|Laura, white headband, seated far end of line, blockading
Lawrence Livermore Lab. She was arrested soon after.
Laura, what inspired you to work on this project?
I was delighted to be asked to come on board!
Molly, our editor at Heyday, approached me and asked if I could get involved as a person with children’s book experience, to help Stan create a story pitched at our middle grade readership. It was a dream project for me.
I love that the book, and the series, focus on people who have fought for social justice and civil liberties in California history.
I grew up as the child of activist parents, and got involved in activism myself in middle school and high school, including getting arrested as part of anti-nuclear and anti-apartheid protests.
I learned from my family and from my peers, that my own happiness and well-being is connected to other people’s, and that when we fight for everyone’s rights, we make the whole world better.
I am so excited that we were able to create a book that will hopefully inspire young people today to feel like they can have a voice, and the power to speak up when they see something unfair.
We are in a time when basic civil liberties are being threatened and undermined.
I hope that our story will help kids to understand more about what happened to Fred Korematsu, and how 120,000 Japanese and Japanese Americans were put in jail during WWII just for looking like the enemy.
This can help them to reflect on issues today — a potential registry of Muslim Americans along with the travel ban for people from predominently Muslim countries, anti-immigrant attitudes, and other forms of discrimination — and consider how they can have the power, and the ability, to speak up themselves.
Molly, how did the editorial process for this book work? Was it similar to other books you’d worked on or different?
I feel very fortunate to have been part of this project, working with a group of such thoughtful and caring creative people to share Fred Korematsu’s story.
As we built the book from the ground up, the editorial process was more collaborative than that of any other project I’ve worked on.
We spent many afternoons together talking about Fred’s experiences and how to best convey them to young readers, and it was nice that we all lived in the Bay Area and could brainstorm in person.
Stan and Laura did amazing work collaborating on the writing front, melding their different strengths, and Yutaka thought about illustrations that would complement the themes of each chapter, then beautifully realized them.
Meanwhile, we gathered photos, art works, news headlines, and other documents to help extend Fred’s story.
On a basic level, the challenge was helping readers understand and relate to Fred’s story, which
involves a complicated legal fight.
There was a constant balancing act of keeping things simple enough for our audience while presenting the complexity of topics accurately. Our conversations ranged from discussing how to talk about racism with this age group to how to present the fact that the U.S. government lied during Fred’s trial.
Through the lens of his story, we talked about many important and difficult subjects that are increasingly relevant today.
From the text to the visuals, our process involved discussing possibilities, trying out ideas and approaches, and gathering input.
We were grateful to have had the help and guidance of Fred’s children Karen and Ken Korematsu, local teachers and librarians, a focus group of fourth-grade students, and staff at several nonprofits and historical societies.
Slowly, the book began to take shape, coalescing more and more until it “came into its own” as the book it is today, a book that feels, to me, like a real community project, and one that will continue to expand beyond its covers as kids start to read and interact with it.
I hope readers are moved to have the same kinds of important conversations that we had while making the book, and that Fred’s example moves all of us to act when we see others treated unfairly.
Yutaka, what was your process for thinking about and creating the artwork?
I had never worked on a narrative project that involved so many drawings before, and honestly, I was a bit overwhelmed at first.
To try to make the project less daunting, I tried to plan as much as I could before diving too deep into any one drawing. Planning involved things like creating a color-palette, gathering reference images and trying to work out the compositions for as many of the rough sketches as I could.
The color-palette was inspired by kamishibai illustrations from the 40s and 50s.
Kamishibai, or ‘paper-theater’ was a popular Japanese form of storytelling for kids that took place outdoors. The illustrations for ‘kamishibai’ were intended to be eye-catching even from afar, so the colors often have a bright, pop-art feel to them. But many of the remaining ‘kamishibai’ from the 40s and 50s are a faded and worn out from heavy use in the outdoors. I was hoping this mix of bright and faded colors would subtly evoke an older time without feeling musty.
Because the story takes place in specific times and places, there were many reference images to find, like Fred’s old high school, barbershops from the 40s, and Tanforan.
Molly and Diane from Heyday helped out a lot by giving me some reference books about life in the
internment camps. I was also inspired by the artworks of Miné Okubo and Chiura Obata, who were both imprisoned at Topaz.
I think that in any art-form, once you introduce more than one element, the relationship between the elements becomes impossible not to think about.
So it was important for me that the drawings worked well individually but also in relation to each other. When creating rough sketches, I tried to vary the compositions from one drawing to the next to try to make them flow together but also to not be too redundant.
Once most of the planning was done, I started work on the final drawings, which is the most fun. I used a drawing tablet for the line work and a combination of watercolors, color-pencil and Photoshop for coloring.
|Yutaka, Laura, Molly and Stan
Fred Korematsu Speaks Up received a starred review from Kirkus. “Written in free verse, Fred’s story engages in powerful bursts and shows how speaking out brings complex consequences. Enhanced with pictures and archival materials, well-researched and approachable historical essays interspersed throughout Fred’s account offer context, while Houlette’s reverent illustrations give humanity to Fred’s plight.”
Laura Atkins is an author, teacher and independent children’s book editor with more than 20 years editorial experience. She recently completed an MFA in Writing for Children and Young Adults at Vermont College of Fine Arts and also holds an MA in children’s literature from Roehampton University.
Stan Yogi managed development programs for the ACLU of Northern California for 14 years. In addition to Wherever There’s a Fight, he also coedited two literary anthologies. His work has appeared in the San Francisco Chronicle, MELUS, Los Angeles Daily Journal and several anthologies.
Yutaka Houlette is a Japanese-American illustrator and front-end engineer based in Oakland, California. He designs and builds user interfaces for CommitChange, a fundraising platform for nonprofits and social good companies. His illustrations have also appeared in Smithsonian Magazine and Orion Magazine.
Molly Woodward is a freelance editor and the former children’s acquisitions editor at Heyday, an independent, nonprofit publisher. Heyday promotes widespread awareness and celebration of California’s many cultures, landscapes, and boundary-breaking ideas.
|Insets in the book provide broader historical context, timelines, definitions
and questions for readers to reflect on their own contexts.