In honor of Black History Month, we spoke with the creators of five picture books that highlight important Black figures and historical events about how they contextualize the past for young readers. See our roundup of more children’s books exploring Black history and identity.
Glenda Armand
When did you first learn about the Great Migration and why did you decide to write about it?
I am one of the millions of people who, seeking a better life, participated in the Great Migration. However, it was not until many years later that I learned that what my family did when I was a baby—move from Louisiana to California—had a name. I grew up knowing that most of our neighbors in Los Angeles were from the South but I did not know that we were part of a movement that had a profound and lasting effect on the course of American history.
Reading Isabel Wilkerson’s The Warmth of Other Suns allowed me to put my family’s experience into the larger context of the Great Migration. As a teacher and writer, I wanted to tell this important story to children.
What specific element of the Great Migration did you want to showcase in this book?
In writing All Aboard the Schooltrain, I wanted to take a “big” event and make it child-sized. That’s why the book is subtitled A Little Story from the Great Migration. To make a story that involved six million people and spanned 60 years “little,” I focused on the train, the mode of transportation by which so many of the migrants traveled, and something that is familiar to children.
The story has three trains: the Sunset Limited, which takes Thelma’s family to California; the magical train powered by the books that take Thelma and her schoolmates on wonderful adventures; and the schooltrain, which is formed by the children themselves and takes them to their beloved schoolhouse.
How did you approach portraying the Great Migration and its historical context within the Jim Crow era for young readers?
I considered how a child would react upon hearing the name “Jim Crow.” Like Thelma, the child might assume that Jim Crow was a real person. I also wanted to show how Jim Crow laws had real consequences in children’s everyday lives and caused families to have to make difficult decisions. The bittersweet conversations that millions of families had at their kitchen tables set into motion the Great Migration.
How do you hope that learning about Black history will influence young readers’ futures?
I hope that children will be able to see their own family’s journey in that of Thelma’s. I would like for them to take away a sense of belonging and pride, knowing that their family’s story is a part of the American story. Finally, I hope that as they continue their own journey that they remember the message from Miss Claire, Thelma’s teacher: reading is the ticket to a better life.
Tami Charles
When did you first learn about the vastness of the Black diaspora and why did you decide to write about this?
Growing up in a Black, multicultural family, plus marrying into a Haitian family, I've always known of the vastness of the Black diaspora. My world travels have added to this awareness. It's been one of my life's greatest pleasures to see Black people around the globe, speaking multiple languages, proudly sharing their food, fashion, and culture with others. For me, the real joy comes when I get to show this on the page.
What specific elements of the Black historical contributions did you want to showcase in this book?
In We Are Here, I pay homage to the greats like Dr. King and Marian Anderson, but in my research I discovered Constantin Henriquez, the first Haitian Olympic gold medalist! I was so fascinated at this little-known history! I knew I wanted to honor him, which you'll see in the line "stadiums filled with thousands of faces!" There's also a nod to our food, because need I say more? From the islands of the Caribbean to nearly every continent of the world, our food brings people together in the most celebratory ways! Bryan [illustrator of We Are Here] his own Black history makers with the likes of Muddy Waters and Howlin Wolf. We hear their influence in the music of today, which is important and timeless.
How did you approach portraying the Black diaspora across time and space for young readers?
I was mindful to include Black historical figures from both the past and present. From Dr. King, Marian Anderson, Howlin Wolf, and Muddy Waters to contemporaries like Barack Obama, and my favorite poets Jacqueline Woodson and Elizabeth Acevedo. Also, I wanted to honor the hands of those who built iconic buildings like the White House and ancient cities like Benin City. "From brick and grit, we built this place!"
How do you hope that learning about Black history will influence young readers’ futures?
Black history is not only American history, but global history as well. I hope young readers will be inspired by those who have made scientific discoveries, built monuments with their skill and intelligence, and have contributed to the fabric of humanity. Our history is for everyone to learn about, reflect upon, and to take what is learned to go out and make a difference in the world!
Bryan Collier
When did you first learn about the vastness of the Black diaspora and why did you decide to write about this?
I think the awareness and knowledge of the Black Diaspora is learned bit by bit over a span of time and that the process is a continuous one.
What specific elements of the Black historical contributions did you want to showcase in this book?
For We Are Here, I visually wanted to express the ideas of hard work, determination, the presents of family and community and how, with these values, we can point directly to the evidence of our greatness.
How did you approach portraying the Black diaspora across time and space for young readers?
My approach to telling this story was to create an apparatus upon which I could illuminate each story line in such a way that the narrative can flow with a rhythm from start to finish. I started with images of shotgun houses, which are a specific kind of structure, often found in the south, that when lined up in a formation create a neighborhood or community and, moreover, can be a timeline or time machine.
In front of each shotgun house stands the evidence of greatness like a clay pot created 200 years ago by an enslaved Potter named Dave, who wrote poetry on these poor pioneers of rhythm and blues and jazz upon which hip hop music and culture stands on. Then on to the civil rights movement as Martin Luther King Jr. and Marion Anderson help build a blueprint for our modern day protesting. This is the evidence, and the battle continues.
How do you hope that learning about Black history will influence young readers’ futures?
My hope is that young people use this book as a resource that they can turn to as a starting point to understand that Black history is everyone's history.
We Are Here by Tami Charles, illus. by Bryan Collier. Orchard, $18.99 Jan. ISBN 978-1-338-75204-5
Katheryn Russell-Brown
When did you first learn about the Black “sheroes” of the Civil Rights Movement and why did you decide to write about them?
My learning about these women has been in pieces. For instance, in my childhood I’d heard about Rosa Parks and Coretta Scott King. However, my knowledge was superficial. It wasn’t until much later that I learned that more than 10 years before Mrs. Parks refused to move from her bus seat, she was an active member of the local NAACP. I was an adult before I knew that Claudette Colvin had refused to move from her bus seat nine months before Mrs. Parks. In truth, some of the women in the book I had not heard of at all, including Dorothy Cotton, Jo Ann Robinson, and Gloria Richardson. These “sheroes” were truly hidden figures.
What specific elements of Black women participating in and leading the Civil Rights Movement did you want to showcase in this book?
Overall, I wanted to tell what I call an eye-level story. I want the young people reading Justice Rising to see themselves in the stories of these women and girls. I hope they know that they, too, can decide to take actions, even very small ones, to make the world better. Especially a world that’s better for children. The stories of Ruby Bridges and Sheyann Webb show that little people can have agency and impact change.
How did you approach portraying the Black female historical leaders and the historical context of the Civil Rights Movement for young readers?
My goal was to talk about the Civil Rights Movement as a movement of people. People like each one of us. I tried to express how racial segregation and mistreatment impacted Black women and girls, and how those feelings spurred their actions.
How do you hope that learning about Black history will influence young readers’ futures?
We are all, each one of us, living history. I hope that young readers will be excited to learn more about this history. Also, I hope that each of them will connect with at least one of the stories in the book. This will make it easier for them to see the world and their ability to make change.
Kim Taylor
When did you first learn about the history of Juneteenth and why did you decide to write about it?
I created a large story quilt about Juneteenth after attending a celebration in honor of the holiday in 2014. Until then, I had never heard of Juneteenth. It was not taught as part of my school curriculum and my family did not celebrate it. I was asked to show my quilt at some festivals and a few local schools. Many of the students did not know about Juneteenth. I drafted a short story based on my quilt to help students get a better understanding of this significant historic event. In 2020, at the start of the pandemic, I decided to tweak my story and create quilted illustrations for A Flag for Juneteenth.
What specific element of Juneteenth’s origins did you want to showcase in this book?
I wanted my readers to get a feel for the excitement and jubilation that came with the announcement of freedom, but I also wanted to highlight how formerly enslaved communities often used art as a means of cultural preservation. In A Flag for Juneteenth, Huldah’s community creates a flag to honor her birthday and their new freedom.
How did you approach portraying the historical context and long-lasting effects surrounding Juneteenth for young readers?
I devoured everything I could read about Juneteenth and chose to tell the story in a way that I feel children could connect on their level. I want young readers to be curious about what life was like for enslaved people when they were not laboring, and to learn how they connected with their immediate and extended families, as well as how they built a sense of community despite such oppressive circumstances. I felt it critical to highlight the beauty and resilience of African and African American people during their enslavement and to showcase the importance of strong family and community ties.
How do you hope that learning about Black history will influence young readers’ futures?
I am hoping that my young readers will see themselves in my main character and will deeply connect and empathize with her. I am very proud to tell the story of Juneteenth in a way that I hope will encourage children to want to learn more about this and other historic events. When young African American readers see themselves in books, they feel valued and affirmed and are more likely to become lifelong readers.
A Flag for Juneteenth by Kim Taylor. Holiday House/Porter, $18.99 Jan. ISBN 978-0-8234-5224-8
Alana Tyson
When did you first learn about the complicated relationship to the American flag to Black Americans and why did you decide to write about it?
The complexity of this issue occurred to me in the summer of 2016, while shopping for my then nine-year-old son. Old Navy had a line of flag-inspired clothing in anticipation of July Fourth. I saw a T-shirt with the American flag that I wanted, but when I reached for it, I hesitated and questioned if having my son wear the shirt would make him seem unsympathetic—or even traitorous—to the Black community. At the time, there were increased shootings of unarmed Black men and teens in cities across the U.S., and the NFL was under scrutiny due to quarterback Colin Kaepernick and other players and celebrities kneeling or silently protesting during the national anthem. I wondered if other Black families were equally conflicted. I wondered if their children were. Was anyone having healthy discussions with them, outside of media sensationalism?
I decided to write a children's book that explained some of the nuances surrounding the topic, providing reasons why a Black person might silently protest, or alternatively, salute the flag. I wanted to respectfully examine both sides. While the idea started then, I didn’t write the book immediately. I think I subconsciously avoided writing it because I didn't know how to approach a topic with that level of depth and have it be palatable for a young audience. The idea gnawed at me while I continued to learn the craft of children’s literature. I recall attending an SCBWI conference where panelist Andrea Davis Pinkney told the audience that children can indeed handle difficult topics. She advised not to sugarcoat or avoid seemingly taboo subjects, because kids are resilient and deserve the truth. I finally drafted the story in 2018.
What specific element of the flag’s history did you want to showcase in this book?
The book is less about the flag’s history, and more about confidence and understanding other people’s perspectives. I didn’t seek to write a flag history book at all. My Red, White, And Blue is about having a voice, and feeling empowered to use it, so that someone else (i.e. the media, public figures, etc.) isn’t dictating your story for you. It’s also about allowing the Black community to see the flag as a symbol of strength and resilience, vs. a symbol of misdeeds and injustice. Some historical figures and events are highlighted (i.e. Dr. Martin Luther King Jr., the American Civil War, the Black Lives Matter and Civil Rights movements, etc.) to drive the story and provide credence to better understand what led us here. London Ladd’s brilliant art pulled the story together in a way I couldn't have envisioned.
How did you approach portraying the historical context surrounding the American flag for young readers?
Writing My Red, White, And Blue was more challenging than I’d expected, given I was a novice in the children’s literary space. I only knew that I wanted the main character to be a child who would also narrate the story. The historical elements in the story are inherent, since so much of the Black community’s ethos is a result of actions throughout American history and our treatment over a span of centuries. Having a child as a narrator, however, made it difficult to bring those elements to light, since a child wouldn’t necessarily have the awareness of all those events. I needed to have elders in the story to help the child sort through those elements. I was very close to my father, so having a patriarch in the story was a natural fit as a supporting character. In telling a story that focused on controversial issues, I wanted to ensure the details were carefully but honestly portrayed. Again, I give much credit to London, who clearly had a vision he was able to match with my intentions.
How do you hope that learning about Black history will influence young readers’ futures?
Young readers will be future leaders, so it’s imperative that learning opportunities reflect the type of society we want to see. It’s my hope that children everywhere who read My Red, White, And Blue are inspired to understand someone else’s experience without criticism. That alone can lead to a kinder, more empathetic existence. Black history lessons in the U.S. have been fraught with inefficiency, lack of transparency, propaganda, and inaccuracies. Few academic institutions teach about Black history prior to the slave trade. For Black children, this erases a huge part of their ancestral history, and for all children, it provides a distorted truth. Learning an accurate account of Black history, one that doesn’t depict Black people as sub-human (because that’s what the slave trade did), is vital to existing in a society where everyone is treated humanely. The past isn’t going away. Young people now have more resources to learn what many schools are omitting. I’m happy to be part of an industry that helps lead young people to various truths, no matter how uncomfortable.
