Today we continue the series in which
award-winning nonfiction authors discuss the joys and challenges of
writing narrative nonfiction and expository nonfiction with an essay by Anika Aldamuy Denise. Thank you, Anika.
Author-illustrator
Kelly Light once said, “Picture books are like an IMAX movie to a little kid.
Think about it. Picture books fill their field of vision. . . literary
cinemascope they can hold in their hands.”
I’ve
always loved that analogy. Taking it a step further, if fiction picture books
are like films, then picture book biographies are the documentaries of the
category.
Successful
documentaries and successful picture book biographies incorporate many of the
same elements: a compelling subject that inspires us to look at the world in
new ways, unforgettable characters, a satisfying story arc, and a visually
engaging backdrop.
As
an author, I am my mini-documentary’s director. Of course, a director’s job
begins long before the cameras roll. There are months, perhaps even years, of
preproduction and research. Once I’ve dug deep, collected, questioned, notated,
organized, and observed, I use all that I’ve discovered from primary and
secondary sources to help me decide where to point the lens on my subject’s
life and how to script a narrative with relevant themes and resonant truths.
For Planting Stories: The Life of Librarian and Pura Belpré, I was faced
with a unique challenge. While Belpré spoke and wrote volumes about her life after
she came to the New York Public Library, she left us very little information about
her childhood and family in Puerto Rico, with only brief references in the
prefaces of her books and selective essays to a grandmother who enjoyed
storytelling.
From
a verifiable facts standpoint, the substantive parts of Belpré’s story began in
1921 on 135th street in Harlem (see photo below, Pura shown with her sister), where she was first hired by the
NYPL as a library assistant.
As tempting as it was for me to invent
conversations between a young Pura Belpré and her doting grandmother, I could
not. My responsibility as a documentarian of her life, and to my readers, meant
I had to choose a different camera angle.
Instead,
the story action begins this way:
It
is 1921.
Pura
Teresa Belpré leaves her home in San Juan
for
a visit to Nueva York.
Words
travel with her:
stories
her abuela taught her.
Cuentos
folklóricos Pura retold in the shade of the tamarind tree,
in
Puerto Rico.
Now,
a new island stretches before her—
ripe
for planting seeds of the cuentos she carries.
The entire book rests on a thematic metaphor of planting seeds, transformation, and
renewal. This approach allowed for truth and authenticity while maintaining the
poetry and emotional resonance of the text. Pointing the lens at this precise
moment felt like the natural start to her story—the beginning of a literal and
figurative journey.
A
primary source, Pura’s own words, gave me the detail of the tamarind tree which
recurs as a narrative and visual symbol throughout the book.
“As
a child, I enjoyed telling many of the tales that I had heard. The characters
became quite real to me. I remember during school recess that some of us would
gather under the shade of the tamarind tree. There we would take turns telling
stories.”
–Pura Belpré, The Pura Belpré Papers, Centro
de Estudios Puertorriqueños, Hunter College
A
different quote of Belpré’s found in the same archival essay inspired the
book’s title and helped me synthesize key plot points in her story.
“I
thought of myself as a storyteller. I wished to be like Johnny Appleseed, who
in the United States was known for planting apple seeds across the land. . .
And so, I wished to plant my story seeds across the land.”
Now
that I had a thematic framework in place, I pointed my lens at the dramatic
moments and key turning points in Belpré’s journey: hard work in a garment
factory, a golden opportunity with the library, her very first candlelit story
hour, discovering the art of puppetry, becoming a published author, leaving the
library to tour with her husband, and even her husband’s passing.
Each moment underscored Belpré’s creativity, vibrancy, and perseverance—documenting
the fullness of her life and career, beyond just her time in the children’s
room.
Threaded
together with purpose and poetry, a picture book biography blooms into
inspiration; a reason to care and learn more. Like a powerful documentary—it
stays with you.
A
rousing call to (lights, camera. . .) ACTION!
Anika
Aldamuy Denise is
an award-winning author of narrative nonfiction. Her debut picture book
biography, Planting Stories, won a Pura Belpré Author
Honor, an NCTE Orbis Pictus Honor, and the Arnold Adoff Poetry Award.
Additional nonfiction titles by Anika include A Girl Named Rosita, which
was recently chosen for the RISE Feminist Book Project reading list, and Phenomenal
AOC: the Roots and Rise of Alexandria Ocasio-Cortez.
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4 Responses
A beautiful post, for a beautiful book! Thanks for sharing the seeds of inspiration for crafting PLANTING STORIES, Anika!
Thank you, Maria!
I love that book and am so glad we got to hang out a bit during that year your book and mine were released!
Same, Teresa. Planting Stories and Queen of Physics will always feel like book cousins!