In celebration of Black History Month, we spoke with seven children's authors about their books showcasing Black cultural and historical figures, and the importance of teaching young people about the full scope of American history.
Kwame Alexander
Why did you choose Black musicians as the subject of your book?
I’m always interested in writing stories about Black Americans, about Africans, and trying to share little-known stories or stories that we don’t have access to—or we haven’t been exposed to as readers, as students, as human beings. And so, I think part of my responsibility is to elevate and inform and ultimately inspire readers through the stories of Black Americans, whether it be by sharing a story about the music, or by sharing a story about basketball or Muhammad Ali. Ultimately, I think I’m a teacher. In all my books, I’m trying to teach something.
I grew up in a house where I learned Black history 24/7: music, literature, sports, religion—I was just immersed in it. I want to share some of what I’ve learned over the years. When I think about my three picture books, The Undefeated, An American Story, and How Sweet the Sound, I really think I’m telling the same story but using different tools to share that story. With How Sweet the Sound, I thought music may be an interesting way to tell the American story.
How did you approach your research? Was there anything new or surprising that you learned?
While trying to imagine what this book would be, I learned and dreamed up a lot of things that I hadn’t known about. I’ll give you two examples. For one, when you think about country music, you don’t often think about Black America. And I began to look at what country music is, and what’s predominant in it are the stories that are told. Then I began to think about the storytellers of West Africa, Ghana, and Nigeria, Sierra Leone, Senegal; these storytellers are called Griots, and they are responsible for passing down the stories of the community, generation by generation. That’s how the history gets told.
And so, you begin to see this direct connection between country music and the music of West Africa. You add on top of that when you consider that one of the preeminent instruments at the beginning of country music is the fiddle. And where does the fiddle come from? Well, the fiddle comes from West Africa, and I was excited to really begin to understand the connections between America and Africa as it relates to the music.
The second thing I realized was when Africans were stolen from their home, and they were put in the hull of these ships, they were placed head to toe, sometimes lying next to people who were no longer alive. When they were brought up once a day to breathe the air, they looked back, and they could not see their homes. They could not see where they were from. They looked forward and they didn’t know where they were headed or what awaited them when they got there. The only thing they could see that was tangible was the sky and the ocean. And what color are they? Blue. And so, I began to think that perhaps that is the origin of the blues: you had to maintain some type of optimism, but you weren’t naive.
Why did you feel a picture book was the best medium for showcasing these artists?
I don’t know if I would call this a picture book, but I will say that Charley’s illustrations are so lush, are so colorful, are so inviting that they make this story. His work takes the words off the page, and it really elevates this story.
I like to think that this book could be a picture book, but it could also be a coffee table book, a history book, a poem. It’s a lot of different things operating on a lot of different levels. But no matter the form, I’m always interested in writing for the kid as much as the parent, the student as much as the teacher.
What do you want young readers to understand about the history of music and Black artists’ impact?
When I write books, I don’t have a hope and a desire and a want for people to get a specific thing out of my writing. I have one goal: I want to change the world one word at a time. Now, if I had a hope, it’s that you read my book and you feel something differently than you felt before you read it. Because if you want people to change the way they act, you change the way they think. If you want to change the way they think, you change the way they feel. I write to inform, to entertain, to educate, and to inspire.
As book bans continue to expand, why is it important to continue educating young readers on Black history?
For the same reason that it is important to continue educating boys on women’s studies. For the same reason that it’s important to continue educating Christians on Islam. For the same reason that it’s important to educate Americans on people around the world.
Books are mirrors, and books are windows. They help us understand who we are, and they help us see each other and become more connected and become better human beings. So, it’s important because we want to create better human beings. The only way to do that is by making sure all the books are available for all the kids. As Spike Lee would say, “more better” or “mo’ better.”
How Sweet the Sound by Kwame Alexander, illus. by Charly Palmer. Little, Brown, Jan. $18.99 ISBN 978-0-316-44249-7
Regis and Kahran Bethencourt
Why did you choose the figures featured as subjects of your book?
We wanted kids to see themselves in these stories, so we made sure to include a wide variety of figures from Black history—activists, artists, scientists, and leaders. Some names are well-known, but we also wanted to shine a light on lesser-known trailblazers whose impact deserves more recognition. Every person in this book left their mark, and we hope their stories inspire kids to embrace their own greatness.
How did you approach your research? Was there anything new or surprising that you learned?
We spent a lot of time researching—reading books, searching archives, and piecing together stories that don’t always make it into history books. One thing that really stood out was how connected these figures are across generations. For example, Tommie Smith and John Carlos raising their fists at the 1968 Olympics directly paved the way for modern activism in sports, like Colin Kaepernick taking a knee. It was a reminder that Black history isn’t just about the past—it’s a continuous movement of courage, resistance, and legacy.
Why did you feel a picture book was the best medium for showcasing this figure?
Visual storytelling is powerful, especially for young readers. A picture book brings history to life, helping kids see themselves in these figures in a way that words alone can’t. Our photography adds a unique, imaginative touch—blending historical accuracy with a sense of possibility. We want kids to walk away feeling inspired, knowing they, too, are part of history in the making.
What do you want young readers to understand about these figures?
Greatness isn’t about fame—it’s about impact. These figures didn’t wait for permission to make a difference; they saw a need and stepped up. We want kids to know they have that same power—that their creativity, voice, and courage can shape the world just like the people in this book did.
As book bans continue to expand, why is it important to continue educating young readers on Black history?
Black history is history and erasing it doesn’t change the truth. These stories matter—not just for Black kids, but for everyone. When kids see the full picture of history, it builds pride, understanding, and empathy. That’s why we’ll keep telling these stories, regardless of what’s happening in the world.
Greatness by Regis and Kahran Bethencourt. Little, Brown, Jan. $18.99 ISBN 978-0-316-49117-4
Ruby Bridges
Why was it important to you to write about your experience with your first-grade teacher during your time as the first Black child at William Frantz Elementary School in New Orleans?
After writing my other books, I would often get questions about my experience after that first year. What bothered me the most was the absence of my teacher.
Can you tell us about how you approached portraying your perspective of her? How did the impact of integrating a school shape your experience of her?
She played such a pivotal role in that year that I spent with her, and she had a huge impact on shaping me into the person that I believe I am today. I can honestly say that I feel that I am not a prejudiced person because of her. She showed me her heart and she made me feel safe.
Why did you feel a picture book was the best medium for this story?
My experience comes from that of a six-year-old; therefore, I often write from that perspective which young people relate to.
You were reunited with your teacher Mrs. Henry later in life. What was that reunion like?
Meeting her again felt like I was reunited with a part of me that had been missing for a very long time. After all, she was my best friend, my only friend in school for that entire year. Once that year was over, she was gone and I was devastated.
I believe the lesson I went into that classroom to learn that year was the same lesson Dr. King died trying to teach us all: you cannot look at a person and judge them… You have to judge them by the content of their character.
As book bans continue to expand, why is it important to continue educating young readers on Black history and the impact of educational figures?
It is essential because books are being banned and how else is the next generation going to learn history if it’s not being taught in schools, the way that history actually happened?
Ruby Bridges: A Talk with My Teacher by Ruby Bridges, illus. by Trudy Tran. Orchard, Jan. $19.99 ISBN 978-1-338-75394-3
Cheryl Willis Hudson
Why did you want to explore African American spirituals in your book?
It was important for me to share with young people that African American spirituals are an art form deeply rooted in the history of Black people—that in fact, spirituals convey truths about American history. We all know that music serves as a form of entertainment and as a vehicle for sharing emotions, but music is also an empowering form of storytelling. Spirituals have played such an enormous part in transmitting the culture of African Americans. From percussive roots in Africa, through the oral tradition of storytelling passed on by enslaved peoples in the Americas, through those post-Civil War narratives to the movement of the Civil Rights era and to contemporary African American generations, that influence is embedded in our history. I wanted to explore more deeply the impact those songs have had on us personally and collectively.
How did you approach your research? Was there anything new or surprising that you learned?
I started by thinking about and remembering what spirituals were most familiar to me from my own childhood. For example: Go Down Moses, Soon I Will Be Done with the Troubles of the World, Over My Head I Hear Music in the Air, and Wade in the Water. But that history was not covered in books. Then I listened to and read about the history of these songs. As I listened, I thought about how certain spirituals made me feel. Did l feel sad? Strong? Powerful? Energized? Joyful? Calm? Hopeful? I asked, what specific stories did the spirituals tell? What emotions did the words/lyrics evoke and why? Did contemporary children know about these historical connections and how significant spirituals were?
In my research, I discovered books written by members of the original Fisk Jubilee Singers. I also read texts by John W. Work, H.T. Burleigh, Roland Hayes, and others who had documented articles about spirituals and the history of Black music. I was happy to find so much valuable material online. I was delighted to find how greatly spirituals influenced the development of all types of music in America. It was wonderful to hear commentaries, and the singing of formerly enslaved folks documented in the archives of the Library of Congress as well as via contemporary media portals.
Why did you feel a picture book was the best medium for showcasing this piece of history?
Picture books offer children their first exposure to seeing and experiencing visual art. It’s important that children see themselves in books and identify various aspects of their culture as part of that reading experience. In When I Hear Spirituals, a child will not only hear of the Biblical story of Moses, but they can also see a rendering of Harriet Tubman, who was called the “Moses of Her People.” They can “see,” for example, more factual information within the illustrations than the text alone conveys. London Ladd’s illustration shows that Harriet Tubman was a brave, daring, and courageous woman who loved her people so much that she risked her own life to help others become free. They can see a connection between the history itself and the song/music that relates that history to them. When a parent or caregiver reads a picture book with a young child, there is an immediate physical connection between seeing the pictures, hearing the words, and even feeling in body language the reactions to the words and images. Reading picture books aloud is such a visual and sensory experience. What better medium for showcasing African American history and showing how empowering knowledge of that history can be?
What do you want young readers to understand about African American spirituals and their impact?
African American Spirituals have captured our history through storytelling and song. They are not only musically inspiring, but they are empowering and can call people to action in their personal lives and communities. Spirituals are a soundtrack to an era that has influenced and fueled other genres of music such as blues, gospel, R&B, rock and roll, rap, and hip-hop. Young readers should learn more about the great impact of African American spirituals in this history of the United States and the world.
As book bans continue to expand, why is it important to continue educating young readers on Black history?
Gaining access to books that highlight diversity of any kind within the U.S.A. has always presented challenges for authors, illustrators, and creatives in the literary, publishing, and library communities.
It is imperative that in the face of book bans, increasing censorship, and current executive-governmental edicts that Black history and research continue to be made available and accessible to young people. So many misconceptions and stereotypes still exist about Black people and other marginalized groups in current and previously published works. New books need to be written in an effort to provide accuracy and authentic facts. Erasure of references to Black history is not acceptable. Racism is real and folks need to know the truth about American history. Knowledge is power and educating young readers on Black history informs and enriches us all. Young people deserve access to knowledge rather than to merely pablum or propaganda. Black history should be documented and celebrated.
When I Hear Spirituals by Cheryl Willis Hudson, illus. by London Ladd. Holiday House, Jan. $18.99 ISBN 978-0-8234-5380-1
Andrea Davis Pinkney
Why did you choose Toni Morrison as the subject of your book?
The early seeds of storytelling that were planted during Toni Morrison’s childhood are at the roots of this book’s narrative. And it’s why I’ve chosen to share her story with young readers. And She Was Loved is a praise poem, a love letter, and a thank you. It’s also an invitation to young readers who like to write their own stories and draw pictures, and who enjoy a good read-aloud. This was true of me when I was a young girl who, in first grade, integrated my school. It was a very lonely time in my childhood. But when I discovered the joy and power of storytelling, a little bird that had been locked up inside broke free. The same was true of Chloe Wofford (who later changed her name to Toni Morrison). When young Chloe was the only Black child in her first grade, her vivid imagination set her free. Like so many kids, she found power in words and creative expression.
How did you approach your research? Was there anything new or surprising that you learned?
My research began with Toni Morrison herself. I’m very blessed to have served as the editor of her books written specifically for children. These included several titles, among them the picture book The Big Box, illustrated by Giselle Potter, and Remember: The Journey to School Integration, which won the Coretta Scott King Author Award. While we worked together, Toni Morrison became a mentor. We had similar career paths as authors who also worked in publishing houses, and who were deeply committed to bringing Black voices to the fold, and to amplifying new talent. As an author, one of the key lessons I learned from Toni Morrison is the importance of writing every single day—putting pen to paper at the crack of dawn, before the sun rises, and the day starts to crowd in.
Why did you feel a picture book was the best medium for showcasing this figure?
And She Was Loved celebrates Toni Morrison by letting her welcome us into an experience. At the same time, in the refrain, we, the reader, are speaking to Toni Morrison, expressing our joy and gratitude: “Oh, Toni Morrison. You help us soar… up…up…up.” From its earliest beginnings, this praise poem was meant to be punctuated by a visual mosaic. When Caldecott Honor winner Daniel Minter graciously agreed to illustrate the book, he elevated the narrative with his evocative paintings that embrace us with a beautiful prism of color, texture, and shape. The picture book format rejoices in Toni Morrison’s multifaceted storytelling. Daniel has created a bold canvas that encourages readers to celebrate the musicality of Toni Morrison’s words. The book’s cover, and each interior painting, is its own gift. And there’s a glistening surprise when readers peel back the book’s jacket to reveal the exquisite case cover—a breathtaking reminder that picture books are works of art.
What do you want young readers to understand about Toni Morrison?
And She Was Loved helps young readers understand themselves and believe in the power of their own creativity. That’s the gift Toni Morrison gave to all of us. The final lines of the book affirm: Dear one, dream with wide-open eyes… Make your mark… Stitch your story… You are loved.
As book bans continue to expand, why is it important to continue educating young readers on Black history?
Here’s how I see it. Black history is the root of world history. Roots become trees that bear essential fruit—and show us the truth. As so, we have a choice. We can clip the root, hack the truth, cut human connection. Sprout lies. Harvest hatred. Or, we can cultivate the seeds. Celebrate you. Rejoice in me. Grow together—flourish! Black history is every reader’s freedom tree.
And She Was Loved: Toni Morrison’s Life in Stories by Andrea Davis Pinkney, illus. by Daniel Minter. Little Brown, Jan. $18.99 ISBN 978-0-316-18236-2
Carole Boston Weatherford
Why did you choose Kamala Harris as the subject of your book?
I got swept up in the historical significance of Kamala Harris’s presidential campaign. As a Black woman, I was incredibly proud and hopeful.
How did you approach your research? Was there anything new or surprising that you learned?
Let me be clear: If Kamala Can is not a biography, but rather a praise song. Like so many of my books, this one highlights vignettes from the subject’s life to lift the ceiling off of young people’s dreams. As such, I researched moments that reflected the book’s aspirational theme and that would resonate with young people.
Why did you feel a picture book was the best medium for showcasing this figure?
I like writing picture books because students in the primary grades have such open hearts and minds. As a poet, I like picture books because the format demands an economy of language.
What do you want young readers to understand about Kamala Harris?
I want them to understand that Kamala Harris is exceptional and exemplary and that they too can excel and reach their potential.
As book bans continue to expand, why is it important to continue educating young readers on Black history?
Black history is American history. We adults owe young people a truer and more inclusive history than we were fed in school. Children deserve and will demand the truth. Schools should not deprive them. We must understand the reasons behind moves to erase Black history from curricula. Knowing your history is generational wealth.
If Kamala Can by Carole Boston Weatherford, illus. by Ariana Pacino. Sourcebooks, Feb. $18.99 ISBN 978-1-4642-4798-9
