Unspoken Sara K. Day "Children should be seen and not heard." This old proverb may not be asserted frequently today, but the underlying assumptions—that well-behaved children will be quiet and obedient, that children have more to learn from adults than vice versa, that children must wait for an adult to acknowledge them—continue to shape power dynamics between adults and children in many ways. At the same time, silences surround children in terms of what adults believe should be said to (or written for) them; some topics are considered dangerous; some language is considered inappropriate; some information is considered indoctrination. As we have seen an increasing number of attempts to ban books in schools and libraries across the United States, especially those by and about BIPOC and LGBTQ+ people, it is useful to consider the specific ways in which demands that children not speak intersect with ideas about what should not be said to children. This issue opens with Sarah Selden's "Harlem Renaissance or Momentary Aberration?: An Analysis of the Newbery's Progress toward Racial Inclusivity," an examination of two key moments in the history of children's literature's most visible prize. The first moment is 1975, when Virginia Hamilton was the first Black author to win the Newbery, followed two years later by Mildred D. Taylor. The second is forty years later, when in 2015 the prize was awarded to Kwame Alexander, with Jacqueline Woodson being awarded a Newbery Honor. Selden examines both the contexts surrounding these key moments—including, among other elements, the changing make-up of Newbery committees—but also the ways in which Black authors' treatment of race and racism has potentially influenced prizing. In turn, she looks to the lack of critical conversation about most of these texts as a reflection of a larger, often unspoken assumption that they are more useful in elementary school classrooms than literary scholarship. The question of what goes unspoken also affects what messages are embraced in children's literature, especially in times of political discord. Like Selden, Saffyre Falkenberg focuses on a specific chronological moment in her article "All Are Welcome: Picture Books and Liberal Multiculturalism Post Trump." [End Page 131] Using Jodi Melamed's work on liberal multiculturalism and official antiracisms as a framework, Falkenberg examines the ways in which four picture books by white authors published after the 2016 election of former president Donald Trump emphasize diversity and inclusion without working to disrupt oppressive systems. Falkenberg's analysis emphasizes the distinction between attitude and action, especially in terms of the assumption that increasing diverse representation in children's books is enough to make needed changes rather than a starting point that requires further engagement and work. In "'Infinite Others': Mythpunk and Middle-Eastern Folklore in Catherynne M. Valente's Young Adult Novels," Teresa Michals and Fizza Fatima illustrate how Valente attempts to disrupt fantasy conventions that code the racialized Other as evil while uplifting Western figures and values. Comparing Valente's novels to those of C. S. Lewis—whose Narnia series perhaps best encapsulates this tendency to binarize West vs. East, good vs. evil—Michals and Fatima point to the ways in which modern authors can resist the stereotypes and xenophobia in classic children's fantasy literature. In her Fairyland series as well as her novel The Glass Town Games, Valente casts a wide net, drawing on figures and symbols from a variety of traditions and complicating the straightforward binary that so frequently works to uphold Eurocentric worldviews as superior to those from other cultures. "A Girl Verses the World: The Poetics of Asian American Childhood in Thanhha Lai's Inside Out & Back Again" by Stephen Dudas likewise investigates the intersection of cultures—in this case, through the figure of narrator Hà, a young refugee who chronicles her experience as her family flees Vietnam for the United States. Lai's verse novel attends in important ways to the role of speech in Hà's journey, particularly as she grapples with the sounds of the English language and the challenges of navigating her new neighborhood and school; her literal efforts to speak up and speak out are clearly tied to the development of her...
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