Writing With a Broken Tusk
Writing With a Broken Tusk began in 2006 as a blog about overlapping geographies, personal and real-world, and writing books for children. The blog name refers to the mythical pact made between the poet Vyaasa and the Hindu elephant headed god Ganesha who was his scribe during the composition of the Mahabharata. It also refers to my second published book, edited by the generous and brilliant Diantha Thorpe of Linnet Books/The Shoe String Press, published in 1996, acquired and republished by August House and still miraculously in print.
Since March 2024, Jen Breach (writer, VCFA graduate, and former student) has helped me manage guest posts and Process Talk pieces on this blog. They have lined up and conducted author/illustrator interviews and invited and coordinated guest posts. That support has helped me get through weeks when I’ve been in edit-copyedit-proofing mode, and it’s also introduced me to writers and books I might not have found otherwise. Our overlapping interests have led to posts for which I might not have had the time or attention-span. It’s the beauty of shared circles.
Rules, Rights, and Duties: the World’s Longest Constitution Distilled for Kids
From its mango-yellow endpapers with letters scribbled across them in multiple Indian language scripts to its freshly voiced text and the colourful, energetic illustrations by Ashok Rajagopalan, 5 Fantastic Facts About the Indian Constitution is a charming invitation from the writer-editors of Tulika Books to young readers.
I emailed Radhika Menon about the book and this is what she wrote:
It really was a challenge to do a picture book on the Constitution for five and six year olds as their first introduction to the Constitution. It is personally a very important book for me to have our children - and grandchildren - grow up with the knowledge that we have a fantastic constitution…and why it is fantastic. The idea had to be introduced visually with humour and affection for it to stay with them. Ashok was the perfect illustrator.
The Promise of a Series: Writing the Book Uncle Trilogy
When Jenn Bailey contemplated a chapter book series about a character she’d only intended to write a single picture book about, she asked herself these questions:
Was my character big enough? Did he have more (and more) to share about himself? And in a unique way?
I worried that Anil, the third of my trio of characters from Book Uncle and Me, who needed to be the subject of Book 3, would be tough to pin down. When I wrote him as a secondary character, first in Book Uncle and Me and then, more than ten years later, in Birds on the Brain, I had to admit that what I had on my hands was a lad of few words.
Process Talk: Taraneh Matloob on Dear New Friend
Taraneh Matloob’s new picture book, Dear New Friend, feels like an invitation to step into its pages ro meet the Persian family she portrays. Many little touches set this up—a secret knock, a grandmother humming a tune, and watermelon!
Oh, and watermelon seeds—and you can tell what comes after that, can’t you? Taraneh’s path has crossed mine in other ways in the past, in her capacity as a translator (she translated my friend Susan Fletcher’s Shadow Spinner into Farsi) and a children’s literature scholar. I’m delighted to have this conversation with her here.
Quirky Tense Employed to Tell a Heartrending Story
One Day, Everyone Will Have Always Been Against This by Egyptian Canadian journalist and novelist Omar El Akkad, was selected for discussion in the Ink Book Club earlier this summer.
A title that begins like a story (One Day…) contains a promise about the narrative to come. The comma, with its implied pause, suggests that this will be a complex book and I ought to pick it up and expect to spend some time trying to come to terms with it.
And how could I not find irresistible the use of the future perfect tense, “will have been…?”
Voice and Empathy in Prophet Song by Paul Lynch
Paul Lynch thought his novel would never be published. He thought the book would destroy his career. It won the 2023 Booker. He also sees it as a personal rather than a political book. Well, okay.
Prophet Song is the story of Eilish, a biologist and mother of four whose life in a suburb of Dublin is upended by the secret police showing up at her home looking for her husband Larry, who is a teacher’s union leader. Larry disappears and never returns. The backdrop is a country sliding into totalitarianism and civil war, a setting that feels uneasily like the present time in the United States.
The beauty of this book lies in how its story unfolds in the small frame of one woman’s experience, told by a narrator who is at once painfully close to her and yet aware of dangers she cannot yet sense.
“Now is the Time of Monsters.” Reflections on Pet by Akwaeke Emezi
“The old world is dying and the new world struggles to be born. Now is the time of monsters.” These lines are by Italian philosopher, politician, and linguist Antonio Gramsci, written from within a Fascist prison. Amitav Ghosh points out that Gramsci would have had difficulty comprehending the monsters of our time.
A cultural anthropology take on the quote and its meaning can be found here.
Guest Post: Jenn Bailey on Writing Her Henry Series
Ever since my Book Uncle and Me turned into the Book Uncle trilogy, I’ve been paying extra attention to books that start out by standing alone and then take off on their own paths. Some characters seem to demand that their writers turn their lives, adventures, families, and communities into multiple books.
VCFA graduate Jenn Bailey’s wonderfully whimsical character Henry first caught my attention with A Friend for Henry. Henry is a wistful little character, a kid who notices stuff, who’s capable of gleaning insights from the classroom goldfish—a kid with an inner life of consequence. So I was thrilled to see Henry sequels appear: Henry, Like Always, Henry and the Something New, and Henry’s Picture-Perfect Day, with still more to come. Henry, I hasten to add, did not disappoint. Each book enriches and expands on its quirky young character and his lovingly drawn community.
Ancient knowledge meets science in Our Green Heart: The Soul and Science of Forests by Diana Beresford-Kroeger
In Our Green Heart: The Soul and Science of Forests, botanist, biochemist, biologist, and poet Diana Beresford-Kroeger challenges us all to explore the deep connections that forests offer us. Here’s a scientist who listens to trees and in this book she opens up her life and experience in brief, lively chapters—her childhood, her personal arboretum where she nurtures rare and endangered species, navigating the contradictions and commonalities in old wisdom and new science.
Alone Together: The Magic of Shared Reading—Part 2
The Ink Book Club calls itself Democracy in Action. From their web site:
Why a democracy book club? Thomas Jefferson may never actually have written that “An educated citizenry is a vital requisite for our survival as a free people,” but the NEA’s 2004 Reading at Risk report did come out and say that “a well-read citizenry is essential to a vibrant democracy.”
We endorse that position wholeheartedly, and we’re taking that as our starting point. But while building democracy is a big part of the reason we read newsletters like this one, it’s only part of the reason we read overall. Books are paths to understanding ourselves and others, and to understanding the world, and they can also be a balm in troubled times.
Eclectic as my reading fare tends to be, I probably would not have picked up, of my own accord, the book they selected for discussion. It’s Abundance by Ezra Klein and Derek Thompson, an argument for a politics of abundance as opposed to one of scarcity. But since Anand Giridharadas was suggesting it, I figured I’d give it a try. I’d really enjoyed his India Calling, part family memoir, part travelogue, and I like the posts on The Ink! Substack, so I picked up a copy and got to work.
Alone Together: The Magic of Shared Reading—Part 1
I joined a book discussion last month through the Democratic Party’s Global Women’s Caucus. The book we all read is an iconic text—Parable of the Sower by Octavia Butler, which I’ve focused on earlier in this blog. The first of the trilogy, it was published in 1993, and behold! The years that it’s set in have become our present.
“The wall before me is burning. Fire has sprung from nowhere, has eaten in through the wall, has begun to reach toward me, reach for me.”
Fire dreams feel like the reality of our time. (For more on a fictional depiction of fire in our pyrocene age, see Caroline Starr Rose’s reflections on her novel, The Burning Season.) But fire is just one of the elements that make Butler’s work feel astonishingly prescient.
One thread we discussed was the struggle between the comforts and costs of living in the modern industrial world. The protagonist, Lauren Olamina, dreams of the stars:
“The Destiny of Earthseed is to take root among the stars,” I said. “That's the ultimate Earthseed aim, and the ultimate human change short of death. It's a destiny we’d better pursue if we hope to be anything other than smooth-skinned dinosaurs—here today, gone tomorrow, our bones mixed with the bones and ashes of our cities, and so what?”
In reality, look how that dream, which feels so boldly innocent in Butler’s telling, has now been coopted by shamelessly rich men toward their own selfish ends.
Process Talk: Susan Fletcher on Sea Change
Susan Fletcher is no stranger to my bookshelf, to my circle of writer friends and colleagues, or, for that matter, to this blog. I’ve been enchanted by her Journey of the Pale Bear, by the luminous setting and the endearing band of waifs in Falcon in the Glass, and by the spirited character of Marjan in Shadow Spinner. Her Dragon Chronicles (Dragon’s Milk, Flight of the Dragon Kyn, Sign of the Dove, and Ancient, Strange, and Lovely) play out over a timespan that stretches from a Welsh-inspired storyscape all the way to the thump of an egg and the life of a girl in Oregon, in a polluted present time.
Now Susan brings us Sea Change, a reworking of the story of The Little Mermaid. It’s a YA science fiction tale of a gill-breathing girl contending with family and community and love on a climate-impacted Texas coast.
Shape, Space and Scansion in Picture Book Text—Part 2
As a picture book writer who is not also an illustrator, I only have my mind to work with, so when people ask me how my process works, it’s easy to freeze, to default to not knowing. Not knowing makes me inclined to wonder if the art and craft of it all might be purely instinctive. Or worse, perhaps a fluke. So while I was looking at my own book, Look! Look! in this context, I thought I’d ask a couple of writers in my critique group (affectionately dubbed The Autodidacts) to weigh in: Vaunda Micheaux Nelson and Caroline Starr Rose.
I asked each of them to think about one of her picture books to find something that changed between the early draft and the final book.
Vaunda wrote about Almost to Freedom (2004 Coretta Scott King Illustrator Honor Book):
I was working on the final phase of Almost to Freedom. The story is historical — about a family trying to escape slavery — and I am always concerned about getting the history correct.
Shape, Space, and Scansion in Picture Book Text—Part 1
I’ve always been fascinated by writing picture book text, which is in effect, the work of writing what feels like half a book. Only the words, but we know the book won’t be complete until pictures arrive to fill in most of the spread that our words get sprinkled over. So I thought it might be fun and maybe informative as well, to take a look at how I did this, exactly, with one of my picture books. What did I put in? What did I leave out?
To start with, here’s the final draft of the first manuscript page of Look! Look! that I submitted to Groundwood Books in 2023.
Guest Post: Mima Tipper on Kat’s Greek Summer
Post curated by Jen Breach for Writing With a Broken Tusk
When I began teaching at Vermont College in 2006, my hope was to show my students the gaps between their intentions and the words on the page. I wanted to offer a range of different ways to bridge those gaps, to point out where the draft words were pointing. Then the writer would find her way, would happen upon his own path, would craft the work they wanted to write. Whatever my students might have learned from all this, I’m convinced that reading their work and thinking about it taught me to hold my own work to standards at once generous and critical.
Mima Tipper was my student early in my teaching career. She was among those students who taught me how to teach. So I’m delighted to welcome Mima to Writing With a Broken Tusk to discuss her young YA novel, Kat’s Greek Summer
Guest Post: Caroline Starr Rose on The Burning Season
Stephen Pyne’s article in Scientific American compels and informs but it’s also surprisingly lyrical.
“Earth is a fire planet, the only one we know of. Earth has fire because it has life.”
Fire, Pyne says, is like a virus—not truly living but needing the living world to spread by contagion. We humans provided the one thing that naturally occurring fire does not have—ignition. And so it happens, he suggests, that we have created a new kind of earth, a planet on fire in a time he dubs the Pyrocene.
One thing writers do is bear witness. My very dear friend and colleague Caroline Starr Rose has done just that, with her middle grade novel, The Burning Season.
Missing But Not Gone: Shared Symbols and Community in Little Moons by Jen Storm
Jen Storm is an Ojibwe writer from Couchiching First Nation in Northwestern Ontario. In her graphic novel, Little Moons, illustrated by Ryan Howe, young Reanna mourns the loss of her sister, who goes missing on her way home from school. On the surface this slender volume is a deeply felt tribute to shared grief and healing. But it’s more that that, because the sources of the strength Reanna comes to feel as she navigates this impossibly difficult journey, are—everywhere!
An Indian Ocean Archipelago in Fiction and Real Life
The Andaman Islands lie in an expanse of water in the northeastern Indian Ocean 80 miles away from the coast of Myanmar. I’ve never been, although I grew up knowing they were out there—a far-flung Indian territory. A notorious penal colony was initially established there by the British. It held exiled Indian soldiers who took part in the 1857 rebellion, the same event that resulted in the British Crown taking the governance of India out of the hands of one of the world’s first multinational companies.
What I didn't know then was that among the people of the subcontinent who wanted to throw the British out were the indigenous Jarawa people of the Andamans, a tribe who still call the islands home, and have deep knowledge of the forests they have lived in for over 50,000 years.
Guest Post: Michael Thompson on The New Othering of Amerika
In all the conversations I’ve heard about the present events playing out in the United States — A constitutional crisis? An autocoup?A hijacking of executive powers? — one set of voices has seemed conspicuously absent: those of Native American people. So when I heard that my Writing Project friend and colleague in New Mexico, Michael Thompson, was interested in disseminating a piece he felt compelled to write, I invited him to post it here on Writing With a Broken Tusk. Welcome, Michael.
Process Talk: Nicola Davies on Ride the Wind
I read Ride the Wind by Nicola Davies in an e-galley, which isn’t the ideal way to read a picture book. Still, even with the limitations of the format, there was something moving and engaging about this book. I enjoyed its depth and scope, and loved how Davies uses the boy’s story to access the albatross’s plight. She also doesn’t shy away from the complexity of human relationships—a representation that’s difficult to pull off in the small container of a picture book. Finally I loved that the child secures his place in his world and finds healing through bearing witness to something larger than himself. So I invited Nicola to tell me more. Here’s the result of our exchange of emails.
Three Things I Know From 30 Years of Writing
I only understand what I am ready to hear. My readiness is the contingency, always.
Here’s a list of three things I’ve learned from editors. I rediscovered them in a notebook in which I’d scribbled notes during lectures at the July 2016 residency at VCFA.