Not One Damsel in Distress; World Folktales for Strong Girls by Jane Yolen Illustrated by Susan Guevara
A collection of folktales with strong female protagonists, and not even all of them with the goal of marriage being the pinnacle of her achievements!
When the Moon is Full; A Lunar Year by Penny Pollack Illustrated by Mary Azarian
A "go-to" favorite in my house for verse and beautiful woodblock illustrations that talk about the meanings of each full moon. I like how it connects us to the seasonal changes and the moon cycles and helps us talk about this connectedness with our kids.
Hush Little Baby by Sylvia Long
A beautifully rewritten version of the classic lullaby. I always hated how the parent in this song was going to keep buying things for the baby until the baby was happy, and that is exactly how the author felt as well. In her own words, "It seems much healthier to encourage children to find comfort in the natural things around them and the warmth of a mother's love."
I also like that in the story the characters are drawn as rabbits, which I think is a nice tool of children's books to make the story more universal. I think it is easier for a child to be able see themselves in a character that is already entrenched in fantasy, and not, appearance wise at least, representing a specific culture.
We Were Tired of Living in a House byLiesel Moak Skorpen Illustrated by Doris Burn
The story of a group of children who leave home to try living in, among other things, a tree, a boat and a cave. In the end, they decide to return home to the joyful arms of their parents.
What I like about this book is the autonomy of the kids. They are seeking adventure, and are off exploring the world. They play at many different ways they could live, and explore their identities, all the while functioning as a supportive collective.
The thing I dislike about this book is that being written in 1969, it shows some pretty stereotypical gender images in the artwork. The little girls engage in their adventures, all the while wearing frilly party dresses, and serving tea.
This Land is Your Land by Woody Guthrie Illustrated by Kathy Jakobsen
The music of Woody Guthrie is an important part of the radial leftist history of the United States. His songs gave voice to many poor and working class folks, including many struggling for social change.
I also acknowledge that it is a strange song in a way. While trying to be a rallying cry for the reclamation of the country for the people, and from those with the wealth and power, it is hard not to think about it in the context of indigenous rights. This land is actually NOT our land, when it comes down to it. And though I love the message of anti-authoritarianism and collective utilization of resources, the reality is that we do not live here, and never have lived here, in harmony with our surroundings, or the people whose ancestors lived on this land for thousands of years.
What I do like about this book is the inclusion of the lesser known verses that address poverty, and land ownership. You don't normally hear these verses in the school chorus, and I think that they are really the most moving of all.
Just Like Me; Stories and Self- Portraits by Fourteen Artists ed. by Harriet Rohmer
Not a story, as such, but a collection of self portraits and autobiographical notes from some wonderful artists. They each talk about their identity, making art, their childhoods and what inspires them. The paintings are beautiful and I think is a great conversation starter about identity. The artists are from many different cultural backgrounds and I love how it shows how the identity of "artist" isn't relegated to any specific race or gender or background.
Thursday, December 9, 2010
Tuesday, December 7, 2010
The Next Chapter...
I have been going back over the books I have read and the things I have written in the past couple of months, trying to get a sense of where I have been, so I can decide where I am going.
Where AM I going with all of this? In some ways it seems all over the place; Talking about oppression, and artwork, and the future of children's literature. I feel like I could go into depth in ten directions with all of this. But what next?
Something that has come up for me in the past ten weeks, over and over again, is my own struggle with my identity and where I fit in as an author of children's books. Are my ideas and perspectives even needed in the world of children's books, and is there a way for me to write authentic stories without furthering the status quo?
What I have come up with is that I want to dig deeper into theories behind deconstructing oppression, and see how I can relate that work to the world of children's books. I want to explore the idea of "multiculturalism" and take a look at who are the authors of many of the books I have already reviewed, and see what perspective they are coming from.
I also intend to keep making The List of Books I Like, and add notes that provide further context and discussion ideas for adult readers.
Ultimately I want to start to lay out my own work in story and art, hopefully informed by the work I have done and shared on this blog.
Next post... one more set of book reviews before I dive into this new chapter...
Stay tuned.
Where AM I going with all of this? In some ways it seems all over the place; Talking about oppression, and artwork, and the future of children's literature. I feel like I could go into depth in ten directions with all of this. But what next?
Something that has come up for me in the past ten weeks, over and over again, is my own struggle with my identity and where I fit in as an author of children's books. Are my ideas and perspectives even needed in the world of children's books, and is there a way for me to write authentic stories without furthering the status quo?
What I have come up with is that I want to dig deeper into theories behind deconstructing oppression, and see how I can relate that work to the world of children's books. I want to explore the idea of "multiculturalism" and take a look at who are the authors of many of the books I have already reviewed, and see what perspective they are coming from.
I also intend to keep making The List of Books I Like, and add notes that provide further context and discussion ideas for adult readers.
Ultimately I want to start to lay out my own work in story and art, hopefully informed by the work I have done and shared on this blog.
Next post... one more set of book reviews before I dive into this new chapter...
Stay tuned.
I Believe the Children Are Our Future
"What are we doing here, if we're not singing
This is my revolution. You are my revolution."
These are the first few lines of a new song that I am writing. It is for my children. It is about how genuinely I believe in that blurb at the top of my blog.
"The surest way to change the world is to change the ways we interact with children, and the stories that we tell them."
You are my revolution.
My children make me more radical everyday. And they constantly test the strength of my beliefs.
Radical means "of, relating to, or proceeding from a root." What better place to get "radical" than where the stories of our culture are re-birthed with each new generation: Children.
I would like to address the roots of compulsory education, and it's designs on our children, but I think that would take ten weeks in it's own right. Perhaps I will dive into that abyss in the future on this blog. For now I will say that I genuinely believe that there are no education systems without agenda. Compulsory education and liberatory education alike. The motivation of the agenda is what is in question.
I am also sure that all "radical" education, or "radical" children's literature is certainly not on the same page. Just as most people claiming the same religion, or political party, are not on the same page, exactly. There is plenty of leftest, radical teaching aimed at children that is simply trying to replace one set of dogmas with another.
In my heart of hearts, what I want most for my children, for all children, is the information, freedom and respect to make informed decisions about who they want to be and how they want to engage with the world. But seeing as there is really no such thing as "agenda-less" education, where are we to go for "agenda-less" information and stories to share with children?
Maybe it is impossible to create such literature and education materials. Maybe the burden (or challenge) lies with the adults who engage with the children, and help to teach them critical thinking skills.
I just finished reading the book Tales for Little Rebels: A Collection of Racial Children's Literature edited by Julia L. Mickenberg and Philip Nel. In the foreword of the book, Jack Zipes explains the word radical as "having roots" or "being rooted."
He continues, "A radical person is someone who endeavors to understand the world by going to the root of a phenomenon, issue or problem. A radical literature, especially a radical children's literature, wants to explore the essence of phenomena, experiences, actions, and social relations and seeks to enable young people to grasp the basic conditions in which they live."
This is an interesting collection of works spanning the 20th Century that look at topics ranging from race to ecology, with plenty of examples of leftist political ideology from the early part of the century.
I have to admit that I had a hard time getting absorbed in this book, due to it's layout and presentation. Though I was extremely interested in the stories shared, conveying them in such an "academic" manner made it hard for me to care about them. The smattering of illustrations shared from each book are reprinted small, and in black and white. The texts themselves are layed out in columns, words dense upon each page. Perhaps I am not cut out for academic research because much of the passion of these works were lost on me, simply because my interest wasn't captured by the presentation. ( Though I certainly understand the necessity, not the least of which is that many of these books are out of print.)
This is my revolution. You are my revolution."
These are the first few lines of a new song that I am writing. It is for my children. It is about how genuinely I believe in that blurb at the top of my blog.
"The surest way to change the world is to change the ways we interact with children, and the stories that we tell them."
You are my revolution.
My children make me more radical everyday. And they constantly test the strength of my beliefs.
Radical means "of, relating to, or proceeding from a root." What better place to get "radical" than where the stories of our culture are re-birthed with each new generation: Children.
I would like to address the roots of compulsory education, and it's designs on our children, but I think that would take ten weeks in it's own right. Perhaps I will dive into that abyss in the future on this blog. For now I will say that I genuinely believe that there are no education systems without agenda. Compulsory education and liberatory education alike. The motivation of the agenda is what is in question.
I am also sure that all "radical" education, or "radical" children's literature is certainly not on the same page. Just as most people claiming the same religion, or political party, are not on the same page, exactly. There is plenty of leftest, radical teaching aimed at children that is simply trying to replace one set of dogmas with another.
In my heart of hearts, what I want most for my children, for all children, is the information, freedom and respect to make informed decisions about who they want to be and how they want to engage with the world. But seeing as there is really no such thing as "agenda-less" education, where are we to go for "agenda-less" information and stories to share with children?
Maybe it is impossible to create such literature and education materials. Maybe the burden (or challenge) lies with the adults who engage with the children, and help to teach them critical thinking skills.
I just finished reading the book Tales for Little Rebels: A Collection of Racial Children's Literature edited by Julia L. Mickenberg and Philip Nel. In the foreword of the book, Jack Zipes explains the word radical as "having roots" or "being rooted."
He continues, "A radical person is someone who endeavors to understand the world by going to the root of a phenomenon, issue or problem. A radical literature, especially a radical children's literature, wants to explore the essence of phenomena, experiences, actions, and social relations and seeks to enable young people to grasp the basic conditions in which they live."
This is an interesting collection of works spanning the 20th Century that look at topics ranging from race to ecology, with plenty of examples of leftist political ideology from the early part of the century.
I have to admit that I had a hard time getting absorbed in this book, due to it's layout and presentation. Though I was extremely interested in the stories shared, conveying them in such an "academic" manner made it hard for me to care about them. The smattering of illustrations shared from each book are reprinted small, and in black and white. The texts themselves are layed out in columns, words dense upon each page. Perhaps I am not cut out for academic research because much of the passion of these works were lost on me, simply because my interest wasn't captured by the presentation. ( Though I certainly understand the necessity, not the least of which is that many of these books are out of print.)
Sunday, December 5, 2010
Feminist Voices in Children's Literature
In searching for works of both literary and social criticism of children's literature I found the pickings to be slim. Should We Burn Babar was one of the few books that I found that was really taking a look at the social memes, especially around oppression, that are being passed through children's books.
One of the books I did find didn't exactly fit in to this part of my project, being about Young Adult Novels, but I decided to use it for lack of an abundance of options. Waking Sleeping Beauty: Feminist Voices in Children's Novels by Roberta Seelinger Trites focuses on the critique of the feminist themes in Yong Adult Fiction.
For personal reasons I found this book particularly compelling as I am in the beginning stares of developing a Young Adult novel. It was interesting to follow Trites as she applied feminist theory to the characters and story lines of so many novels that are thought of as empowering to girls. Her chapters are broken down into different themes such as sisterhood, gender roles and mother/daughter relationships. What I got out of this book, in large part, was a list of books that I want to read or re-read with her critiques in hand.
In many ways it is hard to apply the complexity and depth of her ideas to the picture books that are currently my focus. Her commentary around gender roles, and identity outside of the comparative opposites that our culture assumes about gender certainly apply, as I have touched on in previous discussion about gender stereotypes. But often the level of relationships where so many of the oppressions of a patriarchy are brought to light are not conveyed as boldly in picture books, due to length.
I think that the power of reading her critiques, and how I can apply it to my own reading and research, lies in the assumed back story of these books: The unspoken cultural norms.
It is interesting to think how to relate complex ideas of gender, identity, culture, relationship and oppression in short form fiction, for a young audience.
A couple of interesting omissions, or places that she put little, if any, focus were around transgender and genderqueer topics, as well as sexuality outside of the hetero model. In the past ten or fifteen years (the book was written in 1997) it seems as if the awareness around sexuality and non-binary gender and how they relate to feminism have come to the forefront. It feels like this book misses out a lot by not addressing these issues as well.
I look forward to revisiting this book while working and my own novel, as well as finding the time to read some of the books she critiques with an eye to the points she raises about them.
One of the books I did find didn't exactly fit in to this part of my project, being about Young Adult Novels, but I decided to use it for lack of an abundance of options. Waking Sleeping Beauty: Feminist Voices in Children's Novels by Roberta Seelinger Trites focuses on the critique of the feminist themes in Yong Adult Fiction.
For personal reasons I found this book particularly compelling as I am in the beginning stares of developing a Young Adult novel. It was interesting to follow Trites as she applied feminist theory to the characters and story lines of so many novels that are thought of as empowering to girls. Her chapters are broken down into different themes such as sisterhood, gender roles and mother/daughter relationships. What I got out of this book, in large part, was a list of books that I want to read or re-read with her critiques in hand.
In many ways it is hard to apply the complexity and depth of her ideas to the picture books that are currently my focus. Her commentary around gender roles, and identity outside of the comparative opposites that our culture assumes about gender certainly apply, as I have touched on in previous discussion about gender stereotypes. But often the level of relationships where so many of the oppressions of a patriarchy are brought to light are not conveyed as boldly in picture books, due to length.
I think that the power of reading her critiques, and how I can apply it to my own reading and research, lies in the assumed back story of these books: The unspoken cultural norms.
It is interesting to think how to relate complex ideas of gender, identity, culture, relationship and oppression in short form fiction, for a young audience.
A couple of interesting omissions, or places that she put little, if any, focus were around transgender and genderqueer topics, as well as sexuality outside of the hetero model. In the past ten or fifteen years (the book was written in 1997) it seems as if the awareness around sexuality and non-binary gender and how they relate to feminism have come to the forefront. It feels like this book misses out a lot by not addressing these issues as well.
I look forward to revisiting this book while working and my own novel, as well as finding the time to read some of the books she critiques with an eye to the points she raises about them.
Tuesday, November 30, 2010
THE LIST: Books I Like #3
So the list is growing. I probably should be spending a little more time critiquing the children's books that I don't like, but reading the good ones is so much more fun! I feel like I spent my entire childhood engulfed in the bad ones, and that my time is better spent highlighting the ones I am excited to share with my kids, and with you!
Heather Has Two Mommies by Leslea Newman Illustrated by Diana Souza
In 1989 when Heather and her mommies first appeared in a children's book, they were bashing down a big ol' door. This book was really the first kids book that showed gay or lesbian parents.
The 10th anniversary reprinting of the book streamlines the story that was, at times, wordy and offered unnecessary information, such as how Heather was conceived.
Thanks, in large part, to this book, there is a growing crop of kids books that offer gay and lesbian characters including:
And Tango Makes Three by Peter Parnell
In Our Mother's House by Patricia Polacco
Uncle Bobby's Wedding by Sarah S. Brannen
The Family Book by Todd Parr
All Kinds of Families! by Mary Ann Hoberman
Emma and Meesha My Boy: A Two Mom Story by Kaitlyn Taylor Considine
King and King and Family by Linda de Haan and Stern Nijland
and
King and King by Linda de Haan and Stern Nijland
Generally stories that glorify royalty are not on the top of my favorites list, but this one is one of my favorites books, in spite of that. It has beautiful collaged illustrations layered with quirky drawings. The story tells about a prince who is being coerced into marriage by his overbearing mother. The queen lines up a parade of princesses for the prince to choose from, and he does not like any... until he experiences love at first sight with one of the princesses brothers. And they wed, and live happily ever after. (Until the follow up book where they adopt a baby, and then continue to live happily ever after.)
I think my favorite thing about this book is how the fact that the prince falls in love with another prince and not a princess is not made a big deal of. He finds someone that he loves, and the queen and the kingdom are happy and celebrate with him.
It is a love story and the gender of the lovers is never called into question!
Old MacDonald had a Woodshop by Lisa Shulman Illustrated by Ashley Wolff
The character of Old MacDonald in this version of the story is a female. She works in her woodshop, building a very special project with the help of her friends. Instead of the animals on the farm, the story details the tools she is using for her project, which, it turns out, is a toy farm!
I love the reworking of a well known children's rhyme to make the protagonist a woman, especially because she is doing a job that is often thought of as male work.
Kate and the Beanstalk by Mary Pope Osborne Illustrated by Giselle Potter
Another retelling of a classic children's story where the protagonist has been changed to a female.
An empowering version of the tale, Kate defeats the Giant and she and her mother go to live in the castle with the giants wife.
The retelling of classic fairy tales with the main characters gender changed has become a popular theme. Though I am generally more interested in stories with more contemporary themes I like the idea of the reworked fairy tale. It is hard to get through childhood without coming across tales such as Sleeping Beauty, Snow White, The Three Little Pigs, Little Red Riding Hood, Rapunzel, The Boy Who Cried Wolf, The Pied Piper, Cinderella, The Frog Prince, Hansel and Gretel, Three Billy Goats Gruff... and so many others. I love to see these tales and their characters adapted to reflect stronger female characters, and more progressive ideology.
Are there more that you know of?
Heather Has Two Mommies by Leslea Newman Illustrated by Diana Souza
In 1989 when Heather and her mommies first appeared in a children's book, they were bashing down a big ol' door. This book was really the first kids book that showed gay or lesbian parents.
The 10th anniversary reprinting of the book streamlines the story that was, at times, wordy and offered unnecessary information, such as how Heather was conceived.
Thanks, in large part, to this book, there is a growing crop of kids books that offer gay and lesbian characters including:
And Tango Makes Three by Peter Parnell
In Our Mother's House by Patricia Polacco
Uncle Bobby's Wedding by Sarah S. Brannen
The Family Book by Todd Parr
All Kinds of Families! by Mary Ann Hoberman
Emma and Meesha My Boy: A Two Mom Story by Kaitlyn Taylor Considine
King and King and Family by Linda de Haan and Stern Nijland
and
King and King by Linda de Haan and Stern Nijland
Generally stories that glorify royalty are not on the top of my favorites list, but this one is one of my favorites books, in spite of that. It has beautiful collaged illustrations layered with quirky drawings. The story tells about a prince who is being coerced into marriage by his overbearing mother. The queen lines up a parade of princesses for the prince to choose from, and he does not like any... until he experiences love at first sight with one of the princesses brothers. And they wed, and live happily ever after. (Until the follow up book where they adopt a baby, and then continue to live happily ever after.)
I think my favorite thing about this book is how the fact that the prince falls in love with another prince and not a princess is not made a big deal of. He finds someone that he loves, and the queen and the kingdom are happy and celebrate with him.
It is a love story and the gender of the lovers is never called into question!
Old MacDonald had a Woodshop by Lisa Shulman Illustrated by Ashley Wolff
The character of Old MacDonald in this version of the story is a female. She works in her woodshop, building a very special project with the help of her friends. Instead of the animals on the farm, the story details the tools she is using for her project, which, it turns out, is a toy farm!
I love the reworking of a well known children's rhyme to make the protagonist a woman, especially because she is doing a job that is often thought of as male work.
Kate and the Beanstalk by Mary Pope Osborne Illustrated by Giselle Potter
Another retelling of a classic children's story where the protagonist has been changed to a female.
An empowering version of the tale, Kate defeats the Giant and she and her mother go to live in the castle with the giants wife.
The retelling of classic fairy tales with the main characters gender changed has become a popular theme. Though I am generally more interested in stories with more contemporary themes I like the idea of the reworked fairy tale. It is hard to get through childhood without coming across tales such as Sleeping Beauty, Snow White, The Three Little Pigs, Little Red Riding Hood, Rapunzel, The Boy Who Cried Wolf, The Pied Piper, Cinderella, The Frog Prince, Hansel and Gretel, Three Billy Goats Gruff... and so many others. I love to see these tales and their characters adapted to reflect stronger female characters, and more progressive ideology.
Are there more that you know of?
Sunday, November 28, 2010
Free to Be, You and Me!!
A couple of posts back I mused about the classic radical book/movie/record/play from my childhood, Free to Be, You and Me. I began to wonder if not only the the music and images were dated, but if the topics of the stories and songs were as well.
I have listened to the album over and over again through the years. The music and stories are imprinted in my head so that I can recite them along with the storytellers.
In fact, Free to Be was the very first musical I performed in at the local children's theatre. Along with 25 or so other kids I belted out "In a land we the children are freeeeeee. In a land through the green countryeeeeeee," and had my first solo with the lines "When we grow up will I be a lady?" while wearing a floppy pink hat and a too-big-for-me party dress.
This was such a part of my childhood that I knew I would have to sit down and look at the book, read the words over and over again, to get some actual perspective on how it had aged.
It was nearly impossible to find a copy of the book, and I ended up getting it through loan from another university library. When it arrived, it's cover was worn, and some of the pages were barely hanging onto the binding. It was the original printing of the book from 1974, and I feel very lucky to be using this copy for my research. A little piece of history in my hands.
The first thing that I was struck by was how the book looked much less dated than I'd expected. Aside from the awesome 1970's photos that accompany "It's Alright to Cry," the drawings and layout still feel diverse, interesting and beautiful. The woodcuts by Barbara Bascove are my particular favorites.
The music on the album is certainly dated, which is hard to avoid when you are making something that you want to feel fresh and hip and exciting for a certain era. Some of the more theatrical/ story songs have weathered the years, but the music for "Sisters and Brothers" with it's funky 70's vibe might be a little hard for kids to relate to. I may be wrong, though. I think kids are much more adaptable than adults, for sure, but it certainly sounds dated to me.
I suppose part of me expected the content of the book would be hopelessly unrelatable, and that kids today are so "post- whatever" (racist, sexist...etc) that the things that seemed radical almost 40 years ago would make kids today say "Duh?!"
In some ways, this almost already felt true by the time I made my stage debut in the show in 1984. Some of the messages were lost on me because they didn't seem all that radical by the time I was being raised by a single mother in the mid-eighties in California. Obviously, that may have been a totally different story in another place, or another family, but I don't think I understood AT ALL what the song "Girl Land" was about. The song references a place where "good little girls pick up after the boys," or a childhood more like the one my mom was raised in. I wore jeans and played sports and had Tonka trucks that my Barbies drove around in. I was raised to believe that I was growing up in a "post-sexist" era, which in relationship to the previous generation, it must have felt like. The song didn't seem to apply to me.
But sitting with the song, as a 35 year old woman, in fact re-visiting all the stories and songs that deal with gender equality in the book, I am reminded how the dismantling of oppression is like peeling the layers of an onion. So in some ways this book doesn't translate to a new era, but not because we have "fixed" all those pesky issues, but because we have uncovered what is beneath, as well as discovered how the ways we were dealing with one set of oppressions was enforcing another.
The gender discussions of Second Wave Feminism were radical and so important, and there was so much that lay beneath. The idea of men and women being equal uncovered much about the fallacies of a binary gender system, and, for many, the paradox of wanting to be treated "equally" to an identity or system that wasn't healthy to begin with. In other words, it often becomes more complex the more we uncover. It is the nature of doing authentic work for social justice and equality that there are always more ways in which we can challenge ourselves and our community to be more conscious, loving, supportive and open.
The other interesting thing, well, interesting, or sad depending on how to look at it, is that many of the stories told in Free to Be, You and Me are NOT outdated in the slightest. In almost 40 years we as a culture have not shed the painful stereotypes of gender identities, and still impose these restrictive ideas on our children through most mainstream media outlets, not the least of which is advertising.
Women still hawk all the cleaning products in commercials.
There are still "Boy Toys" and "Girl Toys," and I would be willing to bet, despite Alan Alda's super buttery smooth delivery of the story "William's Doll," that the majority of another generation of boys would get flack, especially from the males in their lives, about wanting a doll.
There are still "Girl Clothes" and "Boy Clothes, " and even a kind, intelligent friend of mine winces when his son wants to wear his sister's pink shoes.
Free to Be, You and Me is useless in the same way we are "post-racial" because we have a black president. Just because things "aren't as bad as they used to be" doesn't mean that everything is fixed.
I think that a new chapter of the Free to Be... series, one that goes the next steps in ideas around gender and sexuality, one that addresses tough issues around race and global issues of destruction of place and culture, would be incredible.
But I am pleased and saddened at the same time to note how much Free to Be... remains culturally pertinent for 2010.
I have listened to the album over and over again through the years. The music and stories are imprinted in my head so that I can recite them along with the storytellers.
In fact, Free to Be was the very first musical I performed in at the local children's theatre. Along with 25 or so other kids I belted out "In a land we the children are freeeeeee. In a land through the green countryeeeeeee," and had my first solo with the lines "When we grow up will I be a lady?" while wearing a floppy pink hat and a too-big-for-me party dress.
This was such a part of my childhood that I knew I would have to sit down and look at the book, read the words over and over again, to get some actual perspective on how it had aged.
It was nearly impossible to find a copy of the book, and I ended up getting it through loan from another university library. When it arrived, it's cover was worn, and some of the pages were barely hanging onto the binding. It was the original printing of the book from 1974, and I feel very lucky to be using this copy for my research. A little piece of history in my hands.
The first thing that I was struck by was how the book looked much less dated than I'd expected. Aside from the awesome 1970's photos that accompany "It's Alright to Cry," the drawings and layout still feel diverse, interesting and beautiful. The woodcuts by Barbara Bascove are my particular favorites.
The music on the album is certainly dated, which is hard to avoid when you are making something that you want to feel fresh and hip and exciting for a certain era. Some of the more theatrical/ story songs have weathered the years, but the music for "Sisters and Brothers" with it's funky 70's vibe might be a little hard for kids to relate to. I may be wrong, though. I think kids are much more adaptable than adults, for sure, but it certainly sounds dated to me.
I suppose part of me expected the content of the book would be hopelessly unrelatable, and that kids today are so "post- whatever" (racist, sexist...etc) that the things that seemed radical almost 40 years ago would make kids today say "Duh?!"
In some ways, this almost already felt true by the time I made my stage debut in the show in 1984. Some of the messages were lost on me because they didn't seem all that radical by the time I was being raised by a single mother in the mid-eighties in California. Obviously, that may have been a totally different story in another place, or another family, but I don't think I understood AT ALL what the song "Girl Land" was about. The song references a place where "good little girls pick up after the boys," or a childhood more like the one my mom was raised in. I wore jeans and played sports and had Tonka trucks that my Barbies drove around in. I was raised to believe that I was growing up in a "post-sexist" era, which in relationship to the previous generation, it must have felt like. The song didn't seem to apply to me.
But sitting with the song, as a 35 year old woman, in fact re-visiting all the stories and songs that deal with gender equality in the book, I am reminded how the dismantling of oppression is like peeling the layers of an onion. So in some ways this book doesn't translate to a new era, but not because we have "fixed" all those pesky issues, but because we have uncovered what is beneath, as well as discovered how the ways we were dealing with one set of oppressions was enforcing another.
The gender discussions of Second Wave Feminism were radical and so important, and there was so much that lay beneath. The idea of men and women being equal uncovered much about the fallacies of a binary gender system, and, for many, the paradox of wanting to be treated "equally" to an identity or system that wasn't healthy to begin with. In other words, it often becomes more complex the more we uncover. It is the nature of doing authentic work for social justice and equality that there are always more ways in which we can challenge ourselves and our community to be more conscious, loving, supportive and open.
The other interesting thing, well, interesting, or sad depending on how to look at it, is that many of the stories told in Free to Be, You and Me are NOT outdated in the slightest. In almost 40 years we as a culture have not shed the painful stereotypes of gender identities, and still impose these restrictive ideas on our children through most mainstream media outlets, not the least of which is advertising.
Women still hawk all the cleaning products in commercials.
There are still "Boy Toys" and "Girl Toys," and I would be willing to bet, despite Alan Alda's super buttery smooth delivery of the story "William's Doll," that the majority of another generation of boys would get flack, especially from the males in their lives, about wanting a doll.
There are still "Girl Clothes" and "Boy Clothes, " and even a kind, intelligent friend of mine winces when his son wants to wear his sister's pink shoes.
Free to Be, You and Me is useless in the same way we are "post-racial" because we have a black president. Just because things "aren't as bad as they used to be" doesn't mean that everything is fixed.
I think that a new chapter of the Free to Be... series, one that goes the next steps in ideas around gender and sexuality, one that addresses tough issues around race and global issues of destruction of place and culture, would be incredible.
But I am pleased and saddened at the same time to note how much Free to Be... remains culturally pertinent for 2010.
Friday, November 26, 2010
Liberation Literature
I often use the term "radical" in my exploration of social memes in children's literature, but I think I need to explain more of what I intend with the use of this word. Radical by definition means, "from the root." My interest and aim is to look at the depths of children's books for, not only the information about our culture that they pass along to children, but the roots of these very ideas in our culture at large. Why we put value and emphasis on certain lifestyles, values and behaviors.
The books that most interest me, the ones I feature on my expanding "List of Books I Like" are ones that present a liberatory alternative the certain social norms about gender, race, culture, class, sexuality and consumption. I would call it "Liberation Literature."
What I mean by this is as follows...
That the book deals with one, or more, of the following topics:
1. Portrays loving respectful relationships between people, regardless of gender
2. Shows adults giving children autonomy and treating them with respect
3. Does not place rigid gender boundaries, or deals with the idea of gender as something other than binary
4. Shows family structures outside of the assumed "nuclear family" model
5. Portrays people of color as the lead character/ majority of the characters, without necessarily needing their ethnicity as a plot point
6. Uses cultural references from other sources than the "white/ christian" American perceived norm, especially without necessarily needing it as a plot point
7. Portrays working class, low income or transient folks with a normalcy and respect
8. Portrays life outside the capitalist system
9. Illustrates people living in/ or working to live in harmony with their surroundings
10. Questions the dominant culture of sexism, racism, heterosexism, classism and environmental devastation in a clever, beautiful, or profound way
I know there are a ton of things I am leaving off that list. That is what I have for the moment. It is a work in progress, and I would love your input. I think that it will be nice to have as a reference point while continuing my reading and research.
The books that most interest me, the ones I feature on my expanding "List of Books I Like" are ones that present a liberatory alternative the certain social norms about gender, race, culture, class, sexuality and consumption. I would call it "Liberation Literature."
What I mean by this is as follows...
That the book deals with one, or more, of the following topics:
1. Portrays loving respectful relationships between people, regardless of gender
2. Shows adults giving children autonomy and treating them with respect
3. Does not place rigid gender boundaries, or deals with the idea of gender as something other than binary
4. Shows family structures outside of the assumed "nuclear family" model
5. Portrays people of color as the lead character/ majority of the characters, without necessarily needing their ethnicity as a plot point
6. Uses cultural references from other sources than the "white/ christian" American perceived norm, especially without necessarily needing it as a plot point
7. Portrays working class, low income or transient folks with a normalcy and respect
8. Portrays life outside the capitalist system
9. Illustrates people living in/ or working to live in harmony with their surroundings
10. Questions the dominant culture of sexism, racism, heterosexism, classism and environmental devastation in a clever, beautiful, or profound way
I know there are a ton of things I am leaving off that list. That is what I have for the moment. It is a work in progress, and I would love your input. I think that it will be nice to have as a reference point while continuing my reading and research.
Subscribe to:
Posts (Atom)