have time to scour through every book in the children's section. We want a quick solution and a shiny, metallic medallion gleaming on a book is like a beacon of "PICK ME! I'M THE BEST!!!!!".

Joe Reilly!

Hey everyone!
A few weeks ago I heard this guy play. I grew up with "Barney and Friends" and knew that it was corny even back then. BUHHHT this guy is truly great. He pseudo raps about the environment and how we're all connected.
It is lovely!
Check him out!
(You might want to use his music in your classroom some day)

http://www.youtube.com/watch?v=2SRqy0pfPOc

Word!

What about that Bronx Masquerade huh? Gorgeous! Here are some of my favorite quotes:
"I've got no use/for lame excuses/or imitation love/that packs/a punch" (p.16).
"I told her it made no difference at all. Dead is dead, and lonely is lonely and both stink" (p.53).

I always find it intimidating at first to discover that a book incorporates poetry, but usually I end up loving it in the end. I guess it's linked to growing up without teachers who were enthusiastic about poetry. My senior year AP teacher treated poetry like it was something dead, something to suffer through "for the academics". How could we go through life without poetry! As Coleridge once said, "[Poetry is] the best words in the best order."

I love how this book is all about our common humanity! There were so many voices to juggle, but Nikki Grimes wrote in such a way that I didn't feel overwhelmed. I was reminded of my struggles with The Hobbit. I don't know how many times I picked up that book and had to give up with trying to handle all of the names (those dwarves, man!). Finally I just stopped being so uptight about it and I kept reading-not paying so scrunitious attention to the names-and I got through...MORE than fine. Same deal with this book I feel.


p.s. Anyone else find it...interesting that the character Steve who bleached his hair, has an earring, and wishes to be a set designer on broadway, "kicked my doubts back to the closet," (p.116). Interesting choice of words. Ah, stereotypes and how they infiltrate! (not to suggest that the author is supporting a stereotype--just poking fun at my initial exclamation before I caught myself)

Ah, film!

For those of you who enjoyed Habibi, I recommend the animated film, "Peresepolis". It is actually a film adaptation of a series of graphic novels. I haven't read the novel yet--but thanks to my friend's adament testimony of its brilliance--intend to soon. Here's the link to the classic you-tube trailer if you'd like to see more:
http://www.youtube.com/watch?v=3PXHeKuBzPY&feature=related

The Return of the Tantalizing Textbook!

The second article written by Al-Hazza rings of too much familiarity--it's like the textbook from last course all over again! It annoyingly lists book upon book worth checking out...
BUHHT I think it--like the textbook--is a valuable source for later (or if one has some free time now to skip to the local library and snatch a few stories to look at).

Ah, the bittersweetness of it all...

Quick Musing

Hmm, I never thought about contacting anti-discrimination groups to try to get reliable informational sources. The Al-Hazza and Lucking article recommends, "reliable information concerning textbooks can be obtained from organizations such as the Arab-American Anti-Discrimination Committee that have evaluated textbooks for accurate Arab portrayals." I (and probably we) too often forget that, "Arabs' contribution to society, science, medicine and mathematics, and the fact that Arabs sustained ancient Greek and Roman knowledge, translating it and preserving it for the rest of the world."
Hmm.

Since when is the academic world in an ivory tower?

My favorite quote of the last article is the reference to "tourist's conception of multiculturalism." The image evokes the caricature of the fat, uber wealthy, fanny-pack wearing flashing camera on sore feet. A person who may record evidence of social inequalities, but carefully places the snapshot under a plastic sheet in a photo album rarely to be opened again. People need reminding that even if their life is good, there's still work to be done. From what I gather from the article, this is also what Cai is speaking about. Multicultural literature can be used to expose children of the dominant race/class/religion, and so on to other cultures that do not have as loud a voice--but there is so much more it can do. One article mentioned that children's books should not be "burdened" with the call for social change. Why not? Why not discuss the problems of the world with children--their own school world isn't perfect, it too is riddled with bullies and inequality--so why should they think the bigger world is any different? Children can discuss possible solutions and adults can help facilitate.

Anyway, when it comes to who should be writing muticultural children's literature, the basic idea is simple: people who know a culture intimately should be able to write about it in a truthful way. There should be precautions--some kind of reminder to the readers that while the book may be giving a voice to a person of a traditionally-muffled group, this person does not represent everyone else of that group. We cannot acquiese to accepting, "will always be more comfortable with the farm animals" as Sims Bishop criticizes, and must remember what Harris says, "Yes, "Tar Beach" depcits differences of many types, but at its most basic level, it is the bittersweet remembrances of one African American woman."

The Readings and The Heart of the Chief

I finished the readings before starting the novel and was delighted to see all of the connections! Reese writes that certain books (pertaining to Halloween Native American costumes) make it seem like "anyone or anything can put on feathers and "be" Indians." This reminds me of the part on page 109 when Chris says, "Think of what it's like for an Indian kid to go to a school where they're dressing the other kids up in phony Indian costumes with eagle feather head-dresses made of paper and cardboard. You feel like they're making fun of your whole culture." Reese also brings up the point that, "any children's book that builds up one culture at the expense of another ultimately keeps racial tensions alive." The author of The Heart of the Chief, Joseph Bruchac, isn't asking for pity or repentance. When Chris' new friends tell him that they are sorry about the past, he reminds them that what we do now is just, if not more, important. The theme of Native American culture not being "extinct" is stated early on in the novel, when Chris is disappointed to find that they are reading The Sign of the Beaver. Chris explains his feelings. He knows how teachers like to use the book, but that it represents a time long ago and makes it seem like Indians are no longer part of the human world. "We didn't go away," Chris says (p.20). Happily surprised that Katie's diagram lacks the figures of Indian in the Cupboard, Chris tells the readers how annoyed he is of the book--another point that Reese includes of books that are not good examples of Native American literature.

Additionally I noticed the use of four in the novel, a point that Smith makes in her article. She informs readers that while three is usually a "magical" number for European-based literature (especially folk/fairy tales), four is an important number for many Native Americans: four winds, four seasons, etc. Bruchac also stressed the circular forms throughout Chris' experiences (circle of life comes to mind, complete with "Lion King" soundtrack blasting in the background).

Cortes' article is something that I will want to chew on for a while. It brings up very interesting points between stereotypes and generalizations. Educators really must be careful when discussing stereotypes, and in the media.
Connecting to this is the passage in the novel where Chris admits that he is relieved that Katie isn't a cheerleader. I wonder why Bruchac makes the stereotypical bully, Thumper Wheelock, an okay guy---but the cheerleader gal is still seen as something undesirable. Hmm...
I'll need to think on that for a while, too.

Warm Reception

Welcome one and all to the exciting chronicles of Mandy and her TE 448: Issues of Diversity in the Literature of Children and Adolescents class!