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The Tender, Wild Realm of Children’s Literature: A Reading List

Photo by Melanie via Flickr (CC BY-NC 2.0)

The plot of the book came to me as I was falling asleep: two girls share a bedroom, and squabble until they have no choice but to divide their room in half. Only one girl has access to the bedroom door. The other has the closet, which turns out to be an elevator. Suddenly, I was wide awake. I hadn’t thought of this book in years. Thank God for Google; soon, I had a list of results for This Room is Mine by Betty Ren Wright, now out of print. A few clicks later, I learned Wright had died in 2013 at 89 years old. She wrote more than thirty children’s books, including dozens of ghost stories. This Room is Mine isn’t a ghost story (at least not that I remember), but it does feature that archetypal spooky spot, the closet, and a supernatural closet at that. With a touch of fantasy, Wright dispels the girls’ disagreement.

Children’s literature is a conduit for larger questions of identity, fear, joy, and freedom, and the following essays explore these themes.

1. “The Best Children’s Books Appeal to All Ages.” (Gabrielle Bellot, Literary Hub, December 2016)

Sandwiched between Jules Feiffer’s Cousin Joseph and Elena Ferrante’s My Brilliant Friend on the shelves of the bookstore where I work is a slim but hard children’s book: The Beach At Night, a book Ferrante wrote, ostensibly, for children. I’ve skimmed through it, and I find it terrifying, as I find any book about a sentient doll terrifying. Perhaps I’ve been too quick to judge. At LitHub, Gabrielle Bellot explores The Beach at Night through the lens of Ferrante’s anonymity and compares the work to C.S. Lewis, Chinua Achebe, Arnold Lobel, Gabriel García Márquez, and Hayao Miyazaki’s decidedly mature children’s stories:

Are these indeed stories for children, if children cannot be expected to get all of these references? But, of course, this is partly the point. Children’s stories are often for adults in different ways than they are for children—and, just as books change for us as we do, children’s tales will, at best, take on new shades of meaning, will reveal new hidden rooms and lofts, as we learn to look at them with more attuned eyes.

2. “Why I Came Out as a Gay Children’s Book Author.” (Alexander London, BuzzFeed, April 2016)

To make ends meet, children’s author Alexander London supplements his writing life with hundreds of school visits. After the Supreme Court ruled on Obergefell v. Hodges in 2015 and legalized gay marriage, London wrestled with the decision to be honest with his curious students about his marriage to his husband.

3. “For Children and Sensitive Readers.” (Alex Kalamaroff, Blunderbuss Magazine, March 2014)

Daniil Kharms was co-founder of OBERIU, “the Union of Real Art, an organization of activist absurdists who dismissed realistic writers as purveyors of the drab and demanded a new art that was one-third highbrow language experiment, eight-sevenths freakshow,” He was invited to join the Association of Children’s Literature in 1927, one year before OBERIU was formed.

In 1931, Kharms was arrested and charged with anti-Soviet activities. His children’s books, the police said, were too absurd; they didn’t embrace the new reality. Stalin’s ruffians wanted to live in a world where elephants would not appear out of the blue. They did not approve of extravagant sledding activities. A man screaming poetry from atop an armoire was worse than criminal; it represented a tear in the new reality. In one of Kharms’s children stories, the porcupines shout, “Cock-a-doodle-doo.” In another, Brazil is only a short drive from Leningrad. These impossible occurrences were unacceptable, weird whack-a-moles popping up and poking through the veneer of ordinary life. Who could tolerate such mischief?

4. “Ursula Nordstrom and the Queer History of the Children’s Book.” (Kelly Blewett, Los Angeles Review of Books, August 2016)

You may not know of Ursula Nordstrom, an editor who transformed children’s literature in the mid-20th century. Nordstrom was certain kids would enjoy books that mirrored their complex inner lives instead of dispensing pat morals. She was right. The books she championed, including Harriet the Spy, Where the Wild Things Are, Charlotte’s Web, and Goodnight Moon, are iconic. Like several of the authors she worked with, Nordstrom was queer. In this essay, Kelly Blewett examines Nordstrom’s own children’s book, The Secret Language, through a queer lens.

For further reading about children’s lit, here are Longreads’ takes on authors Beverly Cleary, Mo Willems, Amy Krouse Rosenthal, Roald Dahl and Astrid Lindgren, and illustrator Maira Kalman.

Shakespeare’s Genius Is Nonsense

Longreads Pick
Source: Nautilus
Published: May 25, 2017
Length: 13 minutes (3,347 words)

Betsy DeVos’s Cynical Defense of the Trump Education Budget Cuts

Betsy DeVos
AP Photo/Carolyn Kaster

Early in Betsy DeVos’s testimony before Congress on Wednesday we got to see how the Education Secretary can magically turn less money into “more latitude.”

In her opening remarks to a House Appropriations subcommittee, DeVos, argued that the budget — which proposes cutting Department of Education programs by more than $10 billion — represents a rethinking of the role of the federal government in education, giving states and communities greater control and freedom in how they serve students and families. DeVos’s “control and freedom” narrative includes a proposed $250 million for school vouchers, which diverts money to private and religious schools.  Read more…

Was It a Story of Love or Exploitation? It Was Both, and More

Photo illustration via The Atlantic

Reality is always ambiguous, and that is something stories do not want to be.

In real life, people are riddled with conflicting motives, emotions, and ideas. We can both love and hate our families with equal intensity. We can make choices not for one reason, but for a multitude of reasons, sometimes in opposition to each other. Our identities are inevitably, and infinitely, hyphenated.

Stories, by their nature, tend to resist ambiguity. A story is a kind of model of the world, a map rather than the terrain, and therefore they tend toward simplification. This is especially true in journalism, which in its most basic form asks “what happened?” with the expectation that there will be a single, knowable answer.
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Stories are Everything: A PJ Harvey-Inspired Reading List

PJ Harvey performs at Alexandra Palace, London. Photo by joeri-c via Wikimedia Commons (CC BY-SA 2.0)

I listened to PJ Harvey’s 2011 album Let England Shake obsessively while researching people who were sickened or died as a result of their work building nuclear weapons. The album is both simple folk storytelling, and a timeless work about war in the grand tradition of Goya or Hemingway; like the best writers, she turns discrete stories into a broader lens through which to view the world. The music helped me grapple with what each data point of suffering and sacrifice meant, the contradictions in our national remembrance of the cold war, and the forces still shaping that memory.
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Welcome to Airspace

Longreads Pick

How the same design language — “the neutered Scandinavianism of HGTV” — took over coffee shops and Airbnbs from Brooklyn to Osaka.

Source: The Verge
Published: Aug 3, 2016
Length: 14 minutes (3,601 words)

Young African Artists Lead Nuanced Conversation about Race in America

(Photo by Paul Marotta/Getty Images)

For the New York Times, Taiye Selasi profiles novelist Yaa Gyasi and visual artist Toyin Ojih Odutola, both African-born, Alabama-raised creatives who’ve won critical acclaim for incisive work that probes deeply into the meaning of race in America.

“Drawing was always my thing,” Ojih Odutola says. “I always signed up for competitions. I won a lot of first-place prizes, but I was very traditional in my renderings.” Her parents lauded her gift but viewed art as a hobby. It was Dana Bathurst, a high school art teacher, who challenged their assumptions: that good art must approximate European traditions and that pursuing a career in art wasn’t possible. Bathurst introduced Ojih Odutola to a new conception of portraiture through the work of African-American artists like Jacob Lawrence, Elizabeth Catlett, Romare Bearden and fellow Alabamian Kerry James Marshall. Gyasi, similarly, excelled at writing from an early age but couldn’t imagine a literary career before AP English. That year, the only black English teacher she would ever have, Janice Vaughn, took her writing seriously. Then, in her senior year, Gyasi discovered Toni Morrison’s “Song of Solomon.” The language was spectacular; the author a brown woman; the sensibility familiar, Southern.

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It Was Like Nothing Else in My Life Up to Now

Photo by Steve Photo by (CC BY-SA 2.0)

Josh Roiland | The Digital Press | May 9th 2017 | 19 minutes (5,354 words)

This essay first appeared in Haunted by Waters: The Future of Memory and the Red River Flood of 1997 published by The Digital Press at the University of North Dakota. Our thanks to Josh Roiland and editor David Haeselin for allowing us to reprint this essay at Longreads.

* * *

On a still summer night in the last year of last century an overweight woman in a wheelchair appeared, as if an apparition, under a street lamp in a parking lot on the west end of campus. I had not seen her when I pulled my car in. It was an hour till midnight, and I was covered in sand.

I’d spent the night playing volleyball and had returned home to married student housing where I was summering with a friend’s wife, while he interned in Minneapolis. She was a nurse who worked nights, and I was an English major lazing between my junior and senior year. We rarely saw each other; the only complication in our cohabitation resulted from my inability to lift the toilet seat when I got up to pee in the middle of the night. In the mornings we’d cross paths and she’d tell me, again, that it was no fun to come home and sit in piss.

That night in the dark parking lot, the woman rolled her heavy body from behind a street-lamp. “Excuse me,” she said, coming closer.

“Hi!” she said cheerfully. “Can you, uh—would you be able to give me a ride home?”

She worked at a telemarketing place near the corner of University Ave. and 42nd St. Work had let out, but the buses had stopped running, and she needed a way home. She crossed the busy intersection and wheeled into the expansive parking lot waiting for someone to help her. I was tired and dirty. I just wanted to slink into the stuffy efficiency, shower, and distract myself to sleep with PlayStation. But here she sat.

“Sure,” I said. “Sure, I’ll give you a ride home.”

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Playing Football to the Beat of Their Own, Literal Drummer

football players on the field line up to play
Photo by daveynin (CC BY 2.0)

Gallaudet University — named for Thomas Hopkins Gallaudet, who helped create American Sign Language — was the first institution of higher education for people who are deaf or hard of hearing. And like any good American institution of higher education, it has a football team — except players and coaches communicate via sign language and the vibrations of an enormous bass drum. In The AtlanticMatthew Davis takes us to Gallaudet’s homecoming game (they won!), and unpacks the tensions that arise when a school tries to cater to deaf and mainstream students, as Gallaudet increasingly has to do.

In 2000, hearing students were admitted for the first time. Today, a rising percentage of Gallaudet’s students come from mainstream backgrounds, a percentage that likely needs to keep rising in order for the school to survive.

This is not without controversy, especially as it relates to students with cochlear implants, students like Reds. Cochlear implantation is an invasive surgery that places an implant into the cochlea, the spiral within the inner ear that contains the primary organ for hearing. A processor close to the outer ear sends electronic sounds to the cochlear implant, which directly stimulates the hearing nerve. What you think of this surgery depends, in part, on how you view deafness—as an identity trait or a problem to be solved. Many in the Gallaudet community see deafness as an identity trait, and they see American Sign Language as the primary expression of that identity. So do some in the hearing community. One hearing mother of a player on the football team told me she never considered implanting her son because it would be like changing his race. The argument, then, of who is deaf and how this deafness is expressed cuts to the core of language, identity, and biology and has deeply affected the Gallaudet community.

In the end, though, football brings them together — a quintessentially American form of bonding.

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At McSorley’s: Unsorted Regulars, Misfits, Liars, Heroes, and Psychos

Bar owner Matty Maher, center, gestures while talking over beers with fellow Irishmen Mick Ryan, left, and Tom Nolan at McSorley's bar in New York, Sunday, Feb. 1, 2004. (AP Photo/Gregory Bull)

At Hazlitt, Rafe Bartholomew tells the story of his father, Geoffrey Bartholomew, who felt that his alcohol addiction and his bartending job at famed McSorley’s in New York City had prevented him from achieving the dream of becoming a writer. Bartholomew quit the booze but not the bar, and self-published a volume of poetry: The McSorley Poems: Voices from New York City’s Oldest Pub. In this poignant story of ambition, regrets, fathers, and sons, Rafe recounts how Bartholomew found his voice by mining the humanity of the “Unsorted Regulars, Misfits, Liars, Heroes & Psychos” who frequented the bar.

The first third of the binder described various McSorley’s artifacts—the turkey wishbones that had been dangling above the taps since 1917, when a group of regulars hung them for good luck before shipping out serve in World War One; the stuffed jackalope behind the bar; Harry Houdini’s handcuffs dangling from the ceiling as if the great escape artist had been hanging there with them, freed himself, and left behind a souvenir. The middle section consisted of poems devoted to “Unsorted Regulars, Misfits, Liars, Heroes & Psychos.” The language was raw, peppered with black humor and full of tragedy—a reminder that for all the laughter and communal goodwill I associated with McSorley’s, the men and women who are drawn into the bar’s orbit typically arrive with some scars. These were my father’s people, the alcoholics and loners and deviants he made his life with, and even at their darkest, the poems shined a light on his characters’ humanity.

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