In the early 1970s, Lothrop, Lee & Shepard published three children’s books by the playwright Edgar White, Sati the Rastifarian, Omar at Christmas, and Children of Night. All the books were illustrated by the woodcut artist, Dingda McCannon. Both were products of Harlem, McCannon having been born and raised there and White having been brought there from the Caribbean island of Montserrat at the age of five. The books reflect this Harlem heritage, but they also reflect a larger story of Caribbean migration and struggle to succeed in Western imperialist countries. The fact that the story was bigger than Harlem can be seen by the publication of the books in the UK in the late 1970s; Rosemary Stones heralded the arrival of the “[t]hree stunning picture books . . . currently being distributed in the United Kingdom after US publication in the early ‘70s” (“Stories for the Young” 17) in a May 1979 review in Race Today.
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The first of White’s and McCannon’s collaborations, Sati the Rastifarian was published in 1973.
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Keats’s book won the Caldecott medal for depicting an African-American boy in an “ordinary” way that (white and Black) readers could identify with.
In many ways, the books (especially Sati the Rastifarian and Omar at Christmas) can be directly compared to Ezra Jack Keats’s stories. They are all about the urban, Black communities of New York City, and they are all concerned with everyday life there. The brownstone buildings of Brooklyn and Harlem feature in both sets of illustrations, and the children play and interact with their neighbors and families. But Keats—a white author who drew and wrote about the children he saw around him in his community—concentrated on the universal experiences of childhood, playing in the snow and having pets. Conflict is avoided as carefully as Peter avoids the big boys in The Snowy Day, and the narratives concentrate on action and the immediacy of emotions—pleasure in making noise with a stick, sadness at a melting snowball. There is no wider context or sense of history—which, perhaps, makes the books “timeless” and “classic”.
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“they did not believe this was how they lived”–from Sati the Rastifarian. The ordinariness of poverty is a key theme in White’s work.
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White’s and McCannon’s last book is about a riot, “Natural like the shining of the moon”. White questions the “natural” situation of poverty related to race.
White’s and McCannon’s last collaboration, Children of Night, is about a race riot. By 1979 in the UK, books for teens and adults had been published by mainstream and independent publishers about riots or other interactions between the Black community and the police (Farrukh Dhondy’s The Siege of Babylon is one such example), so in that sense a book about a riot was nothing new. However, Children of Night, while certainly designed for older children than Sati the Rastifarian and Omar at Christmas, is still a picture book. It starts, again, with the everyday experience of poverty: twelve-year-old Chaka sleeps in the same bed as two of his brothers, and is waking from “his favorite dream, someplace where there was always enough food” (9). But his waking experience is one of constant hunger and want, and when the riot comes, “Natural like the shining of the moon on a clear night” (33), Chaka (who was not part of the riot’s beginnings) goes to see what is happening. He becomes a looter because he sees food going spare, and wants to bring it home to his mother. She, of course, is not happy, but Chaka does not understand why, and again, White uses the technique of questions without answers to make his political point: “He was confused . . . They were hungry and besides, didn’t she always say that the people who owned the stores were always robbing poor people?” (38).
White’s and McCannon’s books, like those of Ezra Jack Keats, showcased ordinary Black urban life in the 1960s and 70s. But where Keats stuck to the noncontroversial, White pressed for answers to questions about a different kind of ordinary: the structural racism and poverty experienced by those communities. The answers to those questions—like White’s and McCannon’s books—remain highly elusive.