Posted in Books, Reviews

Review: Muslim Representation in Picture Books (School Library Journal)

This piece was originally published for School Library Journal in October 2020.

Muslim Representation in Picture Books

Picture books enable readers to see themselves reflected in the larger world. With increasing Muslim representation in published books, all readers can explore the diversity of Muslim communities, identities, and cultural backgrounds as they intersect to create unique expressions of Islamic cultures and practices. Picture books also offer a visually intimate look into Muslim experiences and places where individual and private family traditions, conversations, and interactions flourish.

These books were published in 2019–20 (with one from 2018) by mainstream publishing houses. In searching for books published during this time frame, we found few Muslim male authors and protagonists. In some books, characters are not explicitly Muslim, but nomenclature and context (often a headscarf on a female character) offer clues. In some representations of Muslims in stories, a khimar or hijab (to name a few of the terms used for headscarf) on a female character is still the prevailing identity marker but serves to identify only Muslim girls and women. Also, books may depict Muslim girls wearing hijab at young ages, when it is commonly not worn, or portray girls and women wearing hijab in situations where it is usually not worn. Because there are fewer identity markers for Muslim boys, they often remain invisible.

#OwnVoices representation provides nuanced authenticity as well as subtle allusions to racial diversity in Muslim communities and families, with characters of varied skin tones and clothing styles. As we stated in our 2019 SLJ piece about Muslim representation in YA literature, we hope that publishers will release more books about Muslims and amplify the voices of Muslim populations that are less frequently heard from or seen.

Dee, Noor H. I Say Collection with Nabil and Noura. illus. by Iput. Islamic Foundation. May 2020. ISBN 9780860377825.
PreS-K –This collection of board books follows siblings Nabil and Noura as they explain how common Islamic phrases such as as-salamu’alaykum and bismillah are used in everyday life. Each title includes the phrase written in Arabic with diacritical marks to indicate vowels and stops, transliteration, and translation into English. Simple but profound, these cheery offerings will foster understanding of words used by Muslims and Arabic speakers across the globe. Nabil and Noura are light-skinned, and Noura wears a headscarf; their ethnicity is unclear. Dee and Iput are both Indonesian.

Javaherbin, Mina. My Grandma and Me. illus. by Lindsey Yankey. Candlewick. 2019. ISBN 9781406384949.
PreS-Gr 3 –In this tender, autobiographical story, Iranian American author Javaherbin recalls cherished moments with her grandmother in Iran. Through daily chores, acts of faith like attending mosque and doing charity work, and a beautiful interfaith friendship between the narrator and her grandmother and their Christian friends, her grandma exudes wisdom, generosity, and love. Soft, muted illustrations are made richer with cultural detail, conveying a nostalgia-tinged reminiscence of precious time spent with a loved one.

Khalil, Aya. The Arabic Quilt: An Immigrant Story. illus. by Anait Semirdzhyan. Tilbury. Feb. 2020. ISBN 9780884487548.
K-Gr 3 –Kanzi, an Egyptian immigrant to the United States, worries about not fitting in at her new school, and her fears are heightened when a classmate mocks her and her mother for speaking Arabic. Wrapped in her Teita’s (grandma’s) quilt, Kanzi writes a poem that inspires a classroom quilt project, with her teacher facilitating a discussion of English words that come from Arabic, language appreciation, and acceptance. Muted illustrations and gentle, reassuring text tell a story of a young girl finding pride and love in the languages she speaks. A glossary of Egyptian Arabic terms is included.

Khan, Hena. Like the Moon Loves the Sky. illus. by Saffa Khan. Chronicle. Mar. 2020. ISBN 9781452180199.
PreS-Gr 1 –In eloquent and expressive poetic verses inspired by the Qur’an, a mother shares wishes for her child using the Arabic phrase inshallah (“if God wills it”). She hopes that her child will find wonder in the natural world, seek and reflect on knowledge, and speak “truth [while] working for its sake”—in short, become an integral part of the world and contribute to its betterment. The family is depicted as brown-skinned, and an older woman and a younger child wear headscarves, though their ethnicity is not directly stated; the author is Pakistani American. With vibrant illustrations, this book celebrates a parent’s unconditional love and faith.

Khan, Hena. Under My Hijab. illus. by Aaliya Jaleel. Lee & Low. 2019. ISBN 9781620147924.
PreS-Gr 3 –In a powerful narrative that demystifies hijab and individualizes its wearers, a brown-skinned young girl examines the private and professional lives of the women in her life. Jaleel’s warm illustrations feature women from a multiracial family and community, of different ages, skin tones, and body shapes, depicted with and without headscarves. This delightful portrayal of the different styles of hijab also demonstrates how personality can be conveyed with each twist of fabric.

Latham, Irene & Karim Shamsi-Basha. The Cat Man of Aleppo. illus. by Yuki Shimizu. Putnam. ISBN 9781984813787.
K-Gr 4 – Ambulance driver Alaa stays in his beloved Aleppo, helping the injured while many flee the ongoing war. Noticing how the cats of the city are also affected, Alaa cares for them; as his story reaches others, he obtains funding from all over the world. Soon he helps the cats, other animals, children, and adults to find a home and moments of joy and hope. Based on the true story of Mohammad Alaa Aljaleel, this is an inspiring tale of compassion. Shimizu’s breathtaking illustrations and notes from Alaa and the book’s creators add nuance.

Lumbard, Rabiah York. The Gift of Ramadan. illus. by Laura K. Horton. Albert Whitman. 2019. ISBN 9780807529065.
PreS-Gr 3 – When Sophia’s family puts up lights for Ramadan, her grandmother calls them “Pretty and sparkly. Just like the heart of a person who fasts.” Though Sophia finds fasting difficult, with the help of her grandma, she learns that there are many different ways to celebrate Ramadan. Seeing her mother reading the Qur’an and her father assisting neighbors, she finds a way to become involved, help others, and earn something very important to her, the sparkly heart of a believer. Sophia’s family is depicted as multiracial (Sophia’s mother has pale skin and her father has dark skin, while Sophia and her brother and grandmother are the same shade of medium brown). Colorful illustrations enhance this lovely story about Ramadan and its special place as a month of celebration.

Mir, Saira. Muslim Girls Rise: Inspirational Champions of Our Time. illus. by Aaliya Jaleel. S. & S./Salaam Reads. 2019. ISBN 9781534418882.
K-Gr 5 –This collection of illustrated profiles highlights 19 contemporary Muslim women in science, education, fashion, entertainment, politics, activism, and other fields. The women represent various national origins, body types, and skin tones (some wear headscarves; others don’t). Mir notes that these individuals are part of a long line of empowered Muslim women who have made their mark on the world. A quote from each subject is paired with Jaleel’s dynamic illustrations of them in action.

Muhammad, Ibtihaj with S.K. Ali. The Proudest Blue: A Story of Hijab and Family. illus. by Hatem Aly. Little, Brown. 2019. ISBN 9780316519007.
K-Gr 4 –Shopping with her mother and younger sister Faizah, African American Muslim Asiya finds the perfect scarf for her first day of wearing a hijab and first day of school. Faizah is equally enamored of her older sister’s choice, a blue scarf the “color of the ocean.” Told from Faizah’s point of view, this tale depicts the highs, lows, and ultimate triumph of Asiya’s first day covering her hair at school. Bright, bold blues evoke strength, pride, and love, with details that respectfully capture the characters’ African American heritage.

Ramadan, Danny. Salma the Syrian Chef. illus. by Anna Bron. Annick. Mar. 2020. ISBN 9781773213750.
PreS-Gr 3 –Salma and her mother, Syrian refugees living in Vancouver, Canada, miss home, so, with the help of friends at the refugee center, Salma attempts to prepare her mother’s favorite dish, foul shami, to finally make her mother laugh again. Striking illustrations and use of Syrian motifs frame Salma’s heartwarming story as she adjusts to her new home and finds moments of joy with the help of a loving community of refugees from around the world.

Saeed, Aisha. Bilal Cooks Daal. illus. by Anoosha Syed. S. & S./Salaam Reads. 2019. ISBN 9781534418103.
PreS-Gr 3 –Creamy, garlicky, slow-cooked daal is Pakistani American Bilal’s favorite meal. But his friends, who have never eaten the spiced lentil dish, are unsure about how it looks and smells, causing Bilal some apprehension, even as more friends join to help him and Abu (his father) prepare the meal. Bilal’s story speaks to the anxiety of children whose food is often othered, while instilling pride and love in their culture. An author’s note includes a recipe and information about daal as a staple food in South Asia, including Pakistan, where Bilal’s grandparents grew up.

Sullivan, Rosana. Mommy Sayang. illus. by author. Disney. 2019. ISBN 9781368015905.
PreS-Gr 1 –Aleeya and her Mommy sayang (dear mommy) spend every waking moment together in their Malaysian village—and even sleep can’t part them, as Aleeya dreams of her beloved parent. When Mommy gets sick, Aleeya feels the separation acutely. Remembering her dreams, she finds a way to help her mother feel better. Featuring delicate linework and centering Malaysian Muslims of different skin tones and body sizes, this tale is both a beautiful example of representation and a sensitive way to explain and process feelings around parent-child separation.

Thompkins-Bigelow, Jamilah. Mommy’s Khimar. illus. by Ebony Glenn. S. & S./Salaam Reads. 2018. ISBN 9781534400597.
PreS-Gr 2 –A young African American Muslim girl admires her mother as she covers her hair with a khimar, or “flowing scarf.” Exploring her mother’s closet, the girl adorns herself with a sunshine yellow khimar over her braids, awakening her imagination to multiple possibilities. Illustrated in radiant colors and brimming with universal appeal, this is a joyful and much-needed representation of a loving, intergenerational, interfaith, African American Muslim family and their multiracial mosque community.

Thompkins-Bigelow, Jamilah. Your Name Is a Song. illus by Luisa Uribe. Innovation. Jul. 2020. ISBN 9781943147724.
K-Gr 5 –At the end of the first day of school, a young Black Muslim girl is upset because her classmates and teacher “could not say her name.” As she and her mother walk home through their bustling, multiethnic neighborhood, her mother teaches her that “names are songs,” each conveying an innate melody. Soft, flowing illustrations complement lyrical text affirming that all names are valid and worthy of respect. The narrative reflects a common experience for many BIPOC families, who must uplift their children’s identities and teach them tools to defuse and defend against microaggressions from both peers and teachers.


Sara G. Ahmed is a general services librarian in Delaware County, PA. Mahasin Abuwi Aleem is the children’s collection management librarian for the Oakland (CA) Public Library System. Ariana Sani Hussain is a teacher librarian at the Blake School in the Minneapolis suburbs. Hadeal Salamah is a librarian at Georgetown Day School in Washington, DC.

      
Posted in Books, Reviews

Review: Orientation (Avengers Assembly, Volume #1)

Chhibber, Preeti. Orientation (Marvel: Avengers Assembly, Volume 1). Illus. by James Lancett. 2020. 176p. Scholastic, $13.99.  (9781338587258). Gr. 3-6.

Created by editors Sana Amanat and Stephen Wacker, writer G. Willow Wilson, and artists Adrian Alphona and Jamie McKelvie, Kamala was just an average Pakistani American kid from New Jersey when the Terrigan Mist activated her dormant inhuman cells and turned her into a polymorph, with the ability to lengthen her arms and legs and change size. Inspired by Captain Marvel, Kamala takes on the name Ms. Marvel and starts fighting crime…and destroys a lot of property. And it’s obvious, especially to some senior, more established super heroes that these younger ones need some serious training.

Kamala is ecstatic to be recruited into the Avengers Academy after school program by none other than her hero and fanfic favorite, Captain Marvel. At the academy she is put on a team with Miles Morales (Spiderman) and Squirrel Girl (Doreen Green), and they are taught superhero skills by Beast, liability and other legal responsibilities by She-Hulk. Kamala even takes special classes on controlling her size powers from Ant Man. The bond between the three young supers is lovely, especially when Miles and Doreen find out that Kamala is the author of their much beloved fanfic, and the conversations between the mentor superheroes, like Peter Parker and Miles, is adorable and a lovely revisit for fans of Into the Spider-verse. And though she keeps her identity secret from her family (at least in this iteration) readers will also meet Kamala’s parents and her brother, her friends, including Muslim friend Nakia, and the imam at Kamala’s masjid, Sheikh Abdullah. There are references to hadith, Qur’an and Islamic traditions in how Kamala receives advice and guides her actions as a super hero.

The ultimate test of their powers and ability to work together as a team will be the academic decathlon where student teams will compete and complete a set of challenges. Of course, there are some characters with ill intentions and it’s up to our team to stop them. Chhibber and Lancett’s narrative told in comic form, illustrated text messages, blog posts, newspaper clippings, journal entries, and more, make the reading experience differentiated, but in a way that is appealing

 to young readers and familiar for fans of comics and comic-like books. Kid or adult, if you are a Marvel fan (particularly if you are one who enjoys cute, slapstick tumblr blogs, memes, and fanfic of our heroes) you need to check out this fun read for all.

Stay tuned for volume 2 featuring Squirrel Girl as the main lead in April!

Part of this review was originally published in a 2020 post on the Hijabi Librarians Instagram account.

Posted in Books, Reviews

Review: Once Upon an Eid: Stories of Hope and Joy by 15 Muslim Voices

Review: Once Upon an Eid: Stories of Hope and Joy by 15 Muslim Voices
Edited by S. K. Ali and Aisha Saeed; illus. by Sara Alfageeh
Intermediate, Middle School    
Amulet/Abrams   272 pp.    g
5/20    978-1-4197-4083-1    $17.99

For Muslims around the world, the two Eids (Eid al-Fitr and Eid al-Adha), conjure images of joy and community and include celebrations which vary by region and consist of different traditions. 

Common traditions for the observance of both Eids often include new clothing, congregational prayers, special foods, and most importantly, time with family and community. Through prose, verse, and imagery, including the vibrant cover art, and a comic selection, authored by G. Willow Wilson and illustrated by Sara Alfageeh, the stories in Once Upon an Eid capture all of those traditions and so much more.

Consisting of stories by 15 Muslim authors of diverse backgrounds, each selection explores an aspect of human experience with incredible complexity and sensitivity. Characters are relatable, and reflect a range of Islamic practice and identity. Stories are set in a variety of locations, with many taking place in non-Muslim majority countries and communities. Readers are given the opportunity to explore many Eids not just reflecting different cultural ties characters might have but the joys, sorrows, feelings of grief, and love that take place when set against a much beloved and significant holiday. 

In Jamilah Thompkins-Bigleow’s “Perfect,” readers meet twelve-year-old Hawa on her way to celebrate Eid with her father’s side of the family in the Bronx. Though she would rather be celebrating with her friends, she is forced to confront a complicated relationship with her cousin, and the comparisons between them, that are tied to expression of identity and authenticity, body image and style, and family structure. In Hanna Alkaf’s “Taste,” set in Malaysia, the protagonist Alia feels alienated because of her mother’s absence and her sense of guilt surrounding that absence. In N.H. Senzai’s “Searching For Blue”, Syrian refugees make a home for themselves and carve a place for celebration in Greece. Thompkins-Bigelow’s poem “Eid Pictures” connects the joy and imagery of Eid in the African American community, the history of how that community was built in the United States, and the first Eid of stolen ancestors longing for their homelands, community, and faith. 

The subtleties of each story offer readers familiar with particular communities the opportunity to see themselves, some for the first time in print. Readers unfamiliar with the diversity within the Muslim community are given an intimate look into different communities, challenging the false idea that Muslims are monolithic. On a deeper level, this book gives Muslim readers the opportunity to look at, consider, be in conversation with, and understand complex feelings and how we can improve understanding of each other on a fundamental human level with empathy and compassion. Stories are inclusive of different family structures, socioeconomic backgrounds, relationships between Shia and Sunni Muslims, and recent converts to Islam. 

The core of the narratives are examining these familial relationships, expression of cultural, racial, religious identities, self-exploration and self-acceptance and are incredibly intersectional. While Once Upon an Eid centers Eid narratives, its stories are important to share in a library or classroom collection year round and hold universal appeal.
Mahasin and Ariana were recently part of Abrams’ Beyond the Book, and were able to interview editors S.K. Ali and Aisha Saeed about Once Upon an Eid.

Posted in Books, Reviews

Favorite Books of 2020

This list represents some of our favorite Children’s and Young Adult books that we read and were published in 2020. We chose these works based on their thoughtful and nuanced treatment of Muslims and Islam, and the intersections of identity. We are glad to see more books this year compared to 2019 and have included some independently published books on this year’s list. We considered over 80 titles children’s, young adult, and adult titles with YA appeal in creating this list. Click here for a PDF version of our list.

Note that we do not include fantasy and sci-fi titles by Muslim authors whose worlds and characters do not reflect explicit Muslim identity (this does not indicate that they were not some of our favorites of the year). As stated on our release calendar there is power in speculative fiction/fantasy/scifi world building in general in exploring issues related to the real world and we highlight them on the calendar and plan to in future, separate posts.

What were your favorites of 2020?

Board Books

I Say Collection With Nabil and Noura*I Say Collection with Nabil and Noura by Noor H. Dee. illus. by Iput. Islamic Foundation. 2020. Tr $34.95 ISBN 9780860377825

Birth-K – This collection of board books follows siblings, Noura and Nabil, as they introduce commonly used Islamic phrases. In each book, the children discuss the meaning of a phrase as it is used in everyday occurrences and actions. The last page of each book includes the phrase written in Arabic with diacritical markers to indicate vowels and stops, transliteration, and translation into English. Simple but profound, these books can create understanding of words used by Muslims and Arabic speakers across the globe. Noor H. Dee is an Indonesian author, but Nabil and Noura are racially ambiguous. 

Picture Books

Arabic Quilt by Aya Khalil. Illus. by Anait Semirdzhyan. 36 pp. Tilbury House. 2020. Tr $17.95 ISBN 9780884487548. 

K-Gr 3 – Starting at a new school, Egyptian-American Kanzi is afraid to stand out as “different” but is mocked by a classmate who hears Kanzi’s mother speaking Arabic. Wrapped in her Teita’s (grandma) quilt, Kanzi writes a poem and inspires a classroom quilt project, with her teacher, Mrs. Haugen facilitating a discussion of English words that come from Arabic, language appreciation, and acceptance. Kanzi and her mother write student names in Arabic to add to a classroom quilt, and Kanzi finds pride and love in the languages she speaks. A glossary of Egyptian Arabic terms is included. Illustrations by Semirdzhyan richly convey Egyptian culture and information about the family. Kanzi’s father appears to be a Black Arab Egyptian, while her mother is light-skinned, Kanzi and her brother Zacharia also have brown skin. In Kanzi’s house there are photographs displayed of protestors and a tennis player that appears to be Serena Williams. Details like patterns on Kanzi’s father’s vest, the tablecloth, dishes, the newspaper he is reading “Akhbar Misr” (Egyptian News), body types, and food items are delightful. Teita’s quilt itself is colorful and bright and depicts feluccas on the Nile. The final scene has Kanzi meeting with schoolmate, Japanese American Kura, from the class across the hall and talking about commonalities in expressing their cultures at school. 

Building Zaha: The Story of Architect Zaha Hadid by Victoria Tentler-Krylov. 48 pp. Orchard Books. 2020. Tr $18.99. ISBN 978-1338282832.

PreS- Gr 3 – Growing up in Baghdad, Zaha Hadid found interest in the shapes and patterns found in mosques, palaces, the ruins of ancient civilizations, and the natural world. Determined to become an architect from a young age, Zaha obtained a math degree in Lebanon before moving to London to study architecture. But upon graduation Zaha met with many who challenged and rejected her unconventional ideas and designs for not only the ideas themselves, but because Zaha was a woman. Determined to achieve her dreams Zaha found the ability to design, seen as a diva, under scrutiny not faced by men in her field. Zaha earned the title of Dame Commander of the Order of the British Empire, became the first woman to design an art museum in the United States, and the youngest, first Iraqi, first Muslim, and first woman to win the Pritzker Architecture Prize. A note from the author indicates that parts of the book are fictionalized. Illustrations show Zaha’s age progression from youth to the age that most are familiar with her and her work and photographs are also included. 

*The Cat Man of Aleppo by Irene Latham and Karim Shamsi-Basha. Illus. by Yuko Shimizu. 40 pp. Putnam. 2020. Tr $17.99 ISBN 9781984813787. 

K-Gr 4 – In a narrative based on the story of Mohammad Alaa Aljaleel, ambulance driver Alaa, stays in his beloved Aleppo, helping the injured while many must flee from the ongoing war. Noticing how the cats of the city are also affected, Alaa starts taking care of them, first with scraps he can afford and soon with funding from people who care from across the world. Soon Alaa is able to help the cats, other animals, children and adults, to find a home and moments of joy and hope. An inspiring story of human compassion. Shimizu’s breathtaking illustrations and notes from Alaa and the book creators add to the entire experience. 

Hamza and Aliya Share the Ramadan Cheer by Marzieh Abbas. Illus by Michile Khan. 

Tr $20.99 ISBN 978-1683121947

PreS-Gr 3 – The day before Ramadan begins, siblings Hamza and Aliya and their parents prepare for the blessed month ahead. Searching for the new moon, which signals the beginning of the month, decorating, listening to stories about their father’s childhood in Pakistan, and making Ramadan resolutions is how they usher in the month. Over the course of the first week of Ramadan, Hamza and Aliya bake treats for neighbors with their mother and prepare a sweet, but healthy surprise for her with assistance from their grandmother. Cheerful illustrations and several delicious recipes complement the story. Backmatter includes hadith narrations, Quranic verses, and a glossary of terms. Hamza and Aliya Share the Ramadan Cheer is published by the Kisa Kids Publications, a Shia Muslim institution, offering much needed representation.

The Library Bus by Bahram Rahman. Illus by Gabrielle Grimard. 32 pp. Pajama press. 2020. Tr $15.40. ISBN 978-1772781014.

K-Gr 3 It’s Pari’s first day as her Mama’s library helper. Mama drives the only library bus in Kabul to a small village where the girls borrow books and practice English. Afterward, they head to a refugee camp where Pari passes out pencils and notebooks. Pari learns that her grandfather taught her mom to read at a time when it was not allowed for girls to be educated. Pari, Mama, and many other girls are depicted covering their hair with scarves. Rahman’s narrative effectively emphasizes access to and the power of education, particularly for those in Afghanistan who have been denied in the past, girls and refugees. Grimard’s illustrations capture Pari’s joy, the excitement of the girls awaiting the bus, and Mama’s determination and belief in providing access to education. Particularly beautiful is the relationship between Pari and her mother and the deliberate intention of passing down the family value and tradition of education and service in the betterment of others.

*Like the Moon Loves the Sky by Hena Khan. Illus. by Saffa Khan. 40 pp. Chronicle. 2020. Tr $17.99 ISBN 9781452180199.
PreS-Gr 1 – In eloquent and expressive poetic verses inspired by the Quran, a mother shares wishes and invocations for her child using the Arabic phrase “inshallah” (“if God wills it”) . Parental wishes range from finding wonder in the natural world, seeking and reflecting on knowledge, and speaking “truth and working for its sake.” Hopes that capture the importance of being an integral part of the world, and the role and responsibility one has to contribute to its betterment. Paired with lovingly, vibrant illustrations, this book celebrates a parents unconditional love and faith. Though text does not specify ethnicity, illustrations and details indicate that the family is South Asian. 

The Most Powerful Night: A Ramadan Story by Ndaa Hassan. Illus. By Soumbal Qureshi. 40 pp. 2020. Tr $26.00 ISBN 978-1732097032.

PreS-Gr 4 – Layla is curious about why the last days of Ramadan are the best days and what makes one night, Laylat al-Qadr the most special. Layla’s mother explains its significance and the power and blessings that come with it. A gentle pink and purple pastel palette adds a dreamlike quality to the book. Muslim children will benefit from this book in learning more about Laylat al-Qadr and add to their practice, especially during Ramadan, non-Muslim readers will gain cross-cultural understanding of specifics of Ramadan and an appreciation of why a Muslim family may choose to spend more time away from regular day-to-day activities in the last ten days of Ramadan. A glossary of Islamic terms used in the book is included. Text and illustrations do not specify ethnicity or nationality of the characters.  

My First Muslim Potty Book by Yousfa Janjua. Illus by Golnar Servatian. 26 pp. Prolance. 2020. Tr $15.00. ISBN 978-1734576009.

Birth-PreS- My First Muslim Potty Book offers all of the beloved components of ever popular how-to-toilet books with additional resources and contents for Muslim families who want to their little ones the practice of istinja (“the act of cleaning oneself with water” after using the toilet) and Islamic toileting traditions. Warm and colorful illustrations depict a Muslim mother and father teaching their young child to use the toilet according to Islamic etiquette. Islamic terms in Arabic are used throughout the rhyming text. Backmatter includes a glossary of terms, as well as Quran & Hadith references, and duas (supplications) to say when using the bathroom. Intended for a Muslim audience, but presentation makes it accessible to others who may want to learn about Islamic bathroom practices.

Sadiq Wants to Stitch by Mamta Nainy. Illus by Niloufer Wadia. 40 pp. Karadi Tales. 2020. Tr $13.95 ISBN 978-8193388914.

Gr PreS-Gr 3 – Sadiq and his mother are nomadic Bakarwal Muslims living in the mountains of Kashmir where he, like other boys and men, tend the herds of sheep and goats, while women are in charge of household work and embroidering intricately patterned rugs. While ammi (mother) allows him to help her with her work, she emphasizes that embroidery is women’s work, and Sadiq hides in interest and talent from her, stitching in secret. When ammi gets sick and cannot complete an order, Sadiq decides to use his hidden skills to help. Sadiq’s work brings ammi pride and changes her mind about his talents and role in the village.

*Salma the Syrian Chef by Danny Ramadan. Illus. by Anna Bron. 40 pp. Annick. 2020. Tr $18.95 ISBN 9781773213750. 

PreS-Gr 3 – Salma and her mother are Syrian refugees, living in Vancouver, Canada. More than anything, Salma misses the sound of her mother’s laughter and believes with a taste of home, it will return. With the help of friends at the refugee center, Salma attempts to make her mother’s favorite dish, foul shami, to hear the laughter she craves. Striking illustrations and use of Syrian motifs, frame Salma’s heartwarming story as she adjusts to her new home, and finding moments of joy with the help of a loving community of refugees from around the world. 

Link to full review by Hadeal

What Color Is My Hijab? by Hudda Ibrahim. Illus. By Meenal Patel. 30 pp.  Beaver’s Pond Press. 2020. Tr $16.78 ISBN 978-1643439204

PreS-Gr 2 – In this book of colors, a young Black girl thinks of many Muslim women who wear their hijab, their crowns, in professional roles and associates character traits and actions with the colors of their hijabs. For example, when thinking of a smart, Black female engineer wearing a white hijab, the girl plans to wear a white hijab when she wants to solve problems. Muslim women hold various roles: engineer, athlete, model, pilot, politician, doctor, artist, teacher, business owner, and the narrator’s own mother. The style of wearing hijab also differs for each woman and skin tones, with the majority of the women being Black. In the author’s note Somali American Ibrahim emphasizes that different styles of hijab are a visual representation of faith and identity, differing by nation, fashion, and preference. Beaver’s Pond Press publishes independent books. 

*Your Name is a Song by Jamilah Thompkins-Bigelow. Illus by Lisa Uribe. 40 pp. Innovation Press. 2020. Tr $16.99 ISBN 9781943147724.

K-Gr 5 – On the first day of school a young, Black Muslim girl is upset because her classmates and teacher “could not say her name.” During their walk home, through their bustling, multiethnic neighborhood, her mother teaches her that “names are songs,” each conveying an innate melody. Soft, flowing illustrations compliment the lyrical theme and are an inclusive affirmation of all names. The conversation between mother and daughter reflects the common experience for many BIPOC families, who must uplift their children’s identities, and teach them tools to defend and diffuse microaggressions from both peers and teachers.

Zara’s New Eid Dress by Nafisah Abdul-Rahim. 30 pp. Archway Publishing. 2020 Tr $25.95. ISBN 978-1480888883.

Gr PreS-Gr 3 – Zara, an African American Muslim girl, has worn matching outfits with her friends for recent Eid celebrations, but now wants an outfit for Eid that reflects her own culture. Her mother suggests that she allow her Nana to make the outfit that she wants, “bright, pink, fluffy, and has flowers on it”. Together, they design the perfect Eid outfit. The bold illustrations, which appear to be multimedia in nature, capture the joy of three generations of one African American Muslim family. 

Early Readers

Faruqi, Saadia. You Can Do It, Yasmin! (Yasmin series). Illustrated by Hatem Aly. 96p. Capstone. 2020 Pb. $5.95. ISBN 9781515860914
PreS-Gr2 – Whether Pakistani American second-grader Yasmin is tackling writing assignments, gardening with her family, playing soccer for the first time, or managing disagreements with friends she is always a curious and creative problem-solver. Yasmin’s interactions with her multi-generational Pakistani American family are endearing and recognize her agency. Faruqi’s sprinkling of Urdu words and Aly’s beautiful and bold illustrations convey cultural details and insights into Yasmin’s world. Some titles are available in Spanish and French. Fountas & Pinnell Level K.

Nuurali, Siman. Sadiq series. Illustrated by Anjan Sarkar. 64 p. Capstone. 2020. Tr $6.95. ISBN 9781515872900 (Sadiq and the Explorers), 9781515872887 (Sadiq and the Ramadan Gift), 9781515872894 (Sadiq and the Bridge Builders), 9781515872870 (Sadiq and the Perfect Play).
K-Gr 3 – Somali American Muslim third-grader Sadiq lives with his family in Minnesota. This set of books published in 2020, show Sadiq’s inquisitive nature, problem solving, and the importance of involvement and helping in the community — in Minnesota and in Somalia. Each volume contains information around Somali culture and a glossary of words in Somali as well as terms that pertain to each story. Sarkar’s illustrations are expressive and charming. One of the few works which feature a Black Muslim family and center a Black Immigrant Muslim boy. Fountas & Pinnell Level M.

Middle Grade

Planet Omar: Accidental Trouble Magnet by Zanib Mian. Illus by Nasaya Mafaridik. 224 pp. G.P. Putnam’s Sons Books for Young Readers. 2020. Tr $12.49. ISBN 978-0593109212

Gr 2-6Link to our review and discussion guide

Planet Omar: Unexpected Super Spy by Zanib Mian. Illus by Nasaya Mafaridik. 224 pp. Putnam’s Sons Books for Young Readers. 2020. Tr $12.49. ISBN 978-0593109212

Gr 2-7 – In this followup to Accidental Trouble Magnet, Pakistani British Omar finds out that, without funding to fix the roof, his local masjid is in danger of closing down! Knowing how important the masjid is to his family, Omar and his friends decide to help fundraise by holding a talent show at their school. When the talent show money goes missing, Omar and his friends try to catch the thief and save the day. Filled with the same hilarious antics, references to Islamic practices and values, warm day-to-day familial relations (with minor bickering) as the previous volume, this one shows Omar caring for the community and being proactive in trying to do his part to save a special place that gives his parents “secret smiles.”  

Once Upon an Eid: Stories of Hope and Joy by 15 Muslim Voices by S. K. Ali and Aisha Saeed. Illus by Iman Rasheed. 304 pp. Harry N. Abrams. 2020. Tr $14.39. ISBN 978-1419740831.

Gr 3-8 – The stories in Once Upon an Eid capture Eid traditions and so much more, through prose, verse, and imagery, including the vibrant cover art, and a comic selection, authored by G. Willow Wilson and illustrated by Sara Alfageeh. Consisting of stories by 15 Muslim authors of diverse backgrounds, each selection explores an aspect of the rich variety of the human experience, from changes that come from external events and explore how they are internalized, to smaller every day occurances. Characters are relatable, display a range of emotions and the complexities of what it means to be Muslim. Check out Ariana and Mahasin’s interview of editors S.K. Ali and Aisha Saeed for Abrams’ Beyond the Book episode on Once Upon an Eid. 

The Girl and the Ghost by Hanna Alkaf. 288 pp. HarperCollins. 2020. Tr $11.99. ISBN 978-0062940957.

Gr 4-8 – In a small Malaysian village Suraya, a young girl ostracized by the other village children, and held at a distance by her busy and uninterested mother, finds comfort in a new friend. She names the cricket-shaped creature Pink and cherishes their constant companionship. But Pink is actually a witch’s familiar, seeking Suraya as its new master, and is capable of malicious destruction and retribution. This side of Pink makes Suraya uneasy and when she makes her first friend, Pink turns dangerous, prompting a visit from a pawang hantu, a ghost shaman, whose intentions are suspect. Uncovered truths bring revelations, poignant heartbreak, and healing in a book that appeals to mystery and horror lovers, and the more tenderhearted.

Becoming Muhammad Ali by James Patterson and Kwame Alexander. Illus by Dawud Anyabwile. 320 pp. James Patterson. 2020. Tr $6.74. ISBN 978-0316498166.

Gr 3-7 – A biographical novel told in prose and verse from the perspective of his friend Lucky and himself, Becoming Muhammad Ali explores the young life of the beloved boxer when he was still known by his birth name, Cassius Clay. Lyrical depictions of friendships, his complex family life, and experiences with racism in his hometown of Louisville, Kentucky offer insight into his psyche. Black and white cartoon-styled illustrations throughout the novel offer texture and additional insight into his life. While Ali’s conversion to Islam and adult years are not addressed, a final chapter acknowledges his ideological evolution and draws the connection between the belief system he ultimately embraced and his upbringing. A recommended read for fans of Betty Before X.

Flying Over Water by N. H. Senzai and Shannon Hitchcock. Illus by Andrea Davis Pinkney. 272pp. Scholastic Press. 2020. Tr $17.99. ISBN 978-1338617665.

Gr 3-7Set in 2017, this novel is told from the perspectives of middle schoolers Noura, a Syrian refugee whose family’s arrival in Tampa, Florida coincides with Executive Order 13769 (also known as the Muslim ban) and Jordyn, a white competitive swimmer whose church is sponsoring Syrian refugees and who serves as a school ambassador for newcomers. Both are learning to cope with their fears, Noura, petrified of water after learning that her best friend drowned trying to cross the Mediterrean to Europe, and Jordyn experiencing panic attacks after her mother suffers a miscarriage at a quailifying swim meet. Along with the trauma of war Noura and her family are only in Tampa for a short time before their mosque is vandalized and they experience Islamophobic events at school. But with the help of their social studies teacher and their own initiative, students are able to connect experiences of present day refugees and those who came before and advocate for their school community and all of those who are in it.

A Place at the Table by Saadia Faruqi and Laura Shovan. 336 pp. Clarion Books. 2020. Tr $12.19. ISBN 978-0358116684.

Gr 5-7Told in alternating chapters, two sixth graders, Pakastani American Muslim Sara, and British American Jewish Elizabeth, A Place at the Table explores what it means to navigate friendship, family, and religious identity and practice in the middle school years. Food and cultural traditions are central to this timely story, which also explores themes of Islamophobia, antisemitism, and what it means to stand up against injustice and hold those we love accountable for their wrongs. Written together by a Muslim and Jewish author, a Place at the Table demonstrates what can happen when we focus on what we have in common, instead of where we differ. 

Young Adult

Yes, No, Maybe So by Becky Albertalli and Aisha Saeed. 448 pp. Balzer + Bray. 2020. Tr $13.99. ISBN 978-00662937049.

Gr 8-12 – Told in alternating chapters, two former childhood friends, white Ashkenazi Jewish Jamie and Pakistani American Muslim Maya, reconnect as 17-year olds to canvas for district candidate, Democrat Jordan Rossum, in the northern Atlanta suburbs. Volunteered by their mothers, they are first aloof but then connect over the personal, sharing their respective insecurities and worries; and the political, encountering anti-Semitic and Islamophobic white supremacist propaganda and politicians who advocate a ban on headcoverings that primarily targets headscarf-wearing Muslim women. Amidst this all feelings are kindled between the two of them. Beyond the budding relationship, this narrative feels particularly significant and personal as the two characters lament what seems to be a regression of progressive values and tolerance and more acceptance of xenophobia and hate. Issues of voter suppression, incremental change, complacency, and apathy feel particularly relevant given the outcomes of recent elections in Georgia.

The Henna Wars by Adiba Jaigirdar. 400 pp. Page Street Kids. 2020. Tr $16.75. ISBN 978-1624149689.

Gr 8-12 – Bangladeshi Irish Nishat has come out as a lesbian to her family, earning her parents’ disdain and her own heartbreak. Focusing instead on an entrepreneurial competition at school, Nishat separates herself from her friends, Chaewon and Jess, in order to start a mehndi business, taught to her by her grandmother and based on her own designs. To her dismay her idea is one of two in the competition. White Irish Chyna, a former friend who spread rumors about Nishat and her family restaurant and made her a pariah, is also doing henna with her cousin, biracial Brazilian and white Irish Flávia, a talented artist who Nishat hasn’t seen since primarily school, and whom Nishat has unresolved feelings for. Nishat is angered by the blatant cultural appropriation, racial and homophobic behavior of classmates at her Catholic high school, and Flávia’s efforts to get closer to her, for reasons she can’t determine are pure. Alongside the cold, and at times, hypocritical behavior of her parents and community, who seem to choose the only see the importance of being Muslim when it comes to her sexuality, the gaslighting and Nishat experiences are incredibly agonizing, making her stubborn determination to succeed in her henna business and cling to her cultural identity and sense of self more heart-wrenching and the genuine feelings between Nishat and Flávia more endearing. Chyna’s inability to see the parallels in her xenophobic treatment of Nishat juxtaposed to her love for her cousin and aunt are another powerful depiction of cognitive dissonance to unpack. An incredible debut with so much complexity and depth.

Punching the Air by Ibi Zoboi and Yusef Salaam. 400 pp. Balzer + Bray. 2020. Tr $15.99. ISBN 978-0062996480.

Gr 7-12 – Sixteen-year-old Amal Shahid is tried and convicted of an act of violence against a white boy. Amal is a poet and talented artist. Told in first person, readers are pulled deeper into Amal’s world, his emotions and thoughts, learning about his experience as a Black boy in the prison system, how the school system failed him—specifically his art teacher. Salaam, one of the Exonerated Five, draws on his experience from his wrongful conviction and the injustice he experienced at the hand of the American criminal justice system. The format of the book lends to its brilliance in poetry and use of space, artwork, references to hip hop. Amal references his Islamic faith and family members, and the symbolism in his naming is also rich and intentional, with Arabic words “Amal” meaning hope and “Shahid” meaning martyr. Zoboi and Salaam examine the connection between American chattel slavery, policing and the prison system, and the school to prison pipeline and calling readers to further action and the necessity of reform to rectify injustice.

Mad, Bad & Dangerous to Know by Samira Ahmed. 336 pp. Soho Teen. 2020. Tr $15.49. ISBN 978-1616959890

Gr 8-12 – Nursing a broken heart from a complicated undefined relationship in Chicago and a failed effort to impress her dream art school with a theory connecting a lost Delacroix painting to writer Alexander Dumas, 17-year-old white French and Indian American Muslim Khayyam spends summer in Paris with her professor parents. In a impossibly happy coincidence Khayyam bumps into a Dumas descendant, also called Alexander, and the two entertain a budding attraction and Khayyam’s theories of the lost painting, prompting the two to dig into the mystery behind the raven-haired muse of Delacroix, Leila. Alternating chapters give us glimpses into Leila’s life in an Ottoman pasha’s harem, first as the haseki, the primary consort of the pasha, with a secret lover, ties to jinn, and dreams of escape; while Khayyam’s narratives further the art mystery but examine a multitude of subjects from the the impact of orientalism, colonialism, and sexism, to her complicated relationships, and her own identity with her biracial, tri-cultural, and religious identities. The ties between the women across the centuries are significant and give readers further food for thought.

Graphic Novels

When Stars Are Scattered by Omar Mohamed. Illus by Victoria Jamieson and Iman Geddy. 264 pp. Dial Books. 2020. Tr $9.99. ISBN 978-0525553908.

Gr 4-7 – This collaboration between Somali Omar Mohamed and Victoria Jamieson is a memoir of the six years of Omar and his brother, Hassan, life in the Dadaab refugee camp in Kenya, after fleeing during the Somali Civil War. Their father is killed and they are separated from their mother and though living separately, they are being cared for by Fatuma, another Somali refugee whose own children died in the war. Omar cares for his brother who is nonverbal and amongst his responsibilities must think of their future in the camp, while holding onto the hope that their mother is still alive. Moments like helping his brother fall asleep by telling him stories about their home in Somalia and Omar waking up with nightmares illustrate his responsibility to his younger brother while also showing that Omar himself is still a kid, dealing with the trauma of his father’s death as well as missing his mother. Omar agonizes about attending school while leaving Hassan during the day, and later about the opportunity to leave the camp to resettle in another country, going in depth into the vetting process and the difficulty and rarity of being chosen. Omar references the Qur’an and prayers, drawing strength from his remembrances of Allah,the time and peace he felt spending time at dugsi (Islamic school), and in particular the verse “For indeed, with hardship will be ease. Indeed, with hardship will be ease” (p 142), Surah Ash-Sharh (94:5-6). Jamieson’s drawings convey with sensitivity the tenderness and innocence of two young boys experiencing the trauma of war, life as a refugee, loss, and uncertainty. Jamieson and Mohamed have spoken about their collaboration, research and the importance of getting cultural and historical details right in the visuals. Geddy, also of Somali descent colored the art for the book, adding textural details and patterns to the settings and characters. Backmatter includes photographs, an afterward, notes from Mohamed and Jamieson and a link to Mohamed’s foundation, dedicated to supporting Somali refugees. A powerfully accessible narrative and collaboration.

Shirley and Jamila Save Their Summer by Gillian Goerz. 224 pp. Dial Books. 2020. Tr $10.99. ISBN 978-0525552864.

Gr 3-7 – Ten-year-old South Asian Canandian Muslim Jamila Waheed doesn’t want to spend the summer going to a science camp, wanting to play basketball instead, but as a newcomer to the neighborhood she doesn’t have an alternative. Enter Shirley Bones, a ten-year old white girl whose deductive reasoning — a clear parallel to Sherlock Holmes, intrigues Jamila, especially since Shirley has a plan for both of them to get out of the dreaded summer camp. While Jamila plays basketball, Shirley uses the court as her personal detective consulting spot, and Jamila becomes involved as well. As they spend more time together the two bond, but Shirley’s tendency to minimize and omit details frustrates Jamila, and puts a strain on their budding friendship, leading Jamila to find out what their peers really think about the often ostracized Shirley. Jamila must decide how she feels about Shirley’s friendship and friendship in general. Muslim and South Asian readers will notice the cultural and religious interactions between their family: the names of the members of Jamila’s family, the use of the word ammi for mother and ammi wears a loosely draped scarf whenever she goes out (that may or may not be hijab or a dupatta), Jamila is tasked with helping her mother hang up artwork that shows Arabic/Islamic lettering (and appears to be the basmala/tasmiyah) and Moroccan or Andalusian tiles, the family doesn’t wear shoes inside the house, and her brother Farooq’s adaptation of dua-e-noor (the supplication of light) to mock his older brother, and the use of term mera bacha to refer to Jamila (a technically male term, but used generally to refer to one’s child). Their appearingly Toronto suburb neighborhood is diverse with kids of different races, skin tones, and body types, while the Muslim background characters also express their dress in different ways. Goerz’ note of acknowledgement and consultants is incredibly impressive and shows how an author may consult to get cultural details right.   

Nonfiction

Call Me American (Adapted for Young Adults): The Extraordinary True Story of a Young Somali Immigrant by Abdi Nor Iftin. 272 pp. Delacorte Press. 2020.  Tr $13.97. ISBN 978-1984897114. Gr 7-9 – In his memoir, adapted for a young adult audience, Abdi Nor Iftin enthralls readers with a description of his experience as a survivor of the Somali Civil War and young man infatuated with the English language who is influenced by aspects of US culture that have been exported to East Africa. The son of nomads with a deep connection to nature and animals, Iftin recalls his family’s herculean efforts to survive when war and the concomitant inhumanity of mankind upends their nation and their lives, and his eventual relocation to the United States. Iftin thoughtfully explores the complex intersection of religion, extremism, colonialism, poverty, and human nature. 

 

The Cat I Never Named: A True Story of Love, War and Survival by Amra Sabic-El-Rayess and Laura L. Sullivan. 384 pp. Bloomsbury YA. 2020. Tr $15.99. ISBN 978-1547604531.

Gr 7-9 – In this powerful memoir by professor Amra Sabic-el-Rayess, of Columbia University’s Teachers College, Sabic-El-Rayess recalls the years of the Bosnian war and in particular the Serbian siege of her city of Bihać when she was a teen. From the beginning of the narrative Amra speaks of the heavy atmosphere and targeting Bosniaks for their Muslim heritage and not necessarily Islamic practice, and how this targeting affects her schooling and everyday life. The physical threats to Bosniaks, and particularly to women, have the threat and imagination of rape an ever present phantom lurking in Amra’s mind. When Serbian residents of Bihać evacuate right before the siege, including Amra’s best friend, the betrayal of those who leave juxtaposed to the resolve of the non-Bosniaks those who stay is incredibly moving. War brings violence and death to their door, with Amra and her family experiencing evacuation, near misses, and witnessing deaths, facing starvation, and opportunistic price gougers getting rich off the suffering and deaths of Bosniaks, but the family is determined to survive. But amidst the anger and grief, Sabic-el-Rayess highlights life-affirming moments of beauty, grace, kindness, and the struggle and courage required to keep and sustain one’s humanity. Much of this comes in the form of Maci (cat in Bosnian), who is seen as the family’s luck, credited for some of those near misses and a source of softening in the soul. Beautiful, heartbreaking, and a necessary read. 

*Originally published in “To See and Be Seen: Muslim Representation in Picture Books.” School Library Journal, vol. 66, no. 9, 2020, pp. 52-54.

Posted in Blog Posts

Evaluating Muslims in KidLit: A Guide for Library Professionals, Book Professionals, and Educators

by Mahasin and Ariana; addendums with Hadeal

Toolkit for Evaluating Muslims in KidLit – updated 2024 (PDF)

In 2019, the Cooperative Children’s Book Center at the University of Wisconsin (CCBC) received 3,717 children’s and young adult books from publishers. Of those books 45 (1.2%) were “tagged” with a Muslim diversity subject, but were not evaluated for quality or accuracy of representation. In 2022 CBCC received 3,454 children’s and young adult books from publishers, representation of Muslims remained around 1 percent.

When looking at Muslim representation in media, children’s literature is often the first exposure that children have to Muslims and Islam. When creating opportunities for understanding it is important to be deliberate in combating tropes and stereotypes that deal in disinformation, fear-mongering, and histories rooted in orientalism (as coined by scholar Edward Said), colonialism and white supremacy.

This guide, updated November 2024, is divided into three parts:

  • Part I of this guide identifies resources for learning more about Muslim Americans while providing context for media representation
  • Part II offers guiding questions for reflection and analysis of collections and individual works. 
  • Part III provides best practices in programming, partnering, and considerations when programming about, for, and including Muslims and Islamic celebrations.

Part I: Recommended Resources

Muslims in Story: Expanding Multicultural Understanding Through Children’s and Young Adult Literature

When considering collection development of books featuring Muslim characters, Gauri Manglik and Sadaf Siddique’s (of Kitaab World) Muslims in Story: Expanding Multicultural Understanding Through Children’s and Young Adult Literature (2018) is a comprehensive guide to selecting books, essential for libraries.

Muslims in Story provides an overview of Muslims in America, Islamophobia and its impact, and how literature can be used to promote long-term systemic change. The second part provides book lists and programming ideas, with books categorized by theme. The appendices include frequently asked questions, suggested guidelines for book evaluation, a timeline of Muslims in America, a glossary of terms, and additional resources. 

The Pew Research Center

The Pew Research Center has conducted extensive research on Muslim Americans and Muslims Around the World. Understanding the global distribution of Muslims gives a broader context on general perceptions, illustrating that Muslims are present all over the world, speak many different languages, and are comprised of individuals from many different cultures, ethnicities, and races. We specifically suggest these two Pew reports:

Institute for Social Policy and Understanding’s American Muslims 101 

Understanding who Muslims and Muslim Americans are, how they practice Islam, and what challenges their communities face, are important components to knowing and serving Muslim populations, and in bringing a critical lens to evaluating books featuring Muslim characters. The Institute for Social Policy and Understanding (ISPU) is a valuable tool. It provides current statistics and infographics about Muslim Americans and issues affecting them.

The Riz Test

Like the Bechdel–Wallace test on women in movies and media, the Riz Test identifies problems in representation, bias, and lazy storytelling that depicts Muslims as simplistic, and lacking dimension and humanity. Named for actor Riz Ahmed’s 2017 speech to the House of Commons in the United Kingdom, which addressed diversity on screen, and identified stereotypes and tropes associated with Muslims in the media. 

The Test: 

If the film/show stars at least one character who is identifiably Muslim (by ethnicity, language or clothing) – is the character… 

  1. Talking about, the victim of, or the perpetrator of terrorism? 
  2. Presented as irrationally angry? 
  3. Presented as superstitious, culturally backwards or anti-modern? 
  4. Presented as a threat to a Western way of life? 
  5. If the character is male, is he presented as misogynistic? or if female, is she presented as oppressed by her male counterparts? 

If the answer for any of the above is Yes, then the film/ TV show fails the test.

When credence is given to Muslims consulting on media as part of the creative process, from sensitivity readers, bloggers, #ownvoice reviews, and organizations such as the Muslim Public Affairs Council (MPAC) Hollywood Bureau, stories become more nuanced and a better reflection of the diversity that exists within the Muslim community. MPAC Hollywood also has their own Obeidi-Alsultany test looking at Muslim representation in media with guidance towards building complexity in Muslim representation in characters and storylines.

The Obeidi-Alsultany Test:

  1. The project that includes a Muslim character(s) does not reproduce or reinvent old tropes but rather explores new stories and contexts.
  2. The project that includes Muslim character(s) has a Muslim-identifying writer on staff to ensure that Muslim cultures, religion, characters and storylines are being portrayed accurately and authentically.
  3. The Muslim character(s) is not solely defined by their religion. Religion can be part of the character’s backstory but should not be their entire story. Muslim culture and faith should be accurately delineated.
  4. The Muslim character(s) has a strong presence and the character(s) is essential to the story arc and has a rich and clearly defined backstory.
  5. The Muslim character(s) is portrayed with diverse backgrounds and identities.

Additional Framework and Tools to Consider

Naming stereotypes allows for the deconstruction of bigotry and actively combating harm. Part II of our toolkit lists guiding questions that disrupt common tropes by looking at collections holistically and at individual works.

Similarly, tools like Jewel Davis’ guide to fantasy worlds establish a framework for evaluating “elements of racial and ethnic diversity in speculative fiction and media.” Matthew Salesses’, Korean American fiction writer, essayist, and Assistant Professor of Creative Writing in the MFA/PhD program at Oklahoma State University, book Craft in the Real World: Rethinking Fiction Writing and Workshopping, interrogates how the structure of the writing workshop and literary canon is informed by the “white gaze,” specifically that of white male writers, and how these structures affect what is considered valid literary progression and storytelling. His article 25 Essential Notes on Craft can be found on Lithub.

The Teaching for Change: Social Justice Books’ Guide for Selecting Anti-Bias Children’s Books by Louise Derman-Sparks, prompts viewers to look for stereotypes, question normalized biases, commonly used language, and power dynamics between groups of people in illustrations, storylines and relationships. HarperCollins: Shake Up Your Shelves has additional guiding questions, written by educator and scholar of children’s literature, Autumn Allen, and tools for collection evaluation, audit, and retiring problematic books. Another metric tool evaluators may find useful is EdTrust’s Tool for Representational Balance in Books, which helps users, through its four domains and ten criteria, analyze how people, cultures, and topics are represented within a text, particularly in relation to agency, power, and perspectives.

Part II: Guiding Questions for Individual Works and Overall Collections

Librarians and educators must take a holistic look at their collections to determine what trends of representation exist therein, and in consideration of publishing trends, collections should not perpetuate a single narrative or experience. Yet, it is simplistic to view books as simply “good” or “bad”, much like the characters that are depicted within them. When doing reader’s advisory and recommending books, librarians must be mindful that just because Muslims are present in a work, does not mean that the work will speak to every Muslim’s experience. 

It is important that all Muslims, particularly those whose voices are less often heard, are able to write their own stories, and that publishers expand the number of books and voices being published. Authentic, intersectional stories, even those stories that might be considered controversial, or don’t present Muslims in the best light, represent the complexity of the Muslim experience. Still, the power of stories to affect the lives of Muslims necessitates thoughtful reflection. As one individual cannot speak for an entire community, one book cannot and will not represent one group of Muslims. We hope that this toolkit will be used to further thoughtful conversations about representation of Muslims and Islam in children’s and young adult literature.

Question for Overall Collection Development:

  • How many books about Muslims in your collection are written by Muslim authors?
  • Visually, is there only one type of identity marker for Muslims? Is this identity marker the headscarf? Is it only referred to as “hijab”?
  • Is there gender diversity? Are Muslim boys and men visible or erased?
  • Do Muslims only show up in one type of narrative? Is there a dominant narrative?
  • Is the diversity of the Muslim community demonstrated? Does one group dominate? Are any Muslims from multiple heritage backgrounds? Does your collection have books by and about Black Muslims? Who are the Muslims in your biography section?
  • Are stories intersectional? Are there Muslims from different heritage backgrounds interacting? How are different aspects of a character’s identity (i.e. ethnicity, race, sexuality, gender identity, ability) explored?
  • Are all of your books published by mainstream publishers? Many Muslim voices have little or no representation in mainstream publishing.
  • Are all of your books told from a Sunni perspective or erase non-Sunni practices and communities? Are Shi’a communities and other Muslim minority communities represented and named?
  • How many of your books feature Muslims as background or side characters as opposed to protagonists? Do they have any speaking lines or agency in action? Are racial and/or ethnic identities specified or ambiguous?
  • Who are the love interests? Are love interests only white and/or non-Muslim? Are love interests only from racial or ethnic in-groups? Are character features/points of attraction Eurocentric?

Questions to ask when evaluating Muslim representation in an individual book:

  • Does the work reflect an understanding of Islam’s own intellectual tradition? Are topics viewed from a Christian gaze of spirituality, cultural, or faith practices or vis-a-vis secular humanist norms? What sources are centered and how does this affect the reader’s understanding of Islam and Muslims?
  • How is the “West” represented? Is the U.S. the savior nation? Does the book triumph an unquestioned American exceptionalism narrative?
  • Do characters and depicted communities have agency, or are they portrayed as victims of forces beyond their control?
  • Does the work reflect an understanding of the complex history of predominantly Muslim countries? Example: Are Muslim countries depicted as being impoverished, juxtaposed with Western nations being modern and functional?
  • How is religiosity portrayed? Is there nuance when it comes to the practice of Islam? Does the narrative set up a false moral binary between religious and less practicing or secular characters? Is religious practice used to indicate negative and/or archaic views?
  • Are Muslim characters multi-dimensional?
  • Does the work conflate culture with Islam or universalize a particular Muslim experience or heritage? For example, are Arab and/or South Asian cultural practices presented as universal norms for all Muslims? Does the text imply that Muslim cultures are all the same?
  • Beyond sharing Muslim identity or heritage, does the author’s own lived experience speak to other parts of a character’s identity? Is the author’s religious identity being conflated with cultural and/or ethnic heritage?
  • Where appropriate, is there backmatter that explains and differentiates religious practices, especially where they are unique to particular cultures? Are cultural and religious concepts presented and explained in a way that is developmentally appropriate?

Part III: Programming Considerations

A new addition to our toolkit, Part III recognizes the need to examine practices in libraries, public-facing and related to Muslim staff, and provides best practices in programming, partnering, and considerations when programming about, for, and including Muslims and Islamic celebrations. 

Holidays

The Islamic calendar is a non-adjusted lunar calendar, meaning that holidays move, falling about ten days earlier each Gregorian year. Some institutions may want to celebrate interfaith activities around Christmas time, but this is not always appropriate. In 2025 the month of Ramadan is projected to fall from February 28th to March 30th, when the last time it fell around this time was 1993. An interesting occurrence will happen in 2030, when Ramadan will fall twice during a Gregorian calendar year, in January and again in December. Another point to note about the lunar calendar is the different methods of determining when holidays fall. The start of Ramadan, as well as the two Eids —Eid ul-Fitr and Eid ul-Adha— vary. Some communities determine the start and end dates using calculation while others use moon sighting. Both should be considered valid interpretations for honoring time-off requests and in consideration of Muslim-inclusive programming.

Consider major Muslim celebrations when scheduling public-facing library programs, as timing may effect program attendance.  In terms of staffing, celebrations and observances may require additional attention to scheduling needs. This includes planning ahead and being aware of conflicts around professional development and conference attendance. Ramadan, a month where Muslims abstain from food and drink from dawn to sunset, is considered a time of spiritual renewal and self-discipline on many levels. Along with meeting legal requirements in many areas, accommodations to ensure Muslim staff is not scheduled for outreach on hot weather days and honoring time-off requests are ways to show Muslim staff support and foster morale.

Other possible communal celebrations include Mawlid and Ashura, the later for Sunnis is an auspicious day of optional fasting and for Shi’as a day of mourning the martyrdom of the grandson of the Prophet Muhmmad (peace be upon him), Husayn ibn Ali. 

Practices

Muslim congregational prayer service is midday Friday, known as Jummah prayer. The five daily compulsory prayers fall at different points of the day: dawn (Fajr), midday (Dhuhr), late afternoon (‘Asr), just after sunset (Maghrib), and evening (Ish’a). In some seasons, it is possible that four of these prayers will be observed during library hours. Jummah is also a time to avoid scheduling a Muslim storytime, programming, or outreach geared towards your Muslim community members.

If your library has a formal meeting room process it may not be accessible or easy for patrons seeking a quiet place to pray. If at home or at the masjid, Muslims may take a more substantial amount of time for prayer, but often when out in public spaces it can be more minimal, perhaps 5-10 minutes at most. Having a small, clean area or alcove to use for this short time is much appreciated.

Though there is a wide variety in observance of dress, head coverings are commonly seen for women and men, and hijab can look very different from woman to woman, in many different cultures and ages. Making assumptions about what hijab looks like can be misleading, as sometimes observance of hijab can be a hoodie. This should be taken into consideration when enforcing policies and protocols and in trainings with library security teams.

Dietary restrictions also vary widely, but generally Muslims do not consume pork or alcohol, and many only eat halal or zabihah. When serving food in programs it is important to check ingredients. The main ingredient to look for is gelatin, particularly porcine. Though some Muslims will partake of kosher products, buying halal products is more inclusive for Muslims. Please note that halal products can still be derived from animal products, and may not be vegetarian or vegan-friendly.

Books Displays and Programming

When promoting holidays, heritage months, and other events through book displays refer to the previous toolkit sections on cultural conflation. Are the books that you have on display actually about or feature Muslims prominently? Do they represent a wide spectrum of Muslim communities, family structures, individual stories and groups, nonfiction and fiction? It is important to ensure that you have enough content to have a meaningful display, and if you do not, seek more books to fill this need. Consider how it can pair or be supplemented with programming. When choosing books for storytime, include a variety of types of stories about the Muslim community i.e. general narratives that celebrate elements of Islam, joyful and broad community joy, as well as books with characters from specific cultural backgrounds.

Displays for heritage months should be confirmed to align with the heritage, and be broadly inclusive of the spectrum of that heritage. Is the Arab Heritage month display inclusive of Arabs from different countries of origin and faith backgrounds, including Islam? Does the Asian Pacific Heritage Month display include books with Asian Muslim characters? The absence of Muslims in this display or the conflation of one heritage with another can do just as much in reinforcing stereotypes and erasure. 

We know that many libraries are facing censorship in the form of direct book bans, challenges, and soft-banning. While bans and challenges often originate from external forces, soft-bans, when libraries anticipate controversy and either take books off the shelf display, or don’t order them at all, are also damaging. Additionally, there are instances of patrons hiding or taking books to prevent others from reading them. If possible, additional funds should be allocated in order to ensure multiple copies of books or replacements.

For more practices we refer you to ALA and the Freedom to Read Foundation. In the article Quiet Censorship” published by the ALSC Blogger and Intellectual Freedom Committee member Judy Ehrenstein, a children’s librarian with Montgomery County Public Library, Ehrenstein soberly reminds us, “Preserving our jobs and serving our young readers has become a challenge. But maybe have a talk with yourself every so often and check to see if your decisions serve your young readers best, or just you.” 

Partnerships & Outreach

When planning outreach and programming for adults and youth, consider reaching out to local mosques/masjids. Many mosques have youth centers or youth programming. School outreach should include Islamic schools and child care centers for: programming, storytimes, teacher resources, curriculum book requests, rotating collections, research help, as well as larger programs like summer reading.

Masjids and local non-profit organizations are also potential partners for informational programs you may offer to your broader community. Successful examples of library programs like “Meet Your Muslim Neighbor,” “New Americans,” or other holiday programs may be used as models. When considering speakers for interfaith programs, educational programs specifically about Muslim, or professional development in cultural competency for staff, organizations like the Islamic Networks Group (ING) can speak on many subjects, historical or contemporary, and give context to current events. 

Additionally, even while certain programs are designed especially for Muslim families and communities, it is equally crucial to think about including and interacting with Muslim communities for the regular programs that the library has to offer. 

Concluding Thoughts

By applying critical and thoughtful evaluation using the information and guiding questions provided in this toolkit, library professionals, book professionals, and educators can make a tremendous impact on the lives of Muslims and help us all move forward together in a broadly inclusive society. 

 

 

Posted in Uncategorized

Planet Omar: Accidental Trouble Magnet Review and Discussion Guide

We were delighted to be involved in the creation of a discussion guide for Planet Omar: Accidental Trouble Magnet by Zanib Mian and released in the United States by Penguin/Putnam. Find the discussion guide on the Penguin site and our review below.

Muslim British Pakistani Omar is an elementary aged boy with a huge imagination. As the middle child with a bossy older sister, Mayram, and a messy three-year old brother, Esa, Omar stands out because of his imaginative ideas and daydreams which sometimes gets him into trouble, but also helps him deal with his worries. With his family moving to a new home in London, Omar has been worrying a lot. 

Omar’s loving parents are scientists who are relocating for his mother’s dream job in cancer research. Though they are excited by their new home, their new neighbor, Mrs. Rogers, gives the family the cold shoulder, and is often on the phone complaining about what “the Muslims” are doing. Nervous about school and his teacher, Omar imagines a dragon protector named H2O. Ultimately, he finds that his teacher is understanding; she asks him about Ramadan and if he needs to be excused from activities if he is fasting. Omar even makes a new friend, Charlie. 

But just when he thinks he might not need all H2O’s help at school, he meets Daniel. Daniel bullies everyone, especially Charlie. When Daniel finds out that Omar and his family are Muslim, he treats Omar with even more vitriol, telling Omar that he and his family will be kicked out of the country. Omar’s cousin confirms Daniel’s words about Muslims being unwelcome and intensifies Omar’s worries.

Deceptively light-hearted and laugh-out-loud funny, Omar’s antics and reference points are tied to his identity. Mian makes references to Islamic terms and culture, such as prayer and dietary restrictions, as well as their Pakistani British identity in an unforced manner. Indonesian Mafaridik’s illustrations, cartoon-like and gentle, with simple, clean lines, give the series a Wimpy Kid like feel, which may appeal to younger children who are reading the book with family members. Muslim readers will find plenty of mirrors in Omar’s stories, from attending mosque to the tongue-in-cheek references to commonly held misconceptions about Muslims, for example, Maryam and Omar laughing about people possibly believing that their mom wears a hijab in the shower. The topics of racism and Islamophobia come up organically and allow readers opportunities to unpack their effects. Conflicts are resolved with compassion and mutual understanding. Omar and his family, in their foibles and actions guided by Islamic principles, are truly delightful. 

Posted in Blog Posts, Books

2020 Ramadan Reads: Recommended Books

Ramadan Reads

In 2019 we did a series of Instagram posts of kidlit books about Ramadan. This year we have curated and updated our list to include new titles and our favorites. Books are listed by format and in alphabetical order by title. This list is available in PDF.

Picturebooks

Bashirah and the Amazing Bean Pie: A Celebration of African American Muslim Culture by Ameenah Muhammad-Diggins: At Bashirah’s Islamic school all of the students will bring in a dish to share after Eid to celebrate Muslim cultural diversity. Her classmates, Mustafa and Fatima, will bring jollof rice and biryani respectively; Bashirah decides to bring bean pie, a family recipe that her Pop-pop is teaching her. Her family gets together for Eid prayers, all beautifully dressed and then return home for food: fried chicken, sweet potatoes, macaroni and cheese, and green beans, while Bashirah and Pop-pop make bean pie together. Bashirah’s father calls the family together for dhur prayers where “three generations of Muslims—aunts, uncles, cousins, and grandparents-all prayed together.” Bashirah takes food to share with a neighbor and the family enjoys Bashirah’s very first bean pie. At school, Bashirah proudly brings in her pie, and teacher Nafisah reminds the students that Allah made us into nations, encourages us to get to know each other, and that no Muslim is elevated over another except by faith and deed. Included is a recipe for bean pie.

Drummer Girl by Hiba Masood: In a Turkish village, the musaharati drummer has the important job of waking Muslims for their pre-dawn meals during Ramadan. Najma has followed the beat of the drummer and longs to be a musaharati herself, but a girl has never performed this role before.

Eid Breakfast at Abuela’s by Mariam Saad: Sofia, her mom and dad spend Eid with her Mexican grandmother who throws them a festive breakfast which includes traditional Mexican food, decorations, and activities. Her grandmother and other family members who join to celebrate with Sofia and her family are not Muslim.

The Gift of Ramadan by Rabiah York Lumbard: Sophia loves all things sparkly including the decorations her family puts up during Ramadan and the heart of the person that fasts. When her first attempt at fasting is harder than she anticipates, Sophia’s grandmother reminds her that there are more opportunities to try again and that there are other ways to celebrate the month and equally important acts of worship and ways to help. With Sophia’s multitude of feelings and the encouragement of her family, Lumbard captures the feelings of Ramadan and what the month means to believers. The story also reminds us that for those who cannot fast there are other ways to make Ramadan meaningful, to nourish the sparkles within the heart.

Hassan and Aneesa Celebrate Eid by Yasmeen Rahim: In another story about Hassan and Aneesa, they are excited to celebrate Eid, decorating the house, attending Eid prayers in new clothes and hosting an Eid party with family and friends.

Hassan and Aneesa Love Ramadan by Yasmeen Rahim: Brother and sister Hassan and Aneesa, British Muslims, are excited for Ramadan. At night Aneesa hears noise from the kitchen and sees her parents eating sahur, the pre-dawn meal. In the day they observe their parents reading Qur’an and giving charity. Having iftar with their cousins, they see their cousins fasting, and want to try as well, their mother agreeing but saying that they can stop if they feel too hungry because children don’t need to fast. While younger Aneesa breaks her fast with a banana, Hassan wants to try to fast the whole day, and they have their evening meal with a special treat. Glossary included.

Ilyas & Duck: Ramadan Joy! by Omar S. Khawaja: The fourth book in the Ilyas & Duck series features Ramadan, the joy of the month as well as the difficulty of fasting and the empathy and compassion that comes as a result. All the while readers familiar with the antics of the duo and a new villain in town, Mr. Mean.

Lailah’s Lunchbox by Reem Faruqi: Having recently moved from the UAE to Peachtree, Georgia, Laila is excited to fast this year for Ramadan with her family but is hesitant to tell her teachers and classmates. Instead of sharing a note from home, Laila first goes to the lunchroom and then to the library, before the school librarian encourages her to express her feelings. This lovely and relatable book is a gentle introduction to Ramadan that helps to equip children with language and tools to advocate for themselves and reminds the adults in their lives to advocate and listen to them. The term sehri is used for the predawn meal instead of suhoor, adding another layer of identity to Laila and her family’s immigration story.

A Moon for Moe and Mo by Jane Breskin Zalben: Two neighbors, Moses Feldman, and Mohammed Hassan, both known as Moe/Mo by their families, share a picnic in the park when the Ramadan fast coincides with Rosh Hashanah.

Moon Watchers: Shirin’s Ramadan Miracle by Reza Jalali Shirin: watches for the moon with her family and wants to participate in the fast, but at 9 years old she is told that she’s too young to do so. She concentrates on doing good deeds like trying to get along with her older brother.

The Most Powerful Night: A Ramadan Story by Ndaa Hassan: A Ramadan story about Laylat-Al-Qadr, the night Muslims believe the Quran was revealed to the Prophet Muhammad (saw). This is a special night that occurs once a year during the month of Ramadan.

My First Ramadan by Karen Katz: My First Ramadan is by Karen Katz. This story follows a young boy as he observes the month of Ramadan with his family.

Night of the Moon by Hena Khan: Seven-year-old Pakistani American Yasmeen and her mother observe the tiny crescent of the moon signifying the start of Ramadan. As the month goes by Yasmeen tracks the phases of the moon as passage of time while highlighting the various events that take place during Ramadan through the eyes of a child capturing the spirit of Ramadan, familial and community love and fellowship.

Owl & Cat: Ramadan Is…by Emma Apple: A brief note introduces readers to the concept of fasting during the month of Ramadan, indicating its specialness and being a time of generosity and gratitude. The sixty pages that follow indicate one action, deed, and an illustration on the opposite page of Owl and Cat and their various friends. After 60 pages (30 days), Ramadan is over and it is Eid.

A Party in Ramadan by Asma Mobin-Uddin: Leena is excited to participate in Ramadan. Not old enough to fast the entire month, she decides to participate by fasting on certain days with her family. When a birthday party of one of her friends falls on a fasting day Leena is determined to fast, even though her mother asks if she would like to fast on another day. Leena enjoys the party and finds fasting easy at first, but as the afternoon goes on and grows hotter she finds herself longing for a glass of lemonade and birthday cake. She is able to keep her fast and has the opportunity to do a good deed and share a test with her sister after breaking fast.

Ramadan by Susan L. Douglass: Ramadan by Susan L. Douglass, illustrated by Jeni Reeves and published by Lerner Books gives an overview of Ramadan for readers. Susan is an incredible source for Islamic education for K-12 educators in social studies, history, and religion and apart from her many accomplishments is currently the K-14 Education Outreach Coordinator Center for Contemporary Arab Studies at Georgetown University.

Ramadan Around the World by Ndaa Hassan: Ramadan Around the World looks at Muslim children around the world and their celebration of Ramadan in prayer, charity, and fasting.

Ramadan Moon by Nai’ma B. Robert: Ramadan Moon by Na’ima B. Robert. This story captures the wonder and joy of the month of Ramadan from the perspective of a child.

Rashad’s Ramadan and Eid al-Fitr by Lisa Bullard: Rashad is fasting this year for Ramadan with his family. The simple story of acts of worship during Ramadan are coupled larger text boxes that explain broader ideas and actions. Includes a glossary of words.

The Shapes of Eid According to Me by Samia Khan: A child reflects on the shapes they see on Eid. Told in rhyme, this book features a South Asian family and the city of Chicago.

Under the Ramadan Moon by Sylvia Whitman: Presents information about actions taken during Ramadan for the very young, in lyrical rhyme and repetition of the phrase “under the moon, under the Ramadan Moon.” Great read aloud for young children who can watch for the moon waxing and waning during the course of page turns.

The White Nights of Ramadan by Maha Addasi: Noor and her family are preparing for the festival of Girgian, celebrated in Kuwait on the three consecutive nights in Ramadan, when the moon is fullest. The family prepares sweets together, a nut brittle made of honey, powdered sugar, and roasted pistachios for the children that will come to their door that night. Noor and her brothers prepare as well, decorating their candy bags and put on traditional clothing, the brothers- dishdashas and Noor a dress “so bright that Noor thought she could see the red with her eyes closed.” In a tender moment between Noor and her grandmother, grandmother reminds Noor that the true meaning of Ramadan is spending time with family and sharing with those less fortunate. After a night of treats Noor and her grandfather take a basket of food to the masjid for the poor. As they walk together they admire the beauty of the moon.

Board Book

Ramadan (Celebrate the World) by Hannah Eliot: A board book that describes the every day actions taken during Ramadan including prayer, doing good deeds and spending time with family. As part of a series of holiday board books it actually has a significant amount of text in the small format, varying from one to three sentences per page. Illustrations are colorful and show people of various skin tones, ages, and wearing clothing from suits and school uniforms to thobes with agal and ghutrah or a fez.

Fiction

 

Badir and the Beaver by Shannon Stewart: An early chapter book about Badir and his family who have recently immigrated to Canada from Tunisia and are celebrating the month of Ramadan at home. Badir sees what he thinks is a giant rat. When he is is told that it is a beaver, a symbol of Canada, Badir tries to find out what he can about this interesting animal. He also finds out that some of the locals think it is a nuisance and want to move the beaver out. Badir, knowing what it’s like to leave your home, embarks on a campaign with his classmates to save the beaver and its home.

The Garden of My Imaan by Farhana Zia: In this coming of age book set during Ramadan, Aliya is thinking about growing up, and finding her place and identity as a Muslim in her school and beyond.

More to the Story by Hena Khan: In a novel inspired by Little Women, thirteen-year-old Pakistani American Jameela Mirza, second oldest of four sisters and an aspiring journalist, lives with her family in Atlanta and her father is missing Eid for the first time ever to look for a new job.

Once Upon an Eid ed. S.K. Ali and Aisha Saeed: A compilation of fifteen short stories that celebrate, the most joyous of Muslim holy days! Groundreaking for the diversity of authors and experiences, including a story told as a graphic novel.

Planet Omar: Accidental Trouble Magnet Zanib Mian Imaginative Omar and his family have moved to a new home in London and he is nervous about starting school, especially since a bully seems to have targeted him and their new neighbor is not so nice.

Non-fiction

Crayola: Ramadan and Eid al-Fitr Colors by Mari Schuh: A simple and effective introduction to Ramadan for younger readers in a series that connects holidays by colors. Readers are still introduced to some concepts of Ramadan like sighting the moon and fasting. Photographs of smiling Muslim children around the world are featured throughout the book as well as colorful visual elements. Back matter includes the usual glossary, index and further resources as well as crayola colors used in the book and a coloring activity page.

Ramadan: The Holy Month of Fasting by Ausma Zehanat Khan: This nonfiction chapter book, targeted for children ages 9-14, is divided into four chapters, filled with pictures and personal anecdotes (including Olympic fencer Ibtihaj Muhammad), along with explanation of religious practices during Ramadan and beyond. Chapter three details projects and charity undertaken by youth during the month while chapter four details traditions from different countries across the globe. Valuable for school and public libraries as well as Muslim home libraries in a way that validates Muslim children and the variety of ways that Muslims experience Ramadan both on a personal and cultural level without diminishing the universal experience.

Posted in Author Interviews

Author and Illustrator Interview: S.K. Ali and Hatem Aly

S. K. Ali is the author of YA novels, Love from A to Z, and the 2018 Morris award finalist, Saints and Misfits, which won critical acclaim for its portrayal of an unapologetic Muslim-American teen’s life, and was on many top ten YA novels of 2017 lists, including from Entertainment Weekly, Kirkus Reviews and the American Library Association. Her picture book THE PROUDEST BLUE, co-authored with Ibtihaj Muhammad, debuted on the NYT bestseller list, and she’s the co-editor of an upcoming Middle Grade anthology, ONCE UPON AN EID, releasing on May 5, 2020. She has a degree in Creative Writing and has written about Muslim life for various media. She lives in Toronto with her family, which includes a very vocal cat named Yeti.

Hatem Aly is an Egyptian-born illustrator whose work spans editorial cartooning, animation, book and magazine illustrations worldwide. He currently lives in New Brunswick, Canada, with his wife, son, and many pets. The Inquisitor’s Tale, written by Adam Gidwitz and illustrated by Aly, was a 2017 Newbery Honor and winner of the Sydney Taylor Book Award. You can find out more about Hatem and view many of his beautiful illustrations on his website or following him on Twitter or Instagram.

Interview Questions were compiled by Hadeal Salamah and Ariana Hussain.

Questions for S.K. Ali

1. This is your first picture book collaboration. How did it differ for you from writing for young adults? How was the process different in terms of you choosing prose for the book?

I found the process much like writing poetry, which, yes, I’m fortunate to have had experience with – but that experience was from over twenty years ago when I was doing my degree in Creative Writing! So while initially I was confident and excited (Picture Book! Short text! Yay!), as I worked on the process of telling a story with a limited word count, I realized that each word had to be carefully considered, that the flow had to be maintained in a manner that carried the story while delivering necessary emotional notes and, that while I could allow the art to carry some of the weight of the narrative, I had to be strategic on how to incorporate the illustrations for optimal effects. Fortunately, I was able to draw on my experience of being a primary grade teacher for over two decades, having read countless picture books, to apply the aspects I loved about these texts in my own writing. While it was challenging, I ended up enjoying the process and am eager to try writing another picture book text in the future, insha’Allah!

2. The pride and love around the idea of hijab is beautifully portrayed in The Proudest Blue, was your journey in wearing hijab similar? Different?

Ibtihaj and I had similar experiences in observing hijab in North America and this is what ultimately led us to a strong text. We both grew up wearing hijab from a young age in environments that weren’t always receptive to our choices.

There’s a duality that exists when you have an identity that’s not “accepted” by mainstream society; you juggle the comfort and pride you get from following your family’s teachings and traditions, from the warmth and happiness you feel from fitting in with your community (in this case, Muslim), from the safety you find in your faith to all the ignorance, negativity, and even outright hate you find outside these circles of security. I remember feeling so excited about favorite scarf styles and colors with friends at the mosque and then having to dampen that passion at school because I wasn’t “supposed” to be happy in my scarf. There’s a huge cognitive shift that happens internally and, when I was growing up, we didn’t have public discussions about what was happening to us. We had internal Muslim community discussions, yes, but we didn’t have the kind of public conversations about code-switching and slipping in and out of personas that we have now in wider contexts. We also didn’t have the mainstream images of confident visible Muslim women that we’re currently blessed with, Alhamdulillah.

THE PROUDEST BLUE is an exploration of the pride, warmth and happiness that many Muslim girls feel, twinned with the reality of a world that doesn’t accept that this could be the case. It’s reflective of the way I grew up – being constantly pushed to figure out whether I was allowed to feel happy in my skin as a Muslim girl. But while this was all true, this constant internal turmoil didn’t and doesn’t now erase the beauty we found in being Muslim, and the strength we developed in sustaining that belief in an increasingly hostile world.

That’s why THE PROUDEST BLUE ends on a note of the kind of gutsy resilience that’s carried Ibtihaj and I and all our sisters in the faith to who we are today as strong women, women who don’t let others dictate the terms of our happiness.

3. This is a story of familial love and pride as well as one about facing Islamophobia and bullying. Did Asiya’s experience resonate with you or connect to any real life experiences?

There’s a point in the book where Asiya is bullied about the “tablecloth” she’s wearing. This is drawn from Ibtihaj’s experience wearing hijab at school. For me, it was “curtain”. I was constantly called “curtain-head” and told to take off my curtain. While it was certainly hurtful to be bullied in this way, on hindsight it was also so strange and silly that harmless household items, table linen and drapery, were used to taunt us both. In my case, as a young girl, it made me go home and think about how being called “curtain-head” didn’t even make sense. The taunts also made my friends and some peers see the absurdity of being bullied in this way for my religious identity. They tried to join together in shutting it down as much as possible but as we know too well, bullies gonna bully. This is why we wrote the book the way we did – not centering the bully’s transformation or change to become a better person (as many books on bullying tend to do) but focusing on the internal process by which a young person can move on from being attacked for who they are.

4. Do you feel that books featuring Muslims are being created and marketed in a positive way? Are there trends you like or hope will change? What do you think the impact of Muslim-centered literature has on readers?

I get emails every week from young readers grateful for the books they’re seeing in the world now. Each and every one of these letters (from Muslims and non-Muslims) have moved me to tears because at the heart of their correspondence is gratitude for a profoundly simple act: that of being seen.  My tears come from a mixture of spaces – that of happiness for reader glee at connecting deeply with characters I’ve written, that of sadness for their excitement at what is an everyday occurrence for readers of non-marginalized backgrounds, that of personal grief for not ever having seen my Muslim self growing up in a fictional narrative (not even believing that this could actually be the case!), and then, the tears of hot anger.

It’s unconscionable that a) it took so very long for books representing our full humanity to be published (well, the marginal increase since the We Need Diverse Books movement of 2014), that b) it hasn’t made a transformative effect yet, that c) publishing continues to be so homogenous. These young readers are writing me with passion and emotion, so grateful for being accepted as characters on a page, for being human, for being a part of the world. This is unbelievably sad. And has real-world consequences as we see from the increase in publicly shared hate.

I’d like to see the publishing industry move forward and do the work of upending the status quo in their own organizational structures. I’d like to see books featuring marginalized characters, written by marginalized authors, to get more backing from publishers – whether it be with awesome covers, marketing, publicity, becoming lead titles, etc.

The We Need Diverse Books movement was grassroots. People doing the work on the ground. Making things happen.

This shouldn’t be the case once a publishing company is involved; marginalized authors shouldn’t be expected to do the heavy lifting – after being accepted for publication – for their titles to be “seen” by the mainstream. We need diverse books but we also need them pushed like the titles we grew up reading were.  Even if, nowadays, publishing has “evolved” to become equally driven by author publicity initiatives, righting the wrongs of years of erasure and misrepresentation requires this kind of an investment.

That’s what equity is. And that’s the only way we’re going to sustain this movement for books reflecting humanity and not white supremacy.

Questions for Hatem Aly:

 1. Hatem, we feel so fortunate to be able to interview you again for The Proudest Blue. All of your work is beautiful and powerful, and this book is no exception. Obviously blue is the central color of this story, what was your process for choosing the blues for your illustrations?

Thank you very much, it is a pleasure to speak with you again! Yeah, Blue is everywhere in the book and it a central color. I tried different shades of blue at first and settled on a strong and “happy blue” if you may call it. I was trying to show a blue that is present, strong and confident. A shade that is refreshing and empowering. I hope it shows, even to a degree.

2. What was your favorite scene to illustrate in The Proudest Blue? What scene(s) did you find most difficult to create? Why?

I enjoyed very much the dreamy scenes that show Faizah in the context of how she felt..the 2 scenes that come to mind are the one showing Faizah in a paper boat just like the cover thinking: “Asiya’s hijab is like the ocean waving to the sky. It’s always there strong and friendly”. The other scene is when Faizah was looking for her sister after school right before she found her..this scene will overlap with the most difficult scenes which are the ones with the shadowy figures saying hurtful words about Asiya and laughing at her. I wasn’t sure how I’m going to illustrate these and decided to keep them faceless with no significance at least to Faizah. They disturb her but it doesn’t matter who they are, how they look like, or their age or gender and she chose not to pay too much attention to them.

 3. In both Meet Yasmin and The Proudest Blue you are looking at many layers of identity; Identity being central but accepted in Meet Yasmin, and challenged in The Proudest Blue. Did Asiya’s experience resonate with you in your experiences or those of Muslim women that you know? Did Faizah’s?

It is an everyday story to struggle not to give power to hurtful perceptions, actions, and assumptions while maintaining a level of equanimity and pride. As a Muslim man, I can only imagine what women go through. Both Asiya’s and Faizah’s experience is relatable and reoccurring in many versions. I find this book is a great representation of what happens on the other side of acceptance or the lack of it or in spite of it all.

4. Where do you prefer to create art? What are your most useful tools (physical or virtual) or habits that help you in your work? What is your favorite part of the book making process? Most difficult?

I like to work where I can have my tools available and a reasonable degree of isolation with the help of a pair of headphones, so working from my home office is my preferable workspace at the moment. Sometimes I enjoy sketching or taking notes when I’m out in a quiet place especially at the public library. I mostly work digitally since it is convenient and easy to fix if the time is right (and it usually is) I use Adobe Photoshop most of the time with occasional use of Clip Studio paint. However, I love working with pen and ink with some watercolors and pencils as well and find myself longing to use them more often while also exploring and experimenting with other media. So maybe you’ll see some of this in future books.

My favorite part of bookmaking is the most difficult, which is the first stage of trying to translate thoughts into scribbles that make sense, and gradually mapping and giving visual existence to everything. It could be both frustrating and satisfying! The rest is not relaxing but you can always count on a map when you’re lost.

5. You have a background in fine arts. Did you always know that you wanted to be in the arts? Was there something that inspired you to be an artist?

I can’t say it was that clear in my mind, I have always been drawing since I can’t remember but I was pretty bad at being goal-oriented and approached the arts very intuitively making up stuff as I go. I made comics all the time and drew characters from books and cartoons as a child then created my own as I grew older, but until High school I wasn’t sure what should I study or what should my work be and it stressed me out and took me time to trust that I pull off being successful in the arts and it was challenging but the best decision I’ve done.

6. What was an early experience/book where you learned the power of art/illustrations?

This might be an irrelevant answer since I have a very bad memory but I can strongly recall some notebooks my father bought for me to use at school which I found the covers were too beautiful to use so I never used them! The covers were clearly inspired by fairy tales with a Grimm Brothers vibe to them.

7. Who are some of your favorite illustrators? Are there any illustrators that inspire/influence you? As a child, what was your favorite genre to read?

There are so many to add to this list! To mention some I’d say: Laura Carlin, Jon Klassen, Marc Boutavant, Oliver Jeffers, Carson Ellis, Shaun Tan, Tove Jansson, Jillian Tamaki, Beatrice Alamagna, Maurice Sendak, Bill Watterson, Naoki Urasawa, and much more. So many brilliant artists that inspire me.

As a child, I was into fantastical or mythical fiction, Science fiction, humorous writing and pretty much anything else..but I wasn’t very patient with historical or factual events and realistic drama for some reason..this came later. I adored an abridged version of Jonathan Swift’s Gulliver’s Travels as a child and was so intrigued by it.

8. Did you receive a lot of encouragement from your family in pursuing art? What is the first piece of art that you made that you were incredibly proud of (or that your family was proud of)?

YES! Probably even far more than I encouraged myself and I’m greatly thankful for that! I can’t remember specific ones that they were proud of but I do remember annoying my mother to draw me something instead of me doing all the drawing. While she thinks can’t draw at all she drew a green oval shape that I couldn’t recognize. When I asked her what is it she said: “why, it’s a mango!” I laughed and thought it was the sweetest thing ever.

Posted in Author Interviews

Book Chat with the Illustrator: Hatem Aly for THE PROUDEST BLUE

In expanded coverage of The Proudest Blue: A Story of Hijab and Family by Ibtihaj Muhammad with S.K. Ali and illustrated by Hatem Aly (Little, Brown Books for Young Readers), watch and listen to this interview of Hatem Aly by Victoria Stapleton of Little, Brown Books.

Hatem Aly discusses his approach to illustrating this book and the meaning behind certain illustrations, spread and movement between pages. Thank you, Hatem for your beautiful work and to Little, Brown Books for sharing this interview with us! You can also find LBYR calendar wallpapers for the Proudest Blue on their site.

We have been fortunate to be able to interview Hatem about his work with Saadia Faruqi in Meet Yasmin! Watch this space for our interview with Hatem about The Proudest Blue.

Posted in Book Discussions

Book Discussion: The Proudest Blue

The Proudest Blue: A Story of Hijab and Family. By Ibtihaj Muhammad with S.K. Ali. Illustrated by Hatem Aly. Little, Brown Books for Young Readers (9780316519007)
Publish date: September 10, 2019

Faizah admires older sister Asiya’s new, strikingly blue and beautiful first-day-hijab, finding inner strength and pride when facing bullies at school who make fun of it.

This book discussion was conducted on May 12, 2019 and was based on the fold & gather, received from Little, Brown Books for Young Readers. The conversation has been edited for clarity.

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Ariana: My first appreciation is seeing multiple Muslims involved in the process of this book from the author, Ibtihaj Muhammad with S.K. Ali and illustrated by Hatem Aly. The cover clearly conveys the concepts and themes– beauty of the blue hijab, ocean and sky, the endless possibilities.

Mahasin: For me it is still unusual to see African American Muslim representation in children’s books and seeing people who look like me and my family. To see both faces of the sisters…I think just seeing the cover will just make a lot of little girls in particular really happy.

Ariana: When I went to a presentation for this, there was a reading of the text by Ibtihaj. At that point I had only heard the name Asiya pronounced Aah-si-ya or Aa-si-ya. In the audio recording, her name is pronounced A-see-yuh; it was interesting for me to hear how Asiya’s name is pronounced in her family.  I thought about how it would create a different experience for readers listening to the book and reading the text and how it’s another point of identity that would make the experience of the story richer in this case.

Mahasin: That is not an uncommon pronunciation of the name, especially in African-American communities. I find the ritual of going to the store as a family so powerful, because I think that there’s this idea often times that wearing a scarf is forced upon girls and if they had the choice they wouldn’t choose to wear it. Right at the beginning it’s established that this is a moment of pride, a moment of togetherness, a moment of consent, a moment of choice, and a moment of affirmation.

Ariana: I like differentiation in the scarf style preference between Asiya and her mother, her mother in an abaya and a long khimar, a hint of how they might differ in hijab style. I also like that Asiya’s style without hijab is distinctive and cool.

Mahasin: I love the details of Asiya’s hairstyle. She clearly has cornrows or braids and colorful rubber bands, which are common hairstyles for Black girls. I also appreciate the details of her earrings and jacket. I think of the book Under My Hijab by Hena Khan, and that so often the question that women who wear headscarves get is “What’s going on underneath there? Do you have hair underneath there? Are you bald?” 

This image is important because it normalizes the idea that the person wearing the scarf and not wearing the scarf are the same person. While the scarf has symbolism, it’s simultaneously a piece of clothing and there’s still that person with all the things that humans have underneath. As obvious as that sounds, it is an important statement.

Hadeal: I really enjoyed seeing things from Faiza’s perspective, and her clear admiration of her sister. But even though we don’t get a lot of written explanation of Asiya’s feelings, we can see that she sure herself, with no hesitation, she knows what she wants, and Faiza knows that too. 

Ariana: I appreciate that throughout the book you can still clearly see aspects of Asiya’s personality, like her headphones dangling under her hijab, still there. And as they move through the setting you see more of Faizah, counting her steps with each light up of her shoes, walking with a princess. So she doesn’t think of herself as a princess yet. 

Mahasin: In my bio for the blog I referred to my scarf as a crown. I had debated whether that was cheesy, but decide that it is my truth. This crown on top of my head, regardless of terminology, is an accessory or accent to Blackness, and “Black is beautiful,” that utilizes the language of royalty and recalls “kings and queens” in Africa. It is a common phrase connected to the African American community, the African African Muslim community, Islamic liberation theology, and social and political awareness around Blackness. In my lived experience, Faizah thinking of herself as a princess-in-training, in terms of the headscarf, rings true to me. 

Ariana: Thank you, Mahasin for that clarity. I love the joy of the color blue in the smile of the hijab as Faizah watches Asiya head to sixth grade. The spread that follows has Faizah claiming her joy back from whispers of doubt about Asiya’s scarf. That self-realization and sense of agency was subtle but something that people of color and communities that have experienced oppression have had to do, carrying the idea back to the title of Proud.

Mahasin: I am thinking about the continuum of Ibtihaj going from Proud to the Proudest Blue. I think the theme of not being embarrassed, ashamed or feeling like you have to hide, it stands out to me in conversations about Islam, assimilation and race. It harkens back to being Black and proud and standing up for who you are not feeling like you need to cower.

Hadeal: In the author’s notes, Ibtihaj Muhammad mentions moments when they would wear a scarf as preparation for wearing hijab full-time. This was true in my community, and I appreciated that this story is about self-identifying as Muslim, knowing that you might be treated differently because of your expression of faith, and possibility of being othered. Children picking up will see this story and know that the author went through this, and be encouraged to still be who they are and know who they are,  for whatever reason makes them different, in this case hijab. I appreciate the inclusion of Asiya’s friends, not just in activity but their smiling, supportive faces, not making a big deal out of the change but still reacting when another kid points at Asiya. It’s really important to include, because in my own experience you might not know how to talk about it with your friends and to see that Asiya’s friends are on her side is powerful.

Ariana: The spread with Asiya’s wondering face and friends angry on her behalf held was particularly meaningful in modeling the difference between bystanders, upstanders and allies. 

Asiyah’s experience in hijab is still new, but it is a quick-to-learn lesson that there will always be haters. Hijabis learn to be quick with the brush-off and can become desensitized. But people on the outside seeing hateful experiences can get angry, showing acknowledgment when you might be gaslighting yourself just to cope, because you don’t always have the energy or audacity to be angry, even if you know you have the strength and pride to walk away. They remind you of your right to feel angry and that you deserve to be in a space without feeling othered. The children as shadows without names and faces is also powerful, because many naysayers will be anonymous approachers, people who don’t even know you. And between Asiya’s friends, the naysayers, and the wondering child, there is the underlying question of “who are you in that spectrum?” letting that resonate with the reader, and asking “what would you do in this situation?”

Mahasin: While I don’t want to pit books against each other, I can’t help but think of the joy of this book, Faizah’s happiness in the boat looking at the blue of Asiya’s scarf and the ocean, in juxtaposition to Saffron Ice Cream and the expressions of the anger there. I know we struggled with that book, though it was an own voices story and told a truth that is worth being told, but there are just so few stories that everything becomes prominent. I’m just so happy to see another story with an ocean and a Muslim woman in a scarf, and there is another image that doesn’t convey force, but instead joy.

Ariana: The page with the sky and clouds that talks about hijab being special and regular, is so deliberate. I like that normal isn’t used. So that even if it’s something that is a regular occurence, it’s always going to be special. I like the perspective also, of Asiya’s face in the spread you mentioned, that it just keeps going forward. It’s different from the cover image and the expression of being proud, kind of squared off, while this one is more rounded, comforting and content. 

Mahasin: She’s just riding the waves.

Ariana: Yes! And coupled with their mother’s quote where it says, “‘some people won’t understand your hijab,’ Mama had said. ‘But if you understand who you are, one day they will too.” It’s so beautiful and powerful – it’s becoming my new daily positive affirmation.

Hadeal: Reading this book I thought about kids going through changes, especially girls wearing hijab, and instructions and affirmations they might receive from family about being strong and being proud, but not about treatment from outsiders. So I’m hoping that this book reaches readers who want to learn more, but also parents, adults, and role models who can touch on different things happening in this book but still help affirm identity and prepare a child. 

Mahasin: I struggled a little bit with this and with Yo Soy Muslim by Mark Gonzales because they are picture books that deal with the negativity of how people might respond to us as Muslims. I think about when I would read this to my four-year-old: before an experience or after, and read it as a response. No negativity towards either of the books, but as a parent I’m not really sure…do I protect them from that? Inevitably they end up learning that not everyone likes Muslims. This is a book that I can definitely read in a class visit right or storytime, but if children haven’t had an experience like this am I introducing and idea that might be hurtful or am I addressing something that’s already there? I think of the potential for a child or class who might be working through this or is nervous about it, but I wonder about the child who hasn’t had any negative experiences, what does seeing that in a book do? Does it address something necessary or create a conversation that is unnecessary? I really don’t know.

Hadeal: I see it one of two ways. I think about first day of school books and, whatever level, it is preparing a child to go. I see where you are coming from. But in this situation, at least in my experience, women who didn’t talk about it with their families may have wanted to be warned or introduced to examples, and then affirmed by words like Asiya and Faizah’s mothers, “be who you are and be proud.” It’s a loving book and it’s affirming. It says, “I’m proud to be a Muslim and to wear hijab, and I still have all these friends around me.” 

And it can be used in different ways. Caregivers and teachers often ask for books about bullying when noticing issues and use books or situations to model behavior. It of course is whatever you are comfortable with as a parent, but there are things that children may need or want to know ahead of time. I think of other concepts of safety that you talk to a child about and, for their safety, it would be something that I would want to talk to my child about. And the mother didn’t mention specific examples, but she did warn them that there were always going to be haters, and she had mentioned that to her daughters, but as long as they knew who they were things would work out and I see power in at least being touched upon in the book.

Ariana: We talk about preparation as necessary–the idea of having to prepare your child or even student something hateful–as BIPOC educators as opposed to white educators, or white parents as opposed to Black parents or other IPOC parents. Our kids have to be prepared for a certain level of something. It’s beyond what white children might see or if it’s anything their parents want them to see. There are still so many parents who believe in the color-blind paradigm, that makes part of the world completely invisible and gaslights people, telling them that it’s not really a big deal, and it is, it is a big deal and it’s something we deal with daily. 

I think about hearing things as a young girl and policing of bodies, whether it’s covering or not, unwelcome comments or comments in general that are made about women’s bodies–their size, what they’re wearing–when do we prepare these young women? There is a barrage of negative imagery that women face everyday and that’s just advertisements. This book is a window for readers who are not Muslim or who don’t wear hijab, including Muslim boys and men, to get an understanding of what it’s like to wear hijab and the complexity, because of course there is a lot of policing of women’s bodies in Muslim communities too. 

I think about what kids have already seen, aftermath of Islamophobic events, and never knowing when to expect them. Do we go in prepared or try to maintain innocence as long as possible? In the context of race, avoiding these conversations can uphold white privilege and supremacy. So with hijab, I think it’s expecting discrimination even if you live in an excepting community, or a bubble. Do you keep your kids in Islamic school for as long as possible where they have affirmation of their identity, or do you take them out and they may have to constantly think about their identity and protect their identity, and how do you reinforce that strength and keep giving them that strength so they go out into the world? I know it’s a difficult question and I think it’s a question that’s always going to be difficult. 

Ariana: Moving on, I enjoy Faizah’s drawing and the poetry of picnic on an island where ocean meets sky, and their crowns and matching hijabs. The change in attitude of the little girl who asked Faizah about Asiya’s hijab in line, from questioning to admiration, creates hope.

Mahasin: I love that spread. It’s so representative–Faizah and her brown skin and afro-puffs, her classmate with red hair and green eyes, and their teacher with her olive-tone skin and brown hair. There is so much diversity in that spread but also throughout the book. Each person has a sense of individuality and personality. There are different skin tones and body types and Asiya is just another person that is part of the diversity in their community. 

Ariana: And you can have a very diverse population of students in your school, community or workplace, but if you don’t talk about it, you can still have kids who say, “take that tablecloth off your head” because children won’t be equipped with the language or the understanding to know that it’s wrong, not inclusive, and not acceptable. 

Mahasin: I do wish that this book had been around when I was a kid. I am very conflict averse and I don’t like to call a lot of attention to myself, and I grew up in the South in the 80s. So even though my mom wore a scarf, I can remember going to Piggly Wiggly after Sunday school and telling a little white girl that I had it on because my hair wasn’t done. I think I was just worried about being seen as different and not wanting to stand out. I don’t think that my parents really got it, and wondered why I cared about what other people thought, but it’s powerful seeing someone my age feeling proud about it, so I’m glad the book exists. 

Hadeal: Touching again on the details, I appreciated that the bullies were shadows without faces that they walk away or cartwheel away from, and ultimately they are just shadows that are not given much power or weight to. There is so much symbolism there. 

Ariana: Right. How much do we let the shadows interfere with who we are? It’s kind of like djinn in a way. All these little formless whispers that creep at you that make you question yourself. And again there are those power words of preparation from their mother to not, “carry around the hurtful words other say. Drop them they’re not yours to keep. They belong to those who said them.” It’s giving others accountability, not taking in these messages and internalizing them, not just as Muslims or as women but as human beings– that it’s not that there’s something wrong with you. But it’s about being able to take space and make space. It seems so simple but there is power in asserting yourself and being proud and standing up who you are and making people recognize that you deserve to be in a space and you deserve space. 

Hadeal: Isn’t it sad that we have to think that way? You find yourself in a space and have to take inventory and be aware of who you are in that space and what is making you “the other?”

Mahasin: So it’s a good reminder for adults too to be proud, don’t worry about the people in the shadows, live your life out loud and keep it moving.

Ariana: Faizah is so strong and defiant against the boy, and later looks for those whispers and shouts which goes back to your point Hadeal about feeling out spaces and preparing yourself for the possibility of confrontation. And Faizah is protective of her sister, of her community, her family but then she sees Asiya, “waiting for me like it’s a regular day. She’s smiling. She’s strong.” And in that moment she recognizes that Asiya doesn’t really need Faizah to protect her or her feelings, but having her back and having her there, it doesn’t mean it’s not appreciated. And then the whole relationship between the sisters like ocean and sky with no line in between them, it was just a lovely sentiment.

Mahasin: I like the end notes that show there is support from both parents. 

Ariana: That’s the only time you see the father, and that’s powerful too. The conversation and wisdom and instruction is in the voice of the mother and it’s so warm. 

Hadeal: I just really like this book and I’m glad that it exists. I’m glad that there are more books like this coming out.