More on Monsters and Storytelling

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Exploring Babylon Chapter 20.1

A Monster Chronology
On March 15, I watched author Junot Díaz interact with a room full of youngsters, introducing his new book, Islandborn (Dial Books for Young Readers), discussing the writing process, and exploring the concept of “monsters.” I subsequently told everyone who would listen about how much I’d enjoyed seeing the students and the author respond to one another and how exciting it was to hear their conversation.

In our brief interview after the book event, I was really struck with the way Díaz answered my question about addressing monsters with young readers: “I don’t think they need to hear anything from me about the monsters they face….If their lives are anything like mine, they know.” It seemed clear he was including very personal monsters as well as the kind that took over “the Island” in his book and in real life. For better or worse, though, I left this topic right there and shifted focus to public libraries, which was the issue I’d been sent to cover.

I filed my story, “Junot Díaz, Monsters, and Ward 7,” in late March, and it appears in the April edition of East of the River magazine. I shared related thoughts in a post here, “Monsters, Exile, and Storytelling.” And then, a week ago (4/9/18), The New Yorker published a piece of personal history from Díaz: “The Silence: The Legacy of Childhood Trauma” — a heart-breaking, powerful, brave, healing story of abuse and returning to self (April 16 print issue).

Monsters’ Defeat

In the week since Díaz’s personal history piece was posted on-line, I have found myself returning again and again to the way I saw Díaz address young readers who wanted details about the specific monster in Islandborn or answers about monsters more generally. Look, he told them several times, returning their attention again and again to one spread in the book: Look at the way the monster was defeated, through people joining together.

Islandborn

(c) Diaz & Espinosa.Islandborn. Dial 2018.

That’s what he told me, afterward, too:

The key is to help [young readers] confront and work through their experiences [with monsters], forge friendships and solidarities.

And a version of that is what he tells us in “The Silence”:

I was fortunate. I had friends around me ready to step in. I had good university insurance. I stumbled upon a great therapist….

He also explains in “The Silence” a little of how his children’s book and his decision to share his personal story relate:

Over the last weeks, that gnawing sense of something undone has only grown, along with the old fear—the fear that someone might find out I’d been raped as a child. It’s no coincidence that I recently began a tour for a children’s book I’ve published and suddenly I’m surrounded by kids all the time and I’ve had to discuss my childhood more than I ever have in my life. I’ve found myself telling lies, talking about a kid that never was. He never checks the locks on the bedroom doors four times a night, doesn’t bite clean through his tongue. The cover stories are returning. There are even mornings when my face feels stiff.

There will undoubtedly be more to say — from the perspectives of literature, sociology, or other fields — on Islandborn and “The Silence.” There is definitely more to say about trauma and storytelling, in- and beyond #ExploringBabylon. There is much more to discuss, for example, around the popular academic theory that trauma affects so much of the telling, and omissions, around the Babylonian exile. In addition, the period of the Omer — between Passover and the Revelation-focused holiday of Shavuot — has related undertones.

For now: Immense gratitude to Junot Díaz for his writing and his in-person teaching, for his bravery and his compassion; and wishes for continued healing to him and to all in need.

— On this 16th day of the omer, making two weeks and two days

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Junot Díaz shares Islandborn at Capitol View Library in Northeast DC. 3/15/18. (Photo: V. Spatz)

Diaz_Students

Junot Díaz discusses “monsters” and other topics with students from Ward 7 in Washington, DC. 3/15/18. (Photo: V. Spatz)

Monsters, Exile, and Storytelling

UPDATE: The event described here, including the brief interview with Díaz, took place on March 15, 2018. The piece below was posted on April 1. The New Yorker article, “The Silence: The Legacy of Childhood Trauma” — which has a LOT to say about monsters and trauma — was not published until April 16. See also, “More on Monsters and Storytelling.”


Exploring Babylon Chapter 19

A new picture book, by Dominican-born author Junot Díaz, has a few things to tell readers of all ages about trauma, exile, memory, and the importance of storytelling — good topics for Passover and #ExploringBabylon.

Islandborn

Islandborn relates the tale of young Lola — who attends a school where “every kid…was from somewhere else” — trying to draw a picture of her native country for a homework assignment. Having left “the Island” before she could remember, she enlists help from community members, and one older neighbor tells her something shocking:

“A long time ago, long before you were born…a monster fell upon our poor Island.

“…For thirty years the Monster did as it pleased. It could destroy an entire town with a single word and make a whole family disappear simply by looking at it.

“[Eventually…] heroes rose up…got tired of being afraid and fought the Monster….The Monster tried all of its evil tricks but in the end the heroes found the Monster’s weakness and banished it forever.”

Islandborn, Díaz’s first children’s book, is illustrated by Leo Espinosa, originally from Columbia. (NY: Dial Books for Young Readers, 2018). See Random House and Publisher’s Weekly.

Islandborn

(c) Diaz & Espinosa.Islandborn. Dial 2018.


“The Monster”

The name of “the Island” is not specified. The name of the Monster is also omitted, along with those of heroes who “banished” the Monster.

Many readers will undoubtedly think of the Dominican Republic, where Díaz was born, and the dictator who ruled ruthlessly from 1930-1961, before the author’s time. But the book itself and publisher’s descriptions deliberately do not offer any historical details.

Díaz has explained in public events that he intentionally left the island unnamed so that the reader could bring their imagination to the story. He adds that there are monsters in many countries and there are many kinds of monsters (not all are dictators); he wanted this story to be about more than one place or experience.
Social Justice Books

In addition to allowing for readers to use their imaginations, though, the idea of leaving “the Monster” unnamed has a particular resonance for Jews and other Hebrew Bible readers: After an enemy attacks the most vulnerable members of the community during the Israelites’ trek through the desert, God gives Moses the strange commandment to remember to forget the enemy’s name:

And the LORD said unto Moses: ‘Write this for a memorial in the book, and rehearse it in the ears of Joshua: for I will utterly blot out the remembrance of Amalek from under heaven.’
— Exod 17:14

…thou shalt blot out the remembrance of Amalek from under heaven; thou shalt not forget.
— Deut 25:19

When I told fellow Jews, over a recent Shabbat, about Islandborn and how the book relates its tale, each one mumbled some version of “blot out the name!” And that heritage has raised many questions over the centuries about what and how we remember and what and how we re-tell.

Legacy and Response

Social Justice Books suggest that “one place where young readers could handle a more accurate narrative, than what is offered in the book, is in the description of what happened to” the unnamed heroes:

Lola was told, “No one knows really [what happened to them.] It was so long ago.” The truth is that we actually do know what happened to the Mirabal sisters and countless others….A response that children could handle would be “Sadly, many were killed, but others survived. Their children, like you, continue to work for a better world today.”

Some social studies teachers and individual parents may want to discuss the specifics of Dominican history around Islandborn or use it to discuss motivations behind much immigration. Díaz, however, prefers to steer the conversation in more universal directions.

At a recent Islandborn book talk for young readers and writers — 1st through 5th grade, accompanied by a few pre-schoolers and adults, at a DC Public Library branch — the first young person to speak declared: “Monsters aren’t real.” In response, Díaz spoke generally, first agreeing with the student and then explaining that his home country was, in fact, once “taken over by a very bad man who was kinda like a monster.” The author never mentioned the Dominican context again and never got more specific.

After the event, I asked Díaz if he ever addressed young readers — like those at Capitol View Neighborhood Library, where we met — by helping them name monsters in their lives. Again, he rejected a more specific path: “I don’t think [local youth] need to hear anything from me about the monsters they face….If their lives are anything like mine, they know.”

Instead, the author argues: “The key is to help them confront and work through their experiences, forge friendships and solidarities.”

Toward that end, Díaz asked young readers to look at how the people eventually defeated the monster. He drew attention to the illustration above, noting that all monsters have a weakness that can be used against them, and that people joining together is essential….Students at Capitol View noted, based on the illustration and their own experience, the role of singing in uniting people.

How We Tell the Tale

The tenor of the Islandborn youth discussion at Capitol View remained largely philosophical and literary, rather than historical. Several young readers asked questions around why monsters do what they do. The author suggested several reasons, including the example of an older sibling wanting more than a fair portion of a treat meant for sharing. In response to another student, Díaz raised the concept of literary tropes around monsters.

Still, one ten-year-old did wonder, “What about the good people who are killed by the monsters before it’s defeated?” Díaz suggested, given that the age range present and how close to the end of the allotted time the question arose, that the young person talk to him following the group gathering.

In a similar vein, a local rabbi recently shared that his very young children do not know about the tenth plague [death of the first-born], despite its prominence in the Passover story. Of course, age and maturity of audience must influence content or emphasis in storytelling. Beyond age-appropriateness, however, the question of what to tell and what to omit is a deeper issue:

  • If we don’t relate the horrors, how will we ensure that victims are remembered and future generations informed?
  • How do we ensure memory and sensitivity, without perpetuating trauma?
  • Depending on the depth of our storytelling, how do young people — and the older people they become — relate to our state of exile?

At one point in Islandborn, after neighbors have opened up to Lola about the good and the horrible on “the Island,” child and grandmother have a key exchange:

Abuela, did you know about the Monster?”
“Of course, hija. Why do you think so many of us are here in the North?”

— on this second day of the omer, 5778