i read all of the trade reviews. i'm trying to figure out what to assign three months out. it's just a great section. i'm full of envy for their book section. ron charles. the editor of the washington post book club. ..

hospital, the chief of staff who so generously allowed us to broadcast from the harlem atrium. it's a wonderful place. it was important because while we usually broadcast from schaumburg it was important to introduce another harlem institution and interestingly enough to have a more literally the harlem hospital live, the schaumburg in another way but i wanted you to just know that

harlem is a vibrant community, a community that in many ways sustains not only those who live here but is the idea of harlem and what it represents it sustains us all. so i wanted wanted to thank harlem hospitals. i wanted to thank christopher from the public affairs department who i have called too many times and i know he has answered the phone to many times. so thank you christopher. with all that is going on in the nation, i think it is important to begin the harlem book fair with an opening remark and that is, we know what is. my question is, what is the alternative and for me the

alternative is for us to continue creating, collaboration partnerships for us to continue building sustainable, useful cultural institutions anything else that is projected onto us are projected about us, often times and we have no place else to go the only thing we can do is live in the state in which it is imposed on us. was he alternative alternative to that? there we are clearly empowered. that is the work of the harlem book fair. to stand in a place from which we can name ourselves, we can set our direction, we can talk about our points of view.

in the states of collaborative partnerships at the book fair you will enjoy a program at least you'll meet the cast of a program that we have launched it's a video, and online video program where four women discuss the book and the things that are current and books that are available today and will discuss them. much like a book club much more intimate, much more real, and that is something that we have produced in collaboration with the studios, my partner in this video and also another program, writers on writing. sort of like a charlie rose type of interview, one-on-one, this is bringing it to the forefront

because we can, because we we can because we have voice, because -- next year we are launching a book festival in fort worth texas, we are excited about that this year, not this year but next week we have a program that that will take place at the metropolitan museum of art. another host partner called black in the world. we bring together authors from the diaspora to talk about what life looks like trent looks like through the books and the africa, u.k., caribbean, brazil, brazil, the united states. and lastly next year we are partnering with -- to launch a book festival in gambia. there'll be a lot of promotion on that. you are all invited to come. put your $10 per week away and

be a guest of the harlem book fair as we launch the festival in the gambia. in a nutshell that's it, that's the work. this is our story, there is no reason well i will say the bad language, there's no reason for us to sit on our heels to be pulled back on our hills, yes of course there is but we have a place to go beyond that and that is in your life, and your story and your story being told. >> were going to start today with something we thought every year, the state of black writing and our guest today are harlem book fair author is elizabeth nunez, myla tenia -- and she is

a new york times best-selling author. her most cherished books are even in paradise, her memoir is not for everyday use, a memoir. she has seven books more, ten books. many of many of them new york times bestsellers rituals talk about literature by black writers. who are the readers, there's always a conversation about who is there to read our books. this is that conversation. i want to tell you little bit about elizabeth. she is currently is currently a distinguished professor at hunter college city university of new york. we met when she was teaching at a college. elizabeth is the founder of the national black writers conference that happens every year.

elizabeth is the founder of that event. she asked me to come in to support her in her work and from that point on we have been kindred spirits. she is an amazing writer, an amazing voice, passionate about writing, passionate about work, passionate about our stories. lastly i want to acknowledge you, the audience especially the younger of us in the audience, i want you to know that one day you can be here as a writer, as a speaker, you have voice, you don't have to condition your voice, you you don't have to qualify your voice, be your voice. and let that lead you. i would take a moment to tank you very much so let's begin the book fair. [applause].

[inaudible] [inaudible] [inaudible] >> thank you for being here. i want to thank you for what you said, we began collaborating maybe 20 years ago when we are each 12 years old, right? when i was doing the national black writers conference had max join me, he is a good friend, my mentor john of oliver pondered the conference with me, used to talk about long distance runners, he would say you can make a sprint but who is the guy

that can go all of the way and max is a long-distance runner. he is a visionary, he's remains focused on his goals and as he said this is the 18th time that he is doing this book festival and has plans for many more events as he has described. so i want to -- i'm going to name my topic. my topic is literature by black writers, who are are the readers? who are the readers of literature by black writers, i want to start with a disclaimer, i was speaking to max and i said you know, i don't don't want this to be called black literature, who are the readers. and that is important to me and i want to tell you why, it is because i don't buy into the theory that there is a genre

called black literature. i believe there is literature or good literature or bad literature and we can debate what is well-written or not at another time. but as for the genre of literature, there are categories like romance, history, tragedy, comedy satire etc., and, and as far as i know black writers write books that include all those genres. black writers that write books that are history, romance, tragedy comedy satire, et cetera. the argument that because the writers are black and because their topics are generally about the black experience one could thus conclude that that constitutes a genre called black literature. i believe this kind of thinking leads us down a rabbit hole to

which there is no exit. or else the perniciously dangerous exit. indeed such thinking impacts directly on the question of what it means to be human. let me clarify. black writers are are not a special brand of human beings. and the black experiences they write about is not a special brand of human beings. they're all simply and wonderfully human. so to speak directly to my topic, why do so many assume that books by black writers are of interest only to black readers. take a tour of any major bookstore and you will see what i mean, you will see there are special sections for books that are african-american interest and then there other sections in the bookstore that are

categorized according to their subjects or according to their authors. recently i want into one of these big bookstores and you can guess which one. and right in front of the store word to huge tables labeled african-american interest. i saw books by some major black writers including one book by marlon james who won last year's book award. the store was crowded but the only people around those tables, african-american interest were black people. wasn't one to assume. let me say right away as a disclaimer that i believe believe bookstores thinks they are doing something right. they are doing something good by creating sections based on the race of the writer, in this case black writers.

they believe they're providing a special place for back writer so those interested in books by black writers they assume would only be black readers can find these books conveniently. let me also say that publishers target and this is the dangerous part, publishers target their marketing and distribution dollars to black readers for the very same reason. but here's the problem, bookstores and publishers do this because their assumptions are based on their concept of the word. and their concept of the word is based on the world in which they live where they rarely have occasion to interact with black readers. so the fact is the publishing industry is a white industry. 79% of the overall publishing industry is white. and by that i mean the

publishers, the editors, the agents, the publicists, the book reviewers, the, the distributors, the booksellers. 79% is white. and that is publishers weekly statistics that came out in march of this year. what is more dangerous is 82% of the editorial department in the editorial department of the departments that decide which books are going to be published and which distributed. 82% of the editorial department in this country are white. in a recent book mounting frustrations that museums in in the age of black power the writers susan makes a similar observation about art museums

where there are a few african-american curators were even white curators who have knowledge of art by black artists. the result is she says that art by people of color is often shown in marginal spaces. as i am saying about the bookstores. one person exhibition, are the preferred method of showing the work of minority artists. as they provide curators a way to avoid engaging with the problems of complicated interlocking history. is that what the publishing industry and some raters feel? do they fear that books by black writers and forced white readers to engage with problems of america's complicated and interlocking histories of its treatment of black americans?

new research has revealed that slavery in america was not limited to the south. there is a new book out, i don't have the name right on the top of my head, that shows that new england puritans had slaves and there is a direct link between the profits of slavery and the emergence of northern cities, including yes, new york city. this is tough information to digest. in my memoir, "not for everyday use" i talk a colleague of mine whose father had come to america from eastern europe when he was young adult, i think maybe 20 or so. my colleague argued that her father success was unrelated to america's treatment of its black citizens. neither he nor his family members were in america during slavery times she says not in

jim crow times were during the civil rights movement. then i reminded my friend of how her father managed to accumulate close to $1 million for his children. you see two decades ago my grandfather was looking to purchase a house in long island with a view of the water. my ex was also looking and my ex was shown a house on long beach road, beach was the operative wrote that the realtor use. she did not add the long part that it was a long way to the beach. but he took my friend to a canal and a house. my friend's friends father could not afford the beach but he took them to house by the canal. both my ex and my friends father paid $34000 for their houses. a long long time ago.

they sold their house is not too long ago. my ex got $174,000 for his house, my friends father got close to $1 million. the history of american race you see has long tentacles. giving economic advances even to reset white immigrants who benefit from racism even if they themselves were not there during that period. so books by black writers not only engage white readers and the consequences of america's interlocking history of its treatment of black americans but they also provide american which we can all recognize our common

humanity's. like all writers black writers focus on the specifics because they know that by drilling down on the specifics of their history they will arrive at the truth of how human conditions. what if it is love, or despair. black writers write these topics but more often than not they explore these topics through the human conditions the characters who are black. so here's this challenge. this challenge of a predominantly white publishing industry is to accept that truth. that means the players in the industry and market books by black writers not as books that appeal only to black readers but rather as books that have universal appeal that can give us a window to the challenges that all human beings face. how to overcome despair, despair, temptation, how to be a most

loving cells. and i have very little time so i'm going to go almost to the end. i think much of the game, i'm going to go a little bit before that. there. there is in a norwegian writer that everyone is reading and he was trying to make sense of. [inaudible] in norway. and he made this powerful statement. he he said the most powerful human forces are to be found in the meeting of the face and the case. only there do we exist for one another, in the case of another we become an in our own case others become. it is thereto that we can be destroyed. being unseen is devastating and not seen. i think much of the blame for the recent racial tensions were seen today is because we live

and experience life in silos. there are laws that make segregation illegal yes our neighborhoods are segregated, first children go to school in both public and private that are segregated. we will worship in churches that are segregated, or social and user segregated. and you could say none of this is intentional, but people want to be with people like themselves but witness the consequences, how is is it that only now white america seems to realize what black parents have known for ages. that there there black sons could die simply for driving or for being black in the wrong place at the wrong time. books by black writers about black characters give us access to the experiences to the black experiences in the black word. books by black writers allow us to accept the faith and gaze of black people.

books by black writers give all peoples of the world the chance to see themselves in the face and gaze of others. books by black writers allow us to see our common humanity and thus break down barriers that separate us. i was struck by the confusion, the conclusion he comes to in his remarkable book, between the world and me. he does not exonerate rolled police officers who kill innocent young man, but this is what he does, he blames the legacy of america's history for allowing police departments the authority to destroy the black body. books by black writers offer america the opportunity to revisit that history through the lens of black characters. to see the self through the eyes of the other.

to recognize and acknowledge our common humanity and so, defuse the possibility of more violence, winding the path to a more humane world. with our books by black writers and i diversity of readers to read them, not simply black readers but white readers, all readers there is a grim possibility of a warning of the consequences of not being seen and not seen and it could be prophetic. thank you very much. [applause]. >> and now i have the pleasure of introducing to you a panel that is going to talk about creating diversity on the bookshelves. on this panel it's going to go more about children's books and creating diversity on the bookshelves of more children

books and young adult books. so i would like to introduce the moderator who is sandra who is president of the new york, i'm going to get this right, the new york black librarian caucus. [applause]. [inaudible] [inaudible conversation] [inaudible conversation] [inaudible conversation]

>> good morning everyone, how are you? you can hear can hear me? about that now? that's good? good morning everyone, how are are you today. >> i just want to thank you for coming out to the new york black librarian caucus. we are here today and we have a very great panel here for you in our panel consists of stacy whiteman, publisher of two books [applause]. we also have. [inaudible] and author a new book coming out and i will let him tell you about his new book. we also have a librarian we also hall finesse lloyd -- she is an advocate of children's book. our panel discussion today in

your presentation, in your head out today in 2013 but perhaps you have another date that's even better, 3200 books were published but this is only according to the children's counsel and of these books 93 were about african-american children. in addition to that there is an article written by walter myers that said where the people of color in children a books. today our panel is going to assess where the people of color in children books, how far we've come and where we going. so we will begin our panel. >> so i just introduced your name so i want you all to go around and give a brief introduction of yourself and what you do and how we come

together to be on this panel. i'll start a stacy. >> i'm stacy whitman, the publisher of two books. you might know us and for our picture books we have been publishing picture books for the last 25 years and i have been with them for the last six years and i focus on middle grades and young adult titles which is for ages 8 - 12 and ages 12 and up. >> can you hear me now? >> i was actually born here and

it's really interesting because the first book that i -- and it was a book where i'm told about a book of poetry about fathers. i also come from a legacy of artists andchildren's book. my father john illustrated and wrote for my beautiful daughters and my mother who is also an artist that my father in high school. so you know what else could happen to a narcissistic child. >> thank you. fantasia. >> hello everyone, can you hear me? >> i am the head of services at

the public library, i will try to project my voice. [inaudible] the library was located in the county out in the boonies of long island i was long island born and bred, raised in freeport, and i have been a team librarian for close to 12 years now. so i want to work with six - 12 graders who want to work with public library. >> i am finesse, i wear many hats in the world the publishing. i have a firm called the literary media publishing consultant. we manage a lot of major african-american authors into you'll hear this afternoon on the programas well as i'm the

founder of african-american children's book project. is the largest and oldest single day event for african-american children in a country. i'm also a contributor for the beth smith's show. we have a show every friday, we presented african-american children author and administrator we host the program, a books on her i heart radio station which is broadcast in philadelphia. i'm wearing a lot of hats today. >> as you can see we have a distinguished panel here today. i'm going to now start with some questions. my first question and i'm asking questions for just the panel so feel free to jump in. the first question is, african-american children see themselves and books to promote self-esteem and develop their interest in reading, having to rebuild and and what you would

say about that? >> i think being able to see your reflection, there is a really wonderful article from the 80s i want to say, windows mears is sliding glass doors which i highly recommend reading if you never got a chance to read it. the idea of being able to see yourself in a book with the mayor book is really important. talking about the number of children's books out there that are mears versus windows for african-american children. there just are not enough. they're out they're out there, but there just we need more. so i think that is important for being able to feel like you can be a hero in that story. >> you want to say something? [inaudible] is important that they can see

themselves. >> maybe you have an aspired author and they haven't taken that path, to let us know that. [inaudible] [inaudible] [inaudible] >> i also think that validation. [inaudible]

[inaudible] so what i see is validation is important. children having all sorts of experiences, if they don't see their experience then they think that their experience is not valid. and there must be something wrong with them if everybody else's experiences written about but nobody is running about their experience. i think it's important for the myriad of experiences of white people to be exploited and books and all types because our children need that validation that they are important. and their lives are being respected. >> i grew up in a generation were children's books, the first

children's book was probably dick and jane. and that was the image that you are presented to you and to see yourself in a book, i remember the first time ever saw myself an image of myself in a children's book book and it was an aha moment. i remember the first time i can still remember the first time i read the story about harriet tubman. they did not discuss harriet tubman in school and my generation i read this book and i read books about langston hughes and the more i read the more it made me feel proud of my heritage. i think all the panelists are saying the same thing. children need to to see images of themselves in these books you cousin it their life, it empowers them and enlightens them. not just african-american children should read books about african-american but all children because if we're going to be an inclusive society we

need to see some diversity. >> thank you speaking about diversity and children's books, in addition to that, the article that i am referencing from walter dean myers, there is a quote quote in the book in the article that i found that i want to test the panel about. the quotas for a common humanity what is the message when some children are not represented in those books, what message message do you think is being sent out? >> i do not think, we focus a lot on what isn't and what should be, and, and we don't focus in on what is. i'm really trying to keep telling people over and over again that the message that is out there is that books exist about our children. their wonderful books, if you want to talk to your child about why it's important to read, give them days of potter. days of potter was a slave and

it was against law punishable by death if you could read. hebecame creative by weaving his poetry. if you teach it child that being able to read is something that is a gift, that you need to utilize it. if he can show them how to be resourceful when they meet diversity. so we need to focus and not just on why you need diverse books but tell us more about what exists out there and that book which is one of my favorites is a classic in daddy's harms i am strong. there are so so many books written about african-american men and what they were not doing. that is not here, that is not this, that this, that is not that. and he wrote this wonderful book about how in his african-american fathers arms he was strong. so that resonated across the board about how you share a love of reading to a child but also

you empower them through the words. >> would you like to comment on vanessa statement about your book? >> number one i want to say thank you. i do think it's important to focus on the positives. and that neglect, negative negative things that are out there because it's important. so focus on what's not happening, were not in visiting, i know i watched a lot of netflix and at a certain point i have to stop and the reason i

have to stop is because i know it's a pattern of number one i noticed that there lack of white movies and then when they have the title black interest. the quality goes down. and the thing is i know so many creative people in new york who have really interesting ideas that are doing things and all we have is the small little programs that don't really mean much. it makes me angry.

i just know like as a child not seen yourself. [inaudible] and so like vanessa said let's focus on getting the attention out let's focus on showing people books that are high-quality, books that are really visionary and would really just bringing the world to children. >> thank you. >> as a children young adult librarian, tell me how to get the books out to children and what to do when they come into your branch? >> i like that question. as a library i don't believe in sitting at the reference desk

and waiting for people to come to me. where they go i go. african-american, caribbean, african hispanic. i put books on my shelves in my department that -- so there's a brooklyn writer who wrote a book about the crew being girl and it's not something you see all the time, and when the book came in was on one of my displays. it was focused on africans in the caribbean experience. all of these different aspects of things that are in our community. [inaudible] i put try to put titles that even if it's not written by a

black author, if it does well, for example. [inaudible] [inaudible] [inaudible] this is a book that maybe my younger brothers have experienced so that's also things i try to incorporate into my service to let our teens know, we care about right they read, we also care about their cultures. and they can find these things here at the library. >> so thank you stacy how do you

get your books into bookstores, libraries,. >> i actually wanted to first address what was being said about being a teacher because that's actually what i found in books is that i actually acquired it back in 2010, we started out just doing science fiction which is a genre that is not welcoming to people of color historically. i have a lot of friends of color who are not into science fiction and fantasy. and that is why we do it we do. we want to be able to give kids of color basically a bagel sign that says you're welcome here. you're welcome in the future. back when i was just starting i went to a book signing by man

who is native american and i told him what i was doing and he's like yeah we need more indians in space. and the idea of being able to see yourself in the future, here on earth and anywhere in the world i think is so important for all kids. and so what we do is we give the books to where the kids are, we get them into schools and libraries, we are not as strong and bookstores because of the kinds of things that -- elizabeth was talking about earlier sometimes bookstores are not as strong but i think we need to look at the movement that was happening blessed for year's that is open their eyes of the greater book and industry and were hoping to see some change. >> thank you. so you have heard how they get books in, what type of market is

done in the library and do talked about a festival, so what would you look for to bring to this festival? >> i wanted to address her question and also lisbeth statement. elizabeth statement i in the world for many years and i was there at the beginning of the african-american renaissance worm expert jumping off the shelf and every bookseller from independent chainstore wanted to have african-american books their stores. one of the issues now obviously is there more independence even though people keep saying there less. people keep keep coming back to the business and there also a lot of big-box chainstore. consumers have have asked for these books, you have to demand it. he had to go into your local bookstore in your community and say, i want to have these books. and i guarantee you that i will go and buy. we keep putting the negativity, the the shield on the publishers or the authors, consumers have a responsibility. publishing is a

business business and whenever i say this people get upset. publishing is a business and if you buy it they will produce it. until people begin to understand that it is not going to change this issue of not having books and bookstores in your community or even african-american bookstores. there's a distributor that was here earlier this morning based in baltimore. he services 50 african-american bookstores around the country. they are interested in having children's books but most of the time publishers won't go to him, don't know him, and have not done your research. we are research. we are out there and that is one of the reasons why this is been so successful. we have sold more books than any african-american retailer in the country into a half-hour. >> on that note because i have a question of a white published

this, so what criteria do you have when it comes to publishing books of children of color. the second part is how to find others manuscript and characters and storyline. >> so our motto is about everyone for everyone. we believe that our book, i like what you're talking about our book are not just if they show an african-american are not just for african-americans. everybody should read this awesome book. so what i look for when i am reading manuscripts as i look for a good story. but there is also to be a component because i'm white and there some things i don't know. i had to do a lot of learning and it's been a big learning curve over the last six years making sure i know what i'm looking for. and we as cultural experts actually. so when i don't know what i don't know. so say i get a hawaiian manuscript by a white author,

were going to run that by someone who is actually wide to make sure that person did their research and not only telling a good story but doing it in a way that is culturally authentic and so on. so i am always looking for good story but i'm also thinking about where our gaps are. we have c experts on our team that are going to the schools and cylinder books to the schools but also getting feedback from the teachers and librarians say why don't have books about this or that. so we listen to that was start looking for books on the subjects that fill a gap that teachers are looking to fill. >> thank you. as an author when used to meet your, would you do? i what you put into it in? >> first of all i'm picking a

subject that i'm thoroughly interested in. i guess somebody who writes i'm gonna write about something if you're not really interested in it. >> what i do is i try my best to get a final copy and of course it's going to be edited, that's just the nature of the beast. but i put a manuscript together and then i also might have a sample illustration and i will send it off to whoever it is that i was in the book too. the editor that i'm sending this manuscript to an illustration is not a random person.

you have to do your research, you have to make sure whoever you're starting to come of the publisher publisher type of book that you are creating. i'm the reason you want to do that is because no one is going to reinvent the wheel for you. publishing companies already have distribution they already have a sales team that has been pressed a certain way. so you want to create something or you want to build the publisher that fits into what you're doing so that you can fit right into their machine. and have a good time as opposed to fighting, and arguing with the book company because they're not getting what you are doing. >> so so with that said, tell us about -- >> i want to follow up one what you're saying. on the publisher side we are actively looking for writers of

color because of the immersion that your writing about. i think it's possible for people to write cross culturally but i think the numbers who are sharing earlier, the numbers of actually books by people of color, about people of color or even no low. so it's important to get them writing about -- so writing. >> we buy books in a different way than the mainstream community. we look for books for example the churches civic organization and as i was discussing my book was very successful get about 4500 people in the dead of

winter, february when it could be the coldest day may beast on the ground because people cannot find books at any other time of the year. so they wait all your long to buy books. there's there's also a limited amount of marketing and promotion done to promote these authors. that's an important component. we have to know about. we are not going to stumble on the authors first set amount for an interview. or to the local store and put it in the front of it. the other thing that is really crucial to make people consumers. we create hype at our event. we tell people this is a major major event, you have to come. people get excited. we also sell books so kids can see them. when a child walks up and says in there at eye level line instead of putting them on the shelf traditional way they see the outline of the book, they're more inclined to want to read that book.

you have to begin to ask children what are your interests. if you like romance and you like thrillers i'm going to give you thriller not to give you romance. we have to ask our children what are your interests. and that's where the reading experiences. >> public libraries read bibles -- but we don't sell them. so what would you recommend to parents might commit essay want to build a children's library for my child at home. >> librarians are there to help you make decisions. if you see a collection at your local library or if you need suggestions for a personal library at home, ask us. if we don't know, we will

research it. we will go find out where -- it's a dedicated and also -- these are the tools that will serve you. so i tell my patrons all the time speak up,. [inaudible] >> with that said, talk about -- >> the black library and caucuses operating and it's a wonderful organization and sense that in terms of librarians, those who want to come out to the city if you have a lot of

librarians for those of us out in nasa county and other parts of the nation, it's not the same. this organization helps professionals with development, it can access so we can network and we can share ideas. we have programs that is designed for a community. it's a nonprofit organization. we have a website, go go to the website we have a president -- [inaudible] it's great to talk to others about -- >> okay there's a study talking about earlier and it is by the cooperative children's book center. now they they receive books and

for what received in last three years, talked about that in 20,133,200 books were received by only 60 african-americans what they were written about african americans there were 93 peter for 2014 we see little increase, there's 3500, there's 3500 books published but of that number, 84 were by by african-americans, but 180 were about african-americans. now for 2015, it was a drop, they only receive 3400 books to books to review but there is an increase by 106 african-americans and about 250 african-americans. this was. this was last updated in april 2016. so for the panel hearing these numbers, what do you think would be the best solution? i know we talked about the publishers and

the consumers need to go out and get in touch with the publishers and request different books and things of that nature. so we have an author's been writing for many years and he knows what it takes for him to get his books published. stacy you are publisher so you're hearing from the panel in terms of what needs to be done and of course is a library you heard what librarians do to get the books on the shelves. i want to direct this question back to stacy first as a publisher and then i'll go around. >> so what about the numbers and you also talked about the study that was done. i want to talk about what is being studied and what's going on. >> actually we have been doing diversity gap studies for the last through for years now were looking at the numbers and putting them together and say how we made a dent? but were also at the greater culture. were looking at publishing itself. we actually are looking at the publishers weekly survey and did

her own diversity gap survey where we had an independent researchers punch the numbers given to us by more than 30 publishers. looking at their company rather than just who ever happens to be on the publisher weekly. most had similar results but we wanted to have some baseline numbers so that we can look at how that changes over the course of the next few years. we are looking at the greater culture because we want to recognize that it is not children's books only where this issue is happening. the vulnerability is a big issue. if you have people coming into the library going where books about people of color or for people who don't know where to look for -- social media is really a great place to learn where the books are because

there are librarians, their writers, there are there are editors in all sorts of different people who are online and sharing their favorite books they are reviewing. there's some really great reviewers that are looking at not just the quantity but the quality. in recommending hey you should read this book. and maybe this one is not so great, that kind of thing. but even as the numbers grow -- >> i just want to address your statement about the study. this is often quoted and there's always a shock element. my gosh you have 3500 books hundred books and 60, 80 were only published by african-americans. if you don't read the fine print there will never be enough to suit my taste of african-american books.

the study is based on they don't include self published titles which there are thousands of titles that are published, very good once, small independent press so you have to look at it from that perspective. there are not enough african-americans, there's numerous there's a couple here today have wonderful books. so we need to look at that not focusing much on the studies . . have been on television but we

have to begin to push the envelope a little bit more. we need to get the books and information out there. we've been around forever and i'm sure he can count how many times he has been interviewed about his body of work. he has been living in decatur georgia and has never had an interview about this wonderful literary center that he has there. you mention publishers weekly and those kind of journals. i'm an advocate for, and there was an article written about a children's book and i made sure she was here. if you know a wonderful author or illustrator, mention that to somebody in the media. send your name name in. that's how we get this information. we can't just depends, i'm very passionate about this. the books are out there. the books are are wonderful. >> one thing i've noticed in the

new york times children's books section has been thinking more about this. they have written about our books recently in the last year or so. i've been, people have been working on this forever, but this writer pushed that we had recently has been moving beyond just the circle of people who have known this for so long. >> it's up to new people to push the envelope. >> i think of a lot of what's going on in the news today is definitely pushing people to explore more and look at things in alternative ways. i also want to say, a systemic problem in america. it's not just the book companies

it's a lot of different factors in society. you have the schools that are not teaching their children to become readers. if the parents aren't teaching at a home then you can't expect to have readers when they grow up. it could happen but it's just not going to happen in the same way with the same volume. as parents you have to purchase books for your children, your children have to see you read. you have to check in at your schools to see what their libraries look like. do they have a library. what's happening in terms of a particular, they have, core books, there are books being suggested in the common core

standard that have no multicultural conversations to them. and then, another thing that hasn't really been suggested is that we have 80% of white women editors. your children are going to school and looking for what to do when they get out of school. they could be an editor for a book designer, we have to become part of the industry so that our voices get heard. there are some companies that are really good and really supportive and then there are

some that have been out almost as long as i've been born. when you ask a book company if an anniversary is coming up, would you like to support and they say no. we have to be in these industries. we can't just make complaints. >> thank you. connected to that, we need to first focus on an organization that has been trying to get more people into the industry. they have an internship grant where last i knew it was roughly 2000 or $2500 which for a summertime internship can really help defray the cost of living in new york city because it's really expensive here and that's a big barrier to a lot of people. there are ways that if you think

there are carriers financially that might be in the way of joining the industry, that might be one way for someone to make it happen. i would like to thank our panel. we are now going to open up for question-and-answer peer and we have q&a so there's a microphone that will go around. we open it up to the audience, do you have questions, comments. >> we can't hear you. [inaudible]

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she is right when she says the consumer has to become the activist. >> she has an answer for your statement. >> do you think about pop culture, our music, the way we dress, our hairstyles, all hairstyles, all of the stuff is appropriated by the majority, when it comes to our literature. [inaudible] to me it doesn't make sense. >> why do you think that? >> i think for me personally it could just be, again it's a systematic. [inaudible] >> a book by a black writer whose writing on topics.

[inaudible] it makes you look and see. [inaudible] books are extremely powerful. to me that is why. >> also the bargaining of it too you're putting african americans in separate sections. you're not marketing it to everyone. from the starting whistle you are setting off a large section of the audience. it all plays together. >> it's interesting that you say that. there are two sides to that story because up until the harlem renaissance. in the '90s, african-american authors were included in this broader picture of a bookstore. but then african-americans also started requesting their

separate section because they wanted their consumers to be able to walk in the store and find the landscape of what was available. there are still people on both sides of the fence. i say, play it off. give yourself and african-americans section and included in the broader part of the bookstore because there's nothing wrong, when i'm looking for an often american children's book for my granddaughter that i walk over to the african-american section. i don't have time, i want to make it happen. >> they called it his rule of three. are you familiar with him? >> yes. >> for those of you who don't know he was a comic book artist and writer. was he also. >> he sadly passed away too early, but he basically said he could have one or two african-american characters but when you put in three suddenly

it became a black book. i think that's a whiteness problem. i think white people need to look at it and say what's holding me back from reading about somebody who's different from me? so often, i grew up, up in a small town with white people everywhere and i was basically told growing up that white is the default. we need to get past that. look at our kids. in the public school we are always referred to as the majority minority. everyone is going to have a friend that is different from them in some way whether were talking about lgbt or cultural differences or racial differences. i think we all need to look beyond just ourselves, especially when you're in the majority of the white person and be reading and consuming media beyond yourself. >> to have another question or comment? >> you can hear? oh no. wow. you didn't hear what they said.

>> can you hear me? >> you need to hold your microphone up. can you hear me now? >> her question was, what about white readers? why don't white readers read black books. why is the focus always put on black readers? economics play a part two. if you have a limited amount of funds, usually people read what everyone else is reading and that happens with african-americans as well. it's like a psycho. african-american riders and readers started reading african-american friendly fiction. the more you read, the more you want to read. subsequently, whatever but he else is is reading, they started reading the thrillers and this and that just like their colleagues at work. sometimes it's a question of economics. what i'm saying to people today

here and especially in the times that were living, get get a book, take a book home. a book preserves a legacy. you need to start putting books back into the home. i'm really grateful that all these librarians are here in the wonderful work that they do, but it's time, i grew up and everybody had a whole writer. it's time it's time we get back to that and start buying books. we need to start doing some diversity and open up the possibilities instead of buying all these videogames. of all the things that are happening in the world, kids need to be sitting at home reading a book instead of watching all the things happening on tv. you need to be explaining this to your children through the written word. does anyone have questions or comments? >> ray here.

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>> all right, can you comment? i want you to understand what her statement was. >> part of the question was how do we get reading back into the homes? that's a good question. also pay attention what's going on with your local government. the reason i say this, a good example, in new york state, all libraries are not mandated. this makes no sense to me. many school districts. [inaudible] you may have heard of him in the news. they got rid of all of their elementary libraries last year.

there's a lot of. [inaudible] are fundamental things. these lawmakers are accountable to us. my parents were lower middle class people. i was in avid reader and i got my books from the school library >> those were the biggest influences. on the flipside, for me growing up, the books that i remember were little house on the prairie, ramona, do you see the theme? ramona didn't have any black neighbors. so until i got older, that's when i realized, it wasn't until

i got to high school, that is a first for me. so we have to start with the fundamentals. in my case, they made up what was lacking at home. >> just to piggyback on that, organizations putting books and barbershops, they find alternative ways to bring brooks to the community and also, it's not just about getting your child to read, it's about getting the community of children to read. >> how many people belong to a church or a social civic organization in this room?

>> you have many opportunities within that network to create book opportunities, a way to purchase books and have fundraisers, to create an environment in your home. i know, we had a book bookmobile i grew up in a rural community. we did go out and get books but my father who worked in a factory, and i'm one of eight, my father managed to have two daily newspapers, national geographic, life, he made sure we were allowed to buy one book every month. it was a paperback but he put aside those kind of funds and we have to begin to make those sacrifices. when we do find ways to buy other things in our community. >> that is true. question. >> one thing, can you hear me? one thing to add onto that is

you mentioned technology. technology can be used toward encouraging reading as well. there some great apps like the overdrive app that you can put your library card number into it and you can check out e-books and audiobooks, especially for kids who may not read as well but maybe they're good at listening, audiobooks are really great for that. i personally, as an editor just don't, when i get home get home from work i don't feel like reading books that have been published already so i have actually read read more books via audiobooks than i have in years. >> give a question? >> can you hear me? [inaudible] >> i'm a high school english teacher.

i survey my students at the beginning of the year about reading because i'm an avid reader and i grew up in a home with reading and i realize that reading is a luxury. part of the conundrum here is that the majority of my students do not or did not even have magazines coming to their home. when i would bring in magazines for the students to read they were fascinated and engrossed. therefore i had an opportunity to introduce them to affordable reading mechanisms and at the same time, when it came time to reading novels, so when we talk about reading, the fiction books are nice but they have to start early and they have to start

continuously, but at the same time i'm very familiar with the children's books there. there are 4000 people standing in line in 20 degrees to get in to buy books for their children. that's awesome. what we need to understand is that our children need continuity, they need consistency and they need to be validated with african-american literature. my friends here we argue all the time. i also believe we need to validate langston hughes.

>> octavia butler. >> so my question is how to move forward? the audience is here to help. what can we do to make it better >> the common core is not common. >> before the panel answers this question, i just want to say we only have five minutes. >> met girl is one of the volunteers and has been a volunteer at the book fair for years. i am on a mission to get the state of pennsylvania to require that reading begins at the daycare center. it needs to be required by the state that they have real books in that daycare center.

i don't care if its rich kids or poor kids and it needs to begin early. we were wait till they get to preschool to introduce books to them and we wonder why our kids are behind. you have to start early. here in new york, there's a program where there's books and they have them with pediatricians. it's a program where the pediatricians actually introduce books to parents. if your local hospital doesn't have that program, look for. with the amount of time we have left, i'm sorry we can't take questions because they told me i have five minutes left. quickly.

[inaudible] [inaudible] with that said, what can we do to get? i want to go back to my panel and start was stacy. what can we do today? and then i want to end with him because he's an author. i want to start with the publisher and then go to my librarian and my advocate and end with my author. >> read aloud. not just to your very little children.

kids who are in high school love being read to. it can really make a difference and just getting them started on the book. maybe they have to get over that hump of opening up the book and reading that first chapter. >> thank you. [inaudible] [inaudible] something you can do today, right now, children's authors are selling their books here at the harlem book fair. start here. when you out this store, by somebody's book. that's how you support the industry. there's a young lady didn't see princesses who looked like her so her mother went out and published a book. i'm hoping today when we walk out here, we can can begin to

understand it is our responsibility to make sure we have books that reflect our images that empower and enrich and enlighten our children's lives. >> i think today kids are not like they used to be 20 years ago or 30 years ago. it's an interactive world and they need to receive information in a different way. you need to experiment and make reading fun. you need to find alternative ways in order to get books into their hands and books into their hearts. when i go to schools, i do a lot of theatrical stuff with the kids and immerse them into the stories. let them become the characters of the stories. that way they're not just sitting and reading and saying this is boring. i'm engaging them in a way that

the world is engaging them. so find new ways that the children in your environment need to engage with books. then help them get there. >> alright. i want to thank our panel. i'm sorry we didn't have time for question and answers. i'm sorry i cannot answer your questions. when the panel steps down, if you have a question i'm sure they will be more than happy to answer any questions or comments. thank you.