Doug's Blog

Reading Matters

Doug Wilhelm is a full-time writer and an independent publisher in Weybridge, Vemont. His 13 novels for young adults include The Revealers (Farrar, Straus & Giroux, 2003), which has been the focus of reading-and-discussion projects in well over 1,000 middle schools; its sequel, True Shoes (Long Stride Books, 2012), and Doug's newest book, The Prince of Denial (Long Stride, 2013).

Cross-Cultural YA Fiction: 10 Good Books

Last spring and summer I asked teachers, school librarians and bookstore people to suggest middle-school and YA novels that place an American main character in another culture or country. This is a strong way to connect American young readers with diverse cultures — plus, I’ve always liked reading novels like this.

From all the recommendations that came in, I selected and read 10 novels, blogging about each one. Here’s the list, ranked from my most favorite on down — with summaries of what I thought.

1. Endangered (Congo), Eliot Schrefer. No realism is spared in this gripping story of an American girl at a bonobo sanctuary that’s brutally overrun in a spasm of civil war. A
powerful narrative, vividly written, with mind-opening honesty about what two species of primates — bonobo and human — are capable of.

2. Nowhere Boy (Belgium), Katherine Marsh. A privileged American and a desperate young Syrian refugee meet in a most unexpected way — and the American’s life finds a purpose. This is a rare achievement: a novel with moral intent that’s also a strong and honest story.

3. Laugh With the Moon (Malawi), Shana Burg. A girl closed to her own grief opens up to the village world where she has to be for a summer. I loved this book.

4. Darius the Great Is Not Okay (Iran), Adib Korram. Awkward, unconfident Darius travels with his family from their U.S. home to Yazd, his mother’s hometown. This is not a novel of dramatic events — but as Darius gradually makes personal connections in Yazd, the story grows deeper and more meaningful on the inside.

5. Habibi (Israel), Naomi Shihab Nye. This is a 1997 novel whose narrator, like the author, has a Palestinian dad and an American mom — and one day her family relocates from the U.S. to a tense, polarized, injustice-ridden Jerusalem. At first focused on conveying the Palestinian side of heavy-handed Israeli rule, the novel opens up into something broader and deeper, yet still challenging.

6. Listen, Slowly (Vietnam), Thanhha Lai. The cultural immersion here is richly detailed and engaging. The story itself, about an American-born Vietnamese girl enlisted in the search for a grandfather lost in the war, isn’t quite as strong, but it's a rewarding read even so.

7. Escape Under the Forever Sky (Ethiopia), Eve Yohalem. An American ambassador’s daughter is kidnapped — then escapes. In this thrilling adventure deep into a totally different world, the human spirit pushes through stark dangers and striking cultural differences.

8. Small Damages (Spain), Beth Kephart. A pregnant high schooler is shipped secretly, and reluctantly, to rural Spain to have and then give up her baby. The storytelling can be confusing, but it makes us think and feel. I’d love for all boys to read this.

9. Elephant Run (Burma), Roland Smith. I wanted to like this WWII yarn, about a colonial planter’s son caught by the Japanese invasion in a community of elephant drivers, more than I actually did. An inventive plot, but flat storytelling and characters.

10. Wanderlove (Central America), Kristin Hubbard. A celebration of backpacking travel in which local culture is entirely background, and the self-absorbed main character never meets anyone local who isn’t selling or serving her.

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Kidnapping, Escape and African Wildlife: An Ethiopian Adventure

This is the tenth and last in a series of posts about novels for young readers that transport American characters into other cultures and countries. For suggesting Escape Under the Forever Sky, thanks to Sharon M. Lawler, MA, MSLS of San Antonio, Texas. And a very sincere thanks to everyone who suggested titles or responded to these posts! I’ve had a fine time doing this.

Escape Under the Forever Sky is a sweet novel, a suspenseful story that’s well-researched and engagingly informative. I didn’t know, for example, that, as author Eve Yohalem writes, “half a million Ethiopian kids die every year from disease and bad nutrition.” Or that “lions don’t want to get into fights with other lions; they roar so other lions will avoid them.” Or that there really was a 12-year-old girl, kidnapped from her village in southern Ethiopia in 2005, who was saved when three wild lions surrounded her and chased her captors away.

Yohalem based her novel on that incident. She invented a 13-year old main character and narrator, Lucy, who is the daughter of the American ambassador in Addis Ababa and is snatched away from an illicit outing with an Ethiopian friend.

Lucy’s a pretty regular teen when we meet her, chafing under her mother the ambassador’s rigid — and, it turns out, quite necessary — protections. She dreams of a freer life (and a village boy in her school), but at the same time she swallows up everything she can learn about African wildlife. In the end, her yearning to be liberated, her knowledge of wild animals and her crush all play a part in her survival. As do some lions. But mainly it’s her amazing resourcefulness, which becomes totally believable, that an ordinary kid could find that inside herself.

When my book The Revealers was being used by a lot of schools, I had the privilege of visiting dozens of middle schools all over the U.S. and talking, sometimes in depth, with hundreds of young adolescents. What I learned, most of all, is that so many of our country’s young people — from every background — are smart, curious, full of dreams and aware of the world. Whether that is more or less so in this age of smartphone absorption I do not know. But the human spirit comes through; you see it, and you draw hope from it.

This is the best thing about Escape Under the Forever Sky. It’s not that this is a great novel; it’s a very good adventure, vividly told, and it absorbs us into a totally different world. And in the process, Yohalem’s narrative lets the resilience, determination and incredible — and generally untapped — capacities of the human spirit come through and envelop us. That’s why this is so worth a read.

Oh ... and you learn about lions. And about colobus monkeys, Swayne’s hartebeest and gelada baboons. And that hyenas, which have the strongest jaws in the animal kingdom, secrete something called “hyena butter” from their butts to mark their territories.

I did not know that.

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In a jungle village, a Boston girl finds her heart — and touches ours

This is the ninth in a series of posts about novels for young readers that transport American characters into other cultures and countries. For suggesting Laugh with the Moon, thanks to Katy Manck, MLS, a “librarian-at-large” in Gilmer, Texas who is president of the International Association of School Librarianship. Katy writes about YA books, “beyond the bestsellers,” at BooksYALove.com.

Some novels are just winning. They first win your attention, then your interest and connection — and finally, if they’re really good, they win your love. That’s how it was, for me, to read Laugh with the Moon.
           Author Shana Burg draws on years-ago experience with rural education in Malawi, a tiny landlocked nation in southeast Africa, to take us there — very grudgingly, at first — with 13-year-old Clare. She’s a doctor’s daughter whose mom passed away about a year ago. Her dad brings her with him for two months in a jungly rural district deep in Malawi, where he’ll work for an international medical charity and she will attend a local school.
          From the first moments after the Air Malawai plane lands and its door opens, as “tiny beads of sweat bubble up all over my skin” and all Clare sees through her window is “forest-green, olive-green, green-gold. And rain, rain, rain,” we are immersed with her in this world that’s so different from her home life in Boston. Deep in a grief she doesn’t know what to do with, Clare is giving her dad the silent treatment. “I doubt I’ll ever smile again,” she thinks.
          She’s wrong, of course; but it takes the whole story for her to find the laughter the book’s title promises. In Mzanga Village Primary, where she’s the only white student in school and is welcomed with this culture’s generous warmth, Clare knows right away she’ll be friends with Memory, a girl her age who has lost both parents. She gets to know other classmates, too — the troublesome Agnes, the handsome Saidi and Handlebar, a boy whose mother rode on a bicycle’s handlebars to reach a hospital and have her baby. When a weekend day trip lurches suddenly toward tragedy, Clare has to confront heartbreak all over again ... and, with the deep connections she has found here, at last she is able to open. To her grief, to sadness ... to everything.
          This is an engaging read and a beautiful story. It’s funny and inspiring to witness, with Clare, the ways the village kids and those who try their best to teach them cope with privations and challenges far beyond those that face even the most resource-poor American school. Burg’s characters rise easily from her pages to life. And in the end, her novel pries open our hearts, even just a little, right along with Clare's.

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Sent off to Spain, a pregnant, confused teen feels for what’s real

This is the eighth in a series of posts about novels for young readers that transport American characters into other cultures and countries.

In Beth Kephart’s Small Damages, high schooler Kenzie gets pregnant near the end of her senior year, having suddenly lost her dad the previous fall. Her Yale-bound, high-achiever boyfriend Kevin declines to link his own options to Kenzie’s, pointedly asking her, “What are you going to do?” Kenzie’s difficult mother, declaring “Someday you’ll be grateful,” packs her daughter off to Spain, where an old friend knows a couple that wants a baby.
           So Kenzie finds herself on a ranch somewhere near Seville, where a well-known breeder raises bulls for the bullring. Confused and generally unpleasant to everyone around her, she’s placed in the care of Estéla, a gruffly commanding artist in the kitchen. Estéla seems to be an older person, though you have to read most of the book to puzzle that out. There’s also Esteban, who seems to be close to Kenzie’s age, and who seems to have a gift for befriending birds.
          This is an interesting novel, and it makes you think and feel. It’s also confusing. Kephart carefully researched traditional Spanish culture, and she places us right in its midst — but, I think to create an impressionistic experience, she chooses to give us only spotty information. What do these characters look like, and how old are they really? What type of birds are the two that Esteban lives with; and who are the gypsies who appear, angering Estéla for a reason that only gradually clarifies, and who continue to hang around playing music? I, at least, had these questions and more.
          Much that’s vivid does come through. We can all but smell and taste the dishes Estéla prepares, as Kenzie finally starts to open up and their relationship grows genuine and soulful. There are more bright glimpses of local culture, as when people toss flowers from rooftops in Seville down onto musicians in the street; but much of the story just floats in the vague space Kephart creates for it. Kenzie’s struggle with the choices that have been imposed on her, then with the essential one that only she can make, feels very real — and the unexpected decision she finally does make is believable and beautiful.
          I’d love to see teenage boys everywhere read this book, though I think young readers might be a bit frustrated by the author’s way of storytelling. Kephart tries very hard to write beautifully and originally, and often she succeeds. But she doesn’t always keep the reader, puzzling through the story, uppermost in mind.

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Teenage girl discovers backpacking travel. Okay, but ...

This is the seventh in a series of posts about novels for young readers that transport American characters into other cultures and countries. For suggesting Wanderlove, thanks to Carole Soden in Carpenteria, Ca.

Kirsten Hubbard’s Wanderlove is the story of an awkward, unconfident 18-year-old LA girl who, having been painfully discarded by an artist boyfriend, suppresses her own love for drawing and heads out alone on a trip the two had planned into Central America. Soon after, Bria ditches the tour group she’d signed on with and begins an unmapped adventure with a pair of young free-spirited backpackers — and then with just one, an enigmatic boy named Rowan.
           Over the course of more than 300 pages, Bria ... becomes cooler. Becomes a backpacker. Rediscovers her drawing talent, and ... well, as for the boy, what happens is not so hard to predict. Nor is the whole thing. It’s a nice enough romance/self-discovery story, even if the characters never fully come to life — and even though Bria, in visiting Guatemala and then a party-central island in Belize, never interacts with a local person who’s not serving her or selling to her. Obsessed with her own drama, she never learns a thing about the cultures she’s moving through. And that’s a little sad.
          I was a backpacker. I traveled and lived overseas for a good bit of my twenties, and I was also caught up in my own dramas and search for meaning and self — but I think I learned something about the people and places I encountered. Sure, most of the people I met and friends I made were fellow travelers, and sure, most of us gravitate toward people like ourselves; but the idea of backpacking travel is to reach past that. To push ourselves beyond ourselves and our small worlds.
          Bria never does. She idealizes backpackers, and Wanderlove does too. If that encourages more young people to open up and try the romance of traveling without a formal program or itinerary, that’s a good thing. Maybe a very good thing, in this era when we so much need to discover what’s beyond our own culture.
          But for the discovery itself — for popping the little, self-reflective bubbles we each carry around ... I would, I have to say, suggest looking elsewhere.

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Escaping a brutal war. In Congo, with a bonobo. On summer vacation.

This is the sixth in a series of posts about novels for young readers that transport American characters into other cultures and countries. For suggesting Endangered, thanks to Lisa Allocca of William J. Johnston Middle School in Colchester, Ct.

It’s one thing to write an epic fantasy. It’s another entirely to write a realistic YA novel that’s genuinely epic — that takes us, say, through a constantly life-threatened adventure that makes intimately real the agonies of an African nation as it’s traumatized by yet another war.
         Then blend in an astonishing portrayal of the ways and very personal behaviors of bonobos, the ape species closest to us in genetic makeup — and tell it all through the eyes, emotions and skin sensations of a half-American teenage girl as she struggles through forest, marsh and jungle to elude violent death, or worse, with a beloved bonobo at (and on) her side. In Endangered, Eliot Schrefer does all that. And more.
        On summer break from her American middle school, 14-year-old Sophie is visiting the bonobo sanctuary her mother runs in Congo when, while mom is away on a work trip, a sudden rebellion or invasion overwhelms the country’s capital region. Predatory fighters annihilate the sanctuary staff. Only Sophie escapes, with a young bonobo, and the desperate journey the two go on is beyond capsulizing.
        Schrefer spares us no reality. Not the crazed murder sprees, the burning of corpses, or the reason for the rebellion — turns out it’s backed by First World interests that crave Congo’s minerals, to make our electronic devices. We also encounter unexpected kindness, the dignity of villagers who’ve lost everything but that, and rich description everywhere. When Sophie sees a train of refugees trudging through mud in their best clothes — “one mother was in a gorgeous red-and-green pagne wrap, her sons drowning in suits whose shoulder pads hung around their elbows” — she knows they’ve dressed up for a rescue that will never come.
        Sophie herself, as she witnesses gruesome horror, adapts to incredible privations, and coolly soldiers on, doesn’t seem much like any teenager I’ve known — but who’s to say what someone plunged into such a situation could find inside themselves? Sophie is ordinary, until she isn’t — and she’s not the story’s only hero.
        This book might be tough for some kids to absorb. But it’s not long, and its very skillful narrative makes clear and understandable the deep complexities it explores. Endangered is an unforgettable adventure, and an awe-inspiring achievement.

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Amid Europe’s deadly tensions, two boys find a common cause

This is the fifth in a series of posts about novels for young readers that transport American characters into other cultures and countries. For suggesting Nowhere Boy, thanks to both Sue Gail Spring at Norwood School in Bethesda, Md., and Carole Oglesby at Mallets Bay School in Colchester, Vt.

There are novels you don’t want to end, and ones you know you’ll be thinking about a long time after they do. Katherine Marsh’s Nowhere Boy is both.
           This very involving story centers on two boys, about the same age, who find themselves in Brussels, a city that’s not their own and that neither one chose. Max’s American family is here for his dad’s posting with NATO, and his parents hope that by plunking Max in a local school he’ll somehow learn French and find motivation. Ahmed, a young Syrian, lost most of his family to a government bombing in Aleppo, then his dad disappeared in the Mediterranean trying to tow a sinking rubber boat full of refugees to uncertain landfall in Greece.
           Ahmed winds up in Brussels, broke and alone with only a fake Syrian passport. When he takes desperate refuge, one night in a dank room deep in the basement of Max’s family’s townhouse, the two boys are on track to meet. When they do, Max’s life begins to find a sense of purpose, but one he has to hide from almost everyone.
           Nowhere Boy is a rare achievement, a novel with moral intent that’s also a strong and honest story. The narrative pulls us in deeper as its characters struggle and evolve and everyone, on all sides, is swamped by the confused tension the flood of Muslim refugees has brought to Europe. Amid gruesome terror eruptions, there are no simple answers. But the story finds one simple truth: the vast majority of refugees are just people and families, not furthering violence but seeking safety from it.
          Strong female supporting actors include Farah, Max’s sympathetic Moroccan classmate; Claire, his self-involved older sister whom life hasn’t yet really challenged; and Madame Pauline, his after-school tutor who tightly views Muslims as refusing to fit in and endangering Europe’s hard-won post-World War II peace. That war haunts the story, too, as a true tale of one neighborhood man’s sacrifice for one Belgian Jewish boy helps Max understand the choices he’s now making, and why.
           This is a fine, fine novel. Its moral purpose peeks through sometimes a little too plainly — but the strength of the character-weaving narrative, with its gripping action and meaningful suspense, makes its lessons an outcome of the experience, not an author’s overlay. Max and Ahmed, and their friends and pursuers, will all be with me for a while. I’m grateful for that.

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A somewhat good adventure among elephant drivers in wartime Burma

This is the fourth in a series of posts about novels for young readers that transport American characters into other cultures and countries. In writing about Elephant Run by Roland Smith, I’m stretching that profile a bit: the main character here is English. For suggesting this book, thanks to my good friend Mike Baginski, recently retired from a longtime teaching career at Main Street Middle School in Montpelier, Vermont.

Elephant Run has an admirable intent: soon after the outbreak of World War II, send readers into a village deep in the interior of British-colonial Burma with Nick Freestone, the teenage son of an Englishman who oversees this community of elephant drivers, or mahouts, from Hawk’s Nest, a grand home built by his late father, the indomitable Sergeant Major. When Japanese troops occupy the village and make Hawk’s Nest their headquarters, Nick becomes a prisoner and a forced laborer, while his father is taken off to an unsure fate.
      The plot, as they say, thickens. There’s a a haiku-composing Japanese sergeant, and a growing conflict of loyalties among the elephant drivers who had hoped the invaders would be their liberators, but turn out to be brutal on a new level. There’s Mya, a very attractive Burman girl who’s being menaced by a mahout allied with the Japanese; and there’s Hilltop, a mysterious, elderly Buddhist monk whom all the villagers revere and, for that reason, the occupiers can’t touch. And within Hawk’s Nest, it turns out there’s a secret catacomb of passageways, listening posts, and food and armament stores.
      Will Nick survive? Can he protect the beautiful Mya, and somehow find and rescue his dad? And what about Hannibal, the dangerous rogue elephant who’s been hidden on a tangled island from the occupiers?
      It’s an inventive plot, a good story, but somehow there’s a flatness. The characters don’t feel three-dimensional. The storytelling is mechanical, and the dialogue is, too. The writing often feels rushed, and the landscape and culture of the interior, which should be fascinating, never really come to life.
      I’m not a critic and I don’t like critiquing another author, especially one who’s taken on a gutsy adventure like taking us all at once into traditional mahout culture, the last violent throes of the colonial era, and a teenager’s experience of a rarely chronicled theater of the Second World War. For all those reasons, Elephant Run is worth reading. I just wish — sorry, Roland — that I had enjoyed it more.

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Going deeply into Vietnam, with a girl who doesn’t want to

     This is the third in a series of posts about novels for young readers that transport American characters into other cultures and countries. For suggesting this book, thanks to Dr. Genene Meli, curriculum coordinator at Frankford Township School in Branchville, NJ.
     We experience Listen, Slowly through the eyes, emotions and — oh, definitely — the attitude of Mai/Mia. She’s Mai at home in California with her Vietnam-native parents, and Mia at school and with best friend Montana, who has boobs when Mia doesn’t and whose crises are about lip gloss and hair braids. Mia wants only to spend the summer orbiting near on a certain boy she’s never actually spoken to, whom she describes only as HIM.
      But instead, at the start of summer vacation, author Thanhha Lai transports Mai to Vietnam to accompany her grandmother on a quest to learn the fate of her grandfather, who disappeared during what Mai calls THE WAR. On the plane where we meet Mai, the attitude is at a sulking peak. On this journey with her, we can hope, and it seems possible, that Mai/Mia will open up to her family’s native culture, and that — since THE WAR is involved — she might discover some deep new dimensions of life.
      In grandmother Bá’s home village in the north near Hanoi, Bá and Mai are welcomed with feasting and warm, embracive hospitality. Mai responds by teaching local girls how to cut their panties into thongs, even though she herself — “a no-lip gloss, no-short shorts twelve-year-old rocking a 4.0 GPA and an SAT-ish vocab” — doesn’t like thongs. She just doesn’t want to be there, she wants to go home. And whenever she possibly can, she’s texting and Facebook-checking back home, where the busty Montana is full-court-pressing HIM.
      The storytelling here isn’t as strong as the cultural immersion, which is quite detailed and very engaging. We can almost taste all the fresh food specialties that Mai eats, and enjoys more and more. But gradually, eventually, Mai, her grandmother and we discover what happened to her grandfather. It is horrifying. A grotesque, unfathomable circle of hell.
      We never quite understand, at least I didn't, which side her grandfather was fighting on in the WAR ... but as his awful fate is slowly uncovered, Mai makes a local friend. She comes to appreciate the subtleties of the language. And finally — mostly — she shrugs off the drama and opens herself up to being the companion, helper and granddaughter that Bá needs as the two of them ultimately, heartbreakingly uncover the truth.
      Is Mai/Mia transformed? That will unfold over time, in her life. Is she more the whole, bicultural young person she has a right to be? Oh yes.

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HABIBI: Heartache and Humanity inside Palestinian Jerusalem

This is the second in a series of posts about novels for young readers that transport American characters into other cultures and countries. For suggesting this book, thanks to my good friend Elizabeth Bluemle at the Flying Pig Bookstore in Shelburne, Vt.

Today’s NY Times has an oped on how Palestinians view next week’s elections in Israel — basically, without much hope. Or with crushed hopes and resignation. The writer is a Palestinian attorney and author who wearily sums up the latest, largest ways official Israel has eroded those hopes. It’s a point of view Americans don’t see, or hear, or feel very often. Which brings me to Habibi.

This YA novel by Naomi Shihab Nye, a Palestinian-American poet and novelist, came out in 1997 but is every bit as unsettling and powerful today — the more so because it’s a poet’s novel. Central character Liyana is an observant teenager whose own poetics are just rising in her notebooks. Like the author, she has a Palestinian dad and an American mom, and one day her family relocates from the U.S. to a tense, polarized, injustice-ridden Jerusalem.

This is a poet’s novel in the softly eloquent ways Nye conveys Liyana’s new world through her impressions of it. One short chapter, “What You Can Buy in Jerusalem,” is a soft tumult of images: little gray Arabic notebooks, rich and shiny brocade cloth, roasted chickpeas, vials of water from the Jordan River, “gooey, sticky, honey-dipped, date-stuffed fabulous Arabic desserts,” and much more.

Sometimes the impressions overwhelm the characters and narrative; but gradually and with many personal interactions, Nye builds more than a simple story. Habibi gives us Jerusalem and its surroundings from the Palestinian side, bringing that community and its traditions, frustrations and shattering losses to life. But then the novel introduces a young Israeli guy to whom Liyana is strongly drawn — and things get complicated, as it seems they inevitably do in this place of complexities that are both age-old and ever-present.

As Liyana and Omer grow close, the story opens into one that’s broader, deeper, and honestly challenging. The only real answer, Habibi seems to insist, is our own humanity. Its final chapter, “Doors,” begins with this epigram: “There is a door in the heart that has no lock on it.”

For me, at least, this unusual novel opened that door just a little wider.

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Visiting family in Iran, an American kid finds acceptance & connection

This is the first in a series of posts about novels for young readers that transport American characters into other cultures and countries. For suggesting this book, thanks to Jessica Storch and Greg Symon at Frankford Township School, Branchville, NJ.

Adib Korram’s Darius the Great Is Not Okay has a faraway setting and interior goals. Awkward, unconfident Darius is a “fractional Persian” — his mom is Iranian, while his blue-eyed dad is not — and he accompanies his parents and younger sister on a trip from their U.S. home to Yazd, his mother’s hometown. Darius’s grandfather is there with a brain tumor, and there Darius discovers friendship, an ancestral culture with great food, and a sense of belonging and mattering for the first time in his life.

It’s not a novel of dramatic events. Darius makes a friend in Yazd, the family meets relatives and neighbors and eat a lot, they visit sights, some painful things happen, and Darius is sorry to leave. But on the inside the story grows deeper and more meaningful. Khorram conveys a culture in its place — a Zoroastrian, Muslim and Bahá’í community in central Iran — in a really human, unromantic way; at the same time, he gives us an experience of gradually letting down your personal walls.

Darius struggles with depression. When we meet him, he’s bullied at school and he’s defensive and isolated. Then Yazd doesn’t overwhelm him; he sees it mostly as a place with plain, low buildings the color of khaki, and with some people that he likes and some he doesn’t. But people start to reach out for the unconfident kid, and Darius finds himself fitfully, awkwardly, then generously opening up. That doesn’t happen without setbacks. But it happens.

It’s a good story. The author aims to share the experience of depression, stripping it of shaming and easy answers; this works well, and he includes some resources at the end. I also loved how Khorram makes a very different culture both distinctive and ordinary — the food is exotic and appealing, but the people are just people, some small-minded but most kind and generous. When Darius makes a friend who has a deep struggle too, their opening to each other is not simple. Neither is being Persian; he doesn’t even speak the language. But as he learns to embrace more of who he is, depression and all, we see and feel — and understand, in the end — that there’s a whole lot more he can be.

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Finding fiction that encounters other cultures through an American kid's eyes

The new Voyages Issue of the New York Times Magazine has a profile of Rick Steves, host of a public TV series on traveling in Europe. The article’s subhead is: “The travel guru believes the tiniest exposure to other cultures will change Americans’ entire lives.”

I believe that too; it was true in my life. And right now in the world of middle-grade and YA fiction, there’s strong and growing interest in exposing American young readers to novels that create this sort of cultural exposure through a story. I myself think one especially strong way to do that is by finding and sharing good novels, for young readers, that transport an American main character into another country.

To encounter another culture through the eyes and emotions of someone like yourself — that’s a bridge that is relatively easy and inviting to cross. So I have a project. Last weekend I emailed my mailing list of over 400 teachers, librarians, principals and others that I’ve worked with in schools, and I asked this question: Can you recommend a good middle-grade or YA novel in which an American main character encounters another, preferably foreign culture?

I got quite a few responses — and from them I whittled down the list to recommended novels that fit this specific profile. I left off one or two that looked to be using a foreign locale as just a stage setting for a romance. That’s fine to do, of course, but it’s not what I’m looking for.

I will read these books, over the coming weeks — and I will blog about each one. Here is my list:

Darius the Great is Not Okay, Adib Khorram (Iran)
Habibi, Naomi Shihab Nye (Palestine)
Nowhere Boy, Katherine Marsh (Belgium/Syria)
Listen, Slowly by Thanhha Lai (Vietnam)
Moving Target, Christina Diaz Gonzalez (Rome)
Small Damages, Beth Kephart (Spain)
The Astonishing Color of After, Emily X.R. Pan (Taiwan)
First Descent, Pam Withers (Colombia)
Emily Goldberg Learns to Salsa, Micol Ostow (Puerto Rico)
Wanderlove, Kristin Hubbard (Central America)
Love and Gelato, Jenna Evans Welch (Tuscany)
Laugh With the Moon, Shana Burg (Malawi)
Endangered, Eliot Schrefer (Congo)
The Carnival at Bray, Jessie Ann Foley (Ireland)
The Shells of Mersing, Sharon Himsl (Malaysia)

If you have a title to add, please email me!

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Writing, music, and community

In this part of Vermont’s Champlain Valley, I’m lucky enough to play music in a couple of local bands — and recently, a bandmate got an email from a friend. The friend’s wife and their family had just gone through a serious health scare, and listening to our music had helped them get through it. Hearing this touched us all, and it got me thinking about music, books, and community.

Writing is lonely. It’s solitary, and you can work for years on a book that never sees print. That’s just how it is, and I’ve done this work as a fulltime freelancer and writer of books, published and not, for over 30 years. Making music in groups is newer for me, I’ve done it for about half that time — and when you do that in front of people, you often see they’re having fun and they’re happy. People like your stuff. They come to see you, and maybe your music even matters in their lives. In local music, I’ve found, the community that develops doesn’t have to be huge to be matter and be satisfying. Why can’t book-writing have a similar aim?

Traditional book publishing has been taken over by huge corporations. Foreign-owned multinationals control all of the “Big Five,” the corporate houses that have absorbed nearly all the long-standing publishers. Unless they see you as a bestseller, it’s extremely hard to get these houses to pick up your manuscript — but at the same time, there’s been a profusion of small, independent publishers, of hybrid publishers where the author helps pay the cost of bringing out a book, and of self-publishing efforts. For those of us who’ve taken “indie” paths, it’s not terribly realistic to hope for a big bestseller — but in this connected time, when people of similar tastes and interests can find each other, we can hope to build a community. It can even be worldwide.

And why not? You won’t get rich this way, but very very few writers ever have. Can I find or help build a community of people who like a book I’ve done, and can we be supportive of each other? That, I think, would be a solid form of success. I've even seen it happen: there's a nationwide, even international, community of people, mostly in middle schools, who have worked with and cared about The Revealers. That book didn't make me rich, but it helped me earn a living and keep on writing, and it made me a whole lot of friends. So I’ve seen how much that can mean — and honestly and truly, it makes all the solitary work worthwhile.

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Putting down the damn phone

The Subaru I recently traded in — I didn’t get much for it, but they took it — had a vivid sign of my phone addiction. Well, “addiction” might be strong — I have hardly any apps on the phone, I’ve never tweeted once, and my phone isn’t even linked to the Facebook account I barely ever use. But the old car had a deep scratch across the driver’s-side windows, reminding me of the pre-dawn moment when, driving in a blizzard to the airport for a school-visit trip, at a spot where two lanes narrowed into one and a semi truck was crowding me on the right, I felt it was a good time to check my text messages.

I know. And the corner of the traffic sign that raked all down the side of my then-pristine car ... well, that was a message. And one that I’m trying, finally, to heed.

The addiction aspect, for me, is that the phone urges you to check it all the time. In the checkout line at the supermarket. During dinner with family. While driving, which I’m finally really trying not to do. So I’m drawn to articles about breaking this dependence, about learning to put ... down ... the phone. There was a good one in the New York Times the other day: “Do Not Disturb: How I Ditched My Phone and Unbroke My Brain.”

The writer’s problem was, I feel smugly, far worse than mine. He did much more to break the habit, and had much more to say. For me, this is mainly about discovering that an urge is just an urge. Responding is very often just an empty experience — yet if I do, the urges get stronger. So when I’m driving and the urge to check email rises inside, I’m finding I can let it rise, then watch it fade. And wait to check the damn phone at a rest stop. Or a traffic light. I can do this.

I’m trying. I’m also, I notice, reading a lot more. And my new-to-me Subaru ... well, it carries no ugly reminders. I’m hoping to keep it that way.

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Leaving space between the words

I’ve been rereading the novel that turned me on to writing, in ninth grade. It’s The Human Comedy, a 1943 book about wartime life in a town in California that centers on the adventures of twelve-year-old Homer, a messenger boy for the Postal Telegraph who must deliver to parents the telegrams of death from the War Department, and his four-year-old brother Ulysses, who watches and appreciates everything.

Saroyan wrote in a liberating way that carried original energy. He called it jumping into the river and starting to swim, and he opened me up to what writing could do. And his work was simple, simple, simple: there was space between the words.

I was a gawky unpopular kid who liked to read, and that year I swallowed everything that I could find by Saroyan — especially My Name Is Aram, his 1940 volume of gracefully lucid stories about growing up Armenian in Fresno, his home town that became the model for Ithaca in The Human Comedy. I took in the plain, humane clarity in these stories and thought, “I can do that!” But Saroyan’s simplicity is as deceptive as a great outfielder’s; it looks easy until you try it. Yet the writer left so much in the space between his words, so much to feel and connect with, that I’ve kept on trying to do it ever since.

I read both those books again this week, and Saroyan isn’t always perfect. He couldn’t work with editors, and The Human Comedy loses air in bursts of windy philosophizing that should have been trimmed back — but then consider this. It’s possibly the writer’s greatest sentence, from the opening chapter of The Human Comedy, describing how Ulysses finds an egg:

He looked at it a moment, picked it up, brought it to his mother and very carefully handed it to her, by which he meant what no man can guess and no child can remember to tell.

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Why did two fine stories leave me flat?

I had the flu. So I read. This is one redeeming thing about the flu.

When I’m sick I want either comic novels or good suspenseful stories — mysteries, spy novels. I also like historical fiction, and I love to get taken to different places in the world. So this time I read one spy novel, then another, by a well-known and very skilled writer, who set both books in 1945 at the end of the war, one in Berlin, the other in Istanbul.

The stories were excellent, deeply researched and finely crafted. I was happily immersed in their time and place ... yet at the end, I didn’t much care. Close to the end of the second, I almost didn’t even finish it. Didn’t seem to matter, really. Yet the writer did such a good job, in so many ways ... why did I not think about the stories after? Why did I not care?

Then I understood: I never came to care about the characters.

I should have, right? I mean, a dark time in deep settings, lots of moral complexity, struggling with serious evil ... and the characters were complex. They made mistakes. But ... I just didn’t care.

And that’s something to notice. A novel can’t be great or even really that good if the characters don’t come to life. They don’t have to be good, but they can’t be empty. Or leave you empty. If they do, then nothing else can really matter that much.

There’s no formula, no trick, no technique for this. It’s alchemy, I guess. Paul McCartney teaches songwriting to young people sometimes, and he starts by saying, “I really don’t know how to do this.” I doubt that any writer could tell another person how to make characters that connect with readers, I know I couldn’t ... but I think of the Harry Potter books. I think of Nick Hornby’s novels about rock ’n’ roll and soccer and guys, I think of John LeCarre’s spy stories. These are all so different, but their characters are alive.

I think that’s we’re looking for most of all. Good stories grow out of good characters, not from plotting or anything else mechanical or contrived. Great novels have life because their characters have life. I don’t know how you could ever teach that. But you know it when it happens, because inside you it is real.

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Spotting the Snow Leopard

I’m revisiting books that have meant something to me over the years, and I can’t remember if I ever finished The Snow Leopard. I don’t think I did. But it sort of changed my life anyway.

This time I did finish it. That’s not totally easy to do; Peter Mathiessen’s most famous book, for which he won the National Book Award, is brave and deep but also dense, intensely serious. I read it the first time, or most of it, in my late 20s as a weekly newspaper editor secretly preparing to leave my job and travel in Muslim and Buddhist Asia, hoping to write a revealing personal narrative as Mathiessen did. That he could get to such depth with such economy and precision was as inspiring to me as the courage of his journey — and so I set off on a journey of my own. (I did write my book, my first one, which nobody would publish. That’s another story.) 

Not long after losing his wife to cancer, Matthiessen joined the wildlife biologist George Schaller on a long, risky hike through the Himalayas in western Nepal, in late autumn with winter threatening, to explore the ancient Buddhist landscape of Dolpo beyond the mountains. Schaller hoped to learn about a rare breed of sheep, and maybe see the rarer snow leopard; Matthiessen hoped, surely, to get a good book out of the quest.

He surely did. Reading it again, the acuteness of his observation awes me as much as the depth of his phrasing. The man took incredible notes, but even more, he achieved, and conveys, incredible presence. And that in essence is what The Snow Leopard is about — the quest for true presence, genuine awareness beyond the cell of self. He almost, almost gets there. And then he has to start home. He never does see the snow leopard; but he does glimpse what he's truly searching for.

“What is exhilarating is to extend this acute awareness into ordinary moments,” Matthiessen writes as he begins the journey back: “... In this very breath that we take now lies the secret that all great teachers try to tell us.”

So there you go. There, and back again.

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Stories to Treasure: My Christmas Books

We like to do the tree at Christmas. Our boys come back from their grownup lives and we put up the ornaments that Cary and I each brought to the marriage, and we tell the stories behind them and laugh. More quietly each year, I also put out and arrange the Christmas books. Nobody else pays much attention, but I would never want not to have them there.

There’s A Child’s Christmas in Wales, with Dylan Thomas’s magical tumbling of words and memories: All the Christmases roll down toward the two-tongued sea, like a cold and headlong moon bundling down the sky that was our street; and they stop at the rim of the ice-edged fish-freezing waves, and I plunge my hands in the snow and bring out whatever I can find.

I love Truman Capote’s A Christmas Memory, about an orphan boy and his childlike aunt, and the years before life divided them that they would fill a baby carriage with windfall pecans, pull out an ancient bead purse with their carefully assembled Fruitcake Fund, and put together 31 cakes that went out as far, believe it or not, as the White House.

In Willem Lange’s Favor Johnson: A Christmas Story, fruitcake is central too. Favor is a lonely, old-time Vermonter whose wounded dog is saved on Christmas Eve by a newcomber neighbor who’s a vet; and each Christmas Eve afterward, Favor hand-delivers his own fruitcakes to everyone in his village, in his old blue pickup. “And the village responded. Now, all through the Christmas season there are cars in his dooryard, and his kitchen is piled high with gifts that he enjoys all through the long winter.”

I still have, after all these years, The Animals’ Merry Christmas. The front cover is gone, it was that well-loved when we were little. My secret favorite was the first story, “The Terrible Teddy Bear,” about a boy who was so difficult he doesn’t really deserve anything. But Santa finds just the right gift — a teddy bear who’s just as nearly impossible. And Teddy gets his secret wish.

Whatever holidays you celebrate, I hope yours are warm and happy. And I hope you have stories that you treasure, too.

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Meeting Ignatius J. Reilly in the Rain

It was pouring on Canal Street. I was hobbled in New Orleans on a foot I didn’t know how I’d hurt, struggling back to my hotel from giving a TED talk at an anti-bullying conference, and it was getting dark and the storm had opened up ferociously. I ducked under a hotel awning, by the corner of Bourbon Street ... and there he was.

Beneath the clock he waited for his momma. Both flaps of his ridiculous hunting cap turned up, he was “studying the crowd of people for signs of bad taste in dress. Several of the outfits, Ignatius noticed, were new enough and expensive enough to be properly considered offenses against taste and decency.”

At the base of the statue, a placard said this had indeed been the site of D.H. Holmes, the department store where we meet Ignatius J. Reilly in the opening scene of A Confederacy of Dunces, the funniest American novel ever written.

I’d never before been to New Orleans; but because I’d read the novel two or three times many years ago, I had already bought wine cakes for Ignatius inside Holmes with well-meaning Irene Reilly. I had ducked into the Night of Joy, the French Quarter’s least reputable club, with ill-paid porter Burma Jones; and I had ridden up St. Charles Avenue under a canopy of ancient trees with hapless Patrolman Mancuso, “undercover” in shorts, t-shirt and long fake red beard.

It’s central to the legend of A Confederacy of Dunces that its author, John Kennedy Toole, having failed to get his book published, committed suicide in 1969. His mother finally persuaded famed Southern novelist Walker Percy to read the manuscript. Percy was awestruck, but it took even him four more years to convince a small publisher to bring out the book, in 1980. Dunces won the Pulitzer Prize, and has since sold 1.5 million copies.

I think it’d be impossible to get this novel published today. It so celebrates Ignatius’s outlandish insensitivity, and its gay and African-American characters are at the same time stereotypical and strikingly human; the former aspect would sink the book. Nobody would touch it. But it’s with us forever, now — and like that statue in the rain, to run into it is to rediscover an old friend. To laugh at the memories. To have again, for a little while at least, a shelter from the storm.

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The practice of the pause

After a long holiday weekend, we start back wondering if we can stay relaxed. Somehow.

It wasn't easy to get relaxed, for me by Saturday, our company had moved on and I'd been looking forward to slowing down, but mostly I snacked and twitched and realized how tense and tight I was. Finally by the end of Sunday, after a real effort (ironic? oh, at least), I had pretty much relaxed. But that goodness will evaporate by mid-morning this Monday ... right?

Well ... probably. But does it have to?

I like to read about mindfulness and meditation practice, and there I find the concept of the pause. In her book Radical Acceptance, which is a really good one, therapist and meditation teacher Tara Brach calls it the sacred pause. The idea is simple: At times during your day, pause and take three conscious breaths. That's all. It's often not simple to remember to do ... but that's all it is.

In his new book pause breathe smile, Gary Gach uses the concept of pausing to embrace the whole notion of intent that we make an ongoing effort to live with more care and awareness. He frames pausing as one of three intersecting spheres of mindfulness practice; the others are 'breathe', which includes the sitting meditation, and 'smile', which embraces an attitude of kindness that can open into insight.

That's a lot to think about, on a Monday morning, but it does bring me back to a good place to start. With the pause.

The more I try to remember to do this, the more I do. It really is simple: pause, wherever I am, and take three conscious breaths. The mind can wander far and away even after the first in-and-out! But the key is not to judge, just to come back. And the more I remember to do this little thing, here and there in my day, the less I do keep the the chance to open up to the day itself. Tension is a closing-up. Conscious breathing, in contrast, relaxes.

Really ... that's it.

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