39 Kara Lewis – Final Paper
Kara Lewis (She/Her) is a Senior from Mishawaka, In and she is a librarian at a K-8 school who loves to read and write with students! This work was prepared for Alisa Clapp-Itnyre’s English L390, who states, “Kara wrote an excellent paper on the using diverse picture books — really a very sensitive and thorough discussion of a range of books that children should be reading.”
Final Paper
In the landscape of children’s literature, the representation of diversity—particularly physical differences with their concrete and noticeable attributes for children—is an ever increasing important tool to use with children. Inclusive picture books help shape children’s minds towards acceptance and empathy for others, while also boosting self-confidence and self esteem. Bai Yuewu, in an article titled “The Value of Diversity Picture Books: Symbolic Narration and the Free Constructing of Children’s Inclusiveness Awareness in the Context of Globalization” summarizes what picture books should be offering, “…picture books should serve as mirrors reflecting readers’ own experiences, as windows offering insight into diverse lives and cultures, and as sliding glass doors serving as gateways to understanding and accepting different worldviews” (Bai 36). Bai’s directive stresses the ways picture books can cultivate a more inclusive mindset among young readers. This paper aims to critically analyze how five diverse picture books represent physical differences through illustrations, content, and literary qualities. It will argue that these books not only reflect but actively promote a more inclusive society by enhancing children’s educational experiences and broadening their social understanding, ultimately fostering greater self-esteem, acceptance, and empathy.
Before analyzing picture books, it is important to know why the representation of diversity is so influential for children. As a preschool through 8th grade librarian, I have seen time and time again children light up when they choose a picture book with a character that looks like themselves, or looks like one of their best friends or neighbors. I have heard their exclamations of acceptance and understanding as we read an inclusive story together— “That’s what Rhianna’s mom wears on her head! I always wondered what that was!” (in reference to a hijab, a Muslim article of clothing seen in the picture book The Proudest Blue by Ibtihaj Muhammed, which we will look at later in this paper.) The personal anecdotal evidence for diversity could be argued for by any school educator or librarian, but scholarly research on the topic supports this, too.
Linda Gilmore and Glenn Howard, in their article “Children’s Books That Promote Understanding of Difference, Diversity and Disability” explain the developmental stages that children enter as they encounter physical differences in others, with comparison of oneself to those around becoming more and more critical as children age. They share that in poorly supported contexts, where there is a lack of exposure to diversity education, the risk of children experiencing rejection, teasing, stereotyping, and conflict increases (219). But in well supported environments, “Books have the potential to challenge some of the negative images and prejudices that children inevitably encounter, ultimately leading them to be more aware, understanding, and accepting of difference, diversity, and disability” (247).
JaNay E. Brown-Wood and Emily J. Solari, in an article titled, “Judging Books by Covers: Exploring Antiblackness and Asian and Hispanic Children Preferences” examine how implicit and explicit racial biases against Black Americans influences Asian and Hispanic children’s preferences for books and characters. The findings of their study showed children not exposed to diverse stories statistically more often chose books that featured white characters, while students who had experience with racially diverse characters, were more likely to also choose books featuring Black protagonists. This research highlights the need for diverse and inclusive representation in children’s literature to combat racial biases, giving children the comfort to read and learn about others different from the white majority.
Finally, a message from Rudine Sims Bishop, in an influential paper titled, “Mirrors, Windows, and Sliding Glass Doors” tells us the risk of not including diverse picture books when reading with children, “When children cannot find themselves reflected in the books they read, or when the images they see are distorted, negative, or laughable, they learn a powerful lesson about how they are devalued in the society in which they are a part of” (1). With ample research and articles highlighting the need for diverse literature, the following books demonstrate how understanding others and accepting oneself can be encouraged through their use. Beginning with views of their illustrations, followed by an analysis of content approaches, and concluding with exploring the literary qualities in each, these sections will explore how different elements of children’s literature work together to promote empathy and inclusivity.
Rich Illustrations
Intriguing, beautifully done illustrations can make or break whether children choose a book off the shelf, and the respectful portrayal of physically different characters is vitally important. Amy Davis, in her article ““How to Select Diverse Picture Books to Share in Elementary Classrooms” instructs teachers how to look for successfully diverse picture books. “When teachers are reviewing diverse picture books to potentially share with the students, they can take some time to not only read the text, but also analyze the illustrations. The books teachers select should represent a diversity of content and be free of cultural stereotyping and bias” (8). The following books do this task especially well.
Vashti Harrison’s book Big, winner of the 2024 Caldecott Medal, succeeds in its endeavor to introduce readers to a character who is both racially diverse, as well as outside of society’s stereotypical expectations for weight and size. In the book, a young unnamed black girl is first praised for “how big she is” as she grows from a baby, until suddenly, around school-age, her big size is now treated as a negative. The illustrations are stunning—done Procreate and chalk pastel—they move from light, airy pinks full of hope, to dark greys and blues when the character begins to internalize the negative message she is receiving. At one point the girl feels so large that her entire body fills a double-page spread, her eyes grimacing in pain as her feet push against the edge of the book (33). Harrison’s ability to use the entire layout of a book for readers to feel the metaphorical size the girl is feeling is astounding. For children who may bigger in height or weight, this book is a “mirror” to see themselves, for those who do not feel physically inadequate, a “window”, and for all, a “sliding glass door” to empathize with the pain of unmet physical expectations. Vashti herself, when speaking about feedback from readers she has gotten, shared, “I have lots of good conversations with adults who process it through their own lens of “This is something that I went through. I wish I had a story like this.” It’s bittersweet. I wish we all knew that many of us go through the same thing” (Marcotte 16).
The Proudest Blue, with illustrations done in ink washes and pencil on watercolor paper, uses a similar color-focused technique to pull readers focus to the illustrations. In the story Asiya, a Muslim character, goes to school wearing a Hijab for the first time. The hijab is a beautiful shade of blue, at one point filling a double page spread with clouds and birds sailing across the illustration of the hijab. “Asiya’s hijab isn’t a whisper. Asiya’s hijab is like the sky on a sunny day. The sky isn’t a whisper. It’s always there, special and regular” the text reads (10-11). The girl and her sister face whispers, laughs, and judgment from classmates about the hijab, but their confidence in the beauty of their tradition fights misunderstandings in others. The illustrations are cartoon-like in their depictions of characters, but the texture in backgrounds and fabrics add an ethereal quality to the book. Its phenomenal portrayal of the inner and outer beauty of a hijab and its wearer encourage awe and respect in readers.
When looking at illustrations through a lens of cultural accuracy that invites children in, it is easy to see how My Powerful Hair by Carole Lindstrom fits the bill. The book, which explains the cultural significance that Indigenous people believe that hair holds, is done with illustrations of pencil and sketchbook, “brought to life in Procreate” (copyright page). They are bold, with deep blacks and thick outlines of characters who show skin of varying shades of deep tan and brown. In each page the connection of Indigenous people to nature is evident. One shows a Native woman’s head, her face staring proudly off to the distance. Her black hair flows down her neck and turns into a river that runs off the page, with blues and purples swirling in its waves. A yellow sun peeks from behind a mountain, and the text tells us, “Our ancestors say: Our hair is our medicine” (32-33). The illustrator, Steph Littlebird, has incredibly portrayed a community that is often underrepresented, and worked with Lindstrom to give the message of traditional values. Native/Indigenous stories can be difficult to avoid stereotypical portrayals of Indians. Things like crude animal skins, feathers sticking from the top of braids, and life in exclusively in teepees are some of the biases that can exist for children. Instead, this book offers relatable setting and characters. The clothes feature a mix of beaded and traditional elements with “modern” tee shirts and outfits. Nature is certainly highlighted, but so is a home that many readers can identify. One page shows a calendar hung on the wall with a Native baby strapped into a highchair, spaghetti everywhere as the older sister feeds the child (17). Depictions such as these eases the barrier to other cultures, showing that we are all similar in so many ways.
Approach to Content
Alongside illustrations, it is important that authors approach the content of their diverse books by providing meaningful text and stories. When analyzing books, Davis encourages asking, “Will characters only achieve success if they assimilate into the mainstream culture and abandon their own cultural beliefs and practices?” (9). This question, alongside others, is helpful when analyzing picture books. If you ask Davis’s question as you read, Just Ask: Be Different, Be Brave, Be You by Sonia Sotomayor, the answer would be a resounding no. The characters in her book celebrate their differences, making special note of how they interact with society as-is, no changes necessary to reach success. Each page of the book examines a disability or difference that children experience, some unseen such as Tourette’s syndrome or autism, but others physical, such as being blind and using a cane or having Down syndrome. The latter, shown on a page with a child with almond-shaped eyes singing near birds on a fence says, “I love to sing, and I love to talk. I love to make new friends and be included. I am Grace. I was born with Down syndrome. Kids like me with Down syndrome have an extra building block called a chromosome in their bodies. But we are all different from each other too. I can do almost anything any other kid can do, though learning new things can take some time. One way I learn is to ask questions” (28-29). The beauty here is that Grace is first introduced by the things she enjoys, singing and talking. Down syndrome is not her defining characteristic, but instead the uniqueness of her joy is. The last text on the page, separate from the rest, reads, “What helps you learn?” This reflection question encourages children to realize that they have differences, too, just like Grace. Down syndrome is just another way of life, another way to learn, another way to be. Each page of Sotomayor’s characters is approached with this same reverence for normalizing differences. Her words are easy for children to understand and expose young readers to many different conditions and abilities.
Like My Powerful Hair’s use of illustrations to show cultural pride, Eyes that Kiss in the Corners by Joanna Ho conveys a similar message through its text content. In the book, a young Chinese girl notices her eyes are different from those around her, “Some people have eyes like sapphire lagoons with lashes like lace trim on ball gowns, sweeping their cheeks as they twirl. Big eyes, long lashes. Not me” (4-5), “I have eyes that kiss in the corners and glow like warm tea” (6). The text of the story tells all of the ways in which the young girls’ eyes are like her mama and family’s eyes, and how those eyes represent a rich cultural history. When describing her Amah’s (grandmother’s) eyes, “Her eyes are filled with so many stories; I can fall inside them and swim until my time stops” (15), “I see Guanyin with the Monkey King, sitting on a lotus, serene, baubles of lychee on trees, and mountains that reach for the sea” (16-17). The illustrations show traditional Chinese characters that support the folklore referenced in the text. This book celebrates the unique shape that eyes are by celebrating the link of physical characteristics to family and culture through uplifting descriptions.
As a young girl, I was often told the shape of my eyes was “different”, peers jeeringly asked me if I was from Japan or China. This type of book would have been a bridge for me to see more beauty in the mirror, to appreciate the differences that my face holds. Even the title, describing eyes kissing in the corners, adds an affectionate description to the shape. The text of this story is a positive way for children to view those who are different from themselves.
The content of diverse stories matters, but the way in which that content is presented, through the use of varying literary strategies and prose, can elevate a story to an art-like quality. Literary Qualities
It is known, as Gilmore and Howard explain, “Ultimately, children’s books have the potential to provide comfort and aid healing, to encourage reflection, counteract stereotypes, promote empathy, and create an appreciation of diversity” (221). To enact that type of reach, children’s books should successfully use various literary qualities to impact young readers. Qualities include things like narrative structure, character development, language, themes and messages, conflict, resolution, symbolism, imagery, pacing, dialogue, etc. When various elements are used together well, the overall feeling of a book enhances readers’ experience. Big uses emotional language for the reader to connect to the character. “Don’t you think you’re too big for that!?” The young girl is asked by a frustrated looking teacher after breaking a swing on the playground, (12), followed by the sentence on the following page, “It made her feel small” (13). The varying size of the text (big and intense for the accusation from the teacher, small and organized when it describes the child’s reaction), as well as the blunt explanation of sadness by the character, offers readers insight to her experience.
Just Ask! uses its many differing narrative voices give children glimpses into others’ lives. Fourteen different children speak of their unique circumstance, and each one celebrates themselves in a different way. The Proudest Blue also uses a simple narrative as its strength. By using the more direct language of a child, Muhammed communicates profound themes like identity, faith, and bullying without becoming overly complex. After feeling anxious about her big sister’s first day, the narrator says, “I turn but I can’t see the blue anymore. I run to the big kids’ side. Twenty-seven steps to see Asiya. I need to give her another hug. I need to see her smile” (12). This type of language is accessible and relatable for children who have felt afraid at school before, who have raced to find siblings on the playground or in the halls.
My Powerful Hair uses an educational tactic to immerse readers in Indigenous traditions. Through the story, readers learn about the specific cultural practice of cutting and growing hair which is tied to significant life events in some Indigenous cultures. This educative aspect not only informs but also respects and honors the traditions it depicts, thereby deepening the cultural awareness of its readers. Eyes that Kiss the Corners uses lyrical language to add depth and beauty to the story. “My eyes crinkle into crescent moons and sparkle like the stars. Gold flecks dance and twirl while stories whirl in their oolong pools, carrying tales of the past and hope for the future” (27). The words poetically tell the importance of heritage and introduce children to looking at physical differences in a new light.
Each of these books uses intentional writing styles and strategies to create effectively diverse stories that can add depth to the content and illustrations the books offer. Children’s picture books are essential tools for teaching young readers about the world around them. By examining books like Big, The Proudest Blue, My Powerful Hair, Eyes that Kiss in the Corners, and Just ask! It is clear to see that these stories do more than just tell tales— they educate and inspire. They help children understand and celebrate physical differences. As Davis notes, “Teachers must be intentional and purposeful in their teaching practices to create ‘agents of collective community change’ and counter racist, sexist, and classist ideologies” (8). This prerogative is not simply for teachers, but for any adult who helps to curate and introduce children to books. Through inviting and accurate illustrations, rich content, and with interesting literary qualities books foster empathy and inclusion. Ultimately, they prepare young readers to be more accepting and appreciative of others, proving that well-crafted children’s literature will help to shape inclusive future generations.