The Horn Book | Kwame Mbalia Talks with Roger Sutton The Horn Book | Kwame Mbalia Talks with Roger Sutton **Imagine

With Jax Freeman and the Phantom Shriek, Kwame Mbalia introduces not only a new middle-grade fantasy hero, but a new imprint for Hyperion/Disney: Freedom Fire, dedicated to “Black Joy, Black Resilience, Black Storytelling.” Kwame serves as Freedom Fire’s publisher, meaning, as he says below, “traveling around and shouting excitedly” about the imprint’s offerings. Talks with Roger is a sponsored supplement to our free monthly e-newsletter, Notes from the Horn Book. To receive Notes, sign up here. Sponsored by With Jax Freeman and the Phantom Shriek, Kwame Mbalia introduces not only a new middle-grade fantasy hero, but a new imprint for Hyperion/Disney: Freedom Fire, dedicated to “Black Joy, Black Resilience, Black Storytelling.” Kwame serves as Freedom Fire’s publisher, meaning, as he says below, “traveling around and shouting excitedly” about the imprint’s offerings.

This excerpt from the book “The Business of Publishing” by Roger Sutton discusses the dual role of a publisher and an author. Sutton highlights the inherent conflict of interest that arises when an author becomes a publisher of their own work. He argues that this conflict can lead to a lack of objectivity and potentially compromise the quality of the book.

The speaker, KM, is engaging in a conversation with another person, likely a friend or colleague. They are discussing the potential for shared experiences and storytelling. KM suggests that everyone can enjoy these stories, regardless of their background or experiences. They envision a scenario where they and the other person can sit down and share personal stories about their origins, experiences, and challenges.

RS: I really appreciated that inclusion of the Irish kid in Jax Freeman and the Phantom Shriek, because here I am! KM: Bull is one of my favorite characters. He is steadfast in his honesty, his ability to call you out. He’s what you look for in a friend: someone who is like you even when they don’t look or sound like you. RS: Publishing has, of course, always been dominated by white people in this country — as has pretty much everything else — and I’m loving the expansion we are seeing in Black literature for young people. When I started in this field in the seventies, there were a lot of great books, but all we saw was a lot of gritty social realism. We got a couple of books from Virginia Hamilton such as The Magical Adventures of Pretty Pearl, which I could totally see as a Freedom Fire book today.

Two friends, KM and RS, discuss a book they both enjoyed. KM mentions that she has a copy of the book and wants to give it to her children. RS shares their experience with the book, emphasizing its difficulty in accessing but once inside, it’s a captivating experience. **Detailed Text:**

KM’s excitement about the book was palpable.

* **RS** and **KM** are discussing a book. * **RS** is curious about the book’s impact on **KM**. * **KM** reveals they read the book annually.

We would go to fairs and festivals, and he would sell his homemade jams and jellies. But he also sold books. And I remember seeing these books, these Black authors’ books, being sold out of trunks and at fairs. It was a way for Black authors to reach their audience directly, bypassing the traditional publishing system.

They were also having trouble finding a larger audience in the mainstream media.

Then we’d want to be just like them. We’d become heroes too. That’s a natural human instinct. So, with children, this is even more profound because they are more open to different cultures and stories. This open-mindedness makes them ideal for exploring different cultures through literature.

* The author discusses the “Chosen One” trope and how it is inverted in the character of Jax from the “The Broken Earth” series by N.K. Jemisin. * The author admires the subversion of the trope, highlighting how it creates a sense of anticipation and intrigue.

I mean, I’m just starting out, I’m still learning, and I’m excited to see where this all goes. This is not a book I’m just making up as I go. It’s a journey of discovery for me, just like it is for my readers. Every word, every sentence, every paragraph is a step forward in that journey.

RS: Did you feel like you were entering a world that was already created in a sense? One that had begun before you? KM: Yes, because there’s this concept of conjure or root magic. We call it hoodoo. That inspired Jax; I didn’t come up with that. It’s been a spiritual practice for centuries. Accumulated via the indigenous people here, practices that enslaved Africans brought over with them when they were taken, mixed with local and European practices. There’s a deep history in the foundation of Jax, but I feel like I got just below the surface. Zora Neale Hurston collected a conjure tale in Florida about Uncle Monday, who was a folk character; you’re never quite sure if he’s an alligator, or if he’s a man who can transform into an alligator, but there’s always a gator associated with him. And I remember just thinking, Oh, it’d be really cool if a character from the book could have Uncle Monday as his muse or was the person who granted him powers. So when Jalen, a classmate, starts to transform while in a duel with Nina, his skin gets tough and his nails get long and he says, “Monday’s walkin’,” and he starts to transform with all of this power. I didn’t invent Uncle Monday; I didn’t come up with him. I am stepping into a world where these stories already exist and all I’m doing is adapting them.

We’re taking the existing characters and storylines, and we’re just adding our own spin to it. This is a common practice in the fandom, and it’s a great way to explore different perspectives and interpretations of the source material. The beauty of fan fiction is that it allows us to engage with the characters and stories in a more personal and intimate way.

a) The Power of Reading for Black Children
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b) Reading:

The passage discusses the importance of reading and the impact it has on young Black children. It highlights the challenges faced by some Black children in accessing and engaging with books, but also emphasizes the joy and fulfillment that reading can bring. The passage uses the example of a fourth-grader who struggles with reading, but ultimately finds joy in it.

A. Teachers: The Extraterrestrial Enigma
**

The summary provided is a brief, informal conversation between two people, Bruce Coville and a person named KM. KM expresses their love for a book by Bruce Coville. The conversation touches upon the theme of teachers being aliens, a common thought among children.

* **Fantasy and science fiction:** These genres are popular among children and offer a way for them to explore different worlds and cultures. * **Cultural immersion:** Fantasy and science fiction can provide a sense of cultural immersion, allowing children to experience different cultures through the stories they read. * **Equal footing:** These genres can help children from all different cultures to connect with each other and feel a sense of belonging.

* A person discusses the lack of diversity in depictions of superheroes and how it reflects societal bias. * They highlight the disconnect between fantasy and real life, arguing that in these fictional worlds, biases are not allowed. **Detailed Text:**

The conversation revolves around the absence of diversity in superhero narratives.

That’s the hook. RS: So, you want to make sure that the hook is something that’s going to grab the kid’s attention and make them want to read more. KM: Absolutely. RS: And that’s what we’re trying to do with the summary. KM: Right.

I want to represent a diverse range of voices and perspectives. KM: I think it’s important to be mindful of the fact that we are a team, and we need to be respectful of each other’s opinions. KM: I’m excited about the potential of this project. I think it’s a great opportunity to connect with readers and build a community.

a) The Power of Emotional Depth in Storytelling
b) Writing Compelling Characters:

The focus is on character development and emotional depth. This is a core principle of my writing. I believe that the most compelling stories are those that delve into the complexities of human emotions and experiences. I strive to create characters that are relatable, flawed, and ultimately, human.