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A study, analysis and critique of African American children's literature. Copyright © Libri GmbH. All rights reserved.
A study, analysis and critique of black American children's literature.
Racism is resilient, duplicitous, and endlessly adaptable, so it is no surprise that America is again in a period of civil rights activism. A significant reason racism endures is because it is structural: it's embedded in culture and in institutions. One of the places that racism hides-and thus perhaps the best place to oppose it-is books for young people. Was the Cat in the Hat Black? presents five serious critiques of the history and current state of children's literature tempestuous relationship with both implicit and explicit forms of racism. The book fearlessly examines topics both vivid-such as The Cat in the Hat's roots in blackface minstrelsy-and more opaque, like how the children's book industry can perpetuate structural racism via whitewashed covers even while making efforts to increase diversity. Rooted in research yet written with a lively, crackling touch, Nel delves into years of literary criticism and recent sociological data in order to show a better way forward. Though much of what is proposed here could be endlessly argued, the knowledge that what we learn in childhood imparts both subtle and explicit lessons about whose lives matter is not debatable. The text concludes with a short and stark proposal of actions everyone-reader, author, publisher, scholar, citizen- can take to fight the biases and prejudices that infect children's literature. While Was the Cat in the Hat Black? does not assume it has all the answers to such a deeply systemic problem, its audacity should stimulate discussion and activism.
Exploring the profound impact of the experience of reading to children, Spitz discusses well-known children's books and reveals how they transmit psychological wisdom, convey moral lessons, shape tastes, and implant subtle prejudices. 23 illustrations.
Gerald tells of the very unusual animals he would add to the zoo, if he were in charge.
Winner, 2022 Children's Literature Association Book Award, given by the Children's Literature Association Winner, 2020 World Fantasy Awards Winner, 2020 British Fantasy Awards, Nonfiction Finalist, Creative Nonfiction IGNYTE Award, given by FIYACON for BIPOC+ in Speculative Fiction Reveals the diversity crisis in children's and young adult media as not only a lack of representation, but a lack of imagination Stories provide portals into other worlds, both real and imagined. The promise of escape draws people from all backgrounds to speculative fiction, but when people of color seek passageways into the fantastic, the doors are often barred. This problem lies not only with children’s publishing, but also with the television and film executives tasked with adapting these stories into a visual world. When characters of color do appear, they are often marginalized or subjected to violence, reinforcing for audiences that not all lives matter. The Dark Fantastic is an engaging and provocative exploration of race in popular youth and young adult speculative fiction. Grounded in her experiences as YA novelist, fanfiction writer, and scholar of education, Thomas considers four black girl protagonists from some of the most popular stories of the early 21st century: Bonnie Bennett from the CW’s The Vampire Diaries, Rue from Suzanne Collins’s The Hunger Games, Gwen from the BBC’s Merlin, and Angelina Johnson from J.K. Rowling’s Harry Potter. Analyzing their narratives and audience reactions to them reveals how these characters mirror the violence against black and brown people in our own world. In response, Thomas uncovers and builds upon a tradition of fantasy and radical imagination in Black feminism and Afrofuturism to reveal new possibilities. Through fanfiction and other modes of counter-storytelling, young people of color have reinvisioned fantastic worlds that reflect their own experiences, their own lives. As Thomas powerfully asserts, “we dark girls deserve more, because we are more.”
"When Stella does not want to go to bed, she tries all sorts of ways to keep the sun up"--
An African-American child resents and then misses a little foster brother. One day my momma told me, "You know you're gonna have a little friend come stay with you." And I said, "Who is it?" and "For how long?" That's when Stevie moved in with his crybaby self. He played with my toys and broke them, and he left dirty footprints all over my bed. But then Stevie left again, and I missed him. I missed playing Cowboys and Indians on the stoop and watching cartoons in the morning. Maybe. . .just maybe, Stevie wasn't so bad after all. Notable Children's Books of 1940–1970 (ALA) "Best of the Best" Children's Books 1966–1978 (SLJ) 1978 Lewis Carroll Shelf Award Society of Illustrators Gold Medal Children's Books of 1969 (Library of Congress) Children's Books of the Year 1969 (CSA) Black Americans – Minority Groups List (BL) Notable Books for the Portrayal of the Black in Children's Literature (Top of the News) Select Children's Books of 1969 (Publishers Weekly) Brooklyn Art Books for Children 1974
Winner, 2019 William J. Goode Book Award, given by the Family Section of the American Sociological Association Finalist, 2019 C. Wright Mills Award, given by the Society for the Study of Social Problems Riveting stories of how affluent, white children learn about race American kids are living in a world of ongoing public debates about race, daily displays of racial injustice, and for some, an increased awareness surrounding diversity and inclusion. In this heated context, sociologist Margaret A. Hagerman zeroes in on affluent, white kids to observe how they make sense of privilege, unequal educational opportunities, and police violence. In fascinating detail, Hagerman considers the role that they and their families play in the reproduction of racism and racial inequality in America. White Kids, based on two years of research involving in-depth interviews with white kids and their families, is a clear-eyed and sometimes shocking account of how white kids learn about race. In doing so, this book explores questions such as, “How do white kids learn about race when they grow up in families that do not talk openly about race or acknowledge its impact?” and “What about children growing up in families with parents who consider themselves to be ‘anti-racist’?” Featuring the actual voices of young, affluent white kids and what they think about race, racism, inequality, and privilege, White Kids illuminates how white racial socialization is much more dynamic, complex, and varied than previously recognized. It is a process that stretches beyond white parents’ explicit conversations with their white children and includes not only the choices parents make about neighborhoods, schools, peer groups, extracurricular activities, and media, but also the choices made by the kids themselves. By interviewing kids who are growing up in different racial contexts—from racially segregated to meaningfully integrated and from politically progressive to conservative—this important book documents key differences in the outcomes of white racial socialization across families. And by observing families in their everyday lives, this book explores the extent to which white families, even those with anti-racist intentions, reproduce and reinforce the forms of inequality they say they reject.
“Shark Summer is bursting with vibrant, expressive art....The characters are distinct and relatable...It’s a lovely read!”—Molly Knox Ostertag, author of the Witch Boy series "Eloquently chronicled in Marcks’s cinematic panels, friendships are formed and repaired, parental relationships articulated, and inner conflicts expressed and resolved. A winning production." --Kirkus When a Hollywood film crew arrives on Martha's Vineyard with a mechanical shark and a youth film contest boasting a huge cash prize, disgraced pitcher Gayle "Blue Streak" Briar sees a chance to turn a bad season into the best summer ever. After recruiting aspiring cinematographer Elijah Jones and moody director Maddie Grey, Gayle and her crew set out to uncover the truth of the island's own phantom shark and win the prize money. But these unlikely friends are about to discover what happens when you turn your camera toward the bad things lurking below the surface.