Wednesday, June 1, 2016

Yale Grads Looking for Children's Poetry: Join StoryTime and Make a Difference!

Have you ever wondered how you can help change the world? It all starts with an idea, and this idea is truly revolutionary. This team of Yale graduates created an innovative way to allow families across the globe access to literature for children! They have pinpointed a direct way to give children and parents the ability to read with their children- through text messages.

In our society, cell phones are a part of our augmented survival, beyond water and food many families depend on their cell phones. It is through this avenue that this awesome team of teachers and entrepreneurs created a new way to give people access to books. While many families might not be able to get to public libraries, afford children's books, or have access to the Internet, they have cell phones and because of this, StoryTime has discovered a way to reach these families and close the gap. Exposing children to literature at an early age is vital to their development and StoryTime has done their research, this program has already proven to be incredibly valuable. Not only is their program three hundred times cheaper than shipping books, it has been shown to dramatically improve early literacy.

Take a peek at their YouTube video that describes in detail exactly what StoryTime is all about!

This is one of the various ways YOU can become a part of something important.
Here is how you can help!
They are looking for people who are interested in joining their new team and creating content through poetry. This includes things like writing poems and stories, working with their team of illustrators and listening to feedback to continually improve their innovative project. You can find them on their website to find out more. This is a great opportunity to not only have your poetry and stories heard but also make a lasting impact on the world.

Monday, May 9, 2016

Call for Papers: Silence in Oral Narratives

Hello fellow scholars of literature!

I am very excited to share the following conference panel CFP for the upcoming PAMLA 2016 conference in Pasadena, CA (November 11-13 2016). The panel, Silence in Oral Narratives, focuses on the figurative spaces created in the social unconscious by silence and purposeful lack of discussion on certain taboo or painful topics. The goal is to explore the harmful ways this silence and inability to pass on important information can hurt or prevent the healing of people and society.

This connection became apparent to me while studying indigenous literature and seeing the ways minorities have experienced a fracture in their cultural narrative when they have been overwhelmed by Western morals, religion, culture, and knowledge. My focus in researching this topic has always led me toward the exploration of narrative as it pertains to female-to-female relationships and how certain feelings of affection, anger, jealousy, and competition are actually created and fueled by this inability to openly discuss certain topics. The most obvious taboo topics including sex and sexuality, we can see how fear of public shaming can prevent women from openly speaking about these topics to their children or withhold specific information to alter the narrative to their liking and benefit. The eye of the public and the cultural/social identity certainly contribute a great deal to this intentional silence. I am very excited to get the chance to hear others explore the causes and consequences of this topic, whether it is in the realm of children's literature or not!

Please take the time to read the CFP and consider applying or sharing with those whom you think would be interested in contributing to this panel!

Thank you, and I hope to see you all at PAMLA 2016!

CFP: Silence in Oral Narratives
Oral narratives are an integral part of our cultural learning experience. Even with all the world’s knowledge at our fingertips, parents take time to have “the talk” with their children, transforming a conversation into a ritual of sharing knowledge. Transcending the notion of telling a story, oral narratives allow people to see themselves in past and future generations, linking them through a shared culture, heritage, and experience. The sharing of personal narratives and purposeful opening of a past wound in order to impart hard-earned wisdom/lesson onto the next generation serves as the building block for well-informed and better-prepared leaders in society. When certain narratives are not acknowledged and shared for fear of experiencing pain or public shame again, the resulting silence creates anger, ignorance, and isolation in the social consciousness, which prevents healing and progress in society. This panel invites scholars in literature, history, anthropology, and cultural studies to share their research and reflections on this topic.

P.S. You can also explore other session topics for PAMLA 2016 here

Saturday, May 7, 2016

A Brief Review of "The Book of Life"

               It comes as no surprise that The Book of Life, directed and written by Jorge R. Gutiérrez, a long time fan of acclaimed Latino director Guillermo del Toro, received such excellent reviews in the film world—scoring an eighty-one percent on Rotten Tomatoes and a seven-point-three out of ten on IMDB. This animated film tells the story of a love triangle that situates itself on the well-known day in Mexico called Día De Los Muertos (Day of the Dead). What this movie does best is appeal to audiences of any demographic into a space where learning about the Mexican culture becomes easy through the children characters that are used to narrate the story.

            In an interview, del Torro (producer) recognizes Gutiérrez’s passion and comment to the Mexican culture. This is clear through the artistic style, music, and story that The Book of Life gives to its audience—the most praise-worthy aspects of this movie. Taking contemporary popular and recognizable songs like, “Creep” by Radiohead, and transforming them into mariachi style sounds, allows the audience to meet the Mexican culture in the middle of what is both familiar and unfamiliar.

            Another way the movie does this is by using a story-within-a-story narrative device. It begins with five “detention” children arriving via school bus to spend the day at a museum. These children are in for a sweet surprise when their apprehension about visiting a “boring museum” becomes a unique and special experience just for them. Led by La Muerte in disguise through a secret door and into the museum’s secret room of Mexican artifacts, these rude and misbehaved children become captivated by the story that La Muerte reads to them from the Book of Life—a book that has every story that ever was and will be. This frame story works exceptionally well in drawing in the audience because it provides an easy, accessible way to identify with the children if the viewer is also unknowing of Mexican culture and folklore. However, the fact that these children are from a detention program seems counterintuitive to the often-stereotyped identities of how Latinos are represented in Hollywood.

            As soon as one of the children discovers the Book of Life, it shows the common stories that the audience should already know, such as Cinco de Mayo and the legend of the Chupacabra. But as with the complexity of any culture’s stories, the movie at least privileges the audience who don’t know these things by having only one of the kids able to recognize one of those two stories. La Muerte goes on to tell the love story to the children that begins on Día De Los Muertos. We are introduced to the main characters of that story, Maria, Manolo, and Joaquin as small children. At the same time, the audience is presented with a third story—the story of Xibalba and La Muerte’s wager. Within this combination of stories, the audience is taken to the town of San Rafael in Mexico (where the love story takes place), the Land of the Forgotten and Remembered (the places that are like heaven and hell to the Día de Los Muertos), and the secret room in the museum which appears to be in the United States (where the audience is also allowed into). To stay away from any spoiler alerts I will stop with the summary now, but I will say that the way this love triangle story ends, opens a new dynamic to the frame story that encourages the detention children to take their lives into their own hands—which seems to be the point of the movie. As del Torro states, “The book of life is about what it takes to create your own destiny” and it really is (

            However, the criticism that I am left with about this movie comes from the dichotomy of stereotypes that The Book of Life seems to be wanting to break free from—an attempt to put Mexico, its people, and its culture, in a position that is more agreeable than the often produced images of the Mexican characters in Hollywood—yet still fall short. For instance, one mariachi band mate says slurring his words to one another: “We’ve already been to four bars; twice!” and also when one of the detention kids says: “What's with Mexicans and death!?” and also when Manolo’s grandmother explains how she got to the Land of the Remembered: “Eh. Cholesterol.” Perhaps Gutiérrez incorporates these stereotypes as comic relief, but it also affirms and perpetuates that these stereotypes do exist among Mexicans and reflects the dominant culture's assessment of Mexican identity. And while a few stereotypes might not seem too bad, another conflict I had with the movie was the use of accents and how they differed within certain characters. Manolo’s character speaks with a Mexican accent, as do many of the characters in the love story frame, but Joaquin's character, voiced by Channing Tatum, speaks with a flawless American accent. Joaquin grows to be the most respected hero of the town subtly highlighting Hollywood's preference for inauthentic ventriloquism over authentic Mexican-American voices. For the duration of the movie, it presents the American voice in a better position than the voice of Manolo's character who speaks English with a traditional Mexican accent. Yet, he is not the only Anglo voice actor in this film. Ron Perlman, an actor of European descent, does the voice for Xibalba and controversially does this voice with a made up Mexican-American accent—a juxtaposition of authenticity in representing the Mexican culture.

            While this movie possesses a few problems, I find its pros outweigh the cons by a long shot. Like the sweet voice of La Muerte that calmly asserts her authority over the children, the movie allows me to believe that this story is good for all audiences but perhaps it is meant to encourage Mexican children to become more than the detention kids and in fact write their own stories.

Wednesday, April 20, 2016

His Soul is Rising: Visiting Scholar Michelle Martin's Lecture

Scholar Michelle Martin opened her lecture, “Lynching 101: Young Adult Primers on the Murder of Emmett Till, at SDSU’s Love Library with a sobering, bluesy ballad, “The Ballad of Emmett Till” from playwright Ifa Bayeza:

“Come on let me tell yuh the tale of Emmett Till / Though they put his body down / His soul is rising.”

Introduced by Dr. Joseph Thomas, who described her as “clear-eyed, elegant, and aesthetically nuanced,” Michelle Martin tackled the horrifying truth of the brutal 1955 murder in Mississippi—which helped spark the Civil Rights Movement—of 14-year-old Emmett Till. With 2016 marking of the 61st anniversary of Till’s brutal murder and the American political climate as divided as it has ever been, Martin described ways to include our country’s horrifying past of slavery and objectification in children’s literature. A line is drawn in considering the way that children’s texts often rework sensitive topics, such as racism, to be less authentic as an attempt to protect children. And with this, an inevitable question arises: How, then, does one tell the truth?

The prevalence of violence in our society, from gut-churning brutality in in TV shows like “Game of Thrones” to grim news reports saturating radio shows and news stations, is considered a norm, while also having a numbing effect on our minds. Michelle Martin’s research is focused on how Y.A. texts are engaging young adults more than ever, especially historical fiction about Emmett Till’s lynching. One such book is Chris Crowe’s Mississippi Trial, 1955 and the historical nonfiction companion Getting Away with Murder: The True Story of the Emmett Till Case. These intricate texts of blackness, she notes, are a critical site of resistance and transformation and, thus, important mediations between young readers because they combat sensationalism and clear up inaccuracies surrounding the trial and Emmett Till himself. Bringing this awareness to picture books, on the other hand, is more difficult. Poet laureate Marilyn Nelson wrote A Wreath for Emmett Till as a narrative poem especially for young readers in the the Italian sonnet style, in an effort to try to find the right words without mitigating the reality of Emmett Till’s death. It serves as a remembrance of Till’s murder, his mother’s loss, and the memory of other countless victims that suffered through these atrocities. It’s worth noting that these sequences of sonnets are interlinked and called a “crown of sonnets”—a heroic “crown” for Emmett Till that harkens to the wreath in the book’s title.

In the end, telling and retelling these stories—of Emmett Till, of Eric Garner, of Trayvon Martin—decreases the power of the perpetrators. The contemporary erasure or retelling of Black history is an unsettling commonality due to white privilege and speaks to a need for more accurate narratives of our history. And may those narratives start in young children’s books and young adult novels, and may they propel future generations into action.

Dr. Martin’s visit definitely gave the NCSCL some really intelligent ideas to muse over until next year’s visiting scholar. We thank her for her time and inspiration!

Thursday, April 7, 2016

2016 Children's Literature Conferences and Call for Papers

Welcome to another round of calls-for-papers and upcoming children’s literature conferences!

Somehow—if you remember our last CFP blogpost—this post once again falls on the last stretches of the semester, with finals week only 5 weeks away, and summer sunshine just on the other side of all of those responsibilities between now and then. But summer’s the perfect time to get out there with your ideas and proposals, and here are a few children’s literature prompts to help you.

Laura Ingalls Wilder: Critical Perspectives

“Editors seek essays that critically engage with Laura Ingalls Wilder’s life and works, including the Little House series, her journalism, her letters, and Pioneer Girl: The annotated Biography. We are interested in essays that consider Wilder’s relationship with the academy as well as her enduring place in American popular culture. We are especially interested in essays that consider Wilder’s place in the classroom, at the elementary level and also in university curricula.”

For a range of topics, visit the website below.

Deadline: April 15, 2016

  • Submit abstracts of 300–500 words along with a short CV to Miranda Green-Barteet ( ) and Anne Phillips ( by the deadline.
  • Accepted essays will be due no later than September 1, 2016

The Child Before Adulthood, Midwest Modern Language Association
Dates: November 10­–13, 2016
Location: St. Louis, MO

From the late Victorian period throughout the early decades of the twentieth century, Anglo-American children’s literature and young adult fiction experienced a sudden surge in popularity. While some sentimental or didactic North American literature reinforced obedience to parental and societal expectations, such as Susan Warner’s The Wide Wide World (1850) and Martha Finley’s popular Elsie Dinsmore series (1867-1905), other works explored the possibilities resulting from disobedient adolescence, such as Mark Twain’s Adventures of Huckleberry Finn (1885) and L.M. Montgomery’s Anne of Green Gablesseries (1908-1920). Meanwhile, British fantasy literature by authors such as George McDonald and E. Nesbit idealized the middle-class English child as subversive protagonist of the modern fairy story, supernaturally combating social ills and injustices existing in the adult system of legal justice, while at the same time testing and submitting to acceptable moral, social, and gender parameters. Such narratives, whether undercutting or reaffirming adult behavior, also establish childhood as a unique space of negotiation, perception, and decision occurring prior to adulthood.

This session invites proposals for individual papers on the societal pressures in children or young adult literature from this period that worked to shape and necessitate the embodiment of womanhood or manhood, queer or subversive resistance to conforming to idealized, or imperative notions of gender norms, the childish world conflicting with the public or adult sphere, rejection of female or male attire, duty, or performance, and spatial avoidance of the domestic sphere by means of nature or adventure.”

Deadline: April 30, 2016

  • Send Abstracts no longer than 250 words to Lydia Craig at

Youth Literature and Media
Organization: Midwest Popular and American Culture Association
Dates: October 6–9, 2016
Location: Chicago, IL, Hilton Rosemont Chicago O’Hare

We are looking for proposals for arguably the hottest area in popular culture: Youth Literature and Media. Youth Culture is everywhere. From the rise of YA Lit to the fall of Facebook, twenty-five is the new eighteen. The Millennials are here. This area is for the study of Lit and Media for Youth (all three terms broadly conceived), representations of youth in Lit and Media, and youth as consumers and producers of Lit and Media.
We want to know all about the kids these days, from their classrooms to the parents’ basements, from S.E. Hinton to Luke Herzog, from the slew of really really rich youth who play videogames and apply make-up on YouTube to the tens of thousands more who mod everything from videogames to movies to Legos into their own Maker-inspired, bricolage cultural productions. Who are they, what are they reading and doing, why, and who cares? Pop Culture Studies is a multi-disciplinary endeavor, so bring us your close readings, your ethnographies, your visual analysis, and hard core stats: anything and everything as long as it’s about youth and popular culture!”
Deadline: April 30, 2016

  • Submit abstracts (up to 300 words) along with your name, affiliation, and email to the Youth Literature and Media area at (include whether or not you’ll need a projector)

Submit Essays or Writing on Gender and Literacy
Organization: Gender and Literacy Assembly: NCTE Gender Studies Assembly

An NCTE affiliate, GALA is published every December and seeks submission on gender and K-12 education. Write about how you teach or address gender in the K–12 classroom; how boys and girls learn and more.”

Gothic Association of New Zealand (GANZA)’s third biennial conference: Gothic Afterlives: Mutations, Histories, and Returns’
Dates: January 23–24, 2017
Location: Auckland University of Technology, New Zealand

GANZA is interdisciplinary in nature, bringing together scholars, students, teachers and professionals from a number of Gothic disciplines, including literature, film, music, television, fashion, architecture, and other popular culture forms. It is the aim of the Association to not only place a focus on Australasian Gothic scholarship, but also to build international links with the wider Gothic community as a whole.
The conference invites abstracts for 20-minute presentations related to the theme of ‘Gothic Afterlives’.
For a range of topics, please visit their site at:
Contact Dr. Lorna Piatti-Farnell ( ) and/or Dr. Erin Mercer (
Deadline: August 1, 2016

  • Please email abstracts of 200 words to the conference organizers at:
  • Abstracts should include your name, affiliation, email address, the title of your proposed paper, and a short bio (100 words max).

Dystopia, The Hunger Games, And the Culture of Death
Organization: SAMLA, Myrna Santos
Dates: November 4–6, 2016

The word utopia, coined by St. Thomas More, seems to be a Latin pun: It is used in the sense of eu-topia, a “good place” or “ideal society,” which More claimed was his intended sense, but the spelling of u-topia means “nowhere” and is often taken to suggest that eutopia is impossible, as well as, nonexistent. More’s term eventually suggested a more practical word, dystopia, and speculative fiction has benefited from this concept over the course of many years. Young adult literature, and films based on this literature, has particularly embraced this concept, and this panel seeks to explore the reasons for this phenomenon. Papers on trilogies such as The Hunger Games and Divergent, as well as other works, are welcome.”

Deadline: June 6, 2016


Flow 2016 Conference on Television and New Media
Organization: Flow 2016
Dates: September 15–17, 2016
Location: Austin, Texas

The 2016 Flow Conference will feature a series of roundtables, each organized around a discussion question on contemporary issues in television and new media culture and scholarship. Respondents are asked to submit a brief (150-word) abstract addressing one of the Flow 2016 roundtable questions.”

Deadline: May 20, 2016, 5 p.m. (CST)

  • Submit a brief (150 words) abstract addressing one one of the Flow 2016 roundtable questions, using the online form on their website (above)
  • Participants are encouraged to let the conference coordinators know if they are willing to participate in another roundtable if their first choice has too many responses
  • Upon acceptance, respondents will be asked to expand their abstract to a 600–800-word position paper, due late August 2016
  • Direct any questions/concerns to:
And don’t forget to check out this year’s ChLA conference, hosted by The Ohio State University, on the theme of “Animation”: our very own Dr. Jerry Griswold appeared on the topic list and Gene Luen Yang will be a featured speaker!

Good luck, everyone, on upcoming finals, final papers, and submissions for this year's conferences and calls for papers!