African-American Children’s Picturebooks: Examining the Genres of Childhood, Resistance, and Cultural Identity Through Storytelling Image Research Part 2
By tracing a genre of resistance and cultural identity through African-American children’s picturebooks we can learn about the importance of how children understand themselves and their place within the community. Even during the current Golden Age of publishing, picturebooks still continue to lack African-American writers and illustrators. The question of why this is happening will be covered throughout this study by investigating statistical and scholarly sources. Also, the history of how African-Americans were portrayed in picturebooks through racist and stereotypical portrayals will be examined. Even today scholars continue to debate as to whether published works for children continue to contain racist depictions of Blacks. African-American children’s literature can be used as a tool to discuss how to reimagine racist stereotypes and be aware of the racist history within the stories marketed to children. The political benefit of teaching African-American picturebooks within community settings has key value for children of all races and backgrounds and provides role models that validate the importance of the Black experience in literature. Positive portrayals of African-Americans teach Black children the importance of diversity and prepare them for adulthood. By highlighting African-American children’s literature through, before or after school programs and camps, children will learn the importance of the Black cultural experience and understand the value of sharing and recognizing in the positive depictions of everyday Black life.
Semelhante a African-American Children’s Picturebooks: Examining the Genres of Childhood, Resistance, and Cultural Identity Through Storytelling Image Research Part 2
Semelhante a African-American Children’s Picturebooks: Examining the Genres of Childhood, Resistance, and Cultural Identity Through Storytelling Image Research Part 2 (19)
African-American Children’s Picturebooks: Examining the Genres of Childhood, Resistance, and Cultural Identity Through Storytelling Image Research Part 2
34. COMPARING NEGATIVES AND POSITIVES DEPICTIONS OF
AFRICAN-AMERICANS IN CONCEPT BOOKS FOR YOUNGEST CHILDREN
63 64 65 66
35. COMPARING NEGATIVES AND POSITIVES DEPICTIONS OF
AFRICAN-AMERICANS IN CHILDREN’S LITERATURE
67 68 9 9
36. COMPARING NEGATIVES AND POSITIVES DEPICTIONS OF
AFRICAN-AMERICANS IN CONCEPT BOOKS FOR YOUNGEST CHILDREN
69 70 71 724
37. COMPARING NEGATIVES AND POSITIVES DEPICTIONS OF
AFRICAN-AMERICANS IN CONCEPT BOOKS FOR YOUNGEST CHILDREN
73 74 75
76 77 78 79 80
4 5
38. WE HAVE A LONG WAY TO GO: CONTEMPORARY CONTROVERSIES AND PAST
HARMFUL STEREOTYPES OF AFRICAN-AMERICANS IN POPULAR CULTURE AND
LITERATURE
81/82
39. WE HAVE A LONG WAY TO GO: CONTEMPORARY CONTROVERSIES AND PAST
HARMFUL STEREOTYPES OF AFRICAN-AMERICANS IN POPULAR CULTURE
AND LITERATURE
82
40. WE HAVE A LONG WAY TO GO: CONTEMPORARY CONTROVERSIES AND PAST
HARMFUL STEREOTYPES OF AFRICAN-AMERICANS IN POPULAR CULTURE
AND LITERATURE
83
84
81/82
41. WE HAVE A LONG WAY TO GO: CONTEMPORARY CONTROVERSIES AND PAST
HARMFUL STEREOTYPES OF AFRICAN-AMERICANS IN POPULAR CULTURE
AND LITERATURE
85 86 87
81/82
42. WE HAVE A LONG WAY TO GO: CONTEMPORARY CONTROVERSIES AND PAST
HARMFUL STEREOTYPES OF AFRICAN-AMERICANS IN POPULAR CULTURE
AND LITERATURE
88 89 90 91
43. REFERENCES
Allen, E. (2012). Mapping slavery. Retrieved April 22, 2016 from the Library of Congress:
https://blogs.loc.gov/loc/2012/10/mapping-slavery/.
Andrews, T. T. S. (2015). Trombone Shorty. New York, NY: Abrams Books for Young Readers, 2015.
(Illustrated by Bryan Collier).
Atlantic Black Star. (2014). 8 Disturbingly racist children’s books designed to devalue Black people. Retrieved
April 14, 2016 from: http://atlantablackstar.com/2014/02/21/8-disturbingly-racist-childrens-books-
designed-to-devalue-black-people/.
Bannerman, H. (1981). Little Black Sambo. Hall, N. C. The Platt & Munk treasury of stories (pp. 68-76). New
York, NY: Platt & Munk. (Illustrated by Eulalie).
Bannerman, H. (1908). The story of Little Black Sambo. Chicago, IL: The Reilly and Britton Company.
(Illustrated by John Neill).
Beaty, D., & Collier, B. (2013). Knock knock: My dad's dream for me. New York, NY: Little, Brown and
Company. (Illustrated by Bryan Collier).
Beckett, S. L. (2010). Crossover fiction: global and historical perspectives. New York, NY: Routledge.
44. REFERENCES
.
Bishop, R. S. (1994). Books from parallel cultures: “Let our rejoicing rise.” Horn Book Magazine,
70(5), 562-569.
Bishop, R. S. (2008). Free within ourselves: The development of African American children's
literature. Portsmouth, NH: Heinemann.
Bishop, R. S. (2011). Researching its development, exploring its voices, 225-236. Handbook of
research on children's and young adult literature. New York, NY: Routledge.
Bontemps, A., Hughes, L., & Campbell, E. S. (1993). Popo and Fifina: Children of Haiti. New York:
Oxford University Press.
Bontemps, A., & Hughes, L. (1932). Popo and Fifina: Children of Haiti. New York, NY: The Macmillan
Company.
Brinkley, D. (2003). Unmasking writers of the W.P.A. Retrieved April 22, 2016 from The New York
Times: http://www.nytimes.com/2003/08/02/books/unmasking-writers-of-the-
wpa.html?pagewanted=all.
Buzzeo, T. (2016). Core focus putting Common Core into action. Library Sparks, 13(5), 40-41.
45. REFERENCES
.
Byrne C. (2015). Illustrating little manhood & erasing black boyhood in African American picture
books. Retrieved April 22, 2016 from Case Western Reserve University:
http://humanities.case.edu/events/graduate-student-work-in-progress-illustratinglittle-
manhood-erasing-black-boyhood-in-africanamerican-picture-books/.
Color of Us. (2016). Children’s books about the Harlem Renaissance. Retrieved March 10, 2016,
from http://coloursofus.com/childrens-books-about-the-harlem-renaissance/.
Copeland, M. (2014). Firebird: Ballerina Misty Copeland shows a young girl how to dance like
the firebird. New York: G.P. Putnam's Sons. (Illustrated by Christopher Myers).
Deas, G.W. (1981). The ten little niggers. New York, NY: G.W. Deas. (Illustrated by James Brown).
Derby, S. (2015). Sunday shopping. New York, NY: Lee & Low Books Inc. (Illustrated by Shandra
Strickland).
Drew, B. A. (2015). Black stereotypes in popular series fiction, 1851-1955: Jim Crow Era Authors
and Their Characters. Jefferson, NC: McFarland & Company Incorporated.
46. REFERENCES
.
Edelstadt, V. (1933). A steam shovel for me!. New York, NY: Frederick A. Stockes Company. (Illustrated by
Romano).
Ferdinand, M. & Hauser, C. (2015). Texas mother teaches textbook company a lesson on accuracy. Retrieved
April 15, 2016 from The New York Times: http://www.nytimes.com/2015/10/06/us/publisher-promises-
revisions-after-textbook-refers-to-african-slaves-as-workers.html?_r=1.
Ferris, W. (2013). The storied South: Voices of writers and artists. North Carolina University Press.
Ford, S. G. (2014). Tracing southern storytelling in Black and White. Tuscaloosa: University Alabama Press,
AL: University of Alabama Press.
Gamble, N., & Yates, S. (2008). Exploring children's literature. London, UK: Sage.
Graves, S. B. (1993). Television, the portrayal of African Americans, and the development of children and
television: Images in a changing socio-cultural world, 179-1992. Berry, G. L., & Asamen, J. K. (Eds.). Children
and Television: Images in a Changing Socio-Cultural World. Newbury, CA: Sage Publications.
Henderson, L. (2011). The political socialization of African American children through literature from the
1970s. International Journal of Diversity in Organizations, Communities & Nations, 11(2).
Hoffman, H. (1848). The story of the Inky Boys. Struwwelpeter. Retrieved April 22, 2016 from Project
Gutenberg: http://www.gutenberg.org/files/12116/12116-h/12116-h.htm.
47. REFERENCES
.
Hughes, L. (2013). Lullaby for a Black mother: A Poem. San Diego, CA: Houghton Mifflin Harcourt. (Illustrated
by Sean Qualls).
Hughes L. (2015). Sail away. New York, NY: Atheneum Books for Young Readers. (Illustrated by Ashley Bryan).
Italie, H. (2016, January 12). Children’s books on class, Winnie the Pooh win prizes, Post and Courier, The
(Charleston, SC).
Izadi, E. (n.d.). This photo of a black man’s public hanging decorated a Joe’s Crab Shack table. Retrieved from
The Washington Post: https://www.washingtonpost.com/news/morning-mix/wp/2016/03/11/this-photo-of-a-
black-mans-public-hanging-decorated-a-joes-crab-shack-table/.
Johnson, V. & Mongo, J. (2004). African Americans children's literature in the twentieth century. Pavonetti, L.
(Ed.) Children's literature remembered: Issues trends and favorite books (pp. 125-138). Westport, CN: Libraries
Unlimited.
Kemble E.W. (1898). The Coon alphabet. New York, NY: R. H. Russell. Retrieved April 22, 2016 from the
University of Florida George A. Smathers Libraries: http://ufdc.ufl.edu/UF00085041/00001.
Kundanis, B. (2015). African-American slave narrative. Nelson, E. (Ed.). Ethnic American literature: An
encyclopedia for students (pp. 46-52). Santa Barbara, CA: Greenwood Press. Lent, H. B. (1931). Diggers and
builders. New York, NY: Macmillan Company. (Illustrated by Henry Lent).
Library of Congress. (2016). Florida folklife from the WPA collections, 1937-1942. Retrieved April 23, 2016
48. REFERENCES
.
Little Black Sambo. (1922). The children's best story book : A collection of fairy tales that are favorites.
Akron, OH: The Saalfield Publishing Company.
Martin, M. (2011). African American. Nel, P. & Paul, L. (Eds.) Keywords for Children’s Literature (pp. 9-13).
New York, NY: New York University Press.
Martin, M. (2016). Brown Gold: African American children’s literature as a genre of resistance [PowerPoint
slides]. Paper presented at the Schubert Center for Childhood Studies at Case Western Reserve University,
Cleveland, OH.
Martin, M. (2004). Brown gold: Milestones of African American children's picture books, 1845-2002. New
York, NY: Routledge.
Matulka, D. I. (2008). A picture book primer: Understanding and using picture books. Westport, CO:
Greenwood Publishing Group.
McLoughlin Brothers. (1870). The ten little niggers. New York, NY: McLoughlin Brothers Publishers.
Retrieved April 22, 2016 from the University of Florida George A. Smathers Libraries:
http://ufdc.ufl.edu/UF00026617/00001/1j.
Mickenberg, J. & Nel, P. (2008). A person's a person. Nel, P. (Ed.). Tales for little rebels: A collection of
radical children's literature (pp. 201-204). New York, NY: New York University Press.
National Public Radio (2015). Author interviews: On board a city bus, a little boy finds the route to
49. REFERENCES
.
Oslick, M. E. (2013). Children's voices: Reactions to a criminal justice issue picture book. The Reading Teacher, 66(7),
543-552.
Pattee, A. S. (2013). Developing library collections for today's young adults. Lanham, MD: Scarecrow Press.
Peña, M. (2015). Last stop on Market Street. New York, NY: Harcourt Brace. (Illustrated by Christian Robinson).
Pescosolido, B. A., Grauerholz, E., & Milkie, M. A. (1997). Culture and conflict: The portrayal of Blacks in US children's
picture books through the mid-and late-twentieth century. American Sociological Review, 443-464.
Riggs, M. (1987). Ethnic notions. Retrieved April 19, 2016 from KSUTube:
https://ksutube.kent.edu/playback.php?playthis=qsy8407m.
Saloy, M.L. (2015). African American oral traditions in Louisiana. Retrieved April 23, 2016 from the Louisiana Folklife
Program: http://www.louisianafolklife.org/LT/Articles_Essays/creole_art_african_am_oral.html.
Schäffer, C. (2012). The Brownies' Book: Inspiring racial pride in African-American children. Frankfurt, Germany: Peter
Lang.
Schubert Center for Childhood Studies. (2016). African-American children’s literature: Examining the genre in
childhood. Retrieved March 14, 2016 from Case Western Reserve University:
http://schubert.case.edu/files/2016/02/IssueBrief_Feb2016Final.pdf.
Shackleford, M.C., Reed, Y., Casper, J. & King, S. (2010). Smolen, L. A., & Oswald, R. A. Exploring African American
50. REFERENCES
.
Silvey, A. (2002). Bontemps, Arna. The essential guide to children's books and their
creators (pp. 53-55). San Diego, CA: Houghton Mifflin Harcourt.
Smith, K. C. (2006). Children's literature of the Harlem Renaissance. Bloomingdale, IN:
Indiana University Press.
Smith, V. (2016). Smiling slaves in a post–A Fine Dessert world: Figuring out that
intelligent people can disagree. Retrieved April 24, 2016 from KIRKUS:
https://www.kirkusreviews.com/features/smiling-slaves-post-fine-dessert-world/.
Sutton, R. (2016). A bumpy ride. Retrieved April 21, 2016 from Horn Book:
http://www.hbook.com/2016/01/blogs/read-roger/bumpy-ride/#_.
Taxel, J. (1997). Multicultural literature and the politics of reaction. The Teachers College
Record, 98(3), 417-448.
Taxel, J. (1986). The black experience in children's fiction: Controversies surrounding
award winning books. Curriculum Inquiry, 16(3), 245-281.
Tolson. S. (2010). African American children’s books. Lomotey, K. (Eds.). Encyclopedia of
African American education (pp. 20-23). Newbury Park, CA: SAGE Publications
Incorporated.
51. REFERENCES
.
Whelan. (2016). Fiction atlas: Harlem in children’s fiction and picturebooks. Retrieved April 23, 2016 from the
New York Public Library: http://www.nypl.org/blog/2013/04/05/fiction-atlas-harlem-childrens-books.
Wheatley, P. (1773). Poems on various subjects, religious and moral. London, UK: A. Bell.
Wulffen-Schmidt, W. (2012). Ten little niggers: Racial discrimination in children's books. Berlin, Germany: LIT
Verlag
Yetman, N. (n.d.). Born into slavery: An introduction of the WPA slave narratives. Retrieved April 22, 2016
from the Library of Congress: http://www.loc.gov/loc/lcib/0104/slaves.html.
52. IMAGE REFERENCES
1Wheatley, P. (1773). Poems on various subjects, religious and moral. London, UK: A. Bell.
2Bryant, S. C. (1907). Epaminondas and his auntie. Buccaneer Books. (Illustrated by Inez Hogan).
3Hunt, B.S. (1940). Stories of Little Brown Koko. Chicago, IL: American Colortype Company. (Illustrated by
Dorothy Wagstaff).
4Kemble E.W. (1898). The Coon alphabet. New York, NY: R. H. Russell. Retrieved April 22, 2016 from the
University of Florida George A. Smathers Libraries: http://ufdc.ufl.edu/UF00085041/00001.
5McLoughlin Brothers. (1870). The ten little niggers. New York, NY: McLoughlin Brothers Publishers.
Retrieved April 22, 2016 from the University of Florida George A. Smathers Libraries:
http://ufdc.ufl.edu/UF00026617/00001/1j.
6Vina, S.K. (1880). The ten little negro boys. New York, NY: Charles Graham and Company.
7Gondor, E. (1942). Ten little colored boys. New York, NY: Howell Soskin Publishers. (Illustrated by Emery
Gondor).
8Kempson, C. (1903). The sad end of Erica’s Blackamoor. London: E. Arnold. (Illustrated by Frederick
Claude Kempson).
9Drew, B. A. (2015). Black stereotypes in popular series fiction, 1851-1955: Jim Crow Era Authors and
Their Characters. Jefferson, NC: McFarland & Company Incorporated.
10Hoffman, H. (1848). The story of the Inky Boys. Struwwelpeter. Retrieved April 22, 2016 from Project
Gutenberg: http://www.gutenberg.org/files/12116/12116-h/12116-h.htm.
53. IMAGE REFERENCES
11Google Images. (n.d). The Brownies Book. Retrieved May 3, 2016 from
https://www.google.com/search?q=the+brownies+book&biw=1280&bih=610&source=lnms&tbm=isch&sa=
X&ved=0ahUKEwiV8Lij1sjMAhVE1CYKHfUIBeoQ_AUIBigB#imgrc=p42tbLe_jY4x0M%3A.
12 Smith, K. C. (n.d.). The Brownies’ Book and the roots of African American children’s literature. Retrieved May
3, 2016 from The Tar Baby and the tomahawk: http://childlit.unl.edu/topics/edi.harlem.html,
13Google Images (n.d.). Little people of the month. Retrieved May 3, 2016 from:
https://www.google.com/search?q=the+brownies+book&biw=1280&bih=610&source=lnms&tbm=isch&sa=
X&ved=0ahUKEwiV8Lij1sjMAhVE1CYKHfUIBeoQ_AUIBigB#tbm=isch&q=the+brownies+book+little+people+o
f+the+month&imgrc=LbF6HqB1aO2eNM%3A.
14Google Images (n.d.). Most beautiful child. Retrieved May 3, 2016 from:
https://www.google.com/search?q=the+brownies+book&biw=1280&bih=610&source=lnms&tbm=isch&sa=
X&ved=0ahUKEwiV8Lij1sjMAhVE1CYKHfUIBeoQ_AUIBigB#tbm=isch&q=the+crisis+magazine+beautiful+child
&imgrc=940KwzgNRaSB5M%3A.
15Google Images (n.d.). Most beautiful child. Retrieved May 3, 2016 from:
https://www.google.com/search?q=the+brownies+book&biw=1280&bih=610&source=lnms&tbm=isch&sa=
X&ved=0ahUKEwiV8Lij1sjMAhVE1CYKHfUIBeoQ_AUIBigB#tbm=isch&q=the+crisis+magazine+beautiful+child
&imgrc=H3L4zTX0kr5B9M%3A.
16 Hughes, L. (1955). The first book of jazz. New York, NY: F. Watts. (Illustrated by Cliff Roberts).
17Myers, W. D. (2006). Jazz. New York, NY: Holiday House. (Illustrated by Christopher Myers).
54. IMAGE REFERENCES
18Watson, R. (2012). Harlem's little blackbird. New York, NY: Random House Children's Books. (Illustrated
by Christian Robinson).
19Rhodes-Pitts, S. (2015). Jake makes a world: Jacob Lawrence a young artist in Harlem. New York, NY:
The Museum of Modern Art. (Illustrated by Christopher Myers).
20Bontemps, A., & Hughes, L. (1932). Popo and Fifina: Children of Haiti. New York, NY: The Macmillan
Company.
21Bontemps, A., Hughes, L., & Campbell, E. S. (1993). Popo and Fifina: Children of Haiti. New York: Oxford
University Press.
22Hughes, L. (2013). Lullaby for a Black mother: A Poem. San Diego, CA: Houghton Mifflin Harcourt.
(Illustrated by Sean Qualls).
23Hughes L. (2015). Sail away. New York, NY: Atheneum Books for Young Readers. (Illustrated by Ashley
Bryan).
24Hughes, L. (2009). The Negro speaks of rivers. New York, NY: Disney Jump at the Sun Books. (Illustrated
by E.B. Lewis).
25Google Images. (n.d.). Born in slavery: Slave narratives. Retrieved May 3, 2016 from:
https://www.google.com/search?site=&tbm=isch&source=hp&biw=1280&bih=610&q=wpa+slave+nar
ratives&oq=wpa+slave+narratives&gs_l=img.3..0j0i24l9.687.3924.0.4004.20.12.0.8.8.0.120.1113.4j7.11.0...
55. IMAGE REFERENCES
26Hughes, L., & Bontemps, A. W. (Eds.). (1958). The book of Negro folklore. New York, NY: Dodd, Mead.
27Bontemps, A., & Arna, B. (1962). 100 Years of Negro Freedom. New York, NY: Dodd & Mead.
28Lester, J. (2000). To be a Slave. New York, NY: Puffin.
29Hughes, L. (1952). The first book of Negroes. New York, NY: F. Watts. (Illustrated by Ursula Koering).
30Beim, L & Beim, J. (1945). Two is a team. New York, NY: Harcourt Brace. (Illustrated by Jerold Beim).
31Evans, E. K. (1947). All about us. New York, NY: Golden Book Press. (Illustrated by Vana Earle).
32Atkin, E. (1938). Negro boys and girls. Oklahoma City, OK: Harlow Publishing Corporation. (Illustrations
and Photographs by That Man Stone Company).
33Shackleford, J.D. (1938). The child’s story of the Negro. Washington, D.C.: Associated Publishers.
(Illustrated by Lois Mailou Jones).
34Edelstadt, V. (1933). A steam shovel for me!. New York, NY: Frederick A. Stockes Company. (Illustrated
by Romano).
35Lent, H. B. (1931). Diggers and builders. New York, NY: Macmillan Company. (Illustrated by Henry Lent).
56. IMAGE REFERENCES
36Keats, E. (1962). The snowy day. New York, NY: Viking Press. (Illustrated by Ezra Keats).
37Wilkin, B.T. (2009). African-American images in Newberry Award winning titles. Lanham, MD: Scarecrow
Press.
38 School Library Journal. (2012). Leo Dillon, the First African American Caldecott Winner, Dies at 79.
Retrieved May 3, 2016 from: http://www.slj.com/2012/05/industry-news/leo-dillon-the-first-african-
american-caldecott-winner-dies-at-79/#_
39Children’s Book Council (2015). Mildred D. Taylor’s ‘Roll of Thunder, Hear My Cry’ Celebrates 40th
Anniversary in 2016. Retrieved May 3, 2016 from: http://www.cbcbooks.org/mildred-d-taylors-roll-of-
thunder-hear-my-cry-celebrates-40th-anniversary-in-2016/#.Vy5JVr5wM2w.
40American Library Association (2016). The history of the Coretta Scott King Awards. Retrieved April 14,
2016 from: http://www.ala.org/emiert/cskbookawards/about.
41Deas, G.W. (1981). The ten little niggers. New York, NY: G.W. Deas. (Illustrated by James Brown).
42Bannerman, H. (1981). Little Black Sambo. Hall, N. C. The Platt & Munk treasury of stories (pp. 68-76).
New York, NY: Platt & Munk. (Illustrated by Eulalie).
43Little Black Sambo. (1922). The children's best story book : A collection of fairy tales that are favorites.
Akron, OH: The Saalfield Publishing Company.
57. IMAGE REFERENCES 44Hoffman, M. (1991). Amazing Grace. New York: Dial Books for Young Readers. (Illustrated by Caroline
Binch).
45Lamperti, N. (1999). Brown like me. Chicago, IL: New Victoria Publishers. (Illustrated by Nicole
Lamperti).
46Clifton, L., & Grifalconi, A. (1983). Everett Anderson's goodbye. New York, NY: Henry Holt. (Illustrated
by Ann Grifalconi).
47Bunting, E. (1994). Smoky night. San Diego, CA: Houghton Mifflin Harcourt. (Illustrated by David Diaz).
48Ringgold, F. (1991). Tar beach. New York, NY: Crown Publishers. (Illustrated by Faith Ringgold).
49Shange, N. (1997). Whitewash. New York, NY: Walker & Company. (Illustrated by Michael Sporn).
50Bryan A. (2003). Beautiful blackbird. New York, NY: Atheneum Books for Young Readers. (Illustrated by
Ashley Bryan).
51Hubbell, P. (2003). Black all around!. New York, NY: Lee & Low Books. (Illustrated by Don Tate).
52Diggs, T. (2011). Chocolate me!. New York, NY: Feiwel & Friends. (Illustrated by Shane Evans).
53Hughes, L. (2009). My people. New York, NY: Atheneum Books for Young Readers. (Photographs by
Charles R. Smith Jr.).
54Pinkney, S. L., & Myles, C. (2001). Shades of black: A celebration of our children. New York, NY:
58. IMAGE REFERENCES
55Andrews, T. T. S. (2015). Trombone Shorty. New York: Abrams Books for Young Readers, 2015. (Illustrated by
Bryan Collier).
56Peña, M. (2015). Last stop on Market Street. New York, NY: Harcourt Brace. (Illustrated by Christian Robinson).
57Weatherford, C. B. (2015). Voices of freedom: Fannie Lou Hamer: The spirit of the Civil Rights Movement.
Somerville, MA: Candlewick. (Illustrated by Ekua Holmes).
58Henkes, K. (2015). Waiting. New York, NY: Greenwillow Books. (Illustrated by Kevin Henkes).
59Derby, S. (2015). Sunday shopping. New York, NY: Lee & Low Books Inc. (Illustrated by Shandra Strickland).
60Copeland, M. (2014). Firebird: Ballerina Misty Copeland shows a young girl how to dance like the firebird.
New York: G.P. Putnam's Sons. (Illustrated by Christopher Myers).
61Beaty, D., & Collier, B. (2013). Knock knock: My dad's dream for me. New York, NY: Little, Brown and
Company. (Illustrated by Bryan Collier).
62Woodson, J. (2015). Visiting day. New York: Puffin. (Illustrated by James Ransome).
63Hamilton, V. (2003). Bruh Rabbit and Tar Baby Girl. New York, NY: Blue Sky Press. (Illustrated by James
Ransome).
64Google Images (n.d.). Tar baby toilet soap. Retrieved from:
https://www.google.com/search?q=tar+baby&biw=1280&bih=610&source=lnms&tbm=isch&sa=X&ved=0ah
UKEwie9v_D5MjMAhXHTSYKHdswDL4Q_AUIBigB#imgrc=C-GQb1rH5RolUM%3A.
65Harris-Chandler, J. (1904). The tar-baby: and Other rhymes of Uncle Remus. New York, NY: D. Appleton and
Company.
59. IMAGE REFERENCES
66Harris-Chandler, J. (1905). Tales Told by Uncle Remus: New stories on the old plantation. New York, NY:
McClure, Philips, & Company. (Illustrated by A. B. Frost, J. M. Conde and Frank Verbeck).
67Bannerman, H. (1996). The story of Little Babaji. New York: Harper Collins. (Illustrated by Fred
Marcellino).
68Lester, J. (2001). Sam and the tigers: A new telling of Little Black Sambo. New York. NY: Dial Books.
(Illustrated by Jerry Pinkey).
69Bonte, L. Q. & Bonte, G.W. (1895). ABC in dixie : A plantation alphabet. New York, NY: Ernest Nister and
E P Dutton.
70Collins Wonder Color Book. Ten little brown boys ABC and counting book. (1965). London, UK: Collins.
71Hudson, C. W. (1999). Afro-Bets ABC Book. New York, NY: Just Us Books Incorporated.
72Feelings, M. L. (1981). Jambo means hello: Swahili alphabet book. New York, NY: Puffin. (Illustrated by
Tom Feelings).
73Harrigan, E. (1887). Ten Little mulligan guards. New York, NY: Applewood Books.
74McLoughlin Brothers. (1895). Nine Niggers More. New York, NY: McLoughlin Brothers.
75McLoughlin Brothers. (1874). Simple addition by a little nigger. New York, NY: McLoughlin Brothers.
60. IMAGE REFERENCES 76Hudson, C. W. (1999). Afro-Bets123 Book. Orange, NJ: Just Us Books Incorporated.
77Falwell, C. (1995). Feast for10. New York, NY: Houghton Mifflin Harcourt. (Illustrated by Catherine
Falwell).
78Ringgold, F. (1999). Counting to tar beach. New York, NY: Crown Publications. (Illustrated by Faith
Ringgold).
79Hort, L. (1991). How many stars in the sky?. New York, NY: Mulberry Books. (Illustrated by James
Ransome).
80Medearis, A. S. (1990). Picking peas for a penny. New York, NY: Scholastic. (Illustrated by Charles Shaw).
81Ganeshram, R. (2015). A birthday cake for George Washington. New York, NY: Scholastic Press.
(Illustrated by Vanessa Brantley-Newton).
82Jenkins, E. (2015). A fine dessert: Four centuries, four families, one delicious treat. New York, NY:
Schwartz & Wade Books. (Illustrated by Sophie Blackwall).
83Kalman, B. & Bishop, A. (2002). A slave family. New York, NY: Crabtree Publishing Company.
84Fritz, J. (1989). George Washington's breakfast. New York, NY: Trumpet Club. (Illustrated by Paul
Galdone).
85Google Images (n.d.). Slaves in a Cotton Field. Retrieved May 3, 2016 from:
https://www.google.com/search?q=photographs+of+african+slaves&biw=1280&bih=610&source=lnm
61. IMAGE REFERENCES
86Google Images (n.d.). Slaves serving in plantation dining room. Retrieved May 3, 2016 from:
https://www.google.com/search?hl=en&q=black+slaves&tbm=isch&imgil=j6KdIt0lKALmpM%253A%253BbHAXJT1Y0xiUFM
%253Bhttp%25253A%25252F%25252Fwww.elite-
view.com%25252FNationality_French%25252F248580.html&source=iu&pf=m&tbs=simg:CAESsgEJ1uHnTCndWZcapgELEKjU
2AQaAghDDAsQsIynCBpiCmAIAxIozgrYCs0Kvhe5F9cK6BHaCq0X2hnYPrU6tDrLK7s5uTrXPrg69CSkLhow_1mSWJiGsZp37dnB4
1saGpV3LjZ_1gWosWX4nZjulE86xLZFWZh7Tkdn56sIR3GlYIAMMCxCOrv4IGgoKCAgBEgRdqzkNDAsQne3BCRoUCgUKA2FydA
oLCgltaW5pYXR1cmUM&fir=j6KdIt0lKALmpM%253A%252CbHAXJT1Y0xiUFM%252C_&usg=__qbE8pk7aWiBUimiNKWm9jZY
Egvw%3D&biw=1280&bih=610&ved=0ahUKEwiW98DU78jMAhVKSSYKHZc1DpsQyjcIQA&ei=VFkuV5b9GMqSmQGX67jYCQ
#imgrc=j6KdIt0lKALmpM%3A.
87National Public Radio (2008). Hercules and Hemings: Presidents' Slave Chefs. Retrieved May 3, 2016 from:
http://www.npr.org/2008/02/19/18950467/hercules-and-hemings-presidents-slave-chefs.
88Atlantic Black Star. (2014). 8 Disturbingly racist children’s books designed to devalue Black people. Retrieved April 14, 2016
from: http://atlantablackstar.com/2014/02/21/8-disturbingly-racist-childrens-books-designed-to-devalue-black-people/.
89Izadi, E. (n.d.). This photo of a black man’s public hanging decorated a Joe’s Crab Shack table. Retrieved from The
Washington Post: https://www.washingtonpost.com/news/morning-mix/wp/2016/03/11/this-photo-of-a-black-mans-public-
hanging-decorated-a-joes-crab-shack-table.
90Martin, M. (2016). Brown Gold: African American children’s literature as a genre of resistance [PowerPoint slides]. Paper
presented at the Schubert Center for Childhood Studies at Case Western Reserve University, Cleveland, OH.
91Google Images. (n.d.). Russian mock lynching party. Retrieved May 3, 2016 from:
https://www.google.com/search?q=black+face+lynching&biw=1280&bih=610&source=lnms&tbm=isch&sa=X&ved=0ahUK
EwiG4q_u78jMAhVHOCYKHcDBCb4Q_AUIBigB#imgrc=yDdqgEn8D_XlvM%3A.
Notas do Editor
Dr. Martens the photos of the books were taken by me within the collections at the Cleveland Public Library, Kent State University Special Collections, the Marantz/Reinberger Libraries, Ohiolink, SearchOhio, and WorldCat.
Stories were told orally by Black slaves until 1773, when Phyllis Wheatley became the first African-American to publish a book of poetry. Her book titled Poems on Various Subjects, Religious and Moral marked the beginning of the genre of African-American literature in the United States (Hughes & Meltzer, 1968, p. 29; Shackleford, Reed, Casper, & King, 2010, p. 123-124). Wheatley’s (1773) thirty-nine poems chronicled her experiences with slavery and focused on abstract topics, African Hierophantic solar worship, famous colonial figures, Greek mythology, morality, Neoclassicism, and religion.
From the 17th to the 19th century, literature about African-Americans was written by White authors for White audiences that contained racist stereotypes of African-Americans (Martin, 2004). The books A Coon Alphabet by E.W. Kemble, books by Helen Bannerman in The Dumpy Books for Children series, Mother Goose’s Black Nursery Numbers, Pickaninny Namesake by Eloise Lee Sherman, The Sad End of Erica’s Blackamoor by Frederick Claude Kempson, Stories of Little Brown Koko by Blanche Seale Hunt, Ten Little Colored Boys by Emery Gondor, The Ten Little Niggers, and The Story of the Inky Boys by Heinreich Hoffman are examples of how African-Americans were depicted as ape-like buffoons, mammies, niggers, coons, darkies, pickaninnies, savages, Sambos, or yaller hussies in early literature from the 1800’s through the 1950’s (Kemble, 1989; Martin, 2016; Martin, 2004, p. 41; Martin, 1998; Wulffen-Schmidt, 2012; Drew, 2015, p. 260; Hoffman, 1848; Schubert Center for Childhood Studies, 2016, p. 1; Kundanis, 2015, p. 54; Taxel, 1986, p. 246-247).
Books by Helen Bannerman in The Dumpy Books for Children series and different renditions of The Black Sambo from the Cleveland Public Library Youth Services and Kent State University Special Collections Departments (Drew, 2015, p. 260).
The Crisis and The Brownies Book Magazines marked the key turning point in the evolution of Black literature, because it was written by authors of Color that challenged the dominant literary thoughts and beliefs of African-Americans (Martin, 2016; Byrne, 2015; Schaffer, 2012; Bishop, 2011, p. 227-228; Martin, 2004, p. 39). Until the last issue of the Brownies Book was published in December 1921, it had become the forbearer of contemporary children’s literature for African-Americans and focused on the Black experience, counteracting against existing negative stereotypes (Martin, 2004, p. 39-41; Bishop, 2011, p. 228). It will not be until the late 19th century that literature is written by Blacks for Black children (Harris, 1990, p. 540; Smith, 1995, p. 5-8).
The writers, artists, and musicians of the Harlem Renaissance significantly shaped U.S. culture and would later inspire contemporary writers (Whelan, 2016; Color of Us, 2016; Ferris, 2013, p. 17-99).
In 1932, Popo and Fifina: Children of Haiti was published as a collaboration between both writers, who became friends in New York during the Harlem Renaissance (Bishop, 1994; Smith, 2006, p. 236-237). When Popo and Fifina was published, it was considered a revolutionary book that reached both Black and White audiences, as a socialist critique of Haitian poverty and U.S. colonial interests in Haiti (Mickenberg & Nel, 2008, p. 202). Hughes and Bontemps place the reader in intimate contact with a Haitian peasant family through attractive print illustrations from a child’s point of view (Smith, 2006, p. 238-240; Bontemps & Hughes, 1932).
Even today, Hughes and Bontemps’ writings continue to be published and inspire young readers, writers, and illustrators alike (Hughes, 2015; Hughes, 2013; Hughes, 2009; Bontemps & Hughes, 2000).
During the 1930s’ economic downturn of the Great Depression, the Federal’s Writers Project was born as a branch of the Works Progress Administration for documenting American culture and folk life. Writers recorded oral stories from ex-slaves who worked on plantations, where storytelling was popular, and transposed them into written narrative (Ford, 2014, p. 74-75, 103-104; Yetman, n.d.). Oral storytelling narratives became an important genre for documenting the histories of the approximately 3.9 million freed Black slaves that were recorded in the 1860 U.S. Census (Allen, 2012; Kundanis, 2015, p. 46-47). African-American children’s writers will become influenced by the documented stories of freed slaves by writing new genres of books that highlight African oral storytelling, slave narratives, and Black history during the period of segregation from 1849 to 1950 (Saloy, 2015; Library of Congress, 2016; Ferris, 2013, p. 10-12, 45-49, 89-131; Brinkley, 2003; Silvey, 2002, p. 54-55; Feelings, 1995; Henderson, p. 2011, 25; Martin, 2011, p. 13).
During World War II, publishing diverse children’s books became a national priority in the United States. Illustrations from books for youth during the 1930’s depict children of Color and Whites working together in a changing racial climate (Mickenberg & Nel, 2008, p. 201; Pescosolido, Grauerholz, & Milkie, 1997, p. 445). In the books The First Book of Negros by Langston Hughes, Negro Boys and Girls by Emma Atkin, and Two is a Team by Lorraine Beim are a few examples of the taboo friendship between White and Black children (Mickenberg & Nel, 2008, p. 202; Pescosolido, Grauerholz, & Milkie, 1997, p. 451).
Two is a Team by Lorraine and Jerrold Beim is about a Black and White child being friends. All About Us by Eva Knox Evans is about children of different backgrounds live, and play in America.
Negro Boys and Girls by Emma Akin and The Child’s Story of the Negro by Jane Dabney Shackleford have stories of the friendship between White and Black people in the classroom. The book also was a more factual depiction of African-American children compared to the stereotypical views of Negroes.
Following the end of WWII, in 1945, the Cold War began challenging racial discrimination and marking the beginning of realistic children’s fiction that featured minority characters (Mickenberg & Nel, 2008, p. 202; Mickenberg, 2005; Lent, 1931; Edelstat, 1933).
During the 1950s, few books were published about the Black experience by Black authors, due to the racial and political upheavals following the 1960s’ Civil Rights Movement (Shackleford, Reed, Casper, & King, 2010, p. 125; Martin, 2004). The 1960s brought the Black Arts Movement, a new era in children’s books about the Black experience that sparked the current Golden Age of African-American picturebooks (Mickenberg & Nel, 2008, p. 201-202; Pescosolido, Grauerholz, & Milkie, 1997, p. 451-452; Martin, 2004, p. 50). The publication of Ezra Jack Keats’s The Snowy Day in 1962 was the first children’s book with a Black child as the main character and ushered in the founding of the Council of Interracial Books for Children in 1965, which helped pave the way for Black authors and illustrators in the 1970’s (Martin, 2004, p. 50-51; Mickenberg & Nel, 2008, p. 202; Tolson, 2010, p. 22).
With the end of segregation laws by the late 1960s and 1970s, children’s literature written by Black authors focused on African-American people, normalizing life experiences, African-Heritage, and gender stereotypes (Schubert Center for Childhood Studies, 2016, p. 2; Martin, 2004, p. 53; Mickenberg & Nel, 2008, p. 202; Bishop, 2008, p. xi-xvi; Henderson, 2011, p. 21). The 1970s experienced many firsts for picturebook authors, who won numerous awards and honors (Horning, 2015; Martin, 2004, p. 53, Wilkin, 2009, p. 19; Pescosolido, Grauerholz, & Milkie, 1997, p. 452). In 1970, the Coretta Scott King Award was created to pay homage to Negro children’s books authors and illustrators and motivated publishers to produce more materials for African-Americans that depicted Black characters (Martin, 2004, p. 85; Henderson, 2011, p. 26). In 1970, Lillie Patterson became the first award winner for her biography, Martin Luther King Jr.: Man of Peace (American Library Association "The History of the Coretta Scott King," 2016).
Books published during the 1980s included retellings of previously published racist books and Afrocentric themes on the Black experience (Schubert Center for Childhood Studies, 2016, p. 2; Martin, 2016; Martin 2004, p. 56-61, p. 73-74; Johnson, & Mongo, 2004, p. 131-133; Matulka, 2008, p. 172; Bannerman, 1981; Deas, 1980; McLoughlin Brothers, 1870; Little Black Sambo, 1922; Bannerman, 1908).
Some examples of books published during the 1980s that included retellings of previously published racist books (Schubert Center for Childhood Studies, 2016, p. 2; Martin, 2016; Martin 2004, p. 56-61, p. 73-74; Johnson, & Mongo, 2004, p. 131-133; Matulka, 2008, p. 172; Hall, 1981; Deas, 1980; McLoughlin Brothers, 1870; Little Black Sambo, 1922; Bannerman, 1908).
Picturebooks from the 1990’s focused on realistic depictions of the painful realities of the Black experience (Pattee, 2013, p. 117-118; Beckett, 2010, p. 119; Gamble & Yates, 2008, p. 134-135; Martin 2004, p. 61-81). The picturebooks Amazing Grace by Beth Hoffman, Brown Like Me by Noelle Lamperti, Everett Anderson's Goodbye by Lucille Clifton, Smoky Night by Eve Bunting, Tar Beach by Faith Ringgold and Whitewash by Ntozake Shange are examples of children’s books that highlight everyday economic, political, and social issues African-American children face.
Amazing Grace focuses on a girl who faces prejudice because she a wants to play the White male lead in the school play.
Brown Like Me focuses on a Black child being adopted into a White family.
Everett Anderson's Goodbye focuses on a little boy healing from the death of his father.
Smoky Night is about a boy and his mother surviving the streets of Los Angeles during riots breaking out in their neighborhood.
Tar Beach focuses on a little girl’s dreams for her family while living in Harlem.
Whitewash focuses on an African-American girl being traumatized when a gang attacks her and spray-paints her face white.
During the 2000s, many Black authors moved away from writing for Black audiences and more towards general audiences while continuing the celebration of Blackness through resisting White superiority in picturebooks (Schubert Center for Childhood Studies, 2016, p. 2; Martin, 2004, p. 68). Books like Beautiful Blackbird by Bryan Ashley, Black all Around by Patricia Hubbell, Chocolate Me by Taye Diggs, My People by Langston Hughes, and Shades of Black by Sandra Pinkney are examples of books that celebrate the diversity of Black people (Martin, 2004, p. 69).
Books like Beautiful Blackbird by Bryan Ashley, Black all Around by Patricia Hubbell, Chocolate Me by Taye Diggs, My People by Langston Hughes, and Shades of Black by Sandra Pinkney are examples of books that celebrate the diversity of Black people (Martin, 2004, p. 69).
In 2016, children’s literary history was forever changed when three of the four Caldecott and one of the Newbery Honors were by authors of Color and about people of color (Martin, 2016 "Brown Gold," 2016, p. 22).
Today, children’s literature resists White superiority and is focusing more on positive depictions of African-Americans in everyday life (McNair, 2013; Schubert Center for Childhood Studies, 2016). The contemporary picturebooks Firebird by Misty Copeland, Knock Knock by Daniel Beaty, Last Stop on Market Street by Matt De La Peña, Sunday Shopping by Sally Derby, Trombone Shorty by Trombone Shorty Andrews and Visiting Day by Jacqueline Woodson discuss realistic portrayals of African-American children in everyday settings.
Last Stop on Market Street and Sunday Shopping are picturebooks about class and explore loving relationships between grandchildren and grandmothers (Italie, 2016; Buzzeo, 2016; National Public Radio, 2015).
In Last Stop, CJ and his grandma leave church to ride the bus to the local neighborhood soup kitchen, and CJ learns a lesson about seeing the beauty in the deteriorating urban landscape, as a rainbow shines in the distance. In Sunday Shopping, Grandma Derby, the custodial parent of her granddaughter Evie, pretends to go shopping on a Sunday evening and learns about the celebration of family through the absence of her mother, who is deployed overseas (Derby, 2015; Peña, 2015).
Firebird and Trombone Shorty feature real life inspirational African-American children who persevere through tumultuous times through music and dance. Trombone Shorty narrates his autobiographical journey of becoming a famous jazz musician, while Misty Copeland, the first African-American Female Principal Dancer with the prestigious American Ballet Theatre, inspires a young girl who dreams of dancing as the firebird. Throughout the two books, the young reader finds out that Trombone Shorty couldn’t afford a real instrument to practice with so he made one, and the girl had to work, hindering her time to practice ballet. Both are powerful illustrations of how both characters fought poverty in order to pursue their dreams. Trombone Shorty and Firebird are influential books on how family and outside relationships helped them reach their artistic potential into adulthood (Copeland, 2014; Andrews, & Taylor, 2015).
Firebird and Trombone Shorty feature real life inspirational African-American children who persevere through tumultuous times through music and dance. Trombone Shorty narrates his autobiographical journey of becoming a famous jazz musician, while Misty Copeland, the first African-American Female Principal Dancer with the prestigious American Ballet Theatre, inspires a young girl who dreams of dancing as the firebird. Throughout the two books, the young reader finds out that Trombone Shorty couldn’t afford a real instrument to practice with so he made one, and the girl had to work, hindering her time to practice ballet. Both are powerful illustrations of how both characters fought poverty in order to pursue their dreams. Trombone Shorty and Firebird are influential books on how family and outside relationships helped them reach their artistic potential into adulthood (Copeland, 2014; Andrews, 2015).
The picturebooks Knock Knock and Visiting Day illustrate the effects of incarceration on Black children of incarcerated parents. Knock Knock is about the absence of a boy’s father while he is in jail, and Visiting Day is about a girl visiting her father in jail. Both explore the negative effects of a parent being absent from a child’s life while they are imprisoned and how one parent households take on the burden of parenting. Knock Knock starts out hopeful with a blue sky with a rainbow and ends with him meeting his father as a grown man when he gets out of prison. In Visiting Day, a young girl and her grandma board a bus and join a community of families making the long commute to see their incarcerated family members (Oslick, 2013). The young girl goes through the scary journey of visiting the prison her dad is housed at. At the end of the books, both characters reunite with their fathers (Woodson, 2015; Beaty & Collier, 2013).
The little boy in Knock Knock receives a letter from his dad and the little girl from Visiting Day saw her father in prison.
All six books chosen for this study were set in urban settings.
The characters from Last Stop on Market Street and Visiting Day both take a bus ride that changes their perceptions on life.
Positive role models were illustrated within the books with the absence of parents in some of the stories. In Firebird, Last Stop on Market Street, and Sunday Shopping parents are missing within the stories. Whereas in Trombone Shorty his father is missing in the story and the little girl’s mom in Sunday Shopping is mentioned but not present in the story. In Knock Knock the little boy both parents are mentioned in the story but his father is missing due to incarceration. In Last Stop on Market Street, Sunday Shopping, and Visiting Day positive relationships between grandma’s and grandchildren are illustrated. In Firebird the main character is inspired by Misty Copeland through her struggle to become the Firebird. Trombone Shorty has positive relationships with his family (with the father absent) during his journey to become a jazz musician.
African-American children’s literature not only speaks to children of Color but all audiences and ages. Children’s literature with negative stereotypes and positive depictions of African-American children in everyday settings can be used as discussion tools within the classroom for discussing White and Black literary standards. Virginia Hamilton's Bruh Rabbit and the Tar Baby Girl was published as a positive rendition to the negative images of the black tar baby used in advertising and in different versions of the Uncle Remus folk stories.
Books like The Story of Little Babaji and Sam and the Tigers who are positive revised versions of Helen Bannerman’s The Little Black Sambo can be used to compare racist narratives that are reimagined from past historical White literary standards. The remaking of White literary books can make adults aware of the racist history of stories for children and make them experience narrative crafted positively (Martin, 2004, p. 61).
Alphabet and Counting books not only teach concepts to the youngest readers but influence youngest readers
sense of identity (Martin, 2004). Books like A Apple Pie by Kate Greenaway Afrobets: ABC Book, An Antislavery Alphabet, Jambo Means Hello: Swahili Alphabet Book by Muriel and Tom Feelings, and The Black BC’s by Lucile Clifton can be used to compare racists stereotypes in the ABC in Dixie: A Plantation Alphabet by Louise Quarles Bonte & George William Bonte and A Coon Alphabet by E.W. Kemble.
Books like Afrobets 1, 2 3, Counting to Tar Beach, Jambo Means Hello: Swahili Counting Book, and Ten Little Niggers by Gerald Deas can be used to compare the disposable racist narratives Nine Niggers More, The Ten Little Colored Boys, The Ten Little Mullianguards, Simple Addiction by a Nigger, and The Ten Little Niggers.
Proponents argue that the current controversies over the depiction of smiling slaves as workers in children’s books illustrate that the all-White publishing world has a long way to go in abandoning harmful stereotypes and historical inaccuracies (Ferdinand, & Hauser, 2015; Sutton, 2016; Smith, 2016).
The recent controversies over A Birthday Cake for George Washington, A Fine Dessert, and Shadowshaper highlight the issues of books being challenged, banned, censored, or pulled from circulation by publishers. Ironically, in January 2016, Scholastic quietly pulled Shadowshaper, citing it gave false representations on the harsh reality of slaves, but within months of bitter public outrage over the depiction of smiling happy slaves in A Birthday Cake and Fine Dessert, both books were finally pulled from circulation (
Controversies about smiling slaves being depicted in children's books is not new as Casement highlights in her book: Black History in the Pages of Children Literature. She highlights the past controversies within the children’s books in George Washington’s Breakfast by Jean Fritz which had slaves missing in the illustrations and A Slave Family by Bobbie Kalman which had false depictions of the harsh reality for slaves in its photographs/illustrations. Although, not all historical events or representations of people of Color are authentic in literature, consumers can review children’s literature through the selection and inclusion guidelines found in chapter twelve of the guidebook Black History in the Pages of Children Literature for discerning if a piece of children’s literature is culturally accurate (Casement, 2008, p. 256-260).
By comparing photographs of slaves with the illustrations within the books like A Birthday Cake for George Washington by Ramin Ganeshram, and A Fine Dessert by Emily Lockhart, children can learn that it gives inaccurate representations of the dehumanization of the institution of slavery in the United States (Casement, 2008, p. 252-254). By selecting culturally accurate and authentic reading materials, young readers can understand the contributions African-Americans have made to our society throughout history (Casement, 2008, p. 243-255).
Today’s popular culture in advertising, books, television shows, and YouTube media still continue to depict negative racist images of Blacks in America (Martin, 2016; Izadi, n.d.; Atlantic Black Star, 2014; Bishop, 2011; Pescosolido, Grauerholz, & Milkie, 1997; Graves, 1993; Taxel, 1994, p. 102-106; Riggs, 1987, Izadi, n.d.). Negative images such as Bob Staake’s Golden Book satire of a lynching, a Joe’s Crabshack advertisement of a Black man hanging, Youtube media videos of the “Ten Little Niggers,” and a man in Black face hanging at a lynching party are some examples of how the past negative stereotypes of African-Americans that are still used in today’s popular culture. These examples elaborate on how work still has to be done to change the past negative stereotypes of African-Americans in children’s literature which is still carried on in today’s main stream population and culture.