Ash by Malinda Lo

Wednesday, February 10, 2010

When Ash is around twelve years old, her mother dies and her father dies soon after. But not before marrying a woman with two daughters of her own. Even with a stepmother and two stepsisters, Ash is all alone, for her stepfamily treats her very unkindly and like a servant. And always, always Ash feels the loss of her mother.

Ash inherited her mother's love of fairy tales and she reads stories about how fairies can take people to see their deceased loved ones. Ash seeks out fairies because magic reminds her of her mother and she would like to ask the fairies to bring her mother back from the dead. She finds fairies and forms a very peculiar relationship with one named Sidhean. Sidhean is powerful and more handsome than any man Ash has ever seen. He desires Ash and claims her as his own. Though he and Ash are strange friends/companions for many years, they rarely spend time together. Sidhean claims that Ash is not yet ready to stay with him and his people. However, Ash yearns to leave her hard and lonely life for the magic and beauty of Sidhean and other fairies.

In her late teens, Ash meets the King's Huntress. Kaisa is strong and interesting and very important in the kingdom. She shares Ash's respect for magic and the old ways of the land. As Ash was once completely fascinated with Sidhean, she becomes fascinated with Kaisa. Ash and Kaisa slowly form a very warm friendship. As Ash realizes just how much she and Kaisa care for each other, she finds herself turning away from Sidhean and fairies and magic. She wants to be with Kaisa. But Sidhean has granted Ash two wishes; in return Ash had promised herself to him. Everyone knows that it is dangerous to break a promise made to a fairy.

Ash by Malinda Lo (Little, Brown Books for Young Readers, 2009) is a truly beautiful and unique retelling of Cinderella. It reads very much like a fairy tale and it had me enchanted. Sometimes the descriptions of the sights, sounds, smells, and feel of the weather and the land were unnecessary and overwrought. And Ash and Kaisa's relationship was underdeveloped compared to Ash and Sidhean's relationship. (This is probably due to the fact that Ash and Sidhean knew each other for many years and so many more pages were dedicated to their relationship.) But I couldn't put this novel down. The character of Ash was so well drawn, so well written. She is flawed. She is likable. She grows. She is REAL. Readers will sympathize and empathize with Ash. I deeply cared about her and about what would happen to her, Sidhean, and Kaisa. I also loved how this novel is very much about choosing to be brave and really LIVE LIFE. Even though life can be acutely painful, at least it is REAL. True to fairy tale form, Ash can be considered a cautionary tale about running away from life to escape grief and hardship.

Sometimes fairy tale retellings feel old and tired. Ash feels fresh and the love triangle of Ash, Sidhean, and Kaisa haunts me. The spell of this novel still clings to me.


Why I Imagine the Characters of Ash as Asians

I had thought that I would imagine the characters of Ash as Caucasians because it is based on a fairy tale with very popular versions from Europe and the United States. To my surprise, delight, and relief, I imagined the characters as Asians. Yes, some of the characters are described as having physical features that are not Asian. For example, the fairies have striking blue eyes. But in my mind their blue eyes have smooth eyelids with no folds. Hey, they could be biracial. :o)

I did not think of the lush setting of Ash as somewhere in Europe or the United States. I thought of Japan, Taiwan, and China. There are several reasons why it was easy for me to imagine the characters and setting as Asian and I would like to enumerate them here.

1. I have Asia in my heart and mind.
2. The author Malinda Lo is Asian American. (She envisions Ash and Kaisa as Asians.)
3. I was influenced by this post where blogger Ah Yuan cast Ash as if it were to be made into a Japanese TV drama.
4. I watch a lot of Japanese anime. Japanese anime is full of characters with physical features that are not Asian: blond hair, blue eyes, curly hair, etc. But the language is always Japanese and the characterization, narrative techniques, and themes are always uniquely Japanese. I think of these characters as Japanese.
5. The subtle and painful love triangle of Ash, Sidhean, and Kaisa reminded me of the subtle and painful love triangles in excellent Asian anime and TV dramas.
6. There is tension between magic and philosophy/religion in Ash's land. The people are trying to embrace science, yet are reluctant to completely let go of their superstitions. This sounds a lot like Asia today. In Asia, there are still "negotiations" between tradition and modernity.


[My copy of Ash is an ARC I won from Presenting Lenore. Thank you, Lenore!]

Seven Book Blogs from the Philippines

Sunday, January 31, 2010
Multiculturalism Rocks! has given Asia in the Heart, World on the Mind the Over the Top! blog award. Thank you, Nathalie! :o)

Here are the rules for the award:

1. Thank and post URL to the blog that gave the award.
2. Pass the award along to six brilliantly over the top blogs - blogs you love! (I am going to cheat here and give the award to seven blogs.)
3. Copy and paste this quiz . . . Change the answers (one-word answers only).

The Q&A

1. Where is your cell phone? here
2. Your hair? curly
3. Your mother? Gensan
4. Your father? here
5. Your favorite food? pizza
6. Your dream last night? forgot
7. Your favorite drink? coffee
8. Your dream/goal? publisher
9. What room are you in? bedroom
10. Your hobby? blogging
11. Your fear? death
12. Where do you want to be in six years? dunno
13. Where were you last night? home
14. Something that you aren’t? bored
15. Muffins? no
16. Wish list item? books
17. Where did you grow up? Vegas
18. Last thing you did? laundry
19. What are you wearing? shorts
20. Your TV? no
21. Your pets? hamsters
22. Friends? love
23. Your life? busy
24. Your mood? good
25. Missing someone? yes
26. Vehicle? taxi
27. Something you’re not wearing? shoes
28. Your favorite store? bookstore
29. Your favorite color? pink
30. When was the last time you laughed? today
31. Last time you cried? weeks
32. Your best friend? several
33. One place that you go to over and over? office
34. One person who emails you regularly? manager
35. Favorite place to eat? Gensan

So this is the part that you've been waiting before. Below is the list of blogs I am passing the award to. They are all Philippine-based book blogs that I recommend. Enjoy exploring them!

Bibliophile Stalker
Coffeespoons
Ficsation
Philippine Genre Stories
Pretentious Reader
Reality Bites . . . Fiction Does It Better!
School Librarian in Action

Illustrator Interview: Sergio Bumatay III

Tuesday, January 26, 2010
Today, I have the great privilege of interviewing Filipino children's book illustrator Sergio "Serj" Bumatay III. Serj is the illustrator of:

Basta Ayoko Pang Matulog!/I Don’t Want to Go to Bed Yet! by Luis Gatmaitan (OMF Literature, 2005)


Tight Times by Jeanette C. Patindol (Adarna House, 2007)





The Boy Who Touched Heaven by Iris Gem Li (Adarna House, 2007)




Naku, Nakuu, Nakuuu! by Nanoy Rafael (Adarna House, 2008)




and Tuwing Sabado/Every Saturday by Russell Molina (Lampara Books, 2009)




Serj, welcome to Asia in the Heart, World on the Mind!


Please share a bit about your childhood. In an interview with PaperTigers, you said that you always knew that you wanted to draw and paint. What were you like as a young artist?

When I was young, I loved to create many things and try interesting stuff like science experiments you can do in the kitchen, home made toys, and collecting many things. That curiosity and creativity motivated me to try art. I discovered I could draw by grade 2 when we were asked to draw a scene for the parables we had just heard. My scene wasn't stick figures like my classmates did. The figures were all complete with details and in side views, although they weren't that proportional. It was the start of my art career in school.

What motivates and inspires you to illustrate children's books?

When I was beginning to illustrate children's books, I thought doing this was just for the fun of it. I can make cool stuff I can share. But later I felt a deeper motivation, I thought illustrating children's books is a kind of advocacy for me. For me, illustrating children's books is a big challenge and responsibility, you just don't make beautiful pictures for children to see but also make them understand difficult issues. I believe this is now part of my contribution to the development of culture and literacy in our country.

Who are your favorite artists, graphic designers, and children's book illustrators? How have they influenced your own work? What else influences your artwork (books, movies, TV shows, songs, etc. - if any)?

I love Philippine vintage art and ephemera, especially ethnic motifs. There are so many interesting stories going on if you study them. I draw lots of inspiration from our own masters (Juan Luna, Carlos Francisco, and Felix Resurreccion Hidalgo) and culture: from the streets of Quiapo, old ancestral houses, pop art, contemporary painters, to tribal and theatrical costumes, charms and jewelry, everything is so magical.

Please guide us through the creative process you use for illustrating children's books.

The conceptual process for each book is similar, but the creative process differs in the sense that each book has its own style and medium. I like each of my book projects to be different, because I believe each story is unique and therefore needs its own visual treatment.

The initial procedure is to internalize the story well. I tend to place myself in the shoes of the main character, and think of how he looks, what he feels, where in place or time he exists. From there I decide on the details and then research for the accuracy of visual images. Sometimes I also ask kids, especially my nephews and niece, about what they think and what they like.

After gathering enough materials, I plot down thumbnail ideas for each spread for the entire story. I make sure that the composition goes well with the text, I find composition to be the most important and challenging element in illustrating children's books. It's difficult to balance everything while maintaining a dynamic and interesting visual. The thumbnails will make completing the final artwork easier, allowing more room for adjustments if needed as I go along. Finally, the finished artwork will then be scanned and retouched if necessary, then sent to the publisher.




Do you think that your children's book illustrations can be labeled "Asian" and/or "Filipino"? If so, what makes them "Asian" and/or "Filipino"?

Yes, I always make it a point to get a Filipino feel in my illustrations, either visually or contextually. Sometimes I put small details that represent the Filipino identity: positive quotes as labels or text, customs and behavior, decorative objects we find in a typical Filipino home, dresses, or significant places.

Can you give more examples of the "Filipino details" you put in your illustrations?

Some of the details I have used are: air vents and tile patterns from Filipino ancestral homes, things you can find in a jeepney, and laces and patterns from old paintings of women.

I embody Pinoy customs and behavior in the illustrated characters or objects. For example, I illustrated a piggy bank as a character to represent our being thrifty and the value we give to hard-earned money. We (Filipinos/Asians) also place value on the closeness of our family. Most of my books portray that closeness within the family.

What are the challenges and rewards of being a children's book illustrator in the Philippines?

Some of the challenges I've encountered are: finding time to fit a production schedule (illustration is a very time consuming profession), foreign competition (foreign titles are being pushed more than local), printing technology - the original artwork doesn't match the printed output (although we already have several printing houses that provide good quality at par with global standards), and only a few are open to unconventional illustrative ideas (but it’s very rewarding if you can assert your ideas to the appreciative).

One of the profound rewards is when children and people in general appreciate your work, and they remember them. You will be able to positively influence them through your work.

What are the current trends in children's book illustrations in the Philippines?

Most of the illustrators I know are going the digital path, exploring the possibilities of the technology while maintaining their own illustrative styles. Some are already pushing other ways of illustrating in terms of medium, format and ideas, offering more innovative ways of reading or learning.

What are those other ways of illustrating?

Some of the things I have observed in local books: some books are positioned as more than just storybooks - counting, interaction, reference, all integrated in a single storybook; a book that turns into a toy; postmodern illustrations or illustrations that are typically unexpected in local children's books (in terms of color, style, technique and representation), e.g. collage, black and white illustrations, three-dimensional illustrations.

What are you working on now?

I am very fortunate that I'm currently working on some of my dream projects: an almost worldess children's book, a collector's edition book, and a children's book written by one of our national artists.

Thank you, Serj. I really love your work!


IMAGES COURTESY OF SERGIO BUMATAY III. ALL RIGHTS RESERVED.

Illustrator Interview: Ariel Pang

Saturday, January 9, 2010

Ariel Pang is my new favorite children's book illustrator! Ariel is from Taiwan and her works include:



Fox Hatches the Egg



Barky the Dog Sheep



The Lion Who Wants Curly Hair




Black Spoonbills Come for Winter



Mongoose, Mongoose, Stop! Don't Run.



The Outfoxed Fox



P is for Pumpkin



As you can see, Ariel's illustrations are just the cutest things. Bright, colorful, and playful. They are reviving. I'm really happy to be featuring Ariel and some of her works on Asia in the Heart, World on the Mind.

Read on for my conversation with Ariel...

Who are your favorite artists, graphic designers, and children's book illustrators? How have they influenced your work?

I got influenced by many artists through time. But there are two artists who influence me the most. They are Bobby Chiu and Davy Liu. Bobby Chiu has this broadcasting thing named Chiustream on the Internet where he interacts with other artists in the world through his broadcasting. He shares his philosophy of how to be a good artist, and he pushes everyone to reach their limit as an artist. He really spreads his passion to everyone and that really inspires me.

Both Davy Liu and Bobby Chiu are the artists who influence me the most mentally. And that helps me keep creating my art. As a freelance illustrator, it is very hard to keep myself intense when working for clients. Art is a long career and sometimes it is very easy to get lost along the way. Both of them share lots of ideas for artists on how to keep on track. I find it really inspiring and helpful.

What are your other inspirations?

Anything can be my inspiration. I like to keep my mind curious, and I try to experience new things in life. As an artist, I believe how much knowledge is in your mind is how much you can express in your art. So I’m still trying to read more, experience more and observe more to fill out my creativity database.

Can you please guide us through the creative process you use for illustrating children's books?

Every time I start a children’s book, I design the character first. I will draw as many characters as I can until I find the one I like. Then I’ll start the interior pages' sketches.

Usually the story is divided into phrases for each page, and I sketch many small sketches called “thumbnail sketches”. This stage helps me to build up ideas and composition faster. (See the three images below.)




After the thumbnail sketch stage, I pick one sketch that I like, and enlarge it by Xerox machine or scan it into my computer and enlarge it. The thumbnail sketch looks rough and simple when enlarged, so I trace it onto tracing paper and start giving it more detail. I might do this process several times until the sketch’s size is large enough to go to the final. (See the image below.)


(Below are the traced sketches.)


Last, I make a mock-up that we call a dummy book. I put all the sketches together like a real book. This helps me to view the flow of the pictures. In this stage, I show this dummy book to many people and ask their opinion. I like to show my dummy book to others without telling them the story first. If they can get the basic story just by reading my images, then I know it is right. (Below is a dummy book.)


Before I go to the final coloring, I do a black and white value study, to be my reference. I find this stage very important as the value study is the guide for me to follow when I do the coloring. Once I tried to skip this stage and jumped to the coloring, I got it all messed up and had to go back to do the value study and start all over again. So no matter how rushed the time is, I always do the value study first. (See image below.)


You are the illustrator coordinator for the Society of Children's Book Writers and Illustrators (SCBWI) Taiwan. What is that like? What kind of work do you do for this role? What are some of the activities of the illustrators in SCBWI Taiwan?

To be the SCBWI illustrator coordinator in Taiwan is not easy. As SCBWI is originally from the U.S., the language difference blocks most of the local illustrators from SCBWI. When we first started it, some artists even thought that they needed to speak English to be able to join our events. And because of the language difference, it is very hard for us to convince people to join SCBWI.

So after years of trying, we started SCBWI Taiwan in a more local way. We take the ideas of how the SCBWI works in the States and make it our own way. I think it will help the entire market develop. The things we do now are regular illustrators' critiques or gatherings.

We have a fan page on Facebook now, and we are trying to build up a market guild for illustrators. For example, the price guild line, the contract example, etc. In Taiwan, the system for publishing is not as organized as it is in the United States. Also in Taiwan, we don’t have any art schools with departments for illustration majors. So the majority of illustrators are self-taught. But most of them don’t have enough knowledge to know how to deal with contracts or negotiations with clients. The most common problem we see from the illustrators is they don’t know how to protect their rights. As the illustrator coordinator, I try to come up with ideas of how to gather more artists into our group, and I try to know what they need and how we can provide for them. Our goal is to gather all the talents together and help each other and push each other to grow. I’m glad to say that more and more people know SCBWI Taiwan, and they are very active on our fan page on Facebook.

Whoa. It sounds like SCBWI Taiwan has been through a lot and is doing really important work. Great job, Ariel!

What other projects or products have you illustrated for children?


I've illustrated many other projects for children, such as the poster for a children’s play, and many package covers. I also make my own products for one of my books, Barky the Dog Sheep.





What are you working on now?

I’m working on my own book now. But it is not for children. It is mostly paintings from my travel experiences. It will be a small gift book that you can write notes in and it has my illustrations and my own words. I have had two of this kind of book published and they are all from my travel experiences.


Below is “Free” based on my experience biking around Taiwan.





This one is “Da Sola in Italia” and it’s based on my travel experience in Italy.




Ariel, thank you very much for sharing so much about your work!

Let's end this post with one of Ariel's personal favorites, which is a commission piece she did for a gallery. It's my favorite from Ariel actually. Just look at all that detail and whimsy. So inspiring. :o)





ILLUSTRATIONS COURTESY OF ARIEL PANG. ALL RIGHTS RESERVED.

Rooftops of Tehran by Mahbod Seraji

Tuesday, January 5, 2010

Rooftops of Tehran by Mahbod Seraji (NAL Trade, 2009) isn't marketed as a young adult novel, but many teen readers will find it appealing.

It is the early 1970s and the people of Iran are bewildered and pained by political injustice. In Tehran, seventeen-year-old Pasha is in love with the girl next door. Zari is beautiful, intelligent, older - and engaged to Pasha's mentor and friend, Ramin. Ramin, who is better known as Doctor, is a university student activist who hates the Shah and his government. Pasha's best friend Ahmed is in love too, with Faheemeh, a girl being forced to marry a man she does not love.

The chapters in Rooftops of Tehran alternate between the summer Pasha falls in love with Zari and his time in a psychiatric hospital almost a year later. The novel has a leisurely pace and the reasons behind Pasha's confinement are slowly revealed. Readers are taken through the development of Pasha, Doctor, Zari, Ahmed, and Faheemeh's relationships as friends, neighbors, and lovers, as well as through their shocking and heartbreaking encounters with the SAVAK, the Shah's secret police.

Debut author Mahbod Seraji takes extra special care to introduce and explain Persian culture, politics, and history. Readers will be fascinated by the differences between their culture and Persian culture and will marvel at the similarities. Though descriptions of time and place are overwrought, the neighborhood setting of the novel is still beautifully established through the relationships and activities of people. There is a strong and warm sense of community throughout the entire novel from all of the characters' respect for elders, family ties, friendships, concern for one another, and hospitality.

This window to Iran, establishment of setting, and sense of community make Rooftops of Tehran interesting and enjoyable. But what makes it truly worth reading is the coming of age of Pasha and Ahmed. They experience their first major personal crises and their first brutal encounters with life. The portrayal of their gradual transformation from boys to men is effective and moving.

Rooftops of Tehran makes Iran feel like your home and Pasha, Doctor, Zari, Ahmed, and Faheemeh feel like your close neighbors. Putting away this novel once the story is over will feel like having to leave home. You will not want to leave.


[My copy of Rooftops of Tehran was provided by the publisher.]

Author Interview: Anna Yaphe Levine

Monday, January 4, 2010
Let's travel (virtually) to Western Asia, shall we? I have asked Anna Yaphe Levine to give us a peek into the children's and young adult book scene in Israel. Thank you, Anna! Anna is the author of Jodie's Hanukkah Dig (illustrated by Ksenia Topaz and published by Kar-Ben Publishing, 2008), which was named a Notable Book for Younger Readers by the Sydney Taylor Award, and Freefall (Greenwillow Books/HarperCollins, 2008), a Sydney Taylor Honor Award Winner for Teen Readers. She is also the regional advisor of the Society of Children's Book Writers and Illustrators (SCBWI) Israel.

Anna, how would you define Israeli children's literature and Israeli young adult literature?

I asked our school librarian to help me with this question. Fantasy has become really popular of late with the usual titles like the Harry Potter series, the Pullman trilogy and Twilight trilogy. Many of the novels in the fantasy genre that are read here are books in translation. Although, some new Israeli writers are beginning to experiment with the genre. I guess we're all getting..uhuh.."bitten" by it.

Historical fiction and non-fiction goes in waves. As we near Holocaust Remembrance Day in April/May (the exact date is determined according to the Hebrew calendar) there is a request for books on the topic, same with the Yom Kippur War (October), and the Six Day War (June) or other topical events.

What are the current trends in children's and young adult publishing in Israel?

We read a lot of books in translation. Fantasy, adventure, suspense and coming of age books are high on the list of good reads. Popular authors read in translation are Christopher Paolini, Stephenie Meyer, and Rick Riordan to name a few.

What are the challenges and rewards of being a writer or illustrator for children and young adults in Israel?

I write in English and publish in the States. My most recent young adult novel is Freefall (Greenwillow/HarperCollins). In Israel, it is hard to find my books in local book stores which sell mostly Hebrew books. However, through my writing I am able to bring a part of the land, and the culture to others who are unfamiliar with our lives, outside of what’s seen on TV, and that gives me a great sense of satisfaction.

As the SCBWI representative I know that illustrators and writers have a hard time making a living from their art because the market is quite small. However, they are a very supportive community. The Israeli Illustrator’s Association is very active in promoting their members’ work.

What children's and young adult books, authors, and illustrators from Israel would you recommend? What is your favorite Israeli children's or YA book and why is it your favorite?

I conferred once again with our local librarian and my junior high students. Galila Ran Fedder, who has been writing and publishing for the last 20 years, is still a popular choice. Hagar Yanai, Dorit Orgad, Ora Morag and Noga Moran are a few names that were mentioned.

Both my children were born in Israel and so I found myself reading a lot of Hebrew children’s books to them. My favorite was a book by Miriam Ruth called The Story of Five Balloons. I loved the rhythm, rhyme and simplicity of it. Another author I love is Leah Goldberg, especially her story Room to Rent which is about the importance of having good neighbors, and in a country this size, it is an issue!

What is it like to be the regional advisor of SCBWI Israel? What kind of work do you do for this role? Can you tell us about some of SCBWI Israel's activities in 2009? What are some plans for 2010?

Being the regional advisor has its challenges. Our members are spread across the country and our one free day of the week, Saturday, is a day of religious observance for some, so holding a meeting on the Sabbath is not possible. I try and arrange our meetings to coincide with the beginning or ending of Jewish holidays like Succoth (the Feast of the Tabernacles) or Hanukkah.

{An SCBWI Israel meeting in 2009}

This Hanukkah we lit candles with Carolivia Herron the author of Nappy Hair. She was in Israel doing research for a new book project and generously agreed to spend an evening with us. She was such a wonderful story teller. We had a marvelous time.

{Anna with Carolivia Herron}

Our next big project will be a video conference for illustrators. Miri Leshem is Israel’s new illustrators' coordinator and we are planning on holding a video conference in Tel Aviv with an art director and agent from New York. We’re very excited about this project which will help Israeli artists get their work into the international market.

Thank you, Anna, for introducing Israeli children's and young adult literature to us! I wish you and all the members of SCBWI Israel all the best for 2010!

Critic Interview: Irene Ying-Yu Chen

Sunday, December 13, 2009
The spotlight is on Taiwan today! :o) To introduce us to children's and young adult literature in Taiwan is Irene Ying-Yu Chen. Irene is a children's literature critic in Taiwan. She is also the assistant regional advisor of the Society of Children's Book Writers and Illustrators (SCBWI) Taiwan. Her academic works are published in Taiwan and abroad and her most recent publication is “Monkey King's Journey to the West: Transmission of a Chinese Folktale to Anglophone Children” in the January 2009 issue of Bookbird: A Journal of International Children's Literature.

Irene kindly sent me a copy of her latest publication and I found it a fascinating introduction to and discussion of "Monkey King." "Monkey King" is retold in English literature as a signifier of Chinese culture, but it can also bridge cultural gaps and stimulate cross-cultural literature for children. One of the "Monkey King" versions Irene analyzes is Gene Luen Yang's young adult graphic novel American Born Chinese. If you have access to Bookbird or Project Muse, I recommend you read Irene's work.

And now I present my conversation with Irene about children's and young adult literature in Taiwan. Thank you very much for answering my questions, Irene!

How would you define Taiwanese children's literature and young adult literature?

It is not easy to answer this question. I can only say what Taiwanese children used to read was mostly translated works from English and Japanese texts as we are a minority culture/market. But we are making more home-made publications as we are more and more aware of stories around us. Many authors and illustrators are creating exciting works for children in and out of Taiwan to know more about Taiwan, from picture books, fictions, to dramas, animations, and films. If I dare to define Taiwanese children's and YA literature, I would say it is at present a creative process to explore Taiwan, and to define ourselves.

That is so beautiful!

What are the current trends in children's and young adult publishing in Taiwan?


Recent popular genres would include various ways creators try to show the world and Taiwan via abridged biographical works. PBs about ecological concerns are quite popular as well.

For younger children, we encourage them to read good picture books. However, in the most recent decade, parents and teachers notice older children still prefer picture books to fictions as there are fewer words and less trouble to read. Therefore, publishers adapt western chapter books for children to upgrade to the next reading level. There will be a great many pictures, and with different reading levels, there will be a couple more hundreds of words per book. We in Taiwan call them bridging books -- a bridge for children to step from PB to fiction. These publications aim to encourage older children to read more literally than visually.

Bridging books sound interesting, Irene. What are the challenges and rewards of being a writer or illustrator for children and young adults in Taiwan?

The challenges are quite a few. In addition to publishers' general preference of translated works to local arts, the growing yet unstable market means a writer or an illustrator may need to find some other ways to support themselves financially, at least at an early stage.

However, many artists have worked hard and make their name and Taiwan shine on the global stage. I know some artists have a sense of responsibility to introduce Taiwan in their works, and I guess their success is the best reward. Many Taiwanese artists also have their advantages as the most known Chinese-language children's book creators. They broaden their markets to other Chinese-language markets such as Singapore, China, Malaysia, etc.

What children's and young adult books, authors, and illustrators from Taiwan would you recommend?

I would first recommend Lai-ma and Chang You-ran [Click here and here to see some of Chang You-ran's work!!!]. They are illustrators whose dedication and care for children make their works among the best in Taiwan. Lai-ma's works are filled with childlike innocence and humor. Chang has amazing patience to work on one of his picture books for more than seven years. His works leave traces of his environmental concerns and his love of this land. I cannot love their works more.

As for YA fictions, I would recommend works by Lee Tong and Syaman Rapongan. Lee's works are more about country life in the 1980s. Syaman's works are not targeted to children, but children read them anyway. His works are set in Orchid Island where Tao people reside. The Tao people is one of Taiwanese aboriginal peoples, and they make their living by the ocean. As a result, Syaman's stories are ocean-oriented, and offers the readers a new reading experience. I strongly recommend his Black Wings, a story about four Tao boys and their dreams.


What is it like to be the assistant regional advisor of SCBWI Taiwan? What kind of work do you do for this role? Can you tell us about some of SCBWI Taiwan's activities this past year? What are some plans for next year?

As an ARA, I am working on hosting local events in Taipei and promoting Taiwanese artists on the global stage. Our illustrator coordinator Ariel Pang and I always try and keep people aware of how we may help. It's not easy, but I am proud to say the efforts are worthwhile as more people start to treat children's and YA creators as professionals in a positive perspective.

In 2009, we invited Serge Bloch to 2009 Taipei International Book Exhibit (TIBE) and held writers' and illustrators' critiques. Our RA Jessie Huang held a series of illustrator and editor panels in Yunlin (mid-western part of Taiwan) which had very nice feedback. We are going to have Davy Liu, an outstanding illustrator and animator in the USA, to Taiwan next week and share with us his expertise and passion. It's very exciting!

For next year, we will keep hosting events in TIBE. We are inviting Canadian children's artists to Taiwan and we are looking forward to it! We will consider increasing the critiques for writers and illustrators as requested. Also, as our SCBWI-Taiwan Facebook fan page has increasing participants from around Taiwan and abroad, we may try to hold a co-exhibit on-line. There are many things going on, and we're open to any possibilities.

Here are some pictures from SCBWI Taiwan's activities:

TIBE: Let SCBWI Introduce Your Works to the World - Experiences from Tokyo, Hong Kong, and Taiwan. From left to right: Shuchiung Chang (Eslite Children's Bookstore general director), Kathleen Ahrens (former SCBWI Taiwan RA and present international regional advisor), Holly Thompson (SCBWI Tokyo RA), Mio Debnam (SCBWI Hong Kong RA), and interpreter Angela Lu.

"A Writer's Path": Donna Jo Napoli with members of SCBWI Taiwan

"Marketing Your Children's Book and Yourself": Karen Lynn Williams with members of SCBWI Taiwan

Thank you so much, Irene! It appears children's and young adult literature in Taiwan is blossoming quite nicely. I can't wait to explore the books!