As summer begins for libraries everywhere, it marks a time to celebrate and understand Juneteenth. Juneteenth, celebrated on June 19th, marks the day in 1865 when enslaved people in Texas were first informed of their freedom as a result of Lincoln’s 1863 Emancipation Proclamation. Now a national day of observance , it is a perfect time to celebrate and understand Juneteenth with YA titles featuring black voices. Check out some of the Hub’s title selections that spotlight family, identity, and history which are cornerstones of Juneteenth celebrations as noted in thisNew York Times article.
Title Spotlight: Family
Brittney Morris’ The Cost of Knowing is a powerful story of two brothers, Alex and Isaiah, and their experiences as young Black men in America. The story highlights the power of the past, the ability of the future to overwhelm, the strength of familial bonds across generations, and the joy that is possible.
The saga of the Logan family is one that spans across generations of readers. The family’s story by Mildred D. Taylor began with Roll of Thunder, Hear My Cry in 1976 and concluded with All the Days Past, All the Days to Come in 2021. Following Cassie Logan and her family, the saga is compelling and showcases how time, history, and the promise of the future can shape a family’s story that leaves an impact on the world.
One of the Good Ones by Maika Moulite and Maritza Moulite follows the story of sisters Happi and Genny as they grapple with the death of their sister Kezi under suspicious circumstances after attending a social justice rally. As Happi and Genny go on a road trip using the original Green Book as their guide they rediscover the importance of family and sisterhood with a story interwoven with flashbacks and alternating perspectives.
We’d like to thank the Hub’s current member manager, Sara Beth Coffman for the tremendous work and dedication she’s put into The Hub the past year.
YALSA seeks a new Hub member manager for a one-year term starting October 1, 2021, with an option to renew based on performance. Main responsibilities include leading an advisory board to provide oversight in creating, soliciting, and managing content for the blog, as well as recruiting bloggers. Additionally, the member manager will help manage the selected lists blogging teams and the dissemination of the selected lists, as well as the promotion and technical maintenance of the blog.
The member manager will receive an honorarium for their one-year term, as well as a small stipend to attend YALSA/ALA conferences. Please note that this is not a salaried staff position, but a member volunteer opportunity. YALSA membership is required.
Interested individuals should send a cover letter and resume that includes management, writing, and web publishing experience. Familiarity with PHP, WordPress, HTML, and social media preferred, but not required. Send cover letters and resumes to Letitia Smith at email@example.com by September 13, 2021.
See the list of qualifications and responsibilities below.
List of Qualifications:
Strong project management and organizational skills
Ability to delegate work and to manage a variety of contributors and volunteers
Dynamic, self-motivated individual
Excellent verbal and written communications skills, in order to develop content and communicate with potential content providers
Experience in web publishing with responsibilities including but not limited to: utilizing video clips, audio, and social media, maintaining a high standard of writing, and ensuring compliance with policies created for the maintenance of the site
Knowledge of HTML and WordPress, which YALSA uses for administration of blog sites; as well as knowledge of plugins, tagging, categories, and other WordPress tools
PHP knowledge a plus
Ability to set and meet deadlines
Knowledge of best practices and current trends in collection development for and with teens in libraries
Ability to work well in a team environment
Ability to work well in a mostly virtual setting, including using tools such as Google Drive, Google Calendar, Zoom, etc. to coordinate work and communicate with others
Personal membership in YALSA
A commitment to advancing the recommendations YALSA outlined in its report, The Future of Library Services for and with Teens: a Call to Action and Teen Services Competencies for Library Staff.
A commitment to advancing and supporting YALSA’s mission and EDI Plan.
High ethical standards and no real or perceived conflict of interest with YALSA or its portfolio of print and web publications
Responsibilities include, but are not limited to:
Oversight & Coordination
Communicate with the Advisory Board, Selected List Blogging Team Leaders, and YALSA’s Communications Specialist on a regular basis to generate ideas for content, assign tasks, discuss marketing strategies, and discuss site management
Work with the YALS and JRLYA editors and YALSAblog and Teen Programming HQ managers as appropriate to coordinate dissemination of information to members and the library community.
Maintain communication with YALSA member groups whose work relates to collection development and content curation
Oversee and help manage the posting and promotion of the selected lists
Follow all established and relevant ALA and YALSA policies and guidelines, enforce them as necessary and periodically conduct a review of them to ensure relevancy and currency
Direct questions about sponsorships, advertising, etc. to YALSA’s Executive Director
Develop a calendar for content, based on YALSA events and activities as well as those going on in the larger community related to collecting and curating library materials for and with teens
Write reports prior to the Annual Conference and Midwinter Meeting for submission to the YALSA Board of Directors
Seek Out & Manage Content & Contributors
With the Advisory Board, review and edit content submitted to the site to make sure the quality is acceptable, that it is aligned with YALSA principles, and that it includes YALSA branding prior to posting, when appropriate
With the Advisory Board, manage postings regularly to guarantee quality of content and appropriate tagging and category identification
With the Advisory Board, recruit a diverse group of contributors on a regular basis, which may include but is not limited to: YALSA members, authors and teens
Communicate regularly with bloggers to solicit content, share news, motivate bloggers, develop a blogging schedule, etc.
Interact with and provide any necessary training to contributors as needed at ALA’s Annual Conference, Midwinter Meeting, or YALSA’s Symposium and via virtual means
Effectively motivate, support and manage a large and fluctuating group of contributors and volunteers
Work with the Advisory Board to manage comments and spam daily to guarantee that the blog content is appropriate
Attend ALA and YALSA events to recruit contributors and inform member groups about the site
Answer questions and inquiries about the site in a timely fashion
Work with YALSAblog Member Manager to cross-promote the blogs and collaborate on projects that advance YALSA’s Organizational Plan
Utilize social media to increase awareness of the Hub and its content
Work with YALSA’s Communications Specialist as appropriate to update and manage blog software
Monitor new technologies as they impact the site: add-ons and plug-ins to blog software, widgets or applications for hand-held devices, etc.
Selected Lists and Bloggers
Select bloggers and team leads for YALSA’s book lists: Amazing Audiobooks, Quick Picks, Best Fiction, and Great Graphic Novels for the Hub from volunteer applications with support from YALSA staff
Review applications for Selected List Teams and build a balanced roster for each team in terms of:
A balanced geographic distribution of members on the team
Representation of all library types (school, public, academic)
Inclusion of both younger and older adolescent focus of committee members
Representation of a variety of experience levels of team members
Diversity of team members in terms of age, gender, ethnicity, etc
With Coordinators, facilitate the work of these blogging teams on The Hub by communicating with bloggers about editing and scheduling of reviews
Support the dissemination and promotion of final lists
Work with the Advisory and the Award and Selected List Oversight Committee to oversee training for Selected List Teams and leverage existing YALSA resources to do so, and develop new as needed
Provide a template and sample posts for the blogging teams, and other resources as called for.
Communicate regularly with Selected List Team LeadsWork with the Advisory Board to update and/or create guidelines for the Hub, including public comment guidelines, so that they accommodate selected list efforts
Sit in on virtual meetings of Selected List Teams, as needed
Offer guidance, support, and expertise for Team Leads throughout term as needed
Communicate with YALSA Board and staff regarding the possible need to expand into a co-manager format, and/or increase the size or change the make-up of the Advisory Board
Communicate with YALSA staff regarding any possible back-end improvements needed to the site to accommodate the selected list effort
The Margaret A. Edwards Award, established in 1988, honors an author, as well as a specific body of his or her work, for significant and lasting contribution to young adult literature. The annual award is administered by YALSA and sponsored by School Library Journal magazine. It recognizes an author’s work in helping adolescents become aware of themselves and addressing questions about their role and importance in relationships, society, and in the world.
The 2021 recipient is Kekla Magoon for X: A Novel co-written by Ilyasah Shabazz and published by Candlewick Press; How it Went Down published by Henry Holt and Co. Books for Young Readers, an imprint of Macmillan Children’s Publishing Group; The Rock and the River and Fire in the Streets both published by Aladdin, an imprint of Simon & Schuster Children’s Publishing. Kekla Magoon will be honored at YALSA’s 2021 YA Services Symposium, which is to take place November 3-5, 2021 in Reno, NV, where she will be presented with a citation and cash prize of $2,000.
THE HUB: The Edwards award is unique in that it highlights not just the author (YOU!) but also a specific body of work from that author. What do you think made these titles stand out to the selection committee?
MAGOON: The connection, in my mind, is that all these titles focus on civil rights and social justice, either in a historical or contemporary context. These books were also often the first of their kind, or the first to tackle a particular narrative or topic, such as featuring Black Panther Party history in The Rock and the River, or addressing the frequent, tragic, often-controversial shootings of Black people in How it Went Down. Though there have since been other books on these topics, the committee seemed to recognize that these books arrived early in the conversation and continue to inspire discussion and dialogue among readers.
THE HUB: If an author’s books are like beloved children, which of your “shy” children do you wish would get more attention?
Each year, a committee of thoughtful and diligent YALSA members reads dozens of titles to determine the winner of the Michael L. Printz award for literary excellence in young adult literature. The committee also selects honor titles, a small group of exemplary books that merit special recognition. In 2021, the committee selected Traci Chee’s We Are Not Free to receive this honor designation, and this multi-vocal novel about the incarceration of Japanese Americans after the bombing of Pearl Harbor is worthy of every accolade it has received.
We are so grateful for Traci’s words and her wisdom, and most especially, for her time, given so generously for this interview. If you have not yet read We Are NotFree, perhaps this interview will convince you to move it up the TBR pile! And if you are a fan of audiobooks, the full-cast recording of this one is tremendous.
THE HUB: Besides being an important part of United States history, the events you explore in We Are Not Free are part of your family’s history. Would you describe your research process and how you balanced the external research with the personal stories from your family?
CHEE: For the first twelve years of my life, I wasn’t really aware that this had happened — I just didn’t know about it. And then, when I was twelve, my grandfather was awarded an honorary diploma from this school in San Francisco where he would have graduated if he hadn’t been evicted and incarcerated. That event put the incarceration in my mind as a thing that had happened in history and also a thing that happened to my family. But even then my family didn’t really talk about it very much. It was still something they played really close to their chest.
So, after that initial seed, I started reading novels like Journey to Topaz or Farewell to Manzanar, so I had this little bit of exposure through fiction, and then, I started hearing family stories here and there about what they had gone through in the camps. For example, there’s that moment in We Are Not Free where Yuki is shouted out of the ice cream parlor, and that is inspired by something that happened to my great-uncle when he was 8. So, I was gathering these things, and then in 2007 my mom and my aunt took me on a pilgrimage to Topaz, the incarceration camp site where my grandparents were. We drove all the way across the Nevada desert to this middle of nowhere, high desert location, and I got to stand at the old cement foundations where the barracks had been, where my grandparents had lived when they were 13 and 16. I got to look at the original barbed wire fences that had enclosed them, and it was a hugely powerful experience. That moment was when I really understood, as best I could without having experienced it myself, how harrowing it must have been to have been uprooted from San Francisco, which is so different from high desert Utah, and then to be plopped down there in what felt like a foreign country.
Each year, a committee of thoughtful and diligent YALSA members reads dozens of titles to determine the winner of the Michael L. Printz award for literary excellence in young adult literature. The committee also selects honor titles, a small group of exemplary books that merit special recognition. In 2021, the committee selected Eric Gansworth’s Apple (Skin to the Core) to receive this honor designation, noting the complexity and nuance of his verse memoir for young adults. In his speech at the Printz Celebration event, Gansworth explains that he is not usually someone who cries, noting that even tears of joy are too risky “because you are letting people know what you value, letting them know what they could steal if they wanted to hurt you.” Even so, he acknowledges, tears ran down his cheeks when he learned of the Printz honor.
An enrolled member of the Onondaga Nation, Gansworth grew up on the Rez – Tuscarora Nation near Niagara Falls, New York. His work explores issues of identity and culture as well as music, art, and relationships. Gansworth is also an accomplished artist and teacher, and we are so thankful that he has agreed to this interview.
THE HUB: Hello and thank you so much for sparing the time for this email interview. It means so much!
GANSWORTH: Hello! Wow, complex and wide range of questions! Thank you for taking the time to go in for the deep cuts here. Sometimes I end up learning about the work even after it’s published by some of the responses, and these are ambitious and interesting. I’ll apologize up front. I’m not very good at short answers. I believe rich questions deserve full answers.
THE HUB: Let’s start with the title: Apple (Skin to the Core) and the layers of meaning it inhabits. Was this an easy title to land on, or did it go through many iterations?
GANSWORTH: It was kind of agonizing (he said, melodramatically). This book has taken on many forms over the decade it was in development, but one thing had stayed the same. It was always going to be called The Apple Years. I’d never even given it a second thought. But it was also, for much of that gestation, a very different looking book, for an adult audience. When the discussions began about it evolving into a memoir in verse for young adults, a form I was unfamiliar with, there was great resistance from publishing professionals who assumed such a title would seem too geezerly, too much a “back in my day” kind of title. I could appreciate that, immediately, but I was definitely stuck, because that title was entrenched in my imagination. I was really not happy with anything I came up with. Rez Humor has a heavy pun dynamic, which is why I loved The Apple Years so much, and none of the other punny titles had the same pay off. This one dropped in, almost at the deadline for a final title. It looks good on paper, and resonates, but it doesn’t really roll off the tongue. I feared people might want to just call the book Apple, which has happened in some quarters. My poetry titles have tended to be cumbersome, so it fits that pattern, I suppose.
THE HUB: Obviously, rock music plays a significant role in shaping this book, most notably The Beatles. Why them? What makes these four white dudes from England an apt symbol for a book by and about Native life?
GANSWORTH: I have found it strange to discover that some people are not music people. That seems sort of like saying “I’m not really an oxygen person” to me, in part, because the Rez, as far as I can tell, has kind of a universal love for music. Not always the same music, of course, but as an art form, it is essential. In a lot of ways, the presence of The Beatles and their music is more symbolic. I needed some versatile images to sneak into some of my ideas, and they happened to be symbols I know extremely well.
Our first treaty with European invaders was the Two Row. It was a non-interference treaty, two parallel rows of beads, symbolizing two vessels traveling side by side, peacefully. One great thing about the treaty belts is that they have multiple interpretive threads and the focus is the interpreter’s prerogative. One thread has to do with the water in between. The two vessels traveling side by side inevitably leave wakes, and each wake mingles with the other and influences the paths. Much of my career has been about the ways indigenous cultures influence popular culture and vice versa.
There is a chronic tendency to want to keep us frozen in some fabricated amalgam of historic Indian identity, so I like to look for unexpected communications. My siblings are a lot older than I am, so I was always influenced by their interests. My first singles were “Daydream Believer/Goin’ Down” by The Monkees, and “Hey Jude/Revolution” by The Beatles, when I was three. It’s long been acknowledged that the British invasion was largely a British interpretation of an American music form, an outgrowth of primarily African American forms, with some significant early indigenous threads as well. Link Wray’s “Rumble” is a cornerstone of early American rock. Even if you don’t know it, those early British Invasion acts did. But their form is their form. It doesn’t sound like American rock at the time. The Beatles, The Stones, et al, loved the forms and internalized them, so their sound became its own thing in synthesis.
If I Ever Get Out of Here, the work where they first show up in a major way, was my tenth book, so they were absent from a lot of my work. I began really taking a deep dive into the wrestling match between group identity and individual identity in that novel, something almost any community-based Indian has to engage. I had the sudden insight that the same tension was a major part of The Beatles’ life stories. There are only two left, and it is still pop-newsworthy when Paul and Ringo play together. For a certain demographic, The Beatles being together seems the only natural state. And that strong group identity is a big part of many community-affiliated indigenous lives. Once I started considering The Beatles as one of my tools, I understood how much there was to say. Because they were also constantly experimenting and growing, they also had a rich trove of material to mine metaphorically.
THE HUB: One of my favorite poems in this collection is “Naming Ceremony,” especially as it grapples with the way we receive names and cast off names throughout our lives. There are those names we fear we might lose and those “given in innocence” that turn on you. Why is naming so central to our ability to tell our stories?
GANSWORTH: Thank you. I enjoyed pushing the limits with that poem. I’m glad the pay-off was worthwhile. This is another of those peculiar collisions that offers so many lenses, and I really wanted to consider as many facets as was possible. People seem very interested in this idea of “The Indian Name.” I mean, isn’t that the origin of the title of Dances with Wolves? Isn’t that the “Indian Name” the white guy gets? It was so weird to see that film proclaimed as a major landmark in indigenous cinema when its narrative was clearly about a white guy with Indians in the background.
And I’m probably guilty of that naming preoccupation to some degree, myself. It was important for me to go through ceremony and finally have a name, but I was still nervous about the process. You’re supposed to do it in your first year and I was fifty. I had 49 years of absence weighing on me, and I probably still wouldn’t have done it without the active help of my niece and my sister. There is also the weight of all the children who were forced to boarding schools who lost their original names, and the reality that my family’s last name was arbitrarily changed by the reservation school teacher in 1870 because she didn’t think it sounded American enough.
On the other hand, many nicknames are unflattering in some fashion, certainly in American culture. A lot of the Rez communities reject their members’ legal names and use nicknames as a matter of course. Some are behavior-curbing names, some are puns, and some are total flukes. There’s no real pattern and I love the inventiveness but must acknowledge that some people find their nicknames painful and that I have probably been a participant in causing that pain. I tend to feel that being a writer of realist narratives, I have to acknowledge my complicity in some things, like adopting nicknames that I knew I would not have wanted, myself.
THE HUB: The concept of metamorphosis turns up over and over in this book. What is it about those transformations or partial mutations that resonate for you?
GANSWORTH: The thing I love about a great metaphor is that it sort of works like a pedal effect on a guitar amp, or that game, Post Office, where things start off as one entity and, through repetition, become something else. Most metamorphoses we experience have some environmental trigger, like the Brood X cicadas in the news right now. They awake after seventeen years because of environmental triggers. I live in the region so toxic with chemicals that its state essentially initiated the SuperFund designation. I suspect I am going through undesirable metamorphoses even now, at the DNA level. But through a different lens, I remember the major change of growing up in one way of life, involving a close community, where you knew most of the families, the adults, the older kids, your own peers, and then at 11, being thrown into a giant middle school where we weren’t just meeting 300 new, primarily white peers. We were meeting 300 new peers from a significantly different culture, with a different worldview. They might know two or three neighbors, depending on whether those neighbors had kids their age. Their idea of community was fundamentally different.
Your choices, being faced with that new world, are change or be crushed, or be defiant. Defiance always bites me in the ass. Maybe it does everyone, and others don’t mind the bite as much. So you change, and generally speaking, metamorphosis is not a two-way street. And of course, people going through puberty are keenly aware of metamorphosis. It’s one of the times in our lives where change is largely inescapable. And puberty is simultaneously fascinating and mortifying, as an experience. If any phase of life is Kafkaesque, it is the overhaul of puberty. Like Gregor Samsa, you wake up one morning and your voice is different, your body has changed and some people respond to your new evolution poorly. Still, you have no choice. You have to adapt.
THE HUB: I love the phrase “live up to the joy” (found in the poem “From Iron Man to Skywalker: 4. Devourer of Worlds”). What does that phrase mean for you now as an adult looking back, especially as one who grew up in a community where another baby might bring complications and difficulties as much as it might invoke joy?
GANSWORTH: I had to look that up, to see the context. This book went through many, well, metamorphoses. Yeah, so, certainly our cultural narratives signal a specific kind of delight a baby is supposed to bring. There are whole industries built around the idea of sharing the joy, but when you meet the parents of infants, and even children beyond, they’re often frazzled and worn out, but they never want to admit that. It’s sort of a taboo. And if you’re born into a family that already has financial challenges, the introduction of one more mouth could, in real ways, take a household one step closer to disaster.
One thing I really loved about dragging the Fantastic Four into this book, even beyond their echo of the Beatles, the “Fab Four,” is that Stan Lee and Jack Kirby (and Steve Ditko, and the other Marvel creators) were willing to let their characters’ lives get messy and evolve. They were probably closer to soap operas for boys that even if they weren’t willing to admit it, the boys were invested in. Two of the Four get married and because they’ve been mutated, things get complicated when they end up conceiving a child. It’s not in the poem but Old School Marvel nerds know that in fact, the baby they deliver does cause major problems that even the Fantastic Four, with all their resources, can’t find a reasonable way to resolve. Things don’t always go well for Franklin Richards, though everyone is overjoyed when he’s born. His fate is a ghost on this poem.
THE HUB: The structure of this book is unique and complicated, which is, I think, one of its great strengths. How did it come to be?
GANSWORTH: It started as an idea for a series of paintings, really. My work often cross-pollinates, so I trust one form to communicate with others regularly. I’d been regularly using the profile image from the Indian Head nickel from early in my career, and I was startled to discover, revisiting some research, that it was an image plagued with stereotypes. The engraver found no single indigenous model who looked “Indian enough” for his purposes, so he harvested different stereotypical features from four models and combined them into one Uber-Indian. When I read that, I was re-immersing myself in The Beatles catalogue, and noting how early on, their look was cultivated to be a single entity. And studying the album art, of course, you see them wanting to become individuals, but still creating this unrivaled body of work as a group. They wanted autonomy, in the creation of Apple Records, but they were also longing to own their individual desires and interests. I thought I’d recreate each of their Apple era album covers in some kind of indigenous coding. I decided to cast Abbey Road as four rapidly changing “looks” from phases of my own young adult identity: Rez High School Kid, Rez Beginning College Kid, College Guy in Professional Uniform, and then the radical leap into adulthood, years later, for the last one. The setting is mostly Dog Street, where I grew up, but the final disruptive panel is city life. That sort of set the template for the way to imagine the paintings, and they then dictated a specific arc of my life: Grandparents and family before me; young life; the end of high school and beginning college, and then adulthood beyond. They neatly fit Apple Records, The White Album, Abbey Road and Let It Be. I obviously had to change to The Red Album, and Get Back was the original title for Let It Be, and the artwork was supposed to mimic their first album. The phrase “Get Back,” means something entirely different from “Let It Be.” Sometimes the world gives you a gift and all you have to do is embrace it.
THE HUB: There are several elements of repetition throughout, whether it is repeated lines within an individual poems, or the section where facing pages have different poems with the same title. How do you see that repetition working for your book, and for your readers?
GANSWORTH: Though it looks entirely different from the first or even the fifth version, the lynchpin for this work was the Dog Street/Abbey Road section. I knew I wanted to go back to the challenge of rhyme and rhythm and traditional forms, poetry forms I wrote a lot in, when I was sixteen-twenty. But I also wanted the liberty of free verse to cover the year I formally changed from high school kid to adult, moving out. I loved the opportunity to visit the same moment in different forms, facing one another. It was like talking to two people who’d been at the same party who tell you entirely different accounts based on who they are and what they look at. I want people to think about the ways they remember things.
I loved the challenge, but I wanted it to be something for readers too. It was kind of a litmus test. A lot of people hated that section in development. If an editor’s first question was “how committed are you to this mirror thing,” I knew we were not likely to work together. I have also always loved in the Abbey Road medley, how a sliver of “You Never Give Me Your Money” just appears spontaneously and magically in “Carry That Weight,” and then disappears again. I guess that’s an early Easter Egg. I like Easter Eggs, but only if they contribute meaningfully, so when I’ve included an echo, I’m offering something to the dedicated reader with a good memory. There is something happening in that bridge.
THE HUB: I was thrilled (and surprised!) to find a Lynda Barry face smiling out of one your early collages and then to find the poem dedicated to her. For those unfamiliar with her, what would you want your readers to know about Lynda Barry?
GANSWORTH: That she is a stealthy and loving genius. Although now that she’s won a MacArthur “Genius Grant,” maybe more people will see that. She is a multimedia comics creator. I keep deleting and rewriting this because, to use a fancy term she would hate, she is sui generis, a category of one. In recent years, she’s been publishing books with methods encouraging others to find their inner artists, especially people who don’t believe they have one.
For a long time, her work was in four panel, b&w comics (often in regional arts newspapers). Her mastery of economy never fails to amaze me in its simultaneous heartbreak and hilarity. She most often chronicled the adolescent lives of cousins, the children of two volatile women and frequently absent men. A lot of comics involving kids are either kind of twee, or overly smarty pants, where the kids are unlikely precocious drivers of their own destinies. That power never spoke to me. The realities of Lynda’s characters was an immense gift. I had never really valued the riches of my own life events until I read the insights (and sometimes they are strictly mood insights) that she was able to capture in this brief snapshots of Marlys, Arna, Freddie, Maybonne and Arnold. She is truly the gift that keeps giving.
THE HUB: Another important theme is the tension between things being lost and things being found (or ownership of things being claimed). What is it about this push-pull that speaks to you?
GANSWORTH: I want to blame the loss of my family’s generations-long home to fire, when I was 29, where our accumulated history went up in flames in an hour, including most of our family photos and my first ever painting (a large mural on my bedroom wall–which I’ve subsequently discovered I’ve lost the only photos of). I celebrate the “find” with the advent of ebay. The tension of loss and reclamation is also a microcosm of indigenous history post contact. I know some people want to put a positive spin on the boarding schools, but the reality is their sole purpose was to wipe out indigenous cultures in children, by removing them from parents and environments where their cultures thrived. The belief was that if they were kept away long enough, they wouldn’t be able to re-find their way home. Three of my grandparents were boarding school survivors and they gave us, the future generations, the gift of making it back. We have had the opportunity to try to rebuild as communities, but it is a challenge not without complications.
And on the personal front, the truth is our house was often chaotic, and cherished objects of mine vanished regularly from my life for as long as I can remember. I am naturally a pack rat and still own some things I had when I was three. I have spent an irresponsible amount of money tracking down replacements of things I’d lost, and things I would have never owned but desired. On my desk is a ridiculous, almost life sized (waist up) fiberglass Batman figure, that was part of a children’s ride, outside of stores usually, where you put a quarter in, and climb in the Batboat and ride with Batman. There was briefly one on Main Street in Niagara Falls when I was a little kid. If you would have told pre-school me that I would one day own the kind of Batman I was riding with, even at four, I would not have been gullible enough to believe you. I knew the limitations of our life. Yet, here it is, on my desk as I write. Maybe we come to love some things because we know others will be lost and we have to find ways to cope with being those new people. Maybe those attainable objects are like life jackets on the river of loss, helping you look for the shore of reclamation. Those two extremes are the tension poles for my life’s highwire act.
THE HUB: You’ve created art across genres, in different media, and for different ages. What made YA the right audience for this title?
GANSWORTH: I suppose I write for me in high school. I was introspective, already knew the ramifications of loss, deeply, and was eager to contemplate what adulthood might bring. There wasn’t much in the way of YA when I was young. The Outsiders was the only YA novel I knew formally. I began to recognize style early. I read workmanlike horror movie novelizations, but also picked up novels that peers were reading. Some popular novels were so atrociously written, I went back to the novelizations. Their goal was to help you relive the movies and the prose was generic but not terrible like the novels some peers loved. When I finally discovered work that spoke to me, its scope held a breadth of experience. It’s been noted that a lot of people who became readers because of Stephen King did so in adolescence. For me, it was his second novel, ‘Salem’s Lot. The character, Mark, the young man in high school (or maybe middle school?) has a rich and complex inner life, in the same way the adult protagonist Ben, a writer in his thirties, does. Mark’s desires and interests are treated with the same respect as the adult characters’ concerns. I could identify with Mark’s world and aspire to the life of Ben.
The only poetic forms that spoke to me were reflective rock lyrics. “Yesterday,” made me immensely sad, even when I was five, when my lamented yesterday was the year before I started school. My family laughed that even then, I gravitated to songs like Mary Hopkin’s “Those Were the Days.” The surviving photos of my childhood confirm that I was a serious, melancholy kid. I spent much of my first five years with my grandfather, and then he died and my life changed, both at home and in beginning kindergarten. I knew what serious loss meant. I know for some young people, it’s not cool to associate with your family, or even to think about the future. Maybe this work will offer a chance to reconsider, or maybe it’s for young people like the young man I was: considering my childhood meaningfully but also wondering what came next. Who was I going to be and what bearing did my past have on that trajectory? That seems like a lens respectful of a young person’s concerns. I wanted someone to affirm that the worries that kept me up nights were real, and to offer some hope for a metamorphosis that suited the person I wanted to become. Maybe this book will be a necessary lighthouse for those young people, if that’s what they’re looking for.
Though COVID cases are declining in most of the country, many communities have again chosen to forego in-person Pride events this year. But even if can’t wave a flag and take to the streets, you can still celebrate all the LGBTQ+ representation in new and forthcoming YA titles. Here’s a veritable parade of books to ensure your collection gives voice to love in all its forms!
No Way, They Were Gay?by Lee Wind This collection combines primary sources and historical analysis to provide an in-depth look at prominent figures and their identities. Part of Queer History Project, No Way, They Were Gay? is out now from Zest Books, an imprint of Lerner.
Out! How to Be Your Authentic Self by Miles McKenna An Amazing Audiobooks nominee, this memoir / survival guide from YouTuber Miles McKenna is a generous and open-hearted handbook for kids everywhere. Full of resources and support, this book (out now from Amulet, an imprint of Abrams) is a must-have for LGBTQ+ teens and their allies.
Lovelessby Alice Oseman From the creator of the beloved graphic novel series Heartstopper comes this novel about Georgia who starts to understand herself as asexual/aromantic once she gets to college. An excellent reminder of one of the least understood aspects of the LGBTQ+ community, Alice Oseman’s latest will be an important addition to your collection for older teens. It will publish in November from Scholastic.
Things We Couldn’t Say by Jay Coles This sophomore offering from rising star Jay Coles is also coming this fall from Scholastic. It introduces Gio, a queer Black kid navigating the complications of the sudden return of his birth mom after 8 years of absence as well as the ordinary but never easy reality of figuring out who you are and how you love.
Hani and Ishu’s Guide to Fake Dating by Adiba Jaigirdar In this novel, Bangladeshi and Irish writer Jaigirdar introduces Hani who tries to come out to her friends as bisexual . . . but they doubt her because she’s only dated boys before. Under pressure to prove it, she lies and says she’s dating Ishu, the only other Bengali kid in their year. Released in May from Page Street, Hani and Ishu’s Guide to Fake Dating tackles toxic friendships, racism, and relationships.
The Girlfrom the Sea by Molly Knox Ostertag For fans of the graphic novel, Molly Knox Ostertag’s latest was released at the beginning of the month and is already being lauded as a beautiful and emotional story. After being saved from drowning by Keltie, Morgan faces her unexpected and growing feelings for the girl from the sea. She and Keltie begin a summer romance, but Morgan feels she must keep it a secret. Teens will identify with Morgan’s uncertainty in this lovely coming of age story.
The Darkness Outside Us by Eliot Schrefer Fans of science fiction will rejoice at Eliot Schrefer’s latest (released June 1 from Katherine Tegan Books) featuring two boys who find themselves alone, together on a space ship. Sworn enemies, they realize they must work together to survive and accomplish their mission. Their trust quickly turns to something more as this mystery plus love story unfolds.
Pumpkin by Julie Murphy Julie Murphy’s back, this time bringing us Waylon Russell Brewer who can’t wait to escape his small town in West Texas. Waylon is white and fat and openly gay, and after his audition tape for a TV drag show gets circulated at school, he ends up running for prom queen. If you loved Murphy’s Dumplin’, you’ll find the same humor and charm here along with another healthy does of disruption to stereotypical beauty standards. Available now from Balzer + Bray.
Love & Other Natural Disasters by Misa Sugiura Is this a new trope: Fake lovers to real ones? Sugiura has brought us a fun summer romance that starts as a plan to invoke jealousy. Nozomi thinks Willow is perfect, even though she knows Willow’s not over her ex. Seizing the opportunity to be close to her, Nozomi agrees to pose as Willow’s new girlfriend and hopes to see fake love turn into true love. Released in early June, this one is sure to be a delightful summer read.
All Kinds of Other by James Sie Jules and Jack are both new sophomores in their Los Angeles high school. Both have come from painful freshman years at their old schools, and both are looking to make a new start. When they meet, their commonalities turn to sparks, and they have to face hard decisions about who they want to be and who they want to be with.
Around the country, school libraries are going quiet just as public libraries are beginning to reopen, swinging wide their doors just in time to celebrate Juneteenth. Juneteenth, celebrated on June 19, marks the day in 1865 when enslaved people in Texas were first informed of their freedom as a result of Lincoln’s 1863 Emancipation Proclamation. Gradually becoming a national holiday, Juneteenth offers librarians the chance to highlight a wide variety of resources. Here, we collect a few:
As this New York Times article points out, food plays a huge role in Juneteenth celebrations. Cookbooks and food memoirs can be an excellent way to mark the occasion and to draw teens into titles they might not turn to on their own. Along the way, they maybe even spark a new hobby or interest! First, a few instant classics from the legendary Edna Lewis and renowned cook and food historian Toni Tipton Martin:
If you don’t already have the YA adaptation of Kwame Onwuachi’s Notes from a Young Black Chef, get it now! This memoir would be great for foodies or social justice warriors as it faces the realities of racism in fine dining.
For those more interested in the history behind and around Juneteenth, Annette Gordon-Reed’s slim book On Juneteenth offers an accessible option that, while published for adults, could have easy appeal to teens.
And though it tackles the history and legacy of slavery overall, Clint Smith’s infinitely readable How the Word is Passed: A Reckoning with the History of Slavery Across America pays ample attention to Juneteenth.
Finally, one of the new editions of Ralph Ellison’s posthumously published Juneteenth should be in every collection. Though not about the celebration, per se, Ellison offers a fascinating depiction of yet another form of Juneteenth commemoration: the sermon. In his telling of this Juneteenth, the traditional call and response of worship and preaching in the Black church is captured, reminding us of yet another way to mark the occasion.
Each year, the Alex Award committee works to select ten titles published for adult readers that might have special appeal to young adults, ages 12-18. One of the 2021 selections is Plain Bad Heroines by emily m. danforth.
Plain Bad Heroines is a stunning piece of fiction. Like the finest of pastries, each layer is carefully crafted and just as delightful to bite into. The story centers around Brookhants School for Girls, and the narrative oscillates between the turn of the twentieth century and the present day. In 1902, the world was abuzz around young Mary MacLane and her memoir The Story of Mary MacLane, which unabashedly addressed MacLane’s sexuality and feminism. The story focuses on what happens when the girls (and their teachers) at Brookhants take up MacLane’s book, and the tragic events behind Brookhants’ closing. It also spins around the present day story of another young writer, Merritt Emmons, who has retold the Brookhants story, and it tracks the happenings surrounding the movie being made of Merritt’s book. Everything is haunted, everyone is in love and queer, and everything about this book will surprise and impress you.
Author emily m. danforth graciously agreed to share some thoughts, and we are so grateful for her time and for her work.
THE HUB: The Alex Award is a longtime favorite because it recognizes the transitional or fluid quality of both young adult readers and also of literature. What has it meant to you that your book was highlighted in this way? What do you think makes your book attractive to teen readers?
DANFORTH: It’s such an honor! I feel really lucky and proud to have Plain Bad Heroines recognized in such excellent company. I always try look for the Alex Award winners, every year—in part because I’ve enjoyed so many of the novels recognized by this award in the past.
I think maybe the blending of genre with the contemporary queer Hollywood/celesbian storyline about twenty-somethings might be of particular appeal to teenage readers. Also, possibly the tongue-in-cheek narration, illustrations, and nested plot. There are a number of disparate elements in this novel that speak to many kinds of readers: fans of Gothic Fiction and horror; fans of Sapphic romance; readers of metafiction and historical fiction.
The Hub Challenge 2021 is in full swing, and readers are taking advantage of all the ways to participate! Even if you didn’t sign up officially, you can always join the fun by keeping a copy of the Bingo Challenge board handy for inspiration.
Several of our Challenge participants have tackled that “Read an Amazing Debut” square, and others are curious about how to connect with those titles that might be Morris Award-contenders for 2022. To begin, some participants are using the 2021 Morris Award finalists to earn their Amazing Debut square.
Here is Leanna Chappell, Hub Challenge participant and Head of Youth Services at the Swanton Public Library in Ohio, describing her love of Christina Hammonds Reed’s tremendous debut The Black Kids:
Each year, the Alex Award committee works to select ten titles published for adult readers that might have special appeal to young adults, ages 12-18. One of the 2021 selections is Riot Baby by Tochi Onyebuchi.
RiotBaby is a slim novel, but it is loaded with powerful references, images, and questions centered around Ella and her younger brother, Kev, born during the 1992 riots in L.A. following the acquittal of the officers involved in the beating of Rodney King. Employing plenty of magical realism, Onyebuchi builds fully-fleshed characters with the barest of strokes – an art and a magic all its own. As Ella grapples with her Thing (unexplained powers that she works to harness through the book) and Kev grapples with the distance between who he is and who the world thinks he will be, we see through them glimpses of our past and visions of a possible future, one where freedom means something for all.
This book will leave readers reeling (in the best ways), and this incredible interview with author Tochi Onyebuchi is likely to do the same. We are indebted to Tochi for his words and work.
THE HUB: A drumbeat making itself heard underneath the whole book is anger – who feels it, who’s allowed to show it, how it might manifest. And in your acknowledgments, you write of the gift you received from N. K. Jemisin’s Broken Earth trilogy, saying “I did not know how to write angry, the type of angry that still leaves room for love.” What does anger offer you as a writer? And what do you hope it offers your readers?