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Archive for the ‘Non-fiction’ Category

book listsSo if international YA award lists can sometimes be lacking, what about international YA booklists? What kind of reading do they encourage?

Well, there are a lot of them, and like the multiple definitions of what ‘international’ young adult literature, they do not agree on what ‘international’ books are and how international titles  do or do not overlap with ‘multicultural’ books. Instead the booklists I looked at  reflected a multiplicity of definitions and ideas about what should be included on these ‘international YA’ lists.

Broadly speaking, I identified three categories of booklists that international titles appeared on: ‘in translation’ lists, ‘international’ lists and ‘multicultural’ lists.

Here is a breakdown of these three categories and some (though not all) of the lists I looked at:

  • ‘Books in Translation’: booklists from The Horn Book and the librarian blog, the YA YA YAs; lists do overlap with the Batchelders – roughly 30%, but both introduce international titles and subjects not honored by the Batchelders like fantasy and humor though; both lists do, however, have a definite European language focus to their selections; a benefit of a list like this is the surety that all titles are from categories #3 and 4 of intl books (for a definition of my categories of international YA click here)
  • ‘International’ Books: booklists from YALSA, Carnegie Library of Pittsburgh (2 lists: non-fiction and fiction) and the San Francisco Public Library; these lists overlaps with ‘multicultural’ lists and the selected titles came from a variety of ‘international’ categories especially category #1 and #2; however, determining what category of international book these titles come from can be difficult – only San Francisco library includes information on title’s country of origin
  • ‘Multicultural’ Books: booklists from Vancouver Public Library (VPL) and the Santa Clara County Library; these lists overlap with ‘international’ lists in how they define and select their titles; but interestingly, there is also little convergence between the two lists evaluated in this category – the VPL’s list includes mostly ‘international’ titles (i.e. those set or published abroad) whereas Santa Clara’s list consisted of a (mostly) domestic multicultural titles set in the United States

Reflecting the multiplicity of definitions that exist for  ‘international YA,’ these booklists reflect, overlap and diverge on what titles they include under the umbrella of ‘international’ YA and what type of titles they have selected for their booklists. The YALSA list for example, includes many retrospective adult titles on their international list like Gabriel Garcia Marquez’s Love in the Time of Cholera, whereas the Carnegie Library of Pittsburgh and the San Francisco Library included more contemporary and popular titles like Louise Rennison’s Angus, Thongs and Full Frontal Snogging and Ineke Holtwijk’s Asphalt Angels (for more info on the exact specificities of these lists click here and here).

garciagirlsThen there is a title like Dominican-American author Julia Alvarez’s novel, How the Garcia Girls Lost Their Accents, which focuses on the identity struggles of four sisters originally from the Dominican Republic who move to New York City. This title is alternatively classified as ‘international’ (as on YALSA’s ‘international’ booklist, 2009) and ‘multicultural’ (as on the Plymouth District Library’s nominally multicultural ‘Teens of Different Cultures and Places’ booklist, 2009).

The multiplicity of definitions and titles chosen can make international YA booklists on the whole a confusing tool to use. Some lists use a definition of ‘internatinal’ that seems to be more multicultural, and others (like the VPL) use the term ‘multicultural’ when their lists actually seems more international. Further, many of the titles selected on these lists give no indication of where the books were originally published  – which can make creating a balanced collection with books from both categories #1 and #2 (published domestically, but stories set abroad) and categories #3 and #4 (titles originally published abroad) more difficult. For my earlier discussion of these different categories of international YA click here.

However, there is great a variety on these lists though — though few graphic novels and manga appear on these lists, and while there is more subject variety, there is still a slight preference for ‘serious’ titles over fun, fantasy or ‘light’ reads.

Still librarian-created booklists are good tool to compare what titles other libraries are identifying and promoting to teens as good international reads.

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ny name is number 4Mountain Girl, River GirlTing-Xing Ye left China in 1987 for Canada after years of hardship, including a period in a Chinese work camp as a teenager – an experience chronicled in her biographical memoir, My Name is Number Four: A True Story of the Cultural Revolution.

Since immigrating to Canada, Ye has written novels for children, adults and teens including the children’s books: Share the SkyThree Monks, No Water, Weighing the Elephant and a memoir for adults, A Leaf in the Bitter Wind (originally published in 1998 and later abridged for a YA audience as My Name is…).

Ye’s books have been lauded in Canada and the United States for their rich description of Chinese culture, as well as their detailed (and personal) depictions of events like the Chinese Cultural Revolution.

CM Magazine (Canadian Review of Materials) notes of My Name is… that, “teachers will find the book useful as it provides students with a personal perspective from someone who has lived through the Cultural Revolution….” The CM review further adds that, “…Ye’s work portrays the personal and collective tragedy of a misguided revolution and its detrimental effects on family, friendship, and Chinese society as a whole.” Of Mountain Girl River Girl – a fictional account that follows two teen migratory factory workers – Quill and Quire writes that, “this is a well-written and thought-provoking tale that refuses pat resolutions or Hollywood endings. The girls’ futures remain bleak at best, and audiences will learn a lot from this sobering novel….”

What is interesting is how well these books fit into the trope of ‘Chinese’ YA literature that has recently made its way onto library and school shelves and includes similar novels like: Socialism is Great’: A Worker’s Memoir of the New China about author Lijia Zhang’s experiences as teen factory worker in a missile production plant in China; Red Scarf Girl by Ji-Li Jiang, another memoir about life as a teen during the Cultural Revolution; or Ye’s own novel for young adults, Throwaway Daughter, written with her husband, acclaimed Canadian author, William Bell, about the impact of China’s one child policy on the female infant abandonment and subsequent foreign adoption of these ‘throwaway daughters.’

These novels, while excellent first hand accounts of life in China during the Cultural Revolution, do enforce a particular view of China under communism prevalent in the West. Furthermore, as ‘international YA’ it should be noted that all of these books were originally published in North America by authors who have since become US or Canadian citizens (or ‘category #1’ as I discussed in an earlier post) – they are not Chinese-published accounts.

Why I note this is that there are very few Chinese produced books in libraries or on award winning YA lists. The ALA Batchedler Award, for example, which recognizes ‘the best’ in translation young adult book each year, has never nominated or awarded this accolade to a book originally published in China and its surrounding regions, including Hong Kong or Taiwan – and the Batchelders have been around since 1968.

Yet, I do think that it is important to note this disparity between Western-produced ‘Chinese’ books and those actually being produced in China, Hong Kong or Taiwan to be aware of the ‘gaps’ in our collections, and also certain themes, market influences, and most importantly, the issue of audience, in category #1 international YA.

As noted in a review of Valerie Zenatti’s When I was a Soldier, a memoir detailing Zenatti’s time as a teen soldier in the Israeli Army, Zenatti’s book is not written for a Israeli audience. For while Zenatti did spend her teens in Israel and did serve in the army, she was born and raised in France, and after her army service returned to Paris where her published her memoir, written in French and for a French audience. Similarly, Ye’s novels, though based on her childhood and subsequent experiences in China, are written for a North American audience – not a Chinese one, and this is something we need to remember when collecting. That while these books are about and set someplace other than North America, they are, in many ways, ‘North American’ books as they reflect market and publishing trends here, but also, and importantly, in that they are written for Canadian and US audiences.

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