edited by Mitali Perkins
Candlewick, 2013. (ages 12 & up)
hardcover, 127pages w/ “About the Contributors.” Library loan.
As Mitali Perkins observes in her “Introduction,” “humor has the power to break down barriers and cross borders. Once you’ve shared a laugh with someone, it’s almost impossible to see them as ‘other'” (x). Open Mic wants to tap into this power, employing ten gifted humorists to talk about growing up between cultures. There are prose and poems (x2) and a comic by Gene Luen Yang (ABC Chinese, Boxers & Saints), and even the comedic stylings vary so Perkins does a great job preparing for a broad readership–in other words, you can hand this to any middle-grader and they should find at least one out of the ten that will entertain.
Perkins does set down some rules, understanding that race can be a “tension-filled arena” (xi). It is a really good guide and includes a paragraph each in explication (which I obviously chose not to include below):
1. Good humor pokes fun at the powerful–not the weak.
2. Good humor builds affection for the “other.”
3. Good humor is usually self-deprecatory (note: not self-defecatory, although it can feel like that). (xi-xii)
A last bit from the “Introduction” on a hot topic in literature:
While I usually don’t like edicts about who can write about whom, in a post-9/11 North America, where segregation, slavery and even genocide aren’t too far back in history, funny multicultural stories work best when the author shares the protagonist’s race or culture. Funny is powerful, and that’s why in this case it does matter who tells a story. Writing that explores issues of race and ethnicity with a touch of humor must stay closer to memoir than other kinds of fiction on the spectrum of storytelling. (xii)
That said, none of the authors are White. Of the ten stories (a temperate number that hopefully hints at a series) Perkins includes herself and a brilliant variation of cultures w/ authors coming directly (born in) or indirectly (generational) from roots in Mexico, Thailand, Taiwan, Hong Kong, South Korea, Palestine, India; Hispanic, African-American, or as G.Neri describes himself: “I’m Creole, Filipino, and Mexican–or as I like to call it, Crefilican. On top of that, my daughter is also German” (124). Many of the authors are well-traveled since childhood, and Debbie Rigaud is currently living in Bermuda.
What follows are brief remarks on the contents w/ links to author sites. One of reasons I love anthologies (on young and older shelves) is the opportunity to meet new voices and discover new reads. Many of these authors write Young Adult and, er, Not-Just-Young-Adult literature, like David Yoo who begins the collection with a good humor-setting tone, accessibility (read familiarity for anyone, including those of my western European ancestry), and insight the anthology is going for. The collection ends with some especially strong story-telling. (*=favorites)
“Becoming Henry Lee” by David Yoo (Choke Artist, The Detention Club) prose (1-13).
This Korean-American protagonist is neither White nor Asian enough to abide by those (un)comfortable and ill-fitted cultural stereotypes. Besides dealing with public personas and private crises of identity (think school & parental aspirations), Yoo touches on festishization of culture, a step beyond mere appropriation. Big kid words, I know, but Yoo balances what even a young reader will understand as serious beneath that palatable guise of good humor.
“Why I Won’t Be Watching the Last Airbender Movie” by Gene Luen Yang. comic (16-9). *
first: Derek Kirk Kim (Same Difference, The Eternal Smile, Good as Lily) makes an appearance. Of course, the two are friends and frequent collaborators, but they also share a similar stake in what the comic is about. White-washing happens in multiple forms, as does cultural ventriloquism. Speaking up against this is of import for multiple reasons, and Yang offers a unexpected point to the story’s ending. A point of contention offers an invitation to engage (if not instigate) a conversation; what if it offered an invitation in return?
“Talent Show” by Cherry Cheva (author; writer & exec. producer on Family Guy) prose (20-30). *
Two students, a Jewish male and Asian female, await their turn to audition for the school talent show. It is sweet and funny and I can’t say too much because it would just recalibrate expectations: which is some of what the piece is about.
“Voilà!” by Debbie Rigaud (Perfect Shot) prose (31-42).
“Yup–I’m fourteen now.” I nod, squeezing the last bit of polite from my reserves. “And yes–both my parents are from Haiti.” […] I shrug. People have assumed this before–that I’m only half Haitian. Or at least, those who can’t understand how a person with longer hair or lighter skin could come from Haiti” (32-33)
Above illustrates just one form of misidentification that Rigaud explores; language and other popular assumptions make appearances. Rigaud has fun with miscommunication up until the very end both lamenting and finding humor in people’s ignorance.
“Three Pointer” by Mitali Perkins (Bamboo People, Secret Keeper) prose (43-54).
Three Indian sisters, of whom the narrator is the youngest, play the “Guy Game,” yes, it has to do with dating–and no, their parents who were arranging marriages and degree programs were left unaware of their antics (44). The premise facilitates also sorts of topics on cultural and generational differences and similarities in ways that educate and certainly entertain.
“With about thirty students per grade, Hobbs is the smallest boarding school in Vermont. Our demographics are just like the state’s. White, white, and white.
“I guess that’s not fair. Technically Rebecca is “one-eight German, three-eighths Sephardic-Jewish, and one-half Irish.” And Evan has enough Muskogee blood running through him to be a member of the Creek Nation. Still, I didn’t see anyone looking at them when we talked about the Holocaust or the Trail of Tears last year in World History. But let anyone mention Dr. Martin Luther King Jr. or Will Smith or even the slightly black-looking dude who trims Principal Greer’s prized rosebushes, and suddenly I’m the center of the attention.” (57)
Now twin girls have joined Hobbs and the questions of relationships begin to surface. Seeing and not seeing difference is handled deftly while calling out those awkward conversations on stereotype, in-group criticisms, the jokes people tell that aren’t all that funny.
“Confessions of a Black Geek” by Olugbemisola Rhuday-Perkovich (8th Grade Super Zero) prose (69-78).
I found the pop culture references amusing and was interested in where black geek and white geek might diverge or intersect. The seriousness, how personal, had a diminishing effect on earlier comedic tones at the close. Do not expect the stories to end on punch-lines, many have a heartening declaration like this one.
“Under Berlin” G. Neri (Yummy, Ghetto Cowboy) long poem (79-99) **
My dad is black,/in a real southern way./But Mom is a light-skinned Hispanic/from Puerto Rico,/so I’m as black as Obama, I guess,/which is only half./My bro rolls his eyes. “Sorry./I meant ‘mixed American;” (83).
I am not awarding this one extra points for mention of currywurst, but the story of a family on the subway (in the literal underbelly) of Berlin is one of my favorites. It is rich with personality, like many of the others, but easy and playful, tender and smart, despite that “tension-filled arena.”
“Brotherly Love” by Francisco X. Stork (Marcelo and the Real World, Irises) prose (100-13). **
Touching on machismo and religion, sweetly and deftly, Stork is unsurprisingly pitch-perfect with this story about Luis talking to his sister. Sometimes that life between cultures is experience within a community and between generations and gender. This one is so well-done.
“Lexicon” by Naomi Shihab Nye (Habibi) long poem (114-21) **
“Half-baked, mix of East and West,/balancing flavors” the narrator speaks lovingly about her Arab father, about the power of words and perspective. There are some truly lovely images and lines: “words like parks to sit in.” “My father’s tongue had no bitch/hiding under it.” “But dying, this lover of life said sadly,/My dilemma is large.