We are resilience. We are hope. We are dreamers. Yuyi Morales brought her hopes, her passion, her strength, and her stories with her, when she came to the United States in 1994 with her infant son. She left behind nearly everything she owned, but she didn't come empty-handed. From the author-illustrator of Bright Star, Dreamers is a celebration of making your home with the things you always carry: your resilience, your dreams, your hopes and history. It's the story of finding your way in a new place, of navigating an unfamiliar world and finding the best parts of it. In dark times, it's a promise that you can make better tomorrows. This lovingly-illustrated picture book memoir looks at the myriad gifts migrantes bring with them when they leave their homes. It's a story about family. And it's a story to remind us that we are all dreamers, bringing our own strengths wherever we roam. Beautiful and powerful at any time but given particular urgency as the status of our own Dreamers becomes uncertain, this is a story that is both topical and timeless. The lyrical text is complemented by sumptuously detailed illustrations, rich in symbolism. Also included are a brief autobiographical essay about Yuyi's own experience, a list of books that inspired her (and still do), and a description of the beautiful images, textures, and mementos she used to create this book. A parallel Spanish-language edition, Soñadores, is also available. Winner of the Pura Belpré Illustrator Award! A New York Times / New York Public Library Best Illustrated Book A New York Times Bestseller Recipient of the Flora Stieglitz Strauss Award A 2019 Boston Globe - Horn Book Honor Recipient An Anna Dewdney Read Together Honor Book Named a Best Book of 2018 by Kirkus Reviews, Publishers Weekly, School Library Journal, Shelf Awareness, NPR, the Boston Globe, the Chicago Tribune, Salon.com-- and many more! A Junior Library Guild selection A Eureka! Nonfiction Honoree A Bulletin of the Center for Children's Books Blue Ribbon title A Bank Street Best Children's Book of the Year A CLA Notable Children's Book in Language Arts Selected for the CBC Champions of Change Showcase

"Here childhood innocence and dreams meet the reality of day-to-day survival and violence, during Hindu-Muslim riots, forcing choices that should never have to be made. Irani (The Cripple and His Talismans, 2005) is a gifted storyteller, and this book, Dickensian in its plot and its vivid prose, is as beautiful as it is heartbreaking." - Booklist Abandoned as an infant, ten-year-old Chamdi has spent his entire life in a Bombay orphanage. There he has learned to find solace in his everyday surroundings: the smell of the first rains, the vibrant pinks and reds of the bougainvilleas that blossom in the courtyard, the life-size statue of Jesus, the "beautiful giant," to whom he confides his hopes and fears in the prayer room. Though he rarely ventures outside the orphanage, he entertains an idyllic fantasy of what the city is like – a paradise he calls Kahunsha, "the city of no sadness," where children play cricket in the streets and where people will become one with all the colours known to man. Chamdi’s quiet life takes a sudden turn, however, when he learns that the orphanage will be shut down by land developers. He decides that he must run away in search of his long-lost father, taking nothing with him but the blood-stained white cloth he was left in as a baby. Outside the walls of the orphanage, Chamdi quickly discovers that Bombay is nothing like Kahunsha. The streets are filthy and devoid of colour, and no one shows him an ounce of kindness. Just as he’s about to faint from hunger, two seasoned street children offer help: the lovely, sarcastic Guddi and her brother, the charming, scarred, and crippled Sumdi. After their father was crushed by a car before their eyes, the children were left to care for their insane mother and their infant brother. They soon initiate Chamdi into the brutal life of the city’s homeless, begging all day and handing over most of his earnings to Anand Bhai, a vicious underworld don who will happily mutilate or kill whoever dares to defy him. Determined to escape the desperation, filth, and violence of their lives, Guddi and Sumdi recruit Chamdi into their plot to steal from a temple. But when the robbery goes terribly awry, Chamdi finds himself in an even worse situation. The city has erupted in Hindu-Muslim violence and, held in Anand Bhai’s fierce grip, Chamdi is presented with a choice that threatens to rob him of his innocence forever. Moving, poignant, and wonderfully rich in the sights and sounds of Bombay, this novel is the story of Chamdi's struggle for survival on the city's dangerous streets.

The 2016 winner of the Walt Whitman Award of the Academy of American Poets, selected by Carolyn Forché When I make the crossing, you must not be taken no matter what the current gives. When we reach the camp, there will be thousands like us. If I make it onto the plane, you must follow me to the roads and waiting pastures of America. We will not ride the water today on the shoulders of buffalo as we used to many years ago, nor will we forage for the sweetest mangoes. I am refugee. You are too. Cry, but do not weep. —from “Transmigration” Afterland is a powerful, essential collection of poetry that recounts with devastating detail the Hmong exodus from Laos and the fate of thousands of refugees seeking asylum. Mai Der Vang is telling the story of her own family, and by doing so, she also provides an essential history of the Hmong culture’s ongoing resilience in exile. Many of these poems are written in the voices of those fleeing unbearable violence after U.S. forces recruited Hmong fighters in Laos in the Secret War against communism, only to abandon them after that war went awry. That history is little known or understood, but the three hundred thousand Hmong now living in the United States are living proof of its aftermath. With poems of extraordinary force and grace, Afterland holds an original place in American poetry and lands with a sense of humanity saved, of outrage, of a deep tradition broken by war and ocean but still intact, remembered, and lived.

What People Are Saying About Yuri Kageyama "Through the anguished eyes of a mongrel soul, Yuri Kageyama sees the boundless universe in everyday life." --Shuntaro Tanikawa, author of Two Billion Light-Years of Solitude and Naked. "Yuri - behind that prim Japanese face lurks a sultry demoness of words." --Geraldine Kudaka, author of Numerous Avalanches at the Point of Intersection. "Her poetry is a spiritual song that echoes across the borders of cultures, race and gender." --Yoshiaki Tago, director of "Talking TAIKO," "Worst Contact," and "Maid in Akihabara." "Yuri Kageyama is a shrewd denizen of the water-world, savage caricaturist, a ghostly wraith, perpetual exile and huge-passioned troublemaker." --Richard Oyama, author of The Country They Know. "Her gaze is honest, direct and outspoken." --Donald Richie, author of The Films of Akira Kurosawa, in a review of Peeling in The Japan Times. "Yuri Kageyama sings of love, jazz and everyday life." --Milton Murayama, author of All I Asking For Is My Body. "These poems convey an intelligent, sensitive and sexual woman who enjoys life to the full, and who can express herself in a language filled to excess with energy." --The Mainichi Daily News review of Peeling. POETRY AS STIMULATING AS A STUN GUN THE NEW YURI AND SELECTED YURI: Writing From Peeling Till Now, by Yuri Kageyama. Ishmael Reed Publishing Company, 2011, 134 pp., $19.99 (paper) In the babbling cosmos of contemporary literature, there have been a handful of distinguished cross-cultural writers who have made the English language their own. One thinks instinctively of Vladimir Nabokov, the Russian who maneuvered words with the elan of a chess master. More proximate in time and place is the Tokyo-based Dutch writer, Hans Brinckman, a nonfiction author, who also happens to be a poet. Yuri Kageyama, a Japanese woman with an American background, appears to be perfectly at home with both cultures, but chooses to compose her poetry exclusively in English. Like the manifesto loving European poets of the 1920s and 1930s, Kageyama's intentions are concisely stated. In her Introduction she writes, "Racial stereotypes and sexuality have always been my obsessions." These are themes fully explored in the pages that follow. Kageyama's images, scoured, purged of ornamentation, can have the effect of a stun gun. In one poem she writes: SuperMom endures, her womb red and heavy and big and open, wrenching out babies and seaweed and stench. SuperMom spurts out curdled milk like a fountain in the desert. In "For women only," a poem about gender segregated carriages on the Tokyo subway, she infers that the issue of females being sexually harassed is grudgingly acknowledged, but shunted to the rear by more pressing concerns: farthest from the ticket gates the first car up front, and the most dangerous if we crash After several dire warnings and premonitions about men and matrimony in the poems and short stories of this anthology, "After the storm" hints at the possibility of a mundane but precious happiness. The sexual fantasies and power infatuations of Western men are exposed in unsparing detail in "Little YELLOW Slut." A similar, worse-case treatment of male attitudes toward Asian women is dealt out in a later work, "an ode to the Caucasian male." The subject of casual duplicity is touched on in "Disco Chinatown," when the author writes of male entitlement, of a man establishing proprietorial rights: You tell me not to dance with anyone else When I just met you tonight And isn't your old lady waiting at your apartment? Unlike the writer Anais Nin, whose discreet affairs and eroti