MIGHTY INSIDE: A Middle Grade Historical Novel Review and Giveaway

Although I've never met Sundee Frazier in person, I feel as if I know her. When I first started researching Half-Truths, I read her autobiographical book, Check All That Apply: Finding Wholeness as a Multiracial Person (InterVarsity, 2002. The daughter of a white mother and a Black father, Sundee wrote candidly about her struggles to fit in, to feel accepted as a multiracial person, and how her Christian faith helped her in her journey to wholeness.

Fast forward several years, and Sundee wrote The Other Half of My Heart (Random House, 2010) about twin girls--one who is "milky white" and the other is "cinnamon brown." Their Black grandmother insists that both girls enter the Black Pearls of America pageant--which produces high drama for both girls! (Click here for my interview with Sundee about this book and how she mined her life to write it.)

Sundee's most recent book, Mighty Inside  (Levine Querido October, 2021) also draws from her own life--this time most specifically about her father's and grandparents' experiences in Spokane, Washington in 1955. After you read my review, please click on the video. Sundee and her family share some of the stories that informed this wonderful middle grade novel.

(Please see Sundee's website for her other children's books.)

REVIEW

Every time he opened his mouth, his words backed away like a kid afraid to jump off the high dive--running to the end and then stopping, over and over--until he could feel the pulsing of an artery in his forehead. His tongue felt as heavy and solid as a brick. (p. 17)

That's how Melvin Robinson describes his "traitor mouth" that trips over "sticky" letters like "T" "P" or "B." It's the Stutter that has been with him ever since he was a little kid; the mouth that prevents him from speaking his mind; the tongue that will embarrass him as he enters high school. 

He makes it through his first day of school with one big accomplishment: he meets Lenny--a talkative, Jewish, white sax player who sticks to Melvin like a burr. But, as Melvin finds out, Lenny ends up being the best friend a kid could have. 

As the book progresses, Sundee skillfully weaves in backstory. Melvin overhears an argument between Melvin's father and his Uncle T.:

"Why you think that boy got that stutter? 'Cause he's surrounded by all these white folks, that's why. You shouldn't be here. You should be on the east side. Or do you think you're too good for that?" 

....

Pops had crossed a line. Was Melvin suffering because of it?" (p. 52)

School is a mixture of pain with some spots of pleasure. Despite faithfully doing his tongue exercises, Melvin messes up frequently--and is teased by several bullies. But, his day is brightened by brief glimpses and interactions with his crush, Millie, a Japanese American. Science (taught by a veteran who lost a hand in WWII) and choir are highlights. When he sings the Stutter never appears. 

But where Melvin really begins to shine, is playing accordion alongside of Lenny. The two become so good that Lenny convinces Melvin that they should try out for a television show featuring local kid performers. Although Melvin is scared, he realizes that his accordion speaks better than he does.  

I don't want to include any spoilers, so I'll just say:

• I really appreciated how Sundee threads Melvin's Christianity--as well as his questions into the novel. During a stressful time, Melvin recites portions of Psalm 23. Although he wonders why God gave him a "broken tongue," his faith helps him conquer his fears. 
• Other plot points about Emmett Till, Lenny's father, and Millie's experience in Japanese internment camps enrich the book.  
• I liked the metaphor of the "walls" of prejudice that Melvin keeps running into.
• And finally, just like Jackie in Joyce Hostetter's latest novel, Equal, Melvin also discovers: 

He knew he would get stuck on some of his words, and it was all right. He had decided the best way to deal with an enemy, if he could, was to make that enemy his friend. The Sutter was a part of what made him him and he was okay. Just the way he was. (p.229)

The Author's Note includes how Sundee's grandparents acquired their home and some of the family stories she drew from. Here's the promised video: 

                                            https://youtu.be/4SOq6Fw0NDk

GIVEAWAY

To enter this giveaway, please leave a comment by December 7 at 9 AM. If you decide to follow my blog for the first time or share this on social media, I'll put your name in twice--just let me know what you did. If you are new to my blog, please leave your name and email address.  

Congratulations to Amy Houts, who won Dear. Mr. Dickens from last week's blog.

Midnight Without a Moon: A Review, ARC Giveaway, and Focus on "The Emotional Craft of Fiction"

This blog post is courtesy of Augusta Scattergood who gave me a copy of Linda Williams Jackson's debut middle grade novel, MIDNIGHT WITHOUT A MOON (Houghton Mifflin, 2017) and Vijaya Bodach who recommended Donald Maass's book, The EMOTIONAL CRAFT of FICTION (Writer's Digest Books, 2016).

Since Half-Truths is on hold right now while I'm waiting for feedback from my readers, I started working through the outstanding writing exercises which Maass stuffed into his latest book. Since I love sharing craft resources with my blog readers, I picked a few selections to show you how Linda Jackson answered the question Maass poses to writers, "How can I get readers to go on emotional journeys of their own?" (p. 2)

Heavy Baggage

In the first chapter Maass says, "Only when a situation has heavy emotional baggage will readers pick up the baggage and carry it (Maass, p.14).

Let's look at thirteen-year-old Rose Lee Carter's life in Stillwater, Mississippi in 1955. In the opening chapter the reader relives the day Rose's mother left her with her maternal grandparents: 

"Rose Lee, honey, yo' momma 'bout to marry a fine man. And I'm go'n take care a his babies for him."

"What about me and Fred Lee? Ain't we yo babies?"

Mama giggled like a silly schoolgirl. "You and Fret'Lee big now, she said, waving her hand at me. "Callie and Christopher is the babies. Besides, y'all got Papa and Ma Pearl..." 

"Can me and Fred Lee come, too?"  

"Nuh-uh," Mama said frowning, as she leaned toward her reflection. "Two babies is more'n enough for me to care for."

After making sure that she was a lovely as a spring morning, she bent down and placed her soft hands on my shoulders. Kissing my forehead, she said, "You be a good girl for Ma Pearl and Papa. Don't make Ma Pearl have to whup you."

That was the last thing she said to me before she became a mama to Sugar and Li' Man and a memory to me and Fred Lee. (pp. 12-13)

The Emotional World

In Maas's second chapter, "The Emotional World," he says, "Creating a world that is emotionally involving for readers means raising questions and concerns about that world. It means both welcoming readers inside that world and making them curious, or uneasy, about where they are." (Maass, p. 29)

A difficult part of Rose's world is that her cousin, Queen, also lives with her grandparents. 

....Plenty of folks in our family were yellow, but Queen was different. And with the way she never lifted a finger to even wash a plate, she acted like she was white, too.

Folks said that when Queen was born, Ma Pearl took to her like ants to a picnic. They said she snatched that newborn baby from Aunt Clara Jean's bosom and claimed her like a well-earned prize. That's because Ma Pearl favored pretty. And to Ma Pearl, light equaled pretty, even if the person was as ugly as a moose. 

Folks said that when I first came out of Mama, my skin was as pink as a flower. Mama said she took one look at me and declared, "I'm go'n call you Rose, 'cause you so pretty like one." But Ma Pearl said, "Don't set your hopes high for that child, Anna Mae. Look at them ears. They as black as tar. By this time next year that lil' gal go'n be blacker than midnight without a moon, just like her daddy."  

Of course Ma Pearl was right. (pp. 35-36)

Rose longs for an education but Queen is allowed to attend school whereas Rose has to work in the cotton fields. Ma Pearl frequently criticizes Rose in comparison to Queen, thus making the reader uncomfortable. 

Joyce Hostetter has taught me to always consider the wider world in which the character lives. Rose's world is filled with blacks who are murdered by whites. This passage follows Rose finding out from her friend Hallelujah that a mutual friend had been killed:

As I stumbled clumsily between the dusty rows of green cotton leaves, I could't help but resent them. Levi Jackson, a fine young man, had spent most of his life tending to this field, bringing that cotton to life every summer. Now he no longer had his.

I wanted to scream. I wanted to scream until my anguish was heard all over Stillwater--all over Mississippi--all the way to Chicago, straight to my mama's ears. I don't know why but I hated her at that moment. I hated her more than the nameless face that had shot Levi Jackson for no good reason.............I shouted into my palms. "Why, Hallelujah! Why?"

"He registered to vote," Hallelujah said, his voice hoarse. "And they killed him." (pp. 43-44)

Stirring Higher Emotions

Rose's and Hallelujah's world also includes Emmett Till, who was hunted down and brutally murdered for whistling at a white woman. As these events sink into Rose, she is torn between desperately wanting to leave Mississippi and Hallelujah's comments:

"...if she [Rose's Aunt Belle] had been able to open a shop here, in a place where our people are shunned and oppressed, it would have made her feel even more accomplished than she already does."

"Stars shine brighter in the darkness," I said quietly.  

Hallelujah crossed his arms over his chest and nodded. "Dreams have more meaning when you have to fight for them," he said. "That's why folks like my father choose to stay. They know they have a right to be here, and they're willing to do whatever ir takes to make those rights equal." (pp. 254-255)

 Maas says, 

When we are moved and inspired by the actions of characters, what we feel are higher emotions....

When reason prevails over impulse, when disgust is replaced by insight, when an act of generosity is underserved, when love is given where rejection seems certain, when someone sticks up for another, when help is unasked for, when apology is humbly made and forgiveness unexpectedly given, when doors are opened in welcome, when truths are spoken and the origins of conflict laid bare, such acts stir in readers the swelling of the chest and opening of the heart. (Maass, pp. 43-44)

Aunt Belle invites Rose to move to St. Louis with her and Rose struggles over her decision to leave Stillwater: 

My heart ached, both at the thought of leaving and at the thought of staying. 

Levi stayed and he didn't live to see a week over the age of twenty-one. Would that happen to me? I didn't know--couldn't know--but I had to be strong enough to find out. I had to stay--not just for the sake of those I didn't want to leave behind, but for my own sake. I had to know if I could shine in the darkness.

Imagine how bright a star would shine at midnight without a moon! (p. 308)

**********

It was difficult selecting only a few passages from both books to quote here. I hope I've provided enough that you'll decide to read them yourself. To enter the giveaway for Midnight Without a Moon, please leave me a comment by March 25th with your email address if you are new to my blog. If you are an educator or a new follower, I'll enter your name twice. 

Mississippi Trial, 1955: A Book Review and a Writing Exercise

I recently submitted the fourth draft of Half-Truths to Rebecca Petruck for her critique. In a future blog I'll clue you in on my marching orders for Draft #5, but today I'm sharing a specific part of her feedback about writing scenes. This is a longer blog than normal, so grab your favorite beverage and get ready to learn about a great book and about the writing craft. 

Craft-wise, writing scenes is your weakest element. That’s partly why I asked you to write the slow down scene. You might want to read Make a Scene by Jordan Rosenfeld. For exercises, I suggest choosing a few scenes from three novels and deeply analyze the arc—what did the MC want as she entered the scene? What did she get? How did the author show the external action? The internal action/reaction? How much dialogue is used relative to narrative text? How did the author set the scene? End it? 

Then, look at one of your own scenes, and critique it for the elements listed above. Does the scene have an arc? Is there room for the reader to experience what’s happening? Time for the reader to feel what’s happening? How might you deepen the scene? How might you create more tension? Raise the stakes? - Rebecca Petruck

The first novel I chose to study scene making was the award winning book, Mississippi Trial, 1955 by Chris Crowe. I anticipated learning more about Jim Crow. I gained that, and much more.

Crowe's debut novel (Penguin Putnam, 2002) is based on the true story of the kidnapping and murder of Emmett Till. Crowe created a believable white protagonist, Hiram Hillburn, whose life is irrevocably changed following Emmett's kidnapping and murder. 

As a young child, Hiram spent several years in Greenwood, Mississippi living with his paternal grandparents. He has fond memories of Grampa Hillburn and a town steeped in cotton and Southern traditions. Hiram doesn't understand the deep conflict between his father and grandfather and blames his father for the alienation between the two men.

At 16, Hiram returns to Greenwood after his grandfather suffers a stroke and meets Emmett who is in town visiting his uncle. Hiram reconnects with R.C. Rydell, a boyhood friend who drinks too much and bullies Negroes; and R.C.'s sister Naomi who he likes. R.C. convinces Hiram to go fishing together, and the two meet up with Emmett who is cooling off in the river. R.C. mercilessly bullies Emmett while Hiram stands by helplessly. Afterwards he feels ashamed of himself and later becomes convinced that R.C. was involved in Emmett's death. 

This scene follows Hiram reading a newspaper report of Emmett's death:

When I put the newspaper down, my hands were shaky and cold. Emmett was dead, murdered. The article said nothing about R.D. Rydell, but I figured the sheriff must still be looking of him. Was R.C. involved in the murder? I knew he was, and I hoped the police would find him--soon.    

And what about Naomi? If R.C. skipped town or ended up in jail, she'd be left alone with her dad. I didn't even want to think how much more miserable her life might become in that shack down along the Yazoo.    

Grampa interrupted my thoughts when he whistled softly after reading the article. "I can't believe they killed that boy." He rubbed his hand across his face and muttered to himself, "There's going to be hell to pay now." He still looked pale as he folded the paper on his lap, creased it carefully in half, and set it on the table next to his chair. "Hiram, those boys went too far, way too far. For his sake, I sure hope your friend [R.C.] wasn't involved in this mess. I never did think much of R.C. Rydell, but I never took him for a murderer."    

"R.C.'s not my friend, Grampa," I reminded him without looking at him. "I told you how he acted."  

 "Of course he's not your friend. A Hillburn usually has better sense than getting mixed up with people like these." Grampa rapped his knuckles on the folder newspaper. "People all over the United States are hearing about what's happened down here and wondering what kind of uncivilized brutes live in Mississippi. Those peckerwoods who did this are a shame to all of us in the Delta. No self-respecting Southern gentleman would lover himself to of this far."    

Grampa's reaction bothered me. He seemed more concerned bout the negative press than about what had happened to Emmett Till.    

He kept on complaining. "The radio said that colored boy's mama up in Chicago is blaming everyone in Mississippi for what's happened, said she said, 'The entire state of Mississippi is going to pay for this.' The woman's grief is understandable, Hiram, but she's go tho cause to blame all of us for what a couple redneck peckerwoods did in the middle of the night.  

 "Before we know it, the NAACP and all those bleeding-heart Northerners are going to use this as another excuses for integration. They're going to come down here and cry about how we treat our Negroes and how we've got to mix the races in our schools. That's what really makes me mad, son: Those ignorant boys have stirred up a hornet's next of trouble."    

"But what about Emmett?" I asked. "They killed him. Doesn't that make you mad?"    

"Of course those boys went too far. Whatever that colored boy deserved, he didn't deserve getting shot and tossed into the Tallahatchie, that's for sure."      

I wanted to yell at Grampa. A boy was murdered just for acting cocky! I wanted to say something, something mean and hard that would knock some sense into him, but I knew nothing I could say would change him, and I had a glimpse into why Dad and Grampa never got along. (p. 123-5)

*******

Here are Rebecca's questions:

What did the MC want as he entered the scene? 

Hiram wants comfort/justice over Emmett's death. 

What did he get? 

He got a "glimpse" into why his father and grandfather don't get along, and a new picture of his grandfather. 

How did the author show the external action? 

Reports the grandfather complaining, shows Hiram arguing.

The internal action/reaction? 

Hiram's observation that his grandfather was more concerned about negative press than justice is a huge "Aha!" moment. His appreciation for his father initiates a change in his attitude. 

How much dialogue is used relative to narrative text? 

Dialogue and internalization carried this scene; not much narration. 

How did the author set the scene?

"When I set the paper down." Opens the scene.

End it? 

With Hiram's new realizations. 

********

I picked this scene because it was pivotal to Hiram's burgeoning questions of the culture he accepted as a child as well as his new understanding of the tensions between his father and grandfather. The reader sees Hiram's conclusions so that when there is a switch at the end, Crowe has paved the way for a surprise ending. 

Rebecca has told me before that I need to go deeper into my character's internal experiences (I guess I'm a slow learner!). But copying out a scene pushed me inside Hiram. I saw his grandfather and father in new ways and found a model for what I needed to work on in Half-Truths.

How about you? Have you ever deeply studied a scene from a novel? If not, I hope you'll try this exercise. If you have, what book did you study? I'd love to hear from you. 

And I hope you'll read Mississippi Trial, 1955. You won't regret it; and besides, you need to discover the surprise ending which wraps up this important book so well.

Yankee Girl and a Giveaway

My apologies if you receive this blog post twice. I am reposting it since it didn't seem to get sent out  the first time and I wanted you to have a chance to win this fantastic book.

Two girls. One white, one black. The South and civil rights. Given my own work-in-progress, Half-Truths, how could I not read Yankee Girl?

Drawing upon her own childhood experiences, the author, Mary Ann Rodman, writes in her author's note: "Like Alice (the protagonist), I was the daughter of an FBI agent. In the summer of 1964, my family moved from Chicago to Jackson, Mississippi. My father was one of 150 special agents ordered to Mississippi by President Lyndon Johnson." These agents were assigned after three young civil rights workers who were helping African Americans register to vote, disappeared.

As the title suggests, Yankee Girl is 6th-grade Alice Ann Moxley's story. Her "new normal" opens with the moving truck unloading her bike in front of her new home. Fresh from Chicago, she encounters the Southern drawl, pimento cheese, and whites who call colored peoplenigras. Her parents are sympathetic to civil rights and Alice is torn between her concern for Valerie, the lone African American girl who integrates her school, and wanting to make friends with the kids in her class who ostracize and mock Valerie. 

Alice's internal struggles make up a good part of the novel as the reader sees Alice's awakening to what Valerie experiences. After Alice doesn't stop her classmates from sending Valerie mean Valentines, Valerie stays home from school. When she calls Alice ostensibly to get their math homework, Valerie shares some of her anxiety about her father's upcoming civil rights event with Dr. Martin Luther King. After Valerie shares some of her painful childhood experiences, Alice dreams thatEmmett Till challenges her to stand up for her friend. 

After Valerie's father dies, she moves out of town and Alice regrets never telling her that she was sorry for not befriending her. But in the final image, Alice moves on to junior high where she meets Valerie's cousin. Despite the whispers of "Nigger lover, nigger lover" all around her, Alice brings the new girl to her cafeteria table, where two of her friends are waiting.

Mary Ann Rodman did such a wonderful job of integrating historical fact with fiction, that I tried googling Valerie's father, Reverend Claymore Taylor. When I couldn't find anything about him, I checked with Mary Ann. She wrote:

"Reverend Taylor is a combination of Medgar Evers and a man named Wharless Jackson, who was my dad's last unsolved case (and never will be solved since all the informants and witnesses are dead or deep into hiding so they will never be found.) Medgar Evers was killed in front of his three children in the driveway of his home (he was the Ms. state president of the NAACP). Jackson was a civil rights activist who worked at the Goodyear Tire plant in Natchez, Ms. Mr. Jackson was promoted to a supervisor's position, the first for a black man in that plant. That night when he got in his truck to go home, he discovered that 'someone' (most likely the KKK) had wired his ignition with dynamite. There was nothing left of him."

At the end of the author's note Mary Ann writes: "My mother once said, 'You know, someday you'll be glad you lived in this time and this place. You are seeing history in the making. You can tell your children and grandchildren about it.'

She was right."

Mary Ann Rodman at 10-years-old

**************

Ms. Rodman is giving away an autographed copy of Yankee Girl. Leave a comment and I'll enter your name in the drawing. I'll pick a winner on Monday, November 4. Please leave your email address if I don't have it.

Congratulations to Lisa Fowler who won last week's giveaway, Hill Hawk Hattie.

Yankee Girl and a Giveaway!

Two girls. One white, one black. The South and civil rights. Given my own work-in-progress, Half-Truths, how could I not read Yankee Girl?

Drawing upon her own childhood experiences, the author, Mary Ann Rodman, writes in her author's note: "Like Alice (the protagonist), I was the daughter of an FBI agent. In the summer of 1964, my family moved from Chicago to Jackson, Mississippi. My father was one of 150 special agents ordered to Mississippi by President Lyndon Johnson." These agents were assigned after three young civil rights workers who were helping African Americans register to vote, disappeared.

As the title suggests, Yankee Girl is 6th-grade Alice Ann Moxley's story. Her "new normal" opens with the moving truck unloading her bike in front of her new home. Fresh from Chicago, she encounters the Southern drawl, pimento cheese, and whites who call colored people nigras. Her parents are sympathetic to civil rights and Alice is torn between her concern for Valerie, the lone African American girl who integrates her school, and wanting to make friends with the kids in her class who ostracize and mock Valerie. 

Alice's internal struggles make up a good part of the novel as the reader sees Alice's awakening to what Valerie experiences. After Alice doesn't stop her classmates from sending Valerie mean Valentines, Valerie stays home from school. When she calls Alice ostensibly to get their math homework, Valerie shares some of her anxiety about her father's upcoming civil rights event with Dr. Martin Luther King. After Valerie shares some of her painful childhood experiences, Alice dreams that Emmett Till challenges her to stand up for her friend. 

After Valerie's father dies, she moves out of town and Alice regrets never telling her that she was sorry for not befriending her. But in the final image, Alice moves on to junior high where she meets Valerie's cousin. Despite the whispers of "Nigger lover, nigger lover" all around her, Alice brings the new girl to her cafeteria table, where two of her friends are waiting.

Mary Ann Rodman did such a wonderful job of integrating historical fact with fiction, that I tried googling Valerie's father, Reverend Claymore Taylor. When I couldn't find anything about him, I checked with Mary Ann. She wrote:

"Reverend Taylor is a combination of Medgar Evers and a man named Wharless Jackson, who was my dad's last unsolved case (and never will be solved since all the informants and witnesses are dead or deep into hiding so they will never be found.) Medgar Evers was killed in front of his three children in the driveway of his home (he was the Ms. state president of the NAACP). Jackson was a civil rights activist who worked at the Goodyear Tire plant in Natchez, Ms. Mr. Jackson was promoted to a supervisor's position, the first for a black man in that plant. That night when he got in his truck to go home, he discovered that 'someone' (most likely the KKK) had wired his ignition with dynamite. There was nothing left of him."

At the end of the author's note Mary Ann writes: "My mother once said, 'You know, someday you'll be glad you lived in this time and this place. You are seeing history in the making. You can tell your children and grandchildren about it.'

She was right."

Mary Ann Rodman at 10-years-old

**************

Ms. Rodman is giving away an autographed copy of Yankee Girl. Leave a comment and I'll enter your name in the drawing. I'll pick a winner on Friday, November 1. Please leave your email address if I don't have it.

Congratulations to Lisa Fowler who won last week's giveaway, Hill Hawk Hattie.