Monika Schröder,
Saraswati’s Way
Francis Foster Books, 2010.

Ages 10-14

What do you do when you have a dream that seems impossible? Twelve-year-old Akash loves numbers. He loves the way they fit together, form patterns, and make order in a world so often full of incomprehensible unfairness. After his Bapu, his father, passes away, Akash’s dreams of winning a scholarship to study math seem further away than ever. His family’s fields lie parched and barren. They cannot pay their rent. When Akash’s grandmother gives him to the man who owns their land, forcing him to leave school to chip rocks in the quarry, Akash decides to take fate into his own hands.

Praying to Saraswati, the goddess of knowledge, Akash runs away to Delhi, empty-handed but full of determination. In this raw, unsentimental, yet wholly empathetic novel, Akash faces harsh realities of poverty and street life in India, while negotiating universal struggles of temptation. Will he choose the faster, dishonorable route to his goal? Or the slower but honest option? Like all who encounter roadblocks, Akash struggles with challenges and temptations. But armed with a steady head and a true heart, he learns to trust that honest paths and loyal friends ultimately prove wiser ways to achieving one’s dreams.

Monica Schröder, a German native who has lived and taught in New Delhi since 2002, weaves a layered, nuanced story of longing, loss and coming-of-age in a country struggling with poverty, as told through one boy’s fierce determination to overcome its challenges. Her graceful, mellifluous writing seamlessly interweaves details of Indian life and Hindu religion into Akash’s story, making it a gripping, inspiring tale of perseverance, integrity and urban survival set in a landscape rich with details of Indian culture, cuisine and religion. A brief afterword and glossary give background on Vedic math, Hindu gods, street children in India, and words used in the book.

Schröder’s gentle tone makes this a stylistically light read for a teenager, but the complexity of the problems Akash faces – including drugs, child labor, and family death – may be heavy for some pre-teens. A wonderful choice for parents to put under the noses of reluctant teen readers, ready for mature plot lines narrated in accessible language, Saraswati’s Way also dialogues well with recent offerings about India and Indian Americans, including works by Mitali Perkins, Chitra Banerjee Divakaruni and Uma Krishnaswami.

Sara Hudson
May 2011

The verdant Seven Sister States from the North East of India have a unique indigenous culture where myths, oral traditions, legends and folklore are commonplace and yet unique. Voices from the North East will take into account the quantum of diversity in art and culture in this region which is evident from the multitude of languages and ethnic groups. It will deal with the art of storytelling in context to the development of North Eastern culture and civilization. Authors, poets, storytellers and performers will engage audiences in a cultural dialogue and help them to understand the North Eastern literature in all its myriad forms and dimensions.

Siyahi is also hosting the Pushkar Literature Festival on October 31st during the International Pushkar Fair. For one day, writers, poets, book lovers, publishers, performers and storytellers will be brought together to add to the mesmerizing riot of colours, textures, hues and flavours that come alive during the International Pushkar Fair. This literary event will help explore and discover the meeting points between contemporary literature and folklore, oral traditions, legends, myths and languages, which precisely define the spirit of Pushkar.

For up-to-date information about these events including detailed programmes and photos, visit Siyahi’s Facebook page.

Sometimes the simplest remark can be the most transforming. “Perhaps, sir, you will come back with books,” a Nepalese headmaster said to John Wood, a vacationing Microsoft employee, as they stood in a school library that had twenty books that “were all backpacker cast-offs.” Haunted by the thought of children who might never know the joy of reading, Wood returned home and spent a year gathering children’s books. He went back to the headmaster with 3,000 volumes and a new direction for his life. John Wood decided that bringing books to children who have none was his vocation and Room to Read was born, as he tells readers in Leaving Microsoft to Change the World.

Wood put together an organization with staff who share his dream and his passion, aided by a fundraising network of more than 3,000 people. The core programs of Room to Read are the Reading Room which has built 5,600 libraries,  Local Language Publishing which publishes and distributes books written both in English and the local language, the School Room which works with local communities to build schools with 444 in use, the Room to Grow Girls’ Scholarship that enables 4,000 girls to complete their secondary education, and the Computer and Language Room which builds computer and language labs.

Found in India, Sri Lanka, Zambia, South Africa, Vietnam, Laos, and Cambodia, Room to Read is vitalized by donations and volunteers, who have discovered how they can help by going to www.roomtoread.org. All share a common goal—to have built 10,000 libraries by 2010.

Scheduled half-day visits to a Room to Read site are welcome with advance arrangement.

One man, one dream, 3,000 books– one optimistic remark changed a life and consequently thousands of lives are being changed through the power of reading and the joy of literacy, all over the world.

PaperTigers: Your life has been a tapestry of living in many cultures—in France, Spain, England, the United States, Nigeria, India. How has this helped you as a writer?

Katia: This is an interesting question. How does life in general help and/or affect us as writers? I would say every experience shapes us, and what we are shows up inevitably in what we write. I could not have written Amadi’s story if I had not lived in Nigeria. On the other hand, it must be said that a life spent traveling or living in vastly different countries (even if I also find similarities from one to another) has made me slightly jaded. I’m so used to witnessing diverse ways of living, eating, dressing, even driving a car on the road (!) that it takes more and more to surprise me. I notice that particularly when we have guests. Some of the things that amaze them, I have come to view as part of my daily routine or panorama.

PaperTigers: It’s been said that writing a picture book is as demanding as writing a poem. Each word must be precise, the use of language must be economical, and the images evocative. Longer forms of fiction can be more forgiving. Why did you choose this difficult form for Amadi’s story? And would you choose it again?

Katia:I love the picture book format. I love the conversation between the art and the words on the page, how they are meant to complement each other. I think that writers who are also artists are very lucky to be able to experience this medium in its full beauty, and difficulty. Amadi came to me that way : it was a turning point in the life of a young boy, related to a particular instance, and something that needed to be resolved quickly. And yes, I have three other picture book manuscripts that I hope will find a home. Children love pictures. They love being able to suspend the flow of a story to examine an image, notice details, talk about the expression on the face of a character, the background, etc.

PaperTigers:As a mother of two girls, why did you decide to write about a boy? Is there a “real-life” Amadi? How did you manage to enter the heart and mind of a small “Igbo man of Nigeria” and give him such complete life on the page?

Katia:There is no “real-life” Amadi, but there are lots of boys just like him. The problem of these boys dropping out of school to earn quick money in the street is very real. As for entering the heart and mind of Amadi, I think it’s the reverse. Amadi entered my own mind and started telling me his story. I just had to write it down.

Papertigers:The best picture books are the ones where the story and the illustrations blend into a seamless creation, which happens quite wonderfully in Amadi’s Snowman. Did you and Dimitrea Tokunbo communicate at all as your book came together or was this a lucky accident?

Katia: Dimitrea and I did not communicate at all during the illustration process. I think it depends largely on the illustrator and the editor. Some want some communication, others don’t. I was sent a scan of an early painting of Amadi, at the very beginning, and then, the dummy, which is the succession of drawings with the page breaks, and it was the only time I was able to formulate questions and concerns, again, going through the editor.

PaperTigers: After reading about Amadi, I wanted to send picture books to him and his friends, and I’m sure that many of your readers feel the same way. How can people help to put books in the hands of children in Africa (and other places)?

Katia: I’m delighted that you’re asking that question. We will talk about sustainable library projects in Africa, during the blog tour, and we’ll even visit at least one, in Nigeria, maybe two more in other parts of the continent. I’ll be sure to post the necessary information, then.

PaperTigers: Does Amadi continue to be a presence in your life? Do you think you might give him a sequel?

Katia: Amadi is still a presence in my life, but in a different way. He’s grown, somehow, as he started becoming a part of the lives of children who read his story and relate so strongly to him. So, I’ve let him go. At this point, I don’t think there will be a sequel, even though people keep asking me that question. But you know: never say never…

Papertigers: You have said on your blog that in some ways you didn’t leave Nigeria—or at least not in a way that would have given you closure. If you could relive that time in your life, how would you reconstruct your departure?

Katia: I wouldn’t only reconstruct the departure, I would try to do a lot of things differently. Arriving in Enugu with a 7 months old baby, after a life in Europe and the US was a real shock for me. I had done a lot of back-packing and budget traveling, but that was different. I was not prepared at all for… anything, really : the lack of supplies, the isolation, the mentality, the security issues. It was a lot to deal with on my own, with a small child, and my husband gone 12 to 14 hours a day, when he was not traveling. It is not easy to try and find the right balance, especially for people like me, who can very easily withdraw and spend days alone with books, a computer, writing or reading. But it was a good lesson.

PaperTigers:Did living in Nigeria help you adjust to living in India?

Katia: Absolutely. It has been easier, because we can travel – and we have – all over India, and we haven’t had any of the security or supply issues that we had in Nigeria, but Nigeria made me realize the necessity to keep an open mind at ALL times, to try and have a more relaxed approach to things and life. People are late, say they will come and don’t show up, say they will do something, and don’t do it, say yes when they mean no, etc, etc. It still bothers me, at times, but there are days when I actually laugh about it, and most of all, it doesn’t drive me insane.

PaperTigers: On your website, you mention “the moving bubble that I call home” which is also what your daughters call home. Although children can be more adaptable to new surroundings than adults are, what do you do to make your children’s transition from one culture to another as smooth an experience as possible?

Katia: I think that the fact that our own lives are a mixture of cultures means we don’t have to do that much, really. The French, Spanish, Haitian cultures live within us: it’s in the languages we speak, the food we eat, the music we listen to, the places we go to in the summer, etc. Then, there is the place where we land the bubble, as I say. And there also, we travel a lot. We went on a trip through Karnataka and Tamil Nadu when our little one was only 8 months and the older was 4, complete with the second class night-long train ride without which no Indian experience is complete, in my opinion. Kids are not bothered by all the needs and wants and prejudices that adults carry around, as long as the parents don’t carry these prejudices themselves, of course. The only thing I’m careful about is the preparation, when we leave a place for good. It must be very clear that we are going away for good, and we say good bye to everything and everyone, including trees, and birds, and animals, and places. That’s what I did with Kora, when we left Nigeria, four years ago, and that’s what I’ll do again, when we leave India.

PaperTigers: What are some of the books that you have read to your daughters recently?

Katia:The little one is in a Dr Seuss phase. I think she loves the music of the rhymes, and how much fun they are. With the older one, we’ve been reading Roald Dahl, Charlotte’s Web, and a collection of French small comic books that address all sorts of issues faced by children in their everyday lives (kid doesn’t want to go to school, wants a cat or a dog, fights with brother or sister, got a bad grade, is in love, etc, etc. It’s called Max et Lili.)

PaperTigers: Who are some of your favorite writers for children?

Katia: Ah, that’s such a difficult question. I love anything by Uma Krishnaswami, Jacqueline Woodson, and Peter Sis. Let’s see: Meg Rosoff, Kimberly Willis Holt, Christopher Paul Curtis, Pam Munoz Ryan, Suzanne Fisher Staples, and so many more. I read Angel Blood by John Singleton, recently, and found it incredibly powerful.

PaperTigers: What are you reading now that is not children’s literature?

Katia: I think the last one I read was a while ago, and that was Barack Obama’s Dreams from My Father. And a collection of essays titled Homelands, Women’s Journeys across Race, Place, and Time edited by Patricia Justine Tumang and Jenesha De Rivera. Oh, and Eat, Pray, Love by Elizabeth Gilbert. I have a pile waiting on my bedside with The Last Mughal by William Dalrymple, Salman Rushdie’s The Enchantress of Florence, and A Thousand Splendid Suns by Khaled Hosseini.

Many thanks to Katia and best bon voyage wishes for a fabulous virtual journey!

Today PaperTigers is thrilled to be part of Katia Novet Saint-Lot’s virtual book tour for her wonderful book, Amadi’s Snowman (Tilbury House). From her home in Hyderabad, India, Katia is spending this month visiting blogs around the world in interviews and photos, discussing her life as a writer and global nomad, and providing photos and drawings from children who have fallen in love with her irrepressible and insatiably curious creation, Amadi.

The drawings that preface our interview with Katia come from students in two fourth grade classes at the Vidyaranya School in Hyderabad, with whom Katia recently spent time reading and discussing her book.

These are children fluent in English, with Hindi and Telugu taught as second languages, who were quite interested when Katia told them that Amadi and his classmates are English speakers as well.

And as their delightful drawings plainly reveal, they became immersed in the Nigerian world of the small Igbo businessman and devoted reader in the making, Amadi!

Later on, I returned to the question and said that I had chosen the rabbit in the moon, at which Little Brother laughed at me and told me, “That’s just a myth.”, but he was more than happy to curl up and listen again to the story, so beautifully retold by Naomi Adler in The Barefoot Book of Animal Tales from Around the World (Barefoot, 2006). We agreed afterwards that even though a heart of gold is not really made of gold, it is definitely worth striving for and is “much better than a heart of stone”. I felt reassured that he may be able to recognise the fantasy element in myths and legends, but his imagination is still caught up in the magic of a good retelling: and this collection is an excellent one for reading aloud. Naomi Adler is first and foremost a storyteller and her background in the oral tradition shines through. In fact, her narration on the accompanying CDs is a joy listen to. I also like the page at the end of the book where she describes her sources for each tale – all passed on through the oral tradition by someone first-hand from the country in question!

Amanda Hall’s illustrations also contribute to bringing the stories alive. She emphasises their cultural diversity, by incorporating subtle variations in style according to the country of origin. I love the different borders/motifs, which give each story its own space and identity within the collection.

This version of “The Rabbit in the Moon” comes from India and describes how Rabbit influences all the other animals to aspire to be kind and good. The “great heavenly spirit” disguises himself as a beggar and tests Rabbit’s vow to offer herself as food. Astonished that she attempts to sacrifice herself, he rescues her and sets her in the moon as a shining reminder that “if you give something precious away you may receive something back that is very special.”

This story of the Rabbit in the Moon appears in many different traditions – Cat Mallard at Darbling Wood Studios outlines a different version here, alongside her own whimsical watercolour. This is the version, featuring a fox and a monkey, that is included on the acclaimed Tell Me a Story: Timeless Folktales from Around the World CD, which proved to be an unexpected bedtime hit with The Lovely Mrs Davis’ young son… you can listen to extracts here. Looking Around the World pays a visit to the Tsuki or Moon God Shrine in Japan, where rabbits are particularly venerated – and Sarx has some beautiful photos of a rabbit wood-carving from there too.

Crackle Mountain relates this very different story from Japan of Hare making his way to the City on the Moon, after overcoming the wicked Tanuki (“a raccoon-like dog often mistakenly referred to as a badger”) – it’s a gruesome tale and reminds us of how some traditional stories have been sanitised over the years – but not this one. If you can’t stomach the story, though, I recommend looking at the accompanying artwork – the eighteenth century porcelain dish is exquisite.

And a story, which is definitely not traditional but requires a background awareness of being able to see a rabbit in the moon is Kae Nishimura’s delightfully witty Bunny Lune (Clarion, 2007). We read it again this evening and had a good giggle imagining what our different moons would be – not fields of carrots like Bunny Lune’s!

A beautifully produced bilingual (Hindi and English) counting book featuring traditional Rajasthani folk art. Young children will love the bright colors and enjoy counting the triangles, which seem to dance across the page for each number. Produced by the Merasi, a musician community with a long heritage, the book also provides some cultural background and a good table at the back with numbers and words up to twenty in both languages and the Hindi pronunciation.

… and I felt it was worth highlighting in Books at Bedtime since its background is just as colorful as the book itself. The book was published by Folk Arts Rajasthan “joyfully… as a learning tool to promote dignity and respect with Heart and Hope for all.” – Heart and Hope being the name of a recent, two-month tour in the US of Merasi musicians “to celebrate the Merasi’s 37 generations ancient yet intact musical legacy”, as Karen Lukas, the Director of Folk Arts Rajasthan told me. There are some photos from the tour here – and if you scroll down, you’ll find one of the opening pages of The Merasi Counting Book. You can also see a photo of the book’s illustrator, Indra Banu, here – alongside other women artists.

And it’s not just the adults who are talented artists: one of Folk Art Rajasthan’s projects is a school for Merasi children. Read the school’s homepage to get an idea of just how special it is – and take a look here and here to see how talented pupils transformed their school building.

The Merasi Counting Book, therefore, not only provides a colorful introduction to numbers, but it helps small people to look beyond their own experience – and maybe then use that perspective in their own creativity. Indeed, it is already being used “to introduce Merasi children and community to the concept of counting in their own language, as well as in English”. At the moment, though, I have to say I’m not quite sure where it can be obtained beyond the Merasi community but I will do my best to find out and let you know…

When we began to think about creating an online book group that would appeal to readers of all ages, there were classic titles that came quickly to mind. Finding books that corresponded to the PaperTigers’ goal of understanding different cultures through children’s literature was a challenge and an opportunity for exploring new reading adventures.

I was lucky. The first book I found on my initial foray into this new world of books that would appeal to both adults and children was one that immediately captured my heart and mind—Naming Maya by Uma Krishnaswami.

I’ve worked in bookstores for decades but this novel was one that I hadn’t encountered before. I was eager to hear other people’s opinions of it and to have the chance to talk about it, the way we readers always feel when we find a book that we love.

The comments for Naming Maya have been as rich and as thoughtful as I had hoped they would be. Readers have agreed that this is a book for mothers and daughters to read together, that it evokes India in a way that could describe Hyderabad as well as it does Chennai, and that the theme of dualism is expressed quite beautifully in the idea of the “Two-Gift.” As Maya herself concludes about trust, in an observation that applies to many things in this novel–and in life–”You keep some, you give some away.”

What makes this book one that I can return to with pleasure for reading over and over is, above all, the way that three very strong women of different generations are portrayed, Maya, Kamala Mami, and Maya’s mother. Together they make a household that is both temporary and enduring, and Uma Krishnaswami makes each of them enduring figures in the reader’s imagination. It is no small feat to be able to give life to characters of varying background and chronological age, but it is accomplished so well in Naming Maya.

Not only is Chennai vividly evoked in this book, but so is its culture and values. Uma Krishnaswami delicately and without editorializing shows through Maya’s eyes different ways of accepting marriage, of being a teenager, of growing old. And she so wonderfully shows how food can be a common language when living in a place where three different languages are routinely used and in all of them words sometimes fail.

“I hear you need a cook,” Kamala Mami announces to Maya and her mother, the day after their arrival in India. They do indeed, more than they know. Kamala Mami’s food brings them slowly together–right up until a dish made from her recipe crashes to the floor and releases Maya’s torrent of hitherto unspoken emotion.

The one complaint I have about this novel is that it hasn’t yet been released in a paperback edition, which would make it accessible to many more readers than it already is. When I recently told a fellow-bookseller about Naming Maya, his response was that far too few books address the subject of bi-cultural children, a point that both Aline and Katia touched upon in our discussion. Uma Krishnaswami has found a universality in belonging to two different worlds. Through her art Maya’s duality becomes a new way for readers of all ages to look at their own lives, and that is an act accomplished by literature that is truly great.

If you haven’t yet read this book, I envy you the joy of experiencing it for the first time. If you know a young girl with whom you can share it, I envy you even more. If you’ve read it already, discover the joy of reading it again–and add your opinion to mine in the comments field if you agree that it should be reissued in a paperback edition, please!

There are so many things about this book that I long to discuss with other people who have read it too. It makes me wish I had a daughter so I could talk it over with her – and that leads me to believe that it’s a perfect selection for a mother-daughter book group. What do people who have daughters think? Is this a book that you would choose to read with girls in your family?

“Language can make you a stranger in many places, but only if you let it,” Maya observes in a place where Hindi, English, and Tamil all compete for her attention. How does Kamala Mami bring Maya’s family together in spite of their differing languages and customs?

Shared history and memory both are unifying and divisive in this novel. How does Kamala Mami’s chaotic flood of memories help Maya to live with her own?

In an earlier PaperTigers post, Filipino author Lara Saguisag discusses how different values and different dreams lead to varying forms of childhood. How do cultural values and the protection that they can offer contribute to the differences between Maya and her cousin?

And perhaps most of all – did other readers immediately go out in search of Indian food when they finished reading this book? I certainly did!