Many people don't know when to say "Hispanic" and when to say "Latino." So I drew a comic to explain the difference.
Loved this comic strip!
One Nice Bug Per Day

oozey mess
Show & Tell
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#extradirty
Color Me Curious
Not today Justin
Monterey Bay Aquarium
Phantogram Three
almost home
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The Bright Sessions
occasionally subtle

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2025 on Tumblr: Trends That Defined the Year
let's talk about Bridgerton tea, my ask is open

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@mmemming-teaching-blog
Many people don't know when to say "Hispanic" and when to say "Latino." So I drew a comic to explain the difference.
Loved this comic strip!
A trans woman talks about her frustration with cisgender writers, publishers, readers, and their "trans" books that keep telling the same story.
I completely agree with this, and itâs also a good example to show that moving away from clichĂ© storytelling and research will always be your best friends.Â
The list, plus how stereotypes affect the way students perform in classes.
I really liked this article because I found it to ties into our discussions on Ruby Payneâs framework. In Rubyâs framework she emphasizes stereotypes of people of a lower class. This article attacks the common misleading stereotypes associated with people of poverty.Â
1. âPoor people do no value educationâ
2. âPoor people are lazyâ
3. âPoor people are substance abusersâ
4. âPoor people are poor communicators and linguistically deficitâÂ
5. âPoor people are ineffective and inattentive parentsâÂ
Watch: This Actress Was Born Without Legs
Formerly a Paralympic athlete, the bold actress and producer has appeared on television, film and in theatrical performances. With her creative partner Becca Flinn, Katy performs sketch comedy and is currently developing a television series called âLegsâ that normalizes disability, treating it without sensation.Â
[Captions on gifs: If a character has a disability on a show it tends to be either inspiring or tragic. Iâm not insulted when people say Iâm inspiring or they want to come up and talk to me. But can you imagine if you just got up, threw some clothes on and went to the grocery store and a stranger came up to you and said, âYou are so inspiring for existing.â It takes away from anything else you may have accomplished that actually is inspiring. Maybe the fact that Iâve gotten to a place where Iâm so comfortable in my own skin and happy, genuinely happy, form the inside out, maybe they can read that, and maybe thatâs inspiring.]
We briefly discussed this in class. It is interesting to see from someoneâs perspective who actually has a disability
I really like this whole gif on the issue of disabilties! It gives us a different viewpoint of the subject.
In this social experiment, an homeless child sits next to a homeless, his reaction will restore your faith in humanity (Video)
[Publishing] is a world where writers of color are damned if they do and damned if they donâtâwe often find ourselves either being asked to âemphasizeâ (read: exoticize) our identities (âI love your writing about race,â one editor told me. âDo you have anything else like that?â) or pretend our difference doesnât exist, to pretend our trauma doesnât exist, to pretend that the audience weâre looking back at isnât 90 percent made of white men. Weâre pulled in so many directions, itâs a wonder we still have the energy to produce creative work. âIndict us!â the white audience shouts. âComfort us! Teach us!â Itâs an enormous amount of pressure. Sometimes, it can be embarrassing. In the words of Jay Z, âCan I live?â
Morgan Parker in Equity in Publishing: What Should Editors Be Doing? (via richincolor)
Part of the problem here may be that authors find it scary to imagine tackling multiple aspects of marginalisation in the same character: the Black and gay experience is different than the Black or gay experience, for example, just like the disabled and queer experience is different than either of those identities together. But these are problems that arenât going to go away by not writing those charactersâyou have to plunge into them, and you have to do your research, and you have to commit to depicting a world where the true spectrum of diversity is shown.
Author s.e. smith in a roundtable about intersectionality at Disability in Kidlit (via disabilityinkidlit)
I still remember thinking my skin color was what I was worth.
Alex Dang, âWhat Kind of Asian Are You?â
âWe donât see that often experiences of Black womenâs fantasy lives, Black womenâs imaginative lives, even Black womenâs sexuality from a kind of interior perspective. And Iâm speaking not just in terms of the media but even in the literary canon. Thereâs a very limited array of Black womenâs experiences of the body. And in some ways that limits our understanding of Black women characters.â âMecca Jamilah Sullivan
Once again the lack of mirrors comes up in this episode initiating a drive for the writer, Mecca Jamilah Sullivan, to create these stories herself.
Wonderful TED talk with the amazing Linda Sue Park - Can A Childrenâs Book Change the World?
How to Make a Difference in 8 Practical Steps
Contributed to CBC Diversity by Faye Bi
Many organizations, CBC Diversity among them, have done a fantastic job raising awareness of diversity in childrenâs literature. Weâre at the point where we can easily fill a conventionâs diversity panel. But how do we know if weâre making a difference? Is anyone listening to us? I often hear from supporters of diversity that they donât feel like they have a loud enough voice to make an impact. Not everyone is a publisher or book buyer, after all. So what can we do?
Here are my practical tips for members of the publishing community, and anyone with a love of childrenâs books:
1. Listen. Keep an open mind about othersâ experiences. I say this as a Chinese-American woman; I do not know what itâs like to be black, disabled, or an author.
Keep reading
Very practical and can easily be implemented into the classroom in so many different ways.
If executives and writers could embrace their black female fan bases, listen to us, write black female characters well and take pride in them, theyâd discover a loyal and passionate group who will fight for their show through thick and thin, and more than that, theyâll see their ratings skyrocket. Why? Because there are plenty of black women who have given up on fandom after seeing their favorite character sidelined or done wrong. But fandom is a network. When black female fans laud a show for the treatment of its black leading lady, word gets around. And there are plenty of black women who have left other fandoms, looking for the right show. The one that will take itâs black leading lady seriously. The one that will treat her character with respect. The character thatâs truly human, not a stereotype or caricature. The writers who understand that not only is representation important, but that what you do with that representation that matters.
The Power of Black Women in Fandom: When black women in fandom speak, directors and networks listen (via securelyinsecure)
It Will Take a Village to Raise Diversity in the Childrenâs Book Industry
By Jerry Craft
In 1992, I created a comic strip called Mamaâs Boyz because there were so few that starred black characters. It was picked up by King Features and distributed weekly to close to 900 papers for almost 20 years.
In 1995, I sent a Mamaâs Boyz book sample to several publishers. And they sent them all back. One editor even added a note saying that they, âwould NEVER be interested in my black-sitcom style of humor.â It wasnât just THAT they rejected my work. It was HOW they did it. So I changed my goal.
Keep reading
This was really interesting to read. It goes along with our discussion during one of our lecture (canât remember which one) about how publishers have a target audience and stylistic appeal. This article, specifically, distinguishes how black characters were very disagreed upon only a few years back.
It is in school where, day in and day out, immigrant youth come to know teach - ers and peers from majority culture as well as newcomers from other parts of the world. It is in schools that immigrant youth develop aca - demic knowledge and, just as important, form perceptions of where they fit in the social real - ity and cultural imagination of their new nation.
Gonzales: Learning to be Illegal
âWe know teachers are teaching about Indians as required elements of their curriculum, but we also know that the textbooks havenât changed in decades and that the information that is being put forward simply is not very good. Itâs, at best, incomplete, and at times, absolutely inaccurate.â
Constantin: Rewriting History for the Better
Mirrors and Windows: Conversations with Jacqueline Woodson
Renée Watson: Many of your books deal with the intersection of race, sexism, gender, and sexuality. Why do you weave these together in your stories?
Jacqueline Woodson: I think itâs important to respect the genre of realistic fiction by keeping it real. I also am concerned with making sure the stories of people who have been historically missing from our body of literature are on the page. I try to mirror their experiences in the real world. My hope is that my work reflects a broad range of identities and experiences.
Wonderful conversation between Renée Watson and Jacqueline Woodson!
So good! Bonus: Jacqueline Woodson!
The researchers conclude that the study underscores the need to explore the effectiveness of value-diversity efforts in addressing inequity. "Despite good intentions to promote egalitarianism through colorblindness, our findings show that doing so sometimes elicits the exact opposite outcome, permitting even explicit forms of racial discrimination to go undetected and unaddressed," said Apfelbaum. "Perhaps most alarming, on the surface, colorblindness appears to work quite wellâreported incidents of bias do decrease. In spite of such encouraging signs, however, our study suggests that colorblindness may not reduce bias as much as it adjusts the lens through which bias is perceived."
In their experiment, the researchers explored the effects of promoting a colorblind approach to diversity among 8- to 11-year-old students. First, students reviewed different versions of a multimedia storybook, half received a colorblind version and the other half received a value-diversity version. In both stories, the narrator championed racial justice, but the colorblind version encouraged minimizing race-based distinctions, whereas the value-diversity version encouraged embracing these differences. (âWe need to focus on how we are similar to our neighbors rather than how we are differentâ vs. âWe want to show everyone that race is important because our racial differences make us special.â)
After the storybooks were read, the students listened to three stories featuring varying degrees of racial bias: a control story in which a White child was marginalized by his White schoolmateâs contribution to a school science project; an ambiguous story regarding a White studentâs exclusion of a Black student from his birthday party; and an explicitly biased story describing a White studentâs unprovoked assault of a Black student in a soccer game. After the stories, students were asked to describe the three events and their responses were video recorded.
The results found that students who had read the value-diversity version of the storybook were more likely to detect evidence of racial discrimination: 43 percent of students perceived discrimination in the ambiguous story and 77 percent perceived discrimination in the explicitly biased story.
In the colorblind condition, on the other hand, the frequency with which students detected discrimination dropped significantly, to 10 percent of children for the ambiguous story, and to only 50 percent in the explicit storyâa scenario that portrayed overt evidence of racially biased behavior.