Showing posts with label Representation. Show all posts
Showing posts with label Representation. Show all posts

Thursday, October 26, 2023

CURES FOR LONELINESS: Writing & Illustrating Disability

 





CURES FOR LONELINESS: WRITING & ILLUSTRATING DISABILITY

by Charlotte Sullivan Wild

Photo by C. S. Wild 2021 - Nighttime window with a reflection/ silhouette of a figure with hair in a loose bun, lamp and dressers from a living room, looking out on fading sunset, silhouette of trees and a barn. The moon looks like a small jewel or tear on the figure's face.


Loneliness

While every disabled person is unique, I suspect at some point, we all share loneliness. Isolation has absolutely been the hardest part of becoming chronically ill. Yet, I’m not alone.

A former student started using a wheelchair at age twelve and moved shortly thereafter. This kid full of macabre humor suddenly felt shy. They didn’t make many friends. Or fit in.

A neurodiverse elder recently told me, they’d felt “different” their whole life. They longed for connection, but got beaten up as a kid, and still feel left out.

Sometimes disability itself isolates us. 

Too often, inaccessibility and prejudice do, too. 
And no wonder. Most of us grew up without affirming disability stories. Instead - we got infantilizing or villainous or gas-lighting images of disabled people. Or inspiration porn (a term coined by Stella Young) created for able people


A grainy, sepia image of carnations against a blue sky with white text in the sky: "The only disability in life is a bad attitude."
Inspiration porn quote by Scott Hamilton: "The only disability in life is a bad attitude." The grainy, sepia image of pink carnations against a cloudless sky doesn't change the insult of this platitude. Disabilities are real. As are barriers and prejudice. Objectifying disabled people to make able people feel good, signals that disabled people are indeed alone.



But unlike many of our disabilities, loneliness is curable.



Little Cures

As book makers, we can dream a less lonely world into being. Imagine what authentic disability stories would have meant to my elder. My student. Their peers and teachers. When I was first cut off with illness, I was lost. Some of your books were lifelines. 


Authentic stories can reassure disabled kids: they aren't alone. Model that it's okay to ask for what you need, to draw boundaries, and care for yourself.
They can normalize hanging with the new kid who uses a wheelchair or noise-cancelling headphones. 

There is no cure for my illness. But sometimes the smallest help is life-changing. 

Likewise, one book can’t solve everything. But authentic books 
can affirm kids, model friendship, and dismantle ableism - page by page. 


Little cures can change lives. 


Pictured: Sepia photo of the book Unbroken: 13 Stories Starring Disabled Teens, edited by Marieke Nijkamp on a wooden table, surrounded by my other little cures: pill organization box, liquid brown medicine bottle and syringe, sprays, salt, electrolyte packs, compression socks, sunglasses, hot and cold packs, wrist heart rate monitor, bandana to cover unwashed hair, since bathing takes a 2-3 day recovery.

My little cures: Sepia photo of the book Unbroken: 13 Stories Starring Disabled Teens, edited by Marieke Nijkamp, on a wooden table, surrounded by pill organization box, liquid brown medicine bottle and syringe, sprays, salt, electrolyte packs, compression socks, sunglasses, hot and cold packs, wrist heart rate monitor, bandana to cover unwashed hair (bathing = 2-3 day recovery).



Curing Loneliness Together


How do we make little cures?

For me, disability makes writing harder. Beyond physical and mental limits, I've struggled most with the loss of contact: 
school visits, conferences, agent and editor talks, critique groups, and social support. To cure kids' loneliness, disabled artists need accessible community themselves. This requires flexibility and cooperation from able allies.

Second, all of us 
(with limits) can create disability representation. For that, able people need us


We do this together:

  1. Disability Groups 
    My peers are invaluable! They remind me our stories matter. Gently correct my mistakes. Model how to survive, strategize, and confront ableism. And rest. They teach me to keep learning. To keep writing cures for loneliness. 

  2. Able Allies - invaluable, too!

    1. Illustrators, continue portraying more diverse disabilities and bodies. Yet push beyond defaults, like old manual wheelchairs. (Resources below)

    2. Writers, avoid ableist tropes (see below). Consider whether you should write a disabled main character. Involve and compensate us in research, even if you have disabled family. (My perspective can differ from that of even loving caregivers.) 

    3. Community leaders, reach out. Ask us what barriers remain. Center us in every discussion on disability. 

  3. Everyone!
    Boost disability books, especially with intersectional representation.


Together,
by lessening the loneliness of disabled creators, 
by collaborating,


we can create for kids


bookshelves full of cures 
for loneliness.



The author is being wheeled through the woods, over grass, in her reclining "Franken-Chair" (as it's affectionately called) with elevated foot rests. I have a big, silly, open-mouthed grin on my face. I've a blonde bob, blue hoodie, gray pants and rainbow socks. A smiling friend in a baseball cap and beard is pushing the chair, another man walks along side. We were on the way to the boat - first time in four years!

Rare moment with friends! The author is being wheeled through the woods, over grass, in a reclining manual wheelchair with elevated foot rests, which I affectionately call The Franken-Chair. I have a big, silly, open-mouthed grin on my face. I've a blonde bob, blue hoodie, gray pants and rainbow socks. A smiling friend in a baseball cap and beard is pushing the chair; another man walks along side.



RESOURCES

For Disabled Creatives:

Illustrating More Diverse Aids/ Disabilities (Please!) and Manual Wheelchairs

Avoiding Ableist Tropes (Authors/ Illustrators)


The author, a white woman with long, blonde hair and glasses and violet shirt holds the picture book LOVE, VIOLET beside a window. The book cover: The cover of the picture book LOVE, VIOLET: In a snowscape with warm, sunset sky and falling snow, a peach-skinned girl with short, asymmetrical red hair, cowgirl hat, and purple coat holds a pink valentine heart to her chin, smiling toward a girl smiling back, who has brown skin and thick curly black hair and is wearing violet stocking cap and winter coat and is running happily toward the edge of the book.

Author Charlotte Sullivan Wild (light skin with long, honey-colored hair, glasses, violet shirt, smiling) sitting/ leaning in a window corner, holding up the picture book Love, Violet (illus. Charlene Chua, FSG), which features Violet with short, red hair in her cowgirl hat, peach skin, holding a valentine and smiling at Mira, who smiles back, with thick curly dark hair and brown skin, running into the snowy sunset.


Cover of the picture book The Amazing Idea of You. Blue background with red script words fo the title curved over a circle of vines. Inside the circle is an Asian girl with bob hair, eyes closed, arms extended up; beside her are a yellow gosling and apple with a bite out of it.
Charlotte Sullivan Wild 
is the author of several picture books. LOVE, VIOLET, (illus. Charlene ChuaFarrar, Straus and Giroux; 2022), is a Stonewall Book Award winner, Charlotte Huck Honor Book, Lambda Literary Award Finalist, and Bookstagang’s Best of 2022 winner for Future Classics and Community Favorites (video). THE AMAZING IDEA OF YOU was illustrated by Mary Lundquist (Bloomsbury, 2019). Before becoming chronically ill with ME/CFS and POTS, she worked as an educator, bookseller, and volunteer radio host. She founded the Picture Book Salon of San Antonio and served as the RA for SCBWI Southwest Texas. Originally from frosty Minnesota, she now lives wherever her wife is stationed, recently in Texas, then Italy (with chickens!), and now Colorado. Learn more: www.charlotteswild.com

Picture book cover of The Amazing Idea of You (illus. Mary Lundquist, Bloomsbury). Blue watercolor around edges, red script for title in an arc over a circle of vines. Inside the circle, an Asian girl kneels, smiling, eyes closed, with straight, bobbed hair, arms extended up and out in a peaceful, open gesture; beside her are a curious yellow gosling and apple with a bite out of it.


Tuesday, July 14, 2020

Phoebe Wahl's Moving Essay "Want More Body Positive Books? Start Doing Better by Fat Characters"



In the Winter 2020 edition of SCBWI's quarterly magazine, the SCBWI Bulletin, Phoebe wrote:

“As a chubby child, I was hungry for representation of bodies like my own in the books I consumed. And all too often, my hunger either went unsatisfied, or was fed only with shame (along with this, I want to acknowledge that where I didn't see my body positively represented, I DID see my whiteness, and many other privileged facets of my identity, something many other children don't get.) At eight years old, I was writing in my diary about my weight being something that kept me from being deserving of love. Would that have been different if I had encountered as many fat princesses being wooed in fairytales as thin ones? How would my assumptions that I was lazier and less athletic have been challenged had I read about more fat adventurers and superheroes? Our culture drills a very clear message into children, especially those socialized as female; that their worth is conditional. Based on a set of sexist, white supremacist, albeit ideals of health and beauty. And children's books, unfortunately, do their part in that messaging, through both overt stereotyping, covert coded language or visuals, and complete invisibility altogether.”

It's a powerful message, and, for me, brought up the intersectionality of the work of diversity in Children's Literature: How do we all stand up for each other, and how, in our work for children and teens, can we do better in representing the marginalized, the under-represented, in giving voice to those whose voices haven't been heard, in letting every child see themself in what they read, in empowering every child to dream bigger and better, to empower every child to be their full authentic self and celebrate the diversity of everyone else being their authentic selves?

Phoebe's article was great, and I saw so many parallels with my own journey of being so hungry for representation of boys who like-liked other boys.

"Want More Body Positive Books? Start Doing Better by Fat Characters" is well-worth reading in full.

Access to the Bulletin archives and the current issue is available to SCBWI members only - log into the scbwi.org website and navigate to Publications >
The SCBWI Bulletin >
MEMBERS CLICK HERE TO VIEW THE CURRENT BULLETIN AND ARCHIVES >
CLICK HERE TO ACCESS THE BULLETIN AND ARCHIVES >
top right of the screen click MENU >
ARCHIVE >
JANUARY 2020 (it will open up the full issue in the browser window, and you'll find Phoebe's article on page 25.

Illustrate and Write On,
Lee


Tuesday, October 2, 2018

On Men in Translation: A Guest Post by Avery Udagawa

#WorldKidLit Month image (c) Elina Braslina 


A #WorldKidLit Month and International Translation Day post. 

Earlier this year, I published a post called On Women in Translation, which showed that

• Prominent translations for US children feature women authors, from western cultures; and
• Translations for US children are vanishingly few.

To find out about prominent translations for US children, I had looked at winners of the ALSC Batchelder Award, which for fifty years has garlanded translations for children published in the US.

In today’s post, I would like to share findings about a group I could not introduce fully in that post: male authors of prominent translations for US children. Here is what I found.

Prominent Translations for US Children by Male Authors Also Tend to Come from Western Cultures

Using exactly fifty years’ worth of Batchelder data, I found (click to enlarge):

Authors of Batchelder Award Winners by Gender


Languages of Male Authors of Batchelder Award Winners, by Region



Over fifty years, 1968-2018, 46% of Batchelder Award titles were authored by men. Of these, 83% were written in European languages.

Note: Language can belie culture of origin. Rafik Schami, author in German of A Hand Full of Stars, 1991 Batchelder winner, grew up in Syria and set his story in Damascus.

Looking at Batchelder Honor Books:

Authors of Batchelder Honor Winners by Gender


Languages of Male Authors of Batchelder Honor Winners, by Region


Over twenty-eight years (1991-2018), 38% of Batchelder Honor titles were authored by men. Of these, 67% were written in European languages.

What I learned: as with women, men writing in languages of cultures that contrast highly with the US were under-represented.

As I noted in my last post, most of the world’s languages have been absent entirely from the Batchelder lists, including Arabic, Bengali, Chinese (China), Croatian, Hindi, Hungarian, Korean, Malay, Nepali, Persian, Polish, Punjabi, Swahili, Thai, Ukrainian, and Urdu. These are all languages of countries with national sections of IBBY, suggesting that children’s literary scenes exist.

Translations likely to be accessed by US children that have male authors, were also predominantly authored in European languages.

Will New Batchelder Award Criteria Change this Picture?

When I combined all genders of authors of Batchelder Award and Honor books over time, I found:

Languages of All Authors of Batchelder Award and Honor Winners, by Region


In the next fifty years, will the balance among the bars in this graph change?

One factor that may affect the answer is a change in Batchelder Award critera. Recently, an award evolution committee determined that books originally published in a language other than English, published in English translation overseas, and then subsequently published in English in the US, will be eligible for the award. (Previously, books published in English translation abroad and subsequently published in the US were ineligible.)

This could conceivably bring greater prominence in the US for books written by authors in non-western cultures. Books written in non-European languages are often a risk to publish Stateside due to the work needed to translate, edit and market them for US readers. If a book from, say, Asia, gets published with success in the UK, a US publisher could find it easier to risk publishing it, since it now has a sales record in an English-reading country and is translated. The fact that such a book could now win a Batchelder might mean that more such books attain prominence in the US—because Batchelder books are likely to be stocked in school libraries.

In the last Batchelder Award cycle, the novel Bronze and Sunflower by Chinese male author Cao Wenxuan, translated by SCBWI member translator Helen Wang, was ineligible due to having been published first in the UK. Now a work like this could win the award.

Read more about Bronze and Sunflower and the author here.


Will the new criteria bring about a change in where our children’s books are written? Time will tell. Meanwhile, it’s up to US consumers and publishers to notice how translations—all translations—remain a tiny sliver of our children’s publishing output.



Data source: Cooperative Children’s Book Center (CCBC) Translated Book Logs and overall book counts

What Three Percent Looks Like


To promote world literature, SCBWI welcomes not only international writers and illustrators, but also translators, who in 2014 became the third professional category of members. Translators are now part of 60 SCBWI regions, including 38 US regions. Reach out to translators to learn more about the world of world literature. Info: itc@scbwi.org


Avery Fischer Udagawa serves as SCBWI International Translator Coordinator.