Unlearning Hate

(2) K-3 A letter of love and care from civil rights icon Ruby Bridges to twenty-­first-century children marks the sixtieth anniversary of her integration of ­William Frantz Elementary School in New Orleans. Dedicated to John Lewis, the "conscience of Congress," and addressed to "Young Peacemakers of the World," Bridges's book opens with a photograph of her first-grade self, looking inquisitively at the reader, her hand turning the page of a book. Powerful photographs, a mix of historical and contemporary, demonstrate hard truths throughout, with images shown of federal marshals escorting young Ruby and racist whites brandishing a Black doll in a casket in front of her school; the March on Washington alongside Black Lives Matter marches; and police turning fire hoses on teens in 1963 and spraying protestors with pepper spray in 2020. The book lays bare the ongoing consequences of racial inequality and injustice through descriptions and images of lost Black lives, including those of Freddie Gray and Bridges's own son, Craig. The juxtaposition of historical and contemporary scenes maintains a serious mood throughout, but Bridges's clear-eyed and comprehensible words--some acting almost as captions to explain the photographs; others expanding on large ideas--exhort young readers to stay united and positive, serve, and "keep your eyes on the prize" to make change. A boldly written, memorably illustrated message of hope for our time, from one who has fought for social justice all her life.

Reviewer: Michelle H. Martin | Horn Book Magazine Issue: January, 2021

(3) YA This in-depth examination of the BLM movement covers its roots, leaders, impact, and future. Accompanied by powerful photos by New York Times photojournalists, the compelling narrative begins with coverage of the 2020 protests following George Floyd's murder, with social and historical context woven throughout. Following two timelines focused on "Civil Rights and Black Power, 1954-1968" and "Black Lives Matter, 2012-2020," the book's second half looks at "What Is Systemic Racism," professional athletes as activists, protest songs (including two playlists: "Throwback Protest Playlist 1939 to 1993" and "Black Lives Matter Playlist 2014-2020"), protest art, "Who's Who at a Protest," youth activists, and interviews with BLM leaders. A reading list, selected bibliography, and index are appended.

Reviewer: Kitty Flynn

(2) K-3 Clarke (The Patchwork Bike, rev. 11/18) pens a love letter from parent to child. The title page depicts a pregnant Black woman with one hand on her belly and the other held by a Black man, presumably the child's father. The vibrant colors and the positioning of their heads and hands give off a positive and affectionate feeling for the new baby. The poetic text opens with "Little one, / when we say Black Lives Matter, / we're saying Black people are wonderful--strong." The images that accompany these lines show the infant in the arms of their parent. As the child grows, the poem continues to define what it means to say "Black Lives Matter," with action verbs throughout: "...when we call out / when we scream out / when we sing..whisper...sob." The story ends with the child in cap and gown, preparing for the future. Textured, motion-filled collage art depicts Black lives as full and loving despite the pain inherent in much of Black history. Throughout, Clarke highlights the joys and struggles of what it means to be Black in ways that are affirming for all readers.

Reviewer: Nicholl Denice Montgomery | Horn Book Magazine Issue: January, 2022

(2) YA On May 30, 1921--just over one hundred years ago--a young Black man tripped in an elevator and caught his ­balance on the arm of the elevator operator, a young white woman who screamed in surprise. He was arrested the next day, May 31; as the story spread, an angry white mob started to assemble outside the courthouse. That night, the Tulsa Race Massacre began in earnest and carried over until the evening of the following day, June 1. The mob descended on the prosperous African American neighborhood of Greenwood to destroy property, take lives, and terrorize the Black population. Colbert chronicles each day with immediacy and in detail, with interspersed chapters providing necessary background information: Oklahoma's journey to statehood; the forced relocation of American Indian tribes; the rush to claim and settle land; the discovery of oil; the KKK and the practice of lynching to intimidate Black people; the rise of Greenwood, the "Black Wall Street," and its numerous Black-owned businesses; and the social mobility of African ­Americans during World War I. A foreword describes the author's personal ­connection to this story, while the afterword makes universal connections, drawing parallels between historical and contemporary events. A bibliography, source notes, and an index are also appended. Primarily a fiction writer, ­Colbert (The Only Black Girls in Town; The Voting Booth, both rev. 7/20) extends her range with this excellent nonfiction book, a welcome contribution to the growing ­literature about this tragedy; see also Carole Boston Weatherford and Floyd Cooper's picture book Unspeakable (rev. 1/21), a 2021 Boston Globe–Horn Book Nonfiction honoree.

Reviewer: Jonathan Hunt | Horn Book Magazine Issue: September, 2021

(3) PS Illustrated by Shane W. Evans. Racial unrest has a way of unearthing a lot of questions in all of us, particularly in our children. This picture book takes the bold step of beginning to address specific, difficult questions about racism. In lyrical text, children ask family members why a particular act of protest occurs: "Why are those people shouting?" "Our people are shouting because we need to be heard. We need to be heard." The illustrations, done in digital collage and paint, are colorful and engaging while still managing to express a somber, thoughtful mood. This is a good starting point in the process of understanding.

Reviewer: Monique Harris

(2) YA In her preface, "Not the History You Learned in School," Dionne sets the historical scene with the 2016 presidential campaign. Having observed multiple people placing their "I Voted" stickers at the gravesite of Susan B. Anthony, Dionne points out that "Black women also fought, were beaten or jailed, and faced serious, sometimes violent, opposition to gain the right to vote--even after 1920. Where were their stickers?" Beginning from the suffrage movement in the 1830s, with its members squabbling over whether the voting rights of Black men or (in particular, white) women should take precedence, Black women have always found themselves in precarious positions. Dionne's meticulous research provides insight into how Black women maneuvered this intersectionality, addressing their specific needs as to both women's rights and "improving the lives of African Americans." Throughout the arduous fight for the end of slavery and for women's suffrage, there were Black women who rose to prominence and spoke out against the injustices--as much as possible, as they were also under intense scrutiny to become "respectable" wives and mothers, to never present themselves in a manner that could be deemed "too loud, too bold, too aggressive, or too angry." Dionne chronicles and champions each heroine who pushed through prejudice to contribute to the overall suffrage movement, as well as their contributions to their immediate communities. Continuing through the present day, the author ends with a cautionary note of the work still to be done to ensure the right to vote for all American citizens, and a reminder: "preserving the right to vote still matters--forever and always." Archival photographs appear throughout; interspersed sidebars fill the pages (almost distractingly so) with extended biographies of suffragists and key historical moments. See also How Women Won the Vote and Finish the Fight, reviewed on pages 111 and 113.

Reviewer: Eboni Njoku | Horn Book Magazine Issue: September, 2020

(2) YA Professor and critical race sociologist Fleming introduces teens to the history of race and racism, beginning with an overview of racist ideas and practices and how they relate to white supremacy. Through examples including European colonizers' stealing of land from Indigenous peoples; the enslavement of Africans; and the U.S.'s exclusion of people from Asia and Latin America through immigration policies, she traces the perpetuation of white supremacy. She also shows, in concrete detail, how racist ideas and practices affect the law; the images we see in movies and other media (with pictures throughout adding context); and the world of sports. Fleming provides readers with the language and knowledge necessary to begin an antiracist journey and offers five steps they can take. She notes from the outset that racism can be an uncomfortable subject but expresses hope that teens learning about it early can enact change. Detailed source notes and an index are appended.

Reviewer: Nicholl Denice Montgomery | Horn Book Magazine Issue: November, 2021

(1) K-3 Illustrated by Nikkolas Smith. The book begins with a premise many African American families know well: a child gets an assignment at school that involves learning about her ancestry and culture, and she doesn't know how to find the answers that seem so readily available to her classmates of other ethnicities. "I do not know where I begin, what my story is," she narrates. When she goes home and tells her grandmother this, Grandma gathers all the family members to tell them about their past. In poem after poem, she relates the tale of the people who were brought to the Americas on the White Lion in 1619. She tells the story of who they were and how they lived when they were free. She describes their language, Kimbundu; their work; their knowledge; their love; their dance. She tells how they were stolen, how they suffered on the water, how "these many people / became one people, / a new people" on the ship, when they refused to die. Grandma tells of the sadness, the determination, faith, hope, and resistance that brought the people through centuries of struggle to the current day, where a legacy remains that leaves the schoolgirl with pride in her people and their contributions to building the United States of America. Written in lovely and loving verse, with dynamic, expressive, and expansive illustrations that convey the emotional journey of a resilient people, this book provides a moving, informative answer to an essential question.

Reviewer: Autumn Allen | Horn Book Magazine Issue: November, 2021

(3) 4-6 Core Library Guide to Racism in Modern America series. Slavery may have officially ended in 1865, but as the authors clearly show in this hi-lo series entry, racism continued to be codified in this country's laws and institutions. After a contemporary example of the criminal justice system's blatantly unfair treatment of Black people, this overview traces the effects of policies and practices in employment, education, and voting laws that negatively affected African Americans--and that continue to have repercussions today. Plenty of sidebars and captioned photos reinforce concepts in the main text. A glossary and index are appended.

Reviewer: Kitty Flynn

(2) 4-6 The Hudsons' latest anthology (We Rise, We Resist, We Raise Our Voices, rev. 11/18; The Talk, rev. 9/20) boasts more than thirty contributions from historical and contemporary authors and artists. Short stories, essays, poetry, and art pay homage to the current movement for Black lives. Young people will encounter familiar contemporary authors but will also be introduced to leaders such as Frederick Douglass, through his electrifying 1852 speech "What to the Slave Is the Fourth of July?"; and Mary McLeod Bethune, from her moving "Last Will and Testament." Poetry is prominently featured: Lesa Cline-Ransome's "At Our Kitchen Table" celebrates the bonds of family while addressing the challenges of being Black during a time of global pandemic and racial unrest; abolitionist Frances Ellen Watkins Harper's "A Slave Mother" highlights a not-so-distant past when freedom was only a whispered prayer. Stunning works of art by acclaimed Black illustrators are featured, including Keith Knight, James Ransome, Ekua Holmes, and the late Floyd Cooper. Appended with artist and author notes; brief biographies of the historical figures; contributor notes; and more information about the Black Lives Matter movement.

Reviewer: Monique Harris | Horn Book Magazine Issue: January, 2022

(2) 4-6 In the African American community, parents and caregivers engage their children in conversations aimed at helping them cope with racism and discrimination in a society that fails to respect their heritage, ethnicity, and race. This pervasively practiced ritual is called “The Talk.” The Hudsons (We Rise, We Resist, We Raise Our Voices, rev. 11/18) here widen the scope to include other perspectives, including Latinx, Native American, and Asian American voices. In this honest yet inspirational and hopeful collection of seventeen works, including "letters, lists, poems, short stories, and essays" and art, thirty authors and illustrators share their experiences navigating the daunting challenges of preparing and protecting their children in a racist world. The diverse voices offer guidance on how to respond to stereotypical labeling and microaggressions, explore how and why racism exists, affirm self-worth and pride, and extol cultural identity. Each entry is illustrated with art that expands its message and theme. Accompanied by Erin K. Robinson's Madonna-and-child-esque portrait of comfort, a poem by Nikki Grimes explores the feelings of a child who is called the n-word [NB: the word is spelled out in the text] by a friend's father. In Tracey Baptiste's story "Ten," a Black mother gives her son ten pointers for surviving their routine traffic stop: "doing all of the things you need to so you can get back [home to family]"; April Harrison's evocative double-page image of their hands in full view on the dashboard speaks to a reality of life and reiterates the relevance of the volume's purpose. A well-conceived anthology that provides much-needed enlightenment and opportunity for both reflection and discussion. Back matter unseen.

Reviewer: Pauletta Brown Bracy | Horn Book Magazine Issue: September, 2020

(2) YA An introduction by Jason Reynolds, coauthor with Kiely of All American Boys (rev. 11/15), begins this honest and informative reflection on what it means to be white--and a call for white readers to take anti-racist action. After stating that conversations about race and racism often occur between caregivers and children of the Global Majority (the term Kiely uses throughout), the author opens the door to a conversation on whiteness for an assumed white readership. Using the first-person perspective, and with a casual tone but a deliberate use of language, the author relates personal stories, while acknowledging the contradictions of his authorship and of de-centering whiteness. Voices of youth and of those not always recognized by mainstream society are celebrated. Section breaks pace readers and invite them to pause and reflect; questions offer further opportunities for reader engagement. Kiely carefully scaffolds content, embraces discomfort, rejects either/or binaries, and owns his mistake-making: "I know I'm not going to get everything right. But I think I have to try." Charts and timelines showcase facts about history and racist systems and institutions; extensive back matter is included. Throughout this heartfelt model of white racial identity development, the emphasis remains on self-interrogation, group responsibility, and anti-racist accountability.

Reviewer: Elisa Gall | Horn Book Magazine Issue: January, 2022

(1) YA Illustrated by L. Fury & Nate Powell. The story begun in the March graphic memoirs (rev. 1/14, 5/15, and 9/16)--events of the civil rights movement as seen through the eyes of young activist (and later longtime Congress member) John Lewis--continues in this first volume of a projected new series. It picks up after the Voting Rights Act of 1965, as Lewis questions his own effectiveness as SNCC (Student Nonviolent Coordinating Committee) chairperson. But Lewis's personal story is mostly a springboard to larger events. Depictions of efforts by segregationists to close or move polling stations; the unpunished 1966 murder of young Black man Samuel Younge Jr.; and the prevention of Julian Bond's being seated in the Georgia General Assembly show how white supremacists and segregationists were emboldened to maintain existing power structures. Taking over most art duties from March illustrator Powell (who illustrates the pages leading up to the title page), Fury renders emotionally devastating, often violent events and quieter moments with equal finesse. Her grayscale art is reminiscent of Powell's, but with cleaner-lined, less stylized figures. Extensive back matter includes biographical information on dozens of individuals, meticulous source notes, and additional background on both the civil rights movement and the book's creation. Most of the finished pages were completed before Lewis's death in 2020; plans are in progress for the series to continue with additional material he and Aydin worked on together. As informative and essential an addition to the nonfiction comic canon as its much-lauded predecessors.

Reviewer: Eric Carpenter | Horn Book Magazine Issue: September, 2021

(3) 4-6 The main topics addressed in this volume are summed up by the three chapter titles: "What Is Anti-Racism?"; "What Is White Privilege?"; and "What Is the Black Lives Matter Movement?" The authors ground their answers to these questions with historical background about race in America, from slavery to the Jim Crow era, from civil rights legislation in the 1960s to what led to the Black Lives Matter movement. The accessible text is supported by captioned photos in an inviting design and is enhanced by suggestions for what readers can do to make a difference. This series title offers an effective overview of both historical and contemporary events.

Reviewer: Kitty Flynn

(1) YA In October 1966, in Oakland, California, Black college students Huey Newton and Bobby Seale began to organize in reaction to rising police brutality in Black communities. Those plans birthed the Black ­Panther Party, established as a response to an unjust system and one of the most misunderstood political parties/movements in modern history. "The Panthers played several roles: they were civil rights and human rights activists, militant revolutionaries, and community organizers, and they were also a political party." Magoon (Light It Up, rev. 11/19; The Highest ­Tribute, rev. 1/21) has produced a comprehensive and all-encompassing account of the group. Initially formed with the intent to monitor the police--legally--the Party created and expanded multiple social programs that served their communities. Providing, in the first four chapters of the book, an overview of centuries of enslavement, torture, oppression, lies, and aggression, Magoon likens the treatment of Black Americans to an earthquake, noting that "the major turning points of history are seismic, born of eons of slightly shifting geologic plates. They do not emerge from nowhere. They are born of deep unrest." Her history of the Black Panther Party is ­meticulously detailed, from the creation of its Ten-Point Platform and Program to the eventual divide in leadership ­following sabotage by the FBI's covert ­counterintelligence program, ­COINTELPRO. Magoon goes beyond the dissolution of the Party to discuss life for Black Americans from 1982 to 2020, expertly drawing parallels between the Black Panther Party and the Black Lives Matter movement. A wealth of quotes, photos, and sidebars enriches the book. Complete with an author's note, an annotated list of key players in the Black Panther Party, a timeline of important events, a glossary of terms, a bibliography for further reading, and source notes, this compelling work would be invaluable for both individual and classroom reading.

Reviewer: Eboni Njoku | Horn Book Magazine Issue: September, 2021

(1) K-3 In an immediate, evocative text, a child of color asks America--her country, which she loves--if America loves her back. Against black, white, and gray backgrounds, many different BIPOC children appear on the subsequent pages, wearing red, white, and/or blue, calling America to account. These children ask timely questions: "Do you love me when I raise my hand? My head? My voice? When I whisper? When I SHOUT?" On many pages, the speaker looks directly at readers while asking these questions, a handful of which use exact verbiage from the Pledge of Allegiance--which opens and closes the book, handwritten on an American flag. The bald eagle constitutes a visual motif throughout: it hovers on the title page; casts a huge, gray shadow in which one child stands, arms spread as if actually casting this shadow; and flies above the New York City skyline, rural landscapes, and the U.S. Capitol. Peoples-Riley's author's note mentions that despite reciting the Pledge daily in school as a child, she didn't feel America's commitment back to her. Occasional Spanish and Louisiana Creole words and phrases appear throughout the main text, which the author's note also explains. The pictures' grayness makes hope somewhat elusive, but the pops of color against the somber hues, the children's persistent questions, and intergenerational support suggest a brighter future.

Reviewer: Michelle H. Martin | Horn Book Magazine Issue: May, 2021

(2) YA Reynolds insists from the first paragraph that "this is not a history book," and he's right; what instead he has created, in high rhetorical style, is a taking-to-account of American racism: how it got here, why it sticks around, why it needs to stop. Based on Kendi's National Book Award–­winning Stamped from the Beginning (not read by this reviewer), this young reader's edition begins its argument in the European explorations and conquests of the fifteenth century, proceeding through slavery in colonial America through the Black Lives Matter movement of today. It's not an upward journey, though: the book takes a determinedly radical approach to racism and antiracism. Its heroes are John Brown, Malcolm X, and Angela Davis (very well profiled here) rather than Booker T. Washington, Martin Luther King Jr., or Barack Obama. It's a point of view rarely seen in books for young people, but much of the appeal will stem from its fondness for overbold statements, like identifying a fourteenth-century Portuguese writer as "the world's first racist" only to contradict that claim with a reference to Aristotle within a few pages; and categorical thinking, like saying there were only two kinds of people in colonial America (farmers and missionaries) and, more generally, only three kinds of people in the world (racists, assimilationists, and antiracists). The casual voice is inviting if sometimes glib (comparing owning slaves to owning fancy sneakers, for example), but the joyful épater-ing of la bourgeoisie (e.g., Brown v. Board of Education is "actually a pretty racist idea") offers lots to think and talk about. With source notes, an index, and a suggested reading list (fiction, nonfiction, and poetry).

Reviewer: Roger Sutton | Horn Book Magazine Issue: May, 2020

(3) 4-6 Adapted by Sonja Cherry-Paul. Illustrated by Rachelle Baker. Cherry-Paul adapts Reynolds's YA "remix" of Kendi's National Book Award–­winning Stamped from the Beginning for a middle-grade audience. Reynolds's forthright conversational voice comes through; the book's chronological organization is similar to its YA counterpart. Accompanied by black-and-white halftone illustrations, short readable chapters hit on main points, and occasional sidebars provide related information. "Pauses" in the main text clarify concepts and give readers a chance to gather their thoughts about how deep white supremacy runs and what being antiracist means. A seven-page timeline and a glossary are appended, as are lists of suggested picture books, chapter books, and books for older readers.

Reviewer: Kitty Flynn

(2) K-3 Illustrated by Tonya Engel. A message from the African ancestors to today's African American children. Narrated in the second person, this picture book tells African American youth an uplifting story about the many positive qualities passed down to them: "love, intellect, determination, courage, brilliance, strength, ingenuity, grace, and dignity." Countering the notion that African American history started with slavery, Williams opens with "Your story begins in Africa," and says that Africans, "the first people on the earth," lived in thriving societies, speaking many different languages, for thousands of years before slavery. The narrative progresses through their kidnapping and enslavement, their sharing music as a common language, the vital connection between literacy and freedom, and the contributions of so many who made America successful. Readers meet well-known and lesser-known historical figures, some named, others only pictured, giving young people opportunities to learn more about them all. Engel's (Rise, rev. 11/19) mixed-media illustrations, which include acrylic, collage, and printmaking on wood and paper, capture the historical settings well, while her inclusion of flowers and trees throughout symbolizes growth and the potential of the next generation. (She illustrates Africans boarding slave ships unchained and fully clothed in their cultures' colorful garb and jewelry--perhaps to downplay the trauma of the Middle Passage.) An inspirational story that instills hope and encourages today's African ­American children to consider what they will give to their own descendants. Pair with recent similarly themed titles The People Remember and The 1619 Project: Born on the Water (both rev. 11/21).

Reviewer: Michelle H. Martin | Horn Book Magazine Issue: January, 2022

(1) K-3 Illustrated by Loveis Wise. Through art and words, with the framework of the seven principles of Kwanzaa, Zoboi (American Street, rev. 3/17; Black Enough, rev. 1/19) and Wise beautifully "sew together a tapestry of / their stories / one fine quilt / a blanket for the children / to keep them warm, protected, and safe." Each brightly colored spread tells of important moments and people in African American history. Author and illustrator first bring readers back to Africa and remind them that before there was Africa and African Americans, there were the Fulani, the Hausa, the Ashanti, and the Akan, who lived in Mali, Kongo, and Songhai. As they move along, readers are reminded of the Middle Passage, enslavement, the Civil War, and the Great Migration. Despite the hardships and struggles, the people remember their Kuumba (creativity), Imani (faith), Nia (purpose), Umoja (unity), Kujichagulia (self-determination), Ujima (collective work and responsibility), and Ujamaa (cooperative economics) to survive and thrive. Wise's sumptuous digital illustrations are reminiscent of the patches created by African American quilters to remind future generations of their past. The bright colors reflect the hope and optimism that African Americans have carried with them. Along with history, readers are introduced to the principles of Kwanzaa in an informative and heartfelt appended author's note and timeline.

Reviewer: Nicholl Denice Montgomery | Horn Book Magazine Issue: November, 2021