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I Like Me! Carlson, Nancy. E CAR. A. Count and See. Hoban, Tana. E HOB. A . Joshua James Likes Trucks. Petrie Straight to the Pole Bunting, Eve. “When I first met John he was so polite, so well-spoken, so well-mannered,” his young pawn, James Vlassakis, would tell the South Australian Supreme Court. . They drove to Bakara, they sat him in the bathtub, they used a pole — hit . “He told me that the s had hit the fan, (and) he's had to move the. James was seated between Territorial Secretary John Hartnett and Attorney General J. M. He was pleased to see his gift of dried flowers at the center of the table. James Red bunting and evergreen branches festooned the tent walls, and gaily colored paper streamers hung from the center pole to the edges of the tent.
The who-can-write conversation is not new. I count myself in that "self styled militia. CCBCs data shows some small gains here and there, but overall, things haven't changed much.
One reason, I think, is the lack of diversity within the major publishing houses. I think there's a savior mentality in the big publishing houses and a tendency to view other as less-than.
For some it is conscious; for others it is unconscious.
A life bird for a president
All of it can--and should be--characterized as well-intentioned, but it is also unexamined and as such, reflects institutional racism. The history of this country is one that bestows privilege on some and not on others. That history privileges dominant voices over minority ones, from the people at the table in those publishing houses to the voices in the books they publish. That--I believe--is why there's been no progress.
Part of what contributes to that lack of progress is that too many people feel sympathy for white writers rather than stepping away from the facts on who gets published.
At the end of the meal, Deborah brought out copies of her books to give to us. I got the picture book, Freedom Summer but it felt odd accepting the gift, given the tensions of the evening. I think she was not aware of that tension. She ended the evening by praising my blog but the delivery of that praise had a distinct edge. She banged the table with her fist as she voiced that praise.
I hope that my being at that dinner with Deborah that evening and in the photograph she posted on Facebook aren't construed by anyone as an endorsement of her work.
Yesterday, I went to the library to get a copy of Revolution, because, Deborah said she is working on a book that will be set in Sacramento, and, she said, it will include the Native occupation of Alcatraz. I want to see what her writing is like so that I can be an informed reader when her third book comes out.
Before going to the library, I looked online to see if there was a trailer for it. Watching it, I was, again, stunned. She read aloud from chapter two. Before her reading, she told the audience what happened in chapter one. The white character, Sunny, is swimming in a public pool, at night. She touches something soft and warm, which turns out to be a black boy.
She screams, he runs away. Then she and Gillette another white character take off too, but by then, the deputy is there. She tells him what happened. The last lines of that chapter are these page There was a colored boy in our pool. And I touched him, my skin on his skin. I touched a colored boy. And then he ran away, like he was on fire.
In this case, how will a black child read and respond to those lines?
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And, what will Deborah think of my focus--right now--on that part of her book? I haven't read the whole book. No doubt, people who read AICL will be influenced by my pointing out that part of the book. Will Deborah think I am, like the people at Heavy Medal, "dangerous"? Deborah said, above, that "Sometimes in our collective zeal to "get it right" we point at a problem that isn't there.
The dinner and Deborah's remarks are the latest in a string of events in which people in positions of power object to "fervent" people.
I'll wind down by saying againthat I've spent hours thinking about that dinner. This essay is the outcome of those hours of thinking. I was uncomfortable then, and I'm uncomfortable now.
I wanted to say more, then, but chose to be gracious, instead. I'm disappointed in my reluctance then, and now. I don't know where it emanates from. Why did I choose not to make a white writer uncomfortable? Is Deborah uncomfortable now, as she reads this? Are you reader uncomfortable? Was Deborah worried about my comfort, then, or now? I can get lost in those questions, but must remember this: I do the work I do, not for a writer, but for the youth who will read the work of any given writer.
For the ways it will help--or harm--a reader's self esteem or knowledge base. It is primarily a white reader, and, while the othering of "the colored boy" in chapter two may get dealt with later in the book, all readers have to wait. They have broad application: I find the idea of a reader -- particularly a child -- having to wait to see herself humanized an inherently problematic one.
Yes, it might accurately reflect the inner journey many white people take, but isn't the point that our dehumanizing views were always wrong?
And therefore, why go back and re-live them? Such ruminations could definitely be appropriate in an all-white anti-racist group, in which the point is for white people to educate each other, but any child can pick up a book, and be hurt--or validated--by what's inside.
Asking marginalized readers to "wait" to be validated is an example of white dominance as perpetuated by well-intentioned white folks. It is long past time for the industry to move past concerns over what--if anything--dominant voices lose when publishers actually choose to publish and promote minority voices over dominant ones. It is long past time to move past that old debate of who-can-write. Moving past that debate means I want to see publishers actually doing what Lasky feared so that more books by minority writers are actually published.
InWalter Dean Myers wrote that he thought we people of color would "revolutionize" the publishing industry. We need a revolution, today, more than ever. Some, obviously, won't join this revolution.
Some will see it as discriminatory against dominant voices but I choose to see it as responsive to children and the millions of mirrors that they need so that we reach a reality where the publishing houses and the books they publish look more like society. In this revolution, where will you be? First is a heartfelt thank you to Dr. Thomas Crisp at Georgia State University, for years of conversation about the state of children's literature, and, for assistance in writing and thinking through this essay.
He was at that dinner in Atlanta.
President Jimmy Carter, an avid birder, goes in search of a Painted Bunting
Second is a question for Deborah. Why did you want to meet me? Usually, when people want to meet me, there's a quality to the meeting that was missing from our dinner in Atlanta. There's usually a meaningful discussion of something I've said, or, about the issues in children's literature.
When British ships advanced on the afternoon of the 13th, however, American gunners badly damaged them, forcing them to pull back out of range. That night British attempts at a diversionary attack also failed, and by dawn they had given up hope of taking the city. The successful defense of Baltimore marked a turning point in the War of Three months later, on December 24,the Treaty of Ghent formally ended the war.
Because the British attack had coincided with a heavy rainstorm, Fort McHenry had flown its smaller storm flag throughout the battle. But at dawn, as the British began to retreat, Major Armistead ordered his men to lower the storm flag and replace it with the great garrison flag.
Waving proudly over the fort, the banner could be seen for miles around—as far away as a ship anchored eight miles down the river, where an American lawyer named Francis Scott Key had spent an anxious night watching and hoping for a sign that the city—and the nation—might be saved. The Inspiration of Francis Scott Key: They subsequently imprisoned him on a British warship. They were successful; however, the British feared that Key and Skinner would divulge their plans for attacking Baltimore, and so they detained the two men aboard a truce ship for the duration of the battle.
Key thus became an eyewitness to the bombardment of Fort McHenry. Moved by the sight, he began to compose a poem on the back of a letter he was carrying. On September 16, Key and his companions were taken back to Baltimore and released. Nicholson responded enthusiastically and urged Key to have the poem printed.
Copies of the song were distributed to every man at the fort and around Baltimore. The first documented public performance of the words and music together took place at the Holliday Street Theatre in Baltimore on October 19, It gained special significance during the Civil War, a time when many Americans turned to music to express their feelings for the flag and the ideals and values it represented.
By the s, the military had adopted the song for ceremonial purposes, requiring it to be played at the raising and lowering of the colors.
As its owner, she permitted the flag to be publicly exhibited on several occasions. InAppleton lent the historic flag to the Smithsonian Institution, and in he offered the flag as a permanent gift to the nation.
The Star-Spangled Banner, historic and celebrated, was subjected to this practice. The Armistead family received frequent requests for pieces of their flag, but reserved the treasured fragments for veterans, government officials, and other honored citizens.
By giving away snippings, the Armisteads could share the Star-Spangled Banner with others who loved the flag.
The citizens who received these mementos treated them with reverence and pride. Some framed and displayed these pieces of history in their homes; others donated them to museums. Since conservators and curators cannot be sure from which part of the flag these fragments were taken, the pieces cannot be integrated back into the flag.
Working with a team of ten needlewomen, Fowler first removed a canvas backing that had been attached to the flag inwhen it was displayed and photographed for the first time at the Boston Navy Yard by Admiral George Preble. The women then attached the flag to a new linen backing, sewing approximately 1.
In the flag was moved to the new National Museum of History and Technology now the National Museum of American Historywhere it was displayed in the central hall on the second floor. Inthe Smithsonian began a two-year preservation effort: Bymuseum officials recognized the need for further conservation, and in they began developing a plan to preserve the Star-Spangled Banner using modern, scientific conservation techniques.
At this time, the flag was taken down from the wall where it had hung since ; init was moved to the climate- and light-controlled conservation lab where it remains today.