All Blog Entries

When their mother dies, Frankie and her siblings are sent to an orphanage until their Italian immigrant father can pull himself together and provide for them in Thirteen Doorways, Wolves Behind Them All (Balzer & Bray 2019) by Laura Ruby. Set in late Depression era in Chicago, we see all of society struggling in this National Book Award finalist. Now here’s the kicker. The narrator is a deceased young woman—a ghost—who is able to see what just about everyone and anyone is doing—or thinking.

The writing is lyrical only when it needs to be—such as the opening. Likening her to an abalone cup, the narrating ghost says, “Frankie traced the pearlescent edge of the shell with her finger,” observes that it still wasn’t broken, and neither was Frankie. Then Frankie hears a fox cry in the distance. If I weren’t already hooked by the ghost-narrator, the mystery, wildness, and subtle delicacy would draw me right in.

The orphanage is Catholic which plays heavily into the story. Frankie, curious about her young womanhood, irritates many of the nuns, who, out of fear, behave cruelly to their pubescent charges. Or maybe they’re cruel for some other reason. Sister George, wakes many a girl by hefting her mattress and spilling her to the floor. Daily.

But nothing is going to keep Frankie down—not even her annoying younger sister Toni. Not until her father arrives with a meatball sandwich for his four children, and a new wife and her children in tow. He announces that he will take her older brothers and his new family to Colorado where he will start anew as a cobbler for miners—leaving Frankie and Toni behind. There’s a promise to fetch them, but years pass, Frankie falls in love, her young soldier marches off to World War II, and when will her father return for them? But maybe the orphanage is a safer place to grow up than in her family home, where she appears to be worthless enough to be discarded.

The other story is that of the narrator Pearl who we eventually discover died during World War I. Both Frankie and Pearl’s stories are mysteries, which come together at the end in a surprising way.

Perhaps one of my favorite aspects of this admirable book is that it comes from the life and stories of the author’s late mother-in-law, Frances Ponzo Metro. This you find out in the end-matter. Metro told her stories in snippets and out of order to the fascinated author, surprised that anyone would be interested. And Ruby did copious research, interviewing Metro’s fellow orphans, viewing archival documents and films of Angel Guardian (the German Catholic orphanage in Chicago), as well as copious reading about the Depression, World Wars I and II.

This is another wonderful cross-over book for adults and young adults.

Patricia Hruby Powell is the author of the award-winning Josephine; Loving vs Virginia; and Struttin’ With Some Barbecue among others.  She teaches writing classes at Parkland College.         talesforallages.com

1919: The Year That Changed America (Bloomsbury 2019) by Martin W. Sandler won the National Book Award for Young People’s Literature.

Sandler’s opening chapter would be humorous if it weren’t so horrific. A huge vat of molasses—2.3 million gallons—explodes in Boston’s crowded North End in mid-January 1919 burying people and horses alive or blowing them clear into the bay. If the reader is anything like me, they’re riveted. Molasses?

Molasses connects us directly to many issues of 1919. Molasses had everything to do with slave trade. Sugar cane was produced and processed into molasses by enslaved people. The enslavement led to the racial unrest and riots that would break out across the country in 1919 in Chicago, Washington, Charleston and elsewhere. Black soldiers returning home from World War I, which ended November 11, 1918, hoped and expected a degree of equality after fighting for their country. Instead, they were met with riots and lynchings. White mobs were threatened by these newly confident black men.

Explosives for the war were made by mixing molasses and ammonium nitrate. With the war over, manufacturers were stockpiling molasses to make rum before the 18^th Amendment—

Prohibition Act—could be ratified and consumption of alcohol would become illegal. Prohibition went into effect January 16, 1919. It’s of interest that there was more drinking done once it was illegal, when the saloons exclusively for men gave way to illegal speakeasies which included women.

But women were largely behind the prohibition of drinking, in order to protect their families from drunken husbands. Women were working for the 19^th Amendment—women’s suffrage—which would be passed in 1919 and ratified in 1920.

Molasses connects—race riots, war explosives, Prohibition, and women’s suffrage.

One chapter, “The Red Scare” outlines the fear of communism at this time. “Red” denotes Communism because they rallied around a red flag. A Communist government had been installed in Russia in 1917 while the U.S. has a capitalist form of government. Many Americans felt threatened by the spread of Communism.

Another chapter, “Strikes and More Strikes” describes “work stoppages in almost every field of endeavor.”

Page long “sidebars” include topics such as Immigration (then and now).“Those Opposed” speaks of the citizens who resisted the suffragists, believing that women should not vote because they belonged at home, were too emotional, too fragile, and not smart enough. “The Doubly Disenfranchised” are the African American women, who even after that ratification of the 19^th Amendment were still barred from voting by white supremacist laws. “The Harlem Renaissance” describes the blossoming of African American artists in New York City, during the Great Migration. “The Second Red Scare” tells of the 1950 Joseph McCarthy era. And others.

The photos are provocative. Detailed timelines end each chapter. At just less than 200 pages this is a fascinating historical document of not only one year, but how it changed our nation.

Patricia Hruby Powell is the author of the award-winning Josephine; Loving vs Virginia; and Struttin’ With Some Barbecue among others.  She teaches community classes at Parkland.         talesforallages.com

Daniel Matheson, 18 years old, visits Madrid with his oil baron father and Spanish born mother in 1957. Generalissimo Franco, the fascist dictator, has been in power since 1936 and will continue to rule until his death in 1975. Ruta Sepetys, the author of “The Fountains of Silence” (Philomel 2019) does deep research and writes historical fiction set within little-known historical events. Sepetys is considered a cross-over author meaning her books are meant for both young adults and adults.

The Matheson family is staying at the posh Madrid Castellano Hilton, once a castle. The hotel is filled with interesting characters, including Shep Van Dorn a lecherous diplomat, his reckless son Nick, the mysterious Paco Lobo and the journalist Ben. The wait staff includes the cheerful Buttons, the mean-spirited Lorenza, and the lovely Ana.

The streets are filled with Franco’s police force, called “Crows.” Any Spaniard who opposes Franco walks on thin ice. That includes Ana and her family. Her parents had been teachers and were executed by the regime for their views of education. Ana lives with her sister Julia, her brother-in-law Antonio, their infant child Lali, and her brother Rafa in the slum of Valleca. Nick Van Dorn tricks our main character, Daniel, who is a serious photographer, to visit Ana in the slum.

Not only is Ana embarrassed, it is dangerous for everyone to have Daniel’s big sleek rented Buick parked on the dirt roads along the sewage ditch of Valleca. Living on the street is Rafa’s companion, a fellow orphan, and aspiring matador, Fuga. Naïve, sweet Daniel wins over some members of the family and photographs Fuga wearing his “suit of light.” Julia is a seamstress, sewing layers of glitter and glass into the jackets and trousers of the great matadors and has borrowed this hand-me-down costume for the orphan matador. As a seamstress, “Julia’s fingers are silent narrators, embroidered with scars.”

Daniel photographs portraits of the family and arranges to give them prints. He also gets shots of the “Crows” which is terribly dangerous, a close-up of a terrified nun running with a dead baby, and eventually a shot of Franco himself. Daniel needs a great portfolio to get a scholarship to a photography school to keep him out of business school which is the only education his father will fund.

Ana and Daniel are drawn to each other, but women in Spain in 1957 cannot go on dates without a chaperone, cannot go to a restaurant or theater alone—and her family is under observation for their parents’ past. Ana says: “What similarities could he possibly see between them? Daniel can travel anywhere in the world. He is heir to an oil dynasty, lives a life of privilege, and enjoys every freedom imaginable. He can vote in an election, pray to any God of his choosing, and speak his personal feelings aloud in public.” Ana calls off the romance.

So much is amiss, including life in the orphanage where Ana’s cousin Purification works. And then Daniel’s parents adopt an infant. The Mathesons return to Texas and the story jumps to eighteen years later for its surprise ending which brings all the characters together. This reading journey is a page turner—and so informative.

Patricia Hruby Powell is the author of the award-winning Josephine; Loving vs Virginia; and Struttin’ With Some Barbecue among others.  She teaches community classes at Parkland.         talesforallages.com

Artemisia’s mother died when she was twelve years old, in 1605. Artemisia could have joined a convent as a nun. Instead, she chose to grind pigment for her father’s art in “Blood Water Paint” (Dutton 2018) by Joy McCullough. Artemisia is now seventeen and paints most of her father’s paintings for which he takes credit ,in this passionate verse-story based on the life of the artist, Artemisia Gentileschi.

A handsome and famous artist, Agostino Tassi, visits her home and soon becomes her tutor. Artemisia falls in love with him and thinks he might be a way out of her father’s house—and into a world where she’ll be able to paint under her own name in a marriage with another talented artist. Unfortunately, Tassi cannot wait—and cannot take no for an answer. He rapes her. In this world where men take what they want, Artemisia must decide if she will be silent or tell the truth to the world. She says:

Why, though, does it take/a mother, daughter, sister/

for men to take/a woman at her word?

I wish men/would decide/if women are heavenly/angels on high,/

or earthbound sculptures/for their gardens/
But either way we’re beauty/for consumption.

This certainly puts one in mind of the contemporary #Metoo movement.

Artemisia is buoyed by the memory of the biblical stories her mother had told her years before. Susanna (in the Book of Daniel) was a strong woman who was accosted by two elders while bathing in her secluded garden. The elders threaten her—if she does not have sex with them, they will accuse her of meeting a young lover. Susanna will not be blackmailed. She speaks her truth and is nearly executed for it. But Daniel steps in and questions both the elders. A discrepancy is discovered in their stories. Susanna is absolved of guilt.

Artemisia cannot stay silent. With the help of her somewhat reluctant father, Artemisia accuses Tassi of rape. In court, Artemisia is accused of fornication and subjected to torture to verify her claims. For her sanity, Artemisia conjures the biblical story until the lines between herself and Susanna are blurred. She will not give up.

Artemesia thinks back to another story told by her mother—about the heroine Judith, who, with her maid, beheads the oppressing Assyrian general Holofernes to save the Jewish people.

Eventually, Artemisia will paint each of these biblical heroines, from the point of view of a woman, rather than that of a man. They will make her famous. As told in McCullough’s story, Artemisia is understandably angry, bitter, and tenacious. Young readers need to know it’s okay—it’s even good—to feel anger—and to demand justice.

Patricia Hruby Powell is the author of the award-winning Josephine; Loving vs Virginia; and Struttin’ With Some Barbecue among others.  She teaches community classes at Parkland.         talesforallages.com

Eighth grader, Claire, did not pass into the next level of dance classes—and her classmates did. She might lose her second chair alto sax position and first chair Riley does nothing but insult her. There’s no way she can live up to her big brother Matthew’s reputation in school. Everyone is doing fine—except Claire—in “Falling Over Sideways” (Scholastic 2016) by Jordan Sonnenbrink.

Claire is Claire-centric. She’s hyper sarcastic—but funny. Jordan Sonnenbrink is always laugh-out-loud funny. When it seems that nothing could get worse—the unspeakable happens. While home alone with her lively author father, she witnesses him fall over sideways, unable to speak. Claire calls 9-1-1. She rides with her disabled father in the ambulance to the hospital. Her mother doesn’t even answer her phone. Claire is scared. Will her father die?

When Dad, who was once so funny and fun, finally arrives home—well, he’s just not her father anymore. Was it better if he’d just died rather than have a stroke? Claire wonders. When he finally does speak he calls her “Piggie,” a childhood nickname. Claire is mortified. He manages to call her brother by his real name: Matthew.

Everyone at school—her friends, their parents, teachers, the counselor—says she’s depressed, which makes her angry, because she insists that what she is, is mad. She’s really mad at everyone including her father. And Riley never stops being mean and snarky to her

Matthew is spending a lot of time with their father, rather than going to soccer practice and studying, but Claire doesn’t see the point. I mean, he’s not himself. Claire’s sweet mother is exhausted. Eventually Matthew shames Claire into helping to care for their father so he can get his homework done.

She hasn’t practiced her sax in weeks, but her dad isn’t talking, so she figures at least maybe she can get some practicing in. Dad who had seemed so dull becomes enlivened at the sound of the horn. Claire discovers that a left hemisphere stroke victim can be helped by listening to music. She keeps playing for him.

Time passes and her father doesn’t seem to be improving. Claire won’t invite her

friends over because she’s embarrassed by her once life-of-the-party father who is now drooling and doesn’t even seem to want to improve his speech and motor abilities.

Her mother tells her that she is her father’s favorite—that “Piggie” is such an affectionate name. Claire starts spending more time with her father. She keeps playing her sax. She cajoles him into working harder on regaining speech, coordination, mobility. The reader learns a lot about stroke and stroke rehabilitation.

I borrowed this book from my library and listened to it via Overdrive, read by Miriam Volle. What a great reader. How can an adult sound this much like a sweet young girl. I’m sure the recording made me like the book even more than if I’d read it off the page.

Patricia Hruby Powell is the author of the award-winning Josephine; Loving vs Virginia; and Struttin’ With Some Barbecue among others.  She teaches community classes at Parkland College in Champaign, IL.         talesforallages.com