Noughts and Crosses by Malorie Blackman: a Mirrored World

Erin Hutton

Edited by Maria Elena Carpintero Torres-Quevado

Artwork by Natasha Ruwona: https://www.behance.net/natasharuw40cf

I read Noughts and Crosses when I was about thirteen. It is the first powerful book that I can remember reading. However, re-reading my slightly battered copy at eighteen was a very different experience.  It was easier to understand that good people, like the characters in the book, could react so badly to violence. The terrorism in the story is painfully similar to current news headlines. Finally, after studying the fight for Black American civil rights at school, I could clearly see where Blackman got her inspiration. The scene where nought children face a mob of angry crosses to get into a decent school could have been drawn straight from the textbook photos of Little Rock Central High School, Arkansas, 1957.  This seems especially important when one considers the things people said to the author as she was writing: “‘Slavery is in the past’, ‘Why d’you want to rehash something so painful?’, ‘Why do black people always harp on about slavery?’”(Penguin Random House, 2016). Perhaps, if books like Blackman’s were studied at university level, people would be less likely to have these attitudes, especially if the novel’s stark confrontation of cruelty made them consider that their comments are insulting. There are many example of history where people have ignored atrocities as they occurred.

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Goodnight Stories for Rebel Girls by Elena Favilli and Francesca Cavallo

Sophie Hanson

Edited by Maria Elena Carpintero Torres-Quevedo

Art by Ottelien Huckin

https://www.ottelienhuckin.co.uk

Although existing feminist curricula reflect female marginalisation and its representation in literature for adults, there is significantly less feminist study of children’s literature. The significance of this cannot be overstated: the books we read as children form our understanding of the world and it is therefore important to include children’s literature in feminist critique. As a girl who always loved to read, children’s books failed to give me insight into the reality of inequality I would face as a woman, or of the potential I had in spite of it. In fact, it wasn’t until my late teens I came across a children’s book that provided this: that book was Good Night Stories For Rebel Girls by Elena Favilli and Francesca Cavallo (2016).

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Carnival: The Upside Down of George by Alex Gino

Josh Simpson

Edited by Toby Sharpe

Art by Priyanka Meenakshi https://www.priyankameenakshi.com/

Recently, I turned in a fiction portfolio for a creative writing course: a queer retelling of a young adult novel. My professor said that, when she heard about my topic, she’d immediately envisioned a story about AIDS. How relieved she was, she said, that it was not, in fact, about that epidemic. Then I turned in an excerpt of a queer-themed* children’s book to a writers’ group. My feedback questioned the very need for diverse books, implying that queer themes are too mature for children to understand. I was unsure how to respond in either situation, never having encountered someone who so blatantly dismissed the value of inclusive literature or expected a queer story to centre on AIDS. Why did they have those views or expectations? Perhaps the answer has to do with misunderstanding queer themes in children’s literature.

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