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Showing posts with label Environment. Show all posts
Showing posts with label Environment. Show all posts

[Fiction] Together as One






Crash! Bang! Crash! Bang!

Hurricane María whipped the island. Through a gap in the storm shutter, Julia saw the wind spit out a palm tree, like a toothpick. A roof hurtled toward the beach. Time to hurry to Julia’s school, which was being used as an emergency shelter.

They drove through the pounding rain in tense silence. The curtain of rain hid the top of the hill where Don Alonso lived. This wind could easily blow away his tiny house—and him!

"Did somebody take Don Alonso to the shelter?" Julia already knew the answer: Don Alonso would never abandon his house.

All around them, branches cracked. BANG! Julia watched as a huge quenepa tree crashed down onto a tienda.

At the school, Julia was glad to see her guaraguao tree still standing. But . . . ¡Ay, bendito! In the music room, the cuatros were shattered. Julia would no longer get to play her favorite dance song, the seis chorreao.

The gym was hot and loud with babies crying, children running around, their parents chasing them.

“Leida!” Julia hugged her friend. “Where are your puppies?”

“I had to leave Sato and Sata behind.”

The wind roared like the Air Force jets that had shaken Julia’s house as they flew overhead gathering information about the weather. So, she had to yell, “Don’t worry, Leida, we’ll find them!”

The drivers behind him stepped out of their cars. Julia feared that they were angry because Papi wasn’t moving. But no. They pushed Papi’s car all the way to the pump.

Julia folded a piece of paper into a fan. Soon everyone in the shelter was making paper fans. Battery-powered radios blasted the news: the airport was flooded, mudslides had buried cars, dead iguanas blocked the roads. Julia tried to distract herself by showing Leida how to make an origami crane. ¡Uy! Hurricane, go away!

The hurricane roared all day and night before it finally got tired and drifted away, like the Air Force jets. The next morning, Panchito, the school custodian, opened the front doors.

Julia’s guaraguao tree! Knocked down!

“No tears,” Panchito said, as Julia and her parents left the school. “We’ll put the wood to good use.”

Señor Medina, the school principal, directed traffic at the intersection. Julia waved to him as they went by. She closed her eyes and saw mud. She opened her eyes and saw mud. They came to a car that was stuck. It was Leida and her parents!

“The road is blocked,” Leida’s father said. “How will we get through?”

Don Raúl came with a machete. He chopped through the thick branches. Everybody slogged away behind him, hauling branches, clearing palm fronds, and tossing avocados from the path.

When Leida’s father opened their front door, a surge of water spilled out. Leida’s mother wrung her hands. “We’ve lost everything!”

“Sato! Sata!” Leida called.

Julia waded in with a lantern. They searched everywhere: the muddy sofa, Leida’s soggy bed, the murky water. Had the dogs been swept out to sea? Suddenly, Julia heard a whimper. Standing on their back legs in the bathtub, two small dogs wagged their tails excitedly.

“Sato! Sata!” The puppies covered Julia and Leida with kisses.

For days, there was no power, no running water, no school. Julia and Leida helped Leida’s abuelita wash clothes in the river. “Like the good old days!” said Abuelita.

Good? Julia frowned. Having no power meant no TV, no video games, no cell phones, no refrigerator. But then Julia saw something good. A guaraguao sapling had survived! She knew exactly where to replant it.

Julia and Leida helped Miss Medina clean up the school. When it rained, they took desks outside and washed them. When it was sunny, they carried school books outside to dry.

On the way to the gasolinera, Papi’s car ran out of gas in the middle of a long line of traffic. The drivers behind him stepped out of their cars. Julia feared that they were angry because Papi wasn’t moving. But no. They pushed Papi’s car all the way to the pump.

In the meantime, Julia and Mami stood in line under a scorching sun to get drinking water. Watching the piraguero scrape a block of ice made Julia thirstier.

“Don Alonso’s creek had turned into a river, flooding his road,” he told them. “Chief Enrique braved the hill to check on him. Don Alonso is safe. He just needs batteries for his lantern, but everyone has run out of batteries.”

“I have extra batteries!” Julia said, taking them out of her backpack and giving them to the piraguero.

He didn’t thank her. Instead he scooped ice into a paper cone, drizzled it with raspberry and tamarind syrups, and handed her the piragua. It was hers, for free!

That evening, over on the hill, Don Alonso swung his lit lantern, signaling his thanks.

The next day, Julia ferried plates from the beachfront restaurant to the volunteers. “Can we feed them all?”

Doña Luisa flipped red snappers on the grill. “We’ll feed everyone until there’s nothing left.”

They fed teenagers hammering blue tarps to roofs.

They fed carpenters repairing walls.

They fed electricians trying to restore power.

They fed the fisherman who offered his catch.

One day, as Julia worked in the restaurant, she heard a loud sound. It was a sound they had not heard for a long time. Hummmmmm.

“The refrigerator! Wepa! The electricity is back!” Julia clapped. Everybody dashed to the beach to celebrate.

Panchito handed Julia the shiniest cuatro she had seen. “Your very own cuatro, made from the wood of your old guaraguao tree.”

Julia hugged Panchito around his waist. Then everyone listened as she played a seis chorreao.



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Author's Note



On September 20, 2017, Hurricane María attacked Puerto Rico. And I was there!

For thirty long hours, the winds roared like war jets, snapped tree after tree, splintered windows, and ripped away traffic signs and zinc roofs. If the deafening wind was terrifying, the hurricane’s aftermath was worse. The whole island was incommunicado, without drinking water, and without power.

“Together as One,” read a tattered Puerto Rican flag. We had to be!

“Puerto Ricans need to do more,” President Trump tweeted in the days after the disaster.

Politicians failed Puerto Rico, but the US public didn’t.

My cousin and his wife live a block away from the beach. They sheltered in town and returned to find their house flooded. They lost everything!

My family and friends took up a serrucho, a money collection. At an Oregon conference of the Society of Children Book Writers and Illustrators (SCBWI), attendees also contributed to the serrucho.

“With this money,” my cousin said, “I’ll buy a mattress, but the rest will go to others who are less fortunate.”

The day I returned to Oregon, on the way to the airport, I met sixty-three electricians who wore T-shirts painted with the Puerto Rican flag, and a lineman climbing a pole.

For months they had worked hard to restore some of the power to the island. Not an easy task. The terrain in the mountains is steep and risky. Many roads had turned into raging rivers. Others were blocked by downed trees, and even dead iguanas.

These electricians showed me photos of red snappers that Puerto Rican families had caught and cooked for them. They were full of gratitude for those home-cooked meals.

Those photos, and my cousin’s selflessness, bear witness to the Puerto Rican spirit, and testify to the importance of working together as one.




About the Author

Carmen T. Bernier-Grand is the Puerto Rican author of eleven books for children and young adults. Her children's book biographies, César: Yes, We Can! / ¡Sí, se suede!, Diego: Bigger Than Life, and Frida: ¡Viva la vida! / Long Live Life received Pura Belpré Author Honor Awards. In 2008, the Oregon Library Association’s Children’s Division awarded Carmen the Evelyn Sibley Lampman Award for her significant contributions to the children of Oregon in the field of children’s literature. Ten years later, Oregon Literary Arts awarded her the Walt Morey Young Readers Literary Legacy Award. She lives with her husband and bilingual Maltese dog, Lily, in Portland Oregon. Her next bilingual picture-book is scheduled for publication in 2021. Visit her on Twitter: @GrandBernier, Facebook: @carmen.berniergrand, and on the web at www.carmenberniergrand.com.




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[Interview & Submissions Call] Anansesem's Special Issue On Puerto Rican Children's Literature



Illustration by Lea Stagno from La Cotorrita Boricua, written by Enrique Hidalgo


Carmen, one of our associate editors, is a Puerto Rican who lives in Puerto Rico. When Hurricane Maria first hit landfall on Wednesday September 20, 2017, I doubt she or anyone on the island imagined that they were about to experience the worst natural disaster on record to affect Dominica and Puerto Rico. Before the hurricane, I knew Carmen as many things: a warm and positive person, a devoted mother, an educator passionate about the Caribbean children's literature courses she teaches at the University of Puerto Rico at Humacao and exceptionally dedicated to her students, and an avid reader and researcher of Puerto Rican children's literature (check out her article, 'Puerto Rican Children's Literature and the Need for Afro-Puerto Rican Stories' in Bookbird: A Journal of International Children's Literature, and for a good overview of Puerto Rican children's literature, check out this 2014 interview with Carmen over on my website.) After Hurricane Maria, Carmen is still fully all of these things. In a country where so much has been lost and derailed, and most of the public libraries have been destroyed, she and many others continue to forge community, build resilience and reassure young people through the power of children's books.

I've always wanted Anansesem to publish an issue devoted to Puerto Rican children's and young adult (YA) literature, but I never felt I was fully equipped to edit a Puerto Rican issue (I don't speak Spanish fluently for one) and other ideas took priority. Now, with millions of Puerto Ricans still struggling to rebuild and the rich tapestry of Puerto Rican life in danger of being reduced to "a single story" à la Chimamanda Adichie, an issue devoted to Puerto Rico's distinctive legacy of #ownvoices children's narratives feels more than timely. From the early jibaro tales and coqui stories, to the bilingual folktale re-tellings of Pura Belpré and trailblazing works by Fernando Pico (La Peineta Colorada/The Red Comb) , Georgina Lázaro (El flamboyán amarillo), Ángeles Pastor (the Por el mundo del cuento y la aventura series), and children's poet Andrés Díaz Marrero, to name only a few, to fresh new fiction by the likes of Pablo Cartaya, Ann Dávila Cardinal and other Twitter-savvy Puerto Rican migrants to the US mainland, Puerto Rican literature for young audiences is ripe for much wider recognition, essential for Caribbean children, and historically vital for building pivotal cultural bridges.

Small publications like ours struggle to meet our editorial needs, so we are beyond excited to announce that Sujei Lugo Vázquez—a US-based Puerto Rican children's librarian and PhD candidate who is well-known in the children's literature world for her advocacy and teaching regarding anti-racist and social justice themes in children's books—will be guest curating and editing our upcoming May 2019 issue. Check out my interview with her below to learn more about her and her vision for the issue, and scroll down to the bottom to read the issue's Submission Call in Sujei's own words.



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Illustration by Lea Stagno from La Cotorrita Boricua, written by Enrique Hidalgo


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Sujei Lugo Vázquez is a former elementary school librarian from Puerto Rico, who moved to Boston, USA to pursue doctoral studies at Simmons University. Her research focuses on racial justice in children’s librarianship. She currently works as a children’s librarian at the Boston Public Library and is an active member of professional organizations such as REFORMA, ALA, and ALSC. She is a member of the Latinxs in Kid Lit blog and We’re the People Collective. Her body, heart, and mind constantly travel between Boston and Puerto Rico.

Summer Edward: Why do you think reading, writing and telling Puerto Rican stories is important for children and teens right now?

Sujei Lugo Vázquez: Puerto Rican stories told and retold to my grandparents, parents, myself and our children were mainly filled with colonial perspectives and outsiders telling our stories, or insiders with internalized oppressions telling fractured stories. Digging outside the mainstream publishing world and school curriculum was a way to find our stories of resistance and empowerment, and perspectives of marginalized voices. Right now, we need to continue telling our own stories, in our words, so youth can challenge and re-imagine our past, present and potential future. There’s no single way of being Puerto Rican and living in Puerto Rico, and our political, social and cultural landscape keeps influencing and shifting our stories. We need to keep our children and teens up-to-date on these changes, and educate them about their role in writing and telling Puerto Rican stories.

SE: What are you looking for in terms of submissions to the issue? Is there a particular kind of writing that stands out to you?

SLV: I’m looking for stories, experiences, literacy projects, words, and images that center works for youth, and with youth, in a post-Hurricane María Puerto Rico. The issue seeks to showcase voices and perspectives from the whole island, metropolitan area, rural areas, our coasts and mountains, and the islands of Vieques and Culebras. Educators, librarians, writers, illustrators, artists, activists, community leaders and community members mobilized and expressed their experiences and concerns in different ways regarding issues such as health, education, literacies, art, food justice, the environment, sustainability, power/energy, migration, and temporary relocations. I would like the issue to provide a glimpse of all of these local efforts, projects and activism for, and with, our youth. I'm not only looking for writing but also images that speak from hands-on experience and life in Puerto Rico. Pieces that readers could see and feel the sincerity, emotions and perspective of the creators using the language that best represents and portrays their voices.

SE: Ultimately, with this issue, what message do you want to send to Puerto Ricans— young Puerto Ricans especially, but adults too—still grappling with the after-effects of Hurricane María, and to those who will read the issue?

SLV: Our people might not be ready now to completely express ourselves, since we are still healing, coping, understanding and surviving the effects and aftermath of the natural, political and human disasters that Hurricane María made clearer. Our children and teens need to acknowledge that they have the experience and tools to control their own narratives, and that they can be expressed in many ways— through words, images, community organizing, and collaborative work. Their memories, experiences and reflections are all valid, and reflect not just an individual feeling, but a collective, intergenerational, and historical one.

Literacy, education and children’s literature have played, and will continue to play, an important role in moving Puerto Rico and our communities forward, serving as vehicles of change, empowerment and resistance for our youth, and for adults that work with youth. Through this issue, I want readers to see activism and children’s literature in practice and to understand that our voices, and youth voices, can and should be heard. I want Caribbean readers to know that collaboration is intrinsic for (re) building communities, and that we should enhance our connections with our fellow Caribbean peoples.


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Call for Submissions

Special Post-Hurricane Maria Issue on Puerto Rican Literature for Young People


Illustration by Lulu Delacre from How Far Do You Love Me?, written by Lulu Delacre


Anansesem is currently accepting submissions for our May 2019 issue. The issue will be guest edited by Sujei Lugo Vázquez, and will be titled Y este cuento (no) ha terminado: rebuilding, rewriting and resisting in Puerto Rico. The issue will spotlight stories, images, experiences, and projects in post-Hurricane María Puerto Rico connected to children's and young adult (YA) literature.

We want to highlight local and community art, literacy, and storytelling efforts for youth in Puerto Rico; Puerto Rican children’s authors and illustrators' work and experiences; Puerto Rican/Caribbean youth voices and experiences in writing and art; and works that intersect children’s literature with any of the following: activism, art, education, the environment, sustainability, food justice, housing rights, colonization and imperialism, and re-imagining a new future for Puerto Rico.

Poetry, short fiction and non-fiction, illustrations, comics, photographs, book reviews, and reflections are being accepted. Send in up to five poems, images, panels, and illustrations. Written pieces must be no more than 2,000 words max. We will accept .pdf, .docx, and .jpeg formats.

Submissions are limited to Puerto Ricans, Dominicans and Caribbean peoples living in Puerto Rico. Works may be in English, Spanish, Bilingual and Spanglish.

Include name(s), contact information and brief (up to 75 words) biographical notes.

Send up to two submissions to sujeilugo@gmail.com with “Anansesem Puerto Rico Issue — Poetry” or “Anansesem Puerto Rico Issue —  Prose” etc. in the subject line.

SUBMISSIONS ARE NOW CLOSED.



Edición especial sobre literatura infantil y juvenil puertorriqueña post paso del huracán María.


Anansesem está aceptando entregas para su edición de mayo 2019. Esta edición cuenta con Sujei Lugo Vázquez como editora invitada y será titulada “Y este cuento (no) ha terminado: rebuilding, rewriting and resisting in Puerto Rico”. La edición busca darle exposición a relatos, imágenes, experiencias y proyectos en el Puerto Rico post huracán María que estén conectados a la literatura infantil y juvenil.

Queremos darle énfasis al arte local y comunitario, alfabetización e iniciativas de contar cuentos para lxs jóvenes en Puerto Rico; las experiencias de autores e ilustradores puertorriqueñxs; las voces y experiencias de jóvenes de Puerto Rico y el Caribe; y trabajo donde se intersecta la literatura infantil con cualquiera de los siguientes temas: activismo, arte, educación, el medio ambiente, la sostenibilidad, justicia alimentaria, derechos de vivienda, colonialismo e imperialismo y la re-imaginación del futuro de Puerto Rico.

Poesía, cuentos o relatos cortos, ilustraciones, cómics, fotografías, reseñas de libros y reflexiones son bienvenidas. Se pueden someter hasta cinco poemas, imagenes, paneles e ilustraciones. Las piezas escritas no deben ser de más de 2,000 palabras. Aceptamos entregas en los siguientes formatos: .pdf .docx y .jpeg.

Entregas limitadas a puertorriqueñxs, dominicanxs y personas del caribe que viven en Puerto Rico. Los trabajos pueden ser en inglés, español, en ambos idiomas o en spanglish.

Se debe incluir nombres, información de contacto y una breve nota biográfica (hasta 75 palabras) en las entregas

Envíe hasta dos presentaciones a sujeilugo@gmail.com con "Anansesem Puerto Rico Issue - Poetry" o "Anansesem Puerto Rico Issue - Prose", etc. en la línea de asunto.

Fecha límite: 15 de enero de 2019.

LAS PRESENTACIONES ESTÁN AHORA CERRADAS.




About the Interviewer

Summer Edward is the Editor-in-Chief here at Anansesem. Her writing and art have been published in various literary magazines and anthologies. Her home on the web is www.summeredward.com.




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[Book List] Back to School After an Environmental Disaster: Teaching Hurricane Irma

Illustration by Tim Clarey from HURRICANE by Verna Allette Wilkins
Earlier this week, we woke up to the news of the huge damages suffered by many Caribbean islands due to Hurricane Irma. Early this morning, I reached out to Carmen (one of our Associate Editors) to see how she'd fared over in Puerto Rico and thankfully she and her family are safe and haven't suffered any major losses. Particularly heart-wrenching are the first images of the devastation in Barbuda where it's reported that 90% of the homes are damaged and 50% of the population is now homeless. In the wake of Irma, the island was unreachable for a few hours— inconceivable in this day and age.
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[Guest Post] No Blue, No Green: Reflections on Gone to Drift




Teaching young people about the important issues of our time benefits their development, and helps shape their passion for social justice later in life. Social justice, whether it be environmental, political, gender oriented, or economic is a crucial subject to discuss with children if we want them to grow up to be compassionate global citizens. This is the second essay in a new author series in which we're publishing guest posts by children's and YA authors who've written books with social justice themes. Today, May 22nd, is International Day for Biological Diversity and it's also United States National Maritime Day, making it the perfect day to share Diana's reflection centered on her debut YA novel Gone to Drift. Diana is an environmentalist by training and while the book isn't only about environmental justice, it does deal with issues surrounding the environment, marine conservation and pollution. Without further ado, we welcome Diana to the site!



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I was born in Kingston and Kingston Harbour has always been my front yard. My parents and paternal grandparents were recreational fishers, so I grew up with the sea. My mother told me I went to sea before I was three months old; my protagonist in Gone to Drift, Lloydie, does this too. As a teenager, I read books about going to sea by Hemingway, Monserrat, Defoe, Melville─ novels of exploration, war, shipwrecks and castaways. The sea meant adventure, escape, freedom, drama.

My relationship with the sea was never one of risk, however, and I never had to eke a living from the sea. As a child, I saw fishers in their open boats, in calm seas and rough ones, day and night, and I admired their skills and their bravery. I learned to fish myself and later, to snorkel and much later, scuba-dive.

And as I grew older, I realized that the sea I loved was dying─ beaches were strewn with garbage, reefs were covered with algae and Jamaica’s waters were heavily overfished. I became an environmentalist in 1990 on the day I stood on the Palisadoes strip─ the sandy spit that forms Kingston Harbour ─and saw it had become a garbage dump. That same year, I visited the Harbour View Sewage Treatment Plant, which then had not worked in 15 years. Raw sewage bubbled up out of the pipes and flowed across the land into the sea. In what universe, I asked myself, is this okay?

I knew nothing about the environment but I started reading and the more I read, the more concerned I became. As an islander, I focused on the sea. I learned that all life came from the sea and all life on earth still depends on the sea. As pioneering oceanographer Sylvia Earle famously said: “No water, no life. No blue, no green.” The ocean covers almost three-quarters of the planet and gives us the air we breathe and the water we drink. About half the earth’s people live in the coastal zone and rely on the sea for food and livelihoods. Here in the Caribbean, we live on islands in close relationship with the sea.

I thought my task was a simple one─ I just had to tell people the ocean was under threat, and once they knew, they would act. Of course that was naïve. As the years went by, I began to see that while facts about the state of the sea are important, it is more important to touch people’s hearts. And the best way to do that is through stories.

I have interacted with countless fishers through my environmental work and it seems there are two kinds─ men (yes they are mostly men) who know and love the sea and do not intend to do harm, and men who do not care, who perhaps cannot afford to care. I have seen that a whole way of life is dying in the Caribbean─ the fishing markets and villages, beaches, and the sea itself.  New types of livelihoods have emerged─ some legal, many illegal. My environmental work has also brought me into contact with the captive dolphin industry. I visited one of the dolphin facilities here in Jamaica and I watched those extraordinary marine athletes─ the dolphins ─perform tricks for thoughtless people. Again I thought: in what universe is this okay? I wanted to write a story about this clash between the old ways of fishing and new ways of exploiting the sea. I imagined an old-time fisherman in conflict with a modern fisher and a boy standing between them.

Stories often start with a “what if?” question. Mine was: what if the old-time fisher and the modern fisher were father and son? What if they were in conflict about the capture of dolphins for the tourist trade? And then one night as I was falling asleep, an image came to me of a boy sitting on a wall at night in the rain, staring out to sea. He was waiting for someone. Whom was he waiting for? It had to be someone lost at sea. Why was this person lost at sea? The story of Lloydie’s search for Ma’as Conrad began to unfold in my mind.

Jamaican coast guard patrol vessel. Photo: Mark Matta.

I decided to set the book in Treasure Beach on Jamaica’s south coast, because dolphins still visit the fishing villages there and also because it is a departure point for fishers leaving for the Pedro Bank and Cays. What if something happened to Ma’as Conrad on the Pedro Bank? Was there somewhere he could be stranded and survive? I spoke to people who worked on the Pedro Bank and learned about Portland Rock, the northern-most of the Pedro Cays group. How could Lloydie get to the Pedro Bank? I knew the Jamaica Defence Force Coast Guard went to the Pedro Cays once a week. Could my young protagonist stowaway on a Coast Guard boat? I had no idea. I asked if I could see one of the boats and somewhat to my surprise, the Commander said yes. I stood on the dock, toured the ship and figured out how Lloydie could climb aboard. I had all the major elements of my story.

Although we Caribbean people live on islands, many of us are not really “island people.” We don’t swim, we don’t go to sea, and we’re scared of the sea which brings us storms and holds our tragic history. This may be particularly true for the upcoming generation. I wanted to write a story to introduce readers of all kinds, but especially young readers, to the skill and trade of fishing. My story pays tribute to the old-time fishers who respected and loved the sea, and to seagoing people everywhere. It is also a story about what we’re losing, about the increasingly empty sea that now surrounds us. My hope is that the characters in Gone to Drift have revealed what is at stake through their struggles.


About the Author

Diana McCaulay is an award-winning Jamaican writer and environmental activist. She has written three novels for adults, White Liver Gal, Huracan and Dog-Heart. Gone to Drift, her first young adult novel, placed second in the 2015 Burt Award for Caribbean Literature and won the Vic Reid Award for Young Adult Literature at Jamaica’s national Lignum Vitae Awards in 2016. Both Dog-Heart and Huracan were shortlisted for the Saroyan Prize for International Writing. She won the Hollick Arvon Prize for Caribbean writing in 2014, for her non fiction work-in-progress Loving Jamaica: a Memoir of Place and (Not) Belonging. Diana’s short fiction has appeared in Granta, Eleven Eleven, Fleeting Magazine, The Caribbean Writer, Afro-Beat, Lifestyle Magazine and the Jamaica Observer. She was the Caribbean regional winner for the Commonwealth Writers Short Story prize in 2012 for her story "The Dolphin Catcher." You can find her online at dianamccaulay.com.

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[Book List] Caribbean Books for Children to Read on Earth Day






Today is Earth Day! According to the Earth Day website, the Earth Day campaign is "designed to provide people with the opportunity to unite their voices in a call for a sustainable future." These environmentally-conscious children's books are all set in the Caribbean and can be used to help children and adults alike think about what they can do to help protect and preserve the environment.
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Interviews

This Month's Books