How Do Babies Learn Best? Focus on FUN! 0

by Ruth Spiro

As author of the Baby Loves Science books, my goal is to help make complex science concepts accessible to everyone, and also share ideas about how parents and caregivers can turn everyday experiences into learning opportunities for their little ones.

Among the many hot topics in education today, “STEM” seems to be leading the pack. Incorporating more Science, Technology, Engineering, and Math (STEM) into school curriculums has been recognized as a priority, and that’s great. But many professionals believe that in order to prevent achievement gaps down the line, STEM education should begin earlier—with infants as young as six months old.

But aren’t babies and toddlers too young to understand science? Surprisingly, no. In a recent study at Johns Hopkins, researchers showed eleven-month-old babies “tricks” in which a toy seemed to defy gravity. The babies showed a keen interest—their surprise and extended attention was an indication they already have an understanding of basic physics. In other studies, research has shown that early introduction to STEM activities helps develop motor skills, reasoning ability, and even problem solving.

From Baby Loves Quarks! Text copyright (c) 2016 by Ruth Spiro.
Illustration copyright (c) 2016 by Irene Chan.

But there’s no need for flash cards or formal instruction—especially not for babies! Instead, focus on having fun while adding some beneficial activities to playtime:

• Talk: Name objects, gesture, and describe what you’re doing to grow vocabulary.
• Sing and clap: A sense of rhythm helps with language acquisition.
• Count, match, and sort: These activities lay the foundation for early math.

The simplest way to find resources for all these activities is within the pages of picture books. The American Academy of Pediatrics recommends that parents read with their child every day, and it’s never too early to start. Even the youngest infant will benefit from hearing the sound of your voice and the rhythm of the language. As you read the Baby Loves Science board books, name the colors, shapes, animals, and other familiar things you see.

Reading together also helps develop STEM-related skills. Hearing the parts of a story—beginning, middle, and end—lays the foundation for understanding sequencing, important in math and science. Making predictions about what will happen next in a story is also excellent practice for later success in science, technology, and engineering. Asking fun questions such as “What do you think will happen when Bird flaps her wings?” is a great place to start.

From Baby Loves Aerospace Engineering! Text copyright (c) 2016 by Ruth Spiro.
Illustration copyright (c) 2016 by Irene Chan.

As your baby grows, model a love of learning by sharing observations and asking questions about things you see every day—in your home, on a walk, or even in a book. Explore the world along with your child, and have fun making discoveries together!

Ruth Spiro’s debut picture book, Lester Fizz, Bubble-Gum Artist, was a Bank Street College of Education Best Book of the Year. The first two books in the Baby Loves Science series are Baby Loves Aerospace Engineering! and Baby Loves Quarks! She lives in Chicago, Illinois.

Hail Caesar! The Other One . . . 0

by Rob Chirico

Like so many changes in life, when I set out to write Not My Mother’s Kitchen: Rediscovering Italian-American Cooking through Stories and Recipes, my working title was “Escape from an Italian-American Kitchen.” My premise was a simple one: How I learned to cook after growing up in an Italian-American household where my mother brought love to everything—except cooking. The dear woman, now 96-years old, was a disaster at the stove—or, as I waggishly call her in my book, an “assassin in the kitchen.” Left to her own devices she laid waste to spaghetti, hamburgers, and even salad. “Fresh” was not a word she used, unless it was leveled at me—and deservedly so. Although I often joked that I began to cook as a defense against my mother’s cooking, my venture eventually served as a springboard for a cookbook featuring the recipes and techniques I have cultivated over the years. Naturally, there is my humorous take on growing up with my mom’s suspect food, but I also share traditional recipes, my recipes, as well as fun, historical info about food and recipes. Take the Caesar Salad.

Everyone knows the basics of a Caesar Salad, yes—or no? To give a little background first, according to Caesar Cardini’s daughter, Rosa, the restaurateur whipped up the dish on the Fourth of July of that year when a rush on the restaurant depleted the kitchen’s supplies. As the story goes, Cardini made do with what he had, all the while entertaining his clientele by tossing the salad personally for his guests. At the time of its creation, Cardini was living in San Diego but working in Tijuana. If this seems like a curious arrangement, it was because the year was 1924, and the United States was in the throes of one of its greatest follies, the Great Experiment: Prohibition. You don’t have to believe me, but at that time booze was a bigger business than salads. That it was created in Mexico, however, may have made all the difference as to one of the seemingly essential initial ingredients: lemons.

A significant, but little known difference is that key limes were used in the original recipe, and not lemons. The change was not due to shifting taste, but to a problem in translation. When the salad was created in Mexico, the word for “lime” in Latin American Spanish was limón. I was personally confronted with this dilemma in Buenos Aires, where limes are a scarcity, despite their immense popularity just across the border in Brazil. When I asked a fruit vendor for limas, I was greeted with a curious look and asked what that was. “Limón verde?” I inquired. Aware that he had no idea of what I was talking about, I replied that it was something between a lemon and a gin and tonic.

Another change from Cardini’s original recipe was anchovies—there were none. Cardini was apparently opposed to using anchovies in his version. The faint taste of anchovies from the Worcestershire sauce was sufficient for him. While I do see Cardini’s point about the anchovies, I like their saltiness. My compromise is a dash of Thai fish sauce. I also prefer to shake the dressing in a jar to emulsify it slightly. I use raw organic free-range eggs, but if you are uncertain about your eggs, you can “coddle” them by very briefly immersing them in their shells in boiling water. So, without further ado, I give you my version.

Caesar Salad My Way

1/4 teaspoon each coarse or kosher salt and freshly ground pepper, or more to taste

2 tablespoons good quality white wine vinegar (preferably aged Italian)

2 tablespoons freshly squeezed lime juice

1 large crushed and minced garlic clove

1 teaspoon Dijon mustard

1 teaspoon Worcestershire sauce

1 tablespoon Vietnamese or Thai fish sauce

2 egg yolks

1/2 cup extra-virgin olive oil

3 romaine lettuce hearts, chopped widthwise into 1-inch ribbons, or leaves left whole

1/2 cup freshly grated Parmigiano

1 cup croutons

1. Mix all of the ingredients up to the lettuce in a jar and set aside. You may refrigerate the dressing briefly.
2. Place the romaine lettuce on a large platter and toss with the Parmigiano. Top with the croutons. Shake the jar of dressing and toss it with the salad. Serve immediately, passing extra pepper and cheese if desired.

Rob Chirico is a freelance writer and artist whose work has appeared in the food journal Gastronomica. Previous works include Field Guide to Cocktails (Quirk Books) and Damn! A Cultural History of Swearing in Modern America (Pitchstone Press). Mo Rocca, host of My Grandmother's Ravioli called Rob's new book, Not My Mother's Kitchen, "a funny, loving, and oh-so-useful manual on food, family, and survival when your mom is a terrible cook." He lives in Western Massachusetts.

Happy 100th Birthday, National Park Service! 0

The National Park Service turns 100 on August 25, 2016. In case you've ever wondered, "Why was a national park service important?", author Annette Bay Pimentel answers that very question in the back matter of her new picture book biography, Mountain Chef: How One Man Lost His Groceries, Changed His Plans, and Helped Cook Up the National Park Service, illustrated by Rich Lo:

"In 1872 Yellowstone was declared the first national park. In 1911 President William Howard Taft recommended the formation of a national park service, but he failed to whip up enough enthusiasm among members of Congress. By 1915 there were eleven national parks--but no system of administering the parks.

In January 1915 Stephen Mather was appointed assistant secretary of the interior by President Woodrow Wilson. Mather was determined both to protect the national parks and to share them with all Americans. Appalled at the bureaucratic red tape in Washington, DC, he dreamed up a camping trip that would change hearts and minds."

From Mountain Chef. Text copyright (c) 2016 by Annette Bay Pimentel.
Illustration copyright (c) 2016 by Rich Lo.

According to the National Park's website, "The centennial will kick off a second century of stewardship of America's national parks and engaging communities through recreation, conservation, and historic preservation programs."

From Mountain Chef. Text copyright (c) 2016 by Annette Bay Pimentel.
Illustration copyright (c) 2016 by Rich Lo.

In honor of this momentous occasion and also to celebrate the August publication of Mountain Chef, Charlesbridge is excited to offer a special promotion: Order Mountain Chef on our website and receive a 25% discount. Enter promo code NPS100. (Offer expires September 30, 2016.)

We'd also love to know your favorite national parks and which ones you are visiting this year in honor of the centennial--feel free to share your thoughts with us in the comments below.

Cheers to 100 more years of our beautiful national parks!

 From Mountain Chef. Text copyright (c) 2016 by Annette Bay Pimentel.
Illustration copyright (c) 2016 by Rich Lo.

Resources:
Mountain Chef
National Park Service Centennial (#NPS100)
Find Your Park (#FindYourPark)

Other Charlesbridge books about our National Parks:
Family Pack
Out on the Prairie
Mule Train Mail
John Muir Wrestles a Waterfall

Top 10 Surprises from a Yankee Editor in Germany 1

By Julie Bliven

In late June I traveled to Germany with seven other children’s book editors hailing from the US, UK, New Zealand, and Canada. Beginning in Hamburg and ending in Frankfurt, we met with about a dozen publishers to talk shop and learn about the German book market.

The trip was sponsored by the German Book Office of New York, which is co-financed by the German Foreign Office and is one of the Frankfurt Book Fair’s arms into foreign markets. The GBO encourages interest in German books by promoting rights and license sales and book exports through special book exhibitions, literary programs, and exchange programs (like this one) for publishing professionals.

 The German Book Office group (from l to r): Hilary van Dusen, Executive Editor, Candlewick Press (US); Juergen Boos, Frankfurt Book Fair Director; Kristin Zelazko, Editor, Albert Whitman & Company (US); Traci Todd, Executive Editor, Abrams Books (US); Anthony Hinton, Editor, David Fickling Books (UK); Paula Ayer, Associate Manager, Annick Press (Canada); Greg Hunter, Senior Editor, Lerner Publishing Group (US); Rachel Lawson, Associate Publisher, Gecko Press (New Zealand); Julie Bliven, Editor, Charlesbridge Publishing (US); and Riky Stock, German Book Office New York Director.

For me, the experience served as a rare opportunity to compare and contrast the German and American publishing industries. Here’s a list of a few of the things I found most fascinating and, in many cases, most surprising.

1. German publishers import nearly ten times as many titles as US publishers do. I’m not sure the exact reasons for this. Part of it could be the fact that creative writing in Germany has only developed more recently. The country doesn’t have programs like SCBWI nor a plethora of homegrown, contemporary authors. On the flip side, there may be a discrepancy between the two countries because the US could be less apt to publish MG and YA stories from a non-American point of view (one discussion point that came up). US picture books, however, definitely reflect more diversity in terms of race, ethnicity, gender, sexual orientation, socioeconomic status, physical abilities, and religious beliefs than we were seeing from German picture books, and publishers admitted that the German book industry has not made a deliberate shift toward embracing a stronger sense of inclusivity. Throughout the trip, conversations about We Need Diverse Books and the expanding mindset of US publishers and all industry participants had us all believing and hoping that America’s publishing approach is indeed changing. Perhaps this could eventually translate into an increase in imports to the US.  

    

Discussing books and drinking tea at Aladin Verlag in Hamburg, Germany.

2. Given #1, many German publishers are eager to find and nurture more homegrown talent so they can decrease imports and increase promotional signings and events led by local authors. A couple publishers have even had success recruiting popular German adult fiction writers to author children’s fiction for them.

3. The German school and library market is much smaller than the one in the US. Due to lack of funding, these markets are unable to buy at the same rate that we’re used to, and so German publishers don’t strategize toward these markets. Literary awards as well as blog posts from well-known teachers and librarians are also less influential.

4. The German market has a fixed book price, which is protected by law. Discounts can only be approved by publishers.

 All ready for a meeting at Carlsen Verlag in Hamburg, Germany.

5. Booksellers in Germany are required to train extensively—for two years! German publishers see booksellers as the ultimate gatekeepers.

6. Legally, German bookstores have six months to return books, but a few publishers admitted that stores sometimes fudge on the rule and look to return long after.

7. German authors are compensated by their publisher for bookstore and other promotional events and signings.

8. Very few of the publishing houses we met with have their own in-house design department. Most German publishers use freelance designers. A few houses see this as bittersweet, for their jackets all have strong, unique designs, but they admitted that working with various designers means readers might not recognize a branded “look.”

Oetinger Publishing Group's office in Hamburg, Germany.

9. Middle-grade series are wildly popular, seemingly more so than in the US. Most houses we met with had several middle-grade series with five-plus volumes and plans for many more.

10. Nonfiction is not as prevalent or as diverse in Germany as in the US. Few publishers we met with acquired and developed much nonfiction. In 2014, children’s nonfiction made up 9.5% of total German children’s book sales. Here in the US, children’s nonfiction grew by more than that in 2015 alone. (I was unable to find an accurate total percentage of nonfiction children’s titles in the US.) Sources from Publishers Weekly to Publishing Trends continue to report growing nonfiction trends over the past several years.

I have to admit that there are practices in Germany I wish we could adopt here. (I’m looking at you, fixed book prices.) And, of course, there are aspects of publishing in the US that I’m grateful for and wouldn’t want to change. (Our school and library markets to name one.)

Despite our differences, though, we all share the same goal: to publish a wide range of well-crafted, thoughtful books for children that align with the unique identities of our individual publishing houses. Both countries are deeply entrenched in the customs and practices of a decades-old business. However, learning from each other seems to be one way we can both continue to uphold what works well while seeking ways to improve traditions and systems that need some shaking up. Prost to that!

 And prost to a little fortress frolicking in our free time.
Here I am at Festung Marienburg in Würzburg, Germany.

Julie Bliven is editor and contracts manager at Charlesbridge, where she has edited more than forty titles, including fiction and nonfiction board books, picture books, and middle-grade novels. She has worked with authors such as Anne Sibley O’Brien, Steve Jenkins, Peter and Paul Reynolds, and Natalie Dias Lorenzi. Julie holds an M.A. in Children’s Literature from Simmons College, mentors writers in the college’s M.F.A. program, and has taught writing courses at the Jewish Community Centers of Massachusetts. She is also a member of the Children’s Book Council Diversity Initiative and wrote a post for their blog about her trip, "Bookish Reminders Here and Abroad". @Julie_Bliven