“ATTENDING TO BLACK YOUTH”: EXPLORIN BLACK LANGUAGE IN BLACK CHILDREN’S AND YOUNG ADULT LITERATURE By Kaelyn Muiru A DISSERTATION Submitted to Michigan State University in partial fulfillment of the requirements of the degree of English—Doctor of Philosophy 2024 ABSTRACT The call for representation in literature for Black youth and children has been loud and clear, yet a significant gap remains in the understanding and acknowledgment of Black Language and its rich history within Black children’s and Young Adult (YA) literature. This study addresses two of my research questions: 1. What ways might a book club that centers Black Language and Black children’s and YA literature affirm members’ linguistic and racial identities? 2. How do Black youth and their families experience a book club where they have an opportunity to learn about Black Language through Black children’s and YA literature? This study will center how I created a Black Language Book Club that centered Black children’s and young adult literature, specifically Concrete Rose by Angie Thomas through the lens of Black Language. Understanding that representation matters profoundly, it becomes imperative to discuss language within the context of Black children's and young adult literature. This study chronicles how the Black youth responded to learning about the rules and features of Black Language through Black children’s and YA literature. Copyright by KAELYN MUIRU 2024 Dedicated to my parents Kenneth Muiru and Kimberly Graham. I love you both so much! And to the Book Club Crew, thank you for sharing parts of yourselves with me. iv ACKNOWLEDGEMENTS God is so good. I begin with utmost thanks to God for entrusting me with your mission. May I persevere in following your guiding steps, no matter the challenges ahead. I would like to thank the Book Club Crew, I truly enjoyed having this experience with each one of you. Thank you! I would also like to thank my committee: Dr. April Baker-Bell, Dr. Denise Troutman, Dr. Lamar Johnson, and Dr. Vaughn Watson. Having each one of you on this committee not only provided me with a wealth of knowledge and expertise from different perspectives, but it also enriched the overall quality and depth of my research. I especially want to thank my chair, my favorite Detroit Ladyyy, Dr. April Baker-Bell! Thank you for the time, energy, and support you have given me since the first day we met! I cannot even imagine doing this process with anyone else as my chair. Just like Dr. David Kirland taught you how to “pay it forward,” you have also taught me that and then some. To my parents, God took his time when he made the both of you. Then, he turned around and blessed me by making you my mommy and daddy! I am forever blessed to have you both in my life. To my friends and family, I love you all so much and thank you for supporting me. Caira, Gabby, Zhané, and Rita, I appreciate your love, support, and honesty. Marlisha, my scholar sista!! Shoutout to MSU for bringing us together. I could not even fathom having this experience without you. This PhD program was the craziest thing I’ve done so far and I’m so happy we got to do it together. Also, I’d like to thank Young Dolph (RIP) because your music, your Black Language helped me through this entire process. I remember my first week as a graduate student, I was so v scared but then I put on your music, and you made me feel like I can do anything. Your voice, your stories, your certainty lifted me up in moments when I felt unsure. For that, I will forever be grateful. Finally, I’d like to thank the faculty and staff in the English department at Michigan State University. This department was always welcoming and supportive, providing me with the tools and guidance I needed to grow both academically and personally. vi TABLE OF CONTENTS DISCLAIMER: THE USE OF BLACK LANGUAGE IN MY DISSERTATION ...................... viii CHAPTER ONE: A DEDICATION TO BLACK YOUTH ........................................................... 1 CHAPTER TWO: BLACK YOUTH, THIS ONE'S FOR YOU: A REVIEW OF THE LITERATURE ............................................................................................................................... 17 CHAPTER THREE: BUILDIN BRIDGES: METHODOLOGICAL FRAMEWORKS FOR UNDERSTANDING BLACK LANGUAGE AND IT'S CONNECTION TO BLACK CHILDREN'S AND YA LITERATURE ...................................................................................... 43 CHAPTER FOUR: OUR TIME: STORIES THAT AIN'T JUST OURS ..................................... 64 CHAPTER FIVE: PUT SOME RESPECT ON ITS NAME: BLACK LANGUAGE AND HOW WE MUST GET IT RIGHT ........................................................................................................ 104 CHAPTER SIX: BEYOND THE PAGES:CONCLUDING THE CONVERSATION .............. 132 REFERENCES ............................................................................................................................ 144 APPENDIX A: RESEARCH PARTICIPANT INFORMATION AND CONSENT FORM ..... 148 APPENDIX B: RESEARCH PARTICIPANT INFORMATION AND ASSENT/CONSENT FORM .......................................................................................................................................... 152 vii DISCLAIMER: THE USE OF BLACK LANGUAGE IN MY DISSERTATION This document serves as a disclaimer to clarify the intentional use of Black Language (BL) in my dissertation. The choice to incorporate BL is a deliberate and strategic decision that reflects both the cultural significance and the socio-political implications of this linguistic practice. Black Language is a rich, dynamic, and expressive language that has deep roots in the Black American community. It is a legitimate form of communication with its own grammatical rules, vocabulary, and cultural nuances. By using BL in my dissertation, I aim to honor and validate the linguistic heritage of Black Americans, acknowledging it as a vital component of our cultural identity. Incorporating Black Language into “academic writing” challenges the dominance of white mainstream English in scholarly discourse. This dissertation advocates for linguistic diversity and promotes the acceptance of multiple languages in academic settings. The use of BL is not indicative of a lack of proficiency in white Mainstream English (wME); rather, it is a conscious choice to elevate the status of BL within the academic community. The decision to write in BL is an intentional political move designed to confront and disrupt the historical and ongoing marginalization of Black American voices in academia. It serves as a form of resistance against linguistic discrimination and asserts the right of Black Americans to use their own language in all spheres of life, including scholarly work. Language is a powerful tool that shapes our understanding of the world and our place within it. By integrating BL into my dissertation, I advocate for linguistic justice and equality. This act challenges the hierarchical structures that privilege certain forms of language over others and calls for a more inclusive and equitable approach to language in academia. viii Lastly, the use of Black Language in this dissertation is a deliberate and thoughtful choice that seeks to honor Black American culture, promote linguistic diversity, and make a bold political statement. It is an assertion of the value and validity of BL as a means of scholarly expression and a call for greater inclusivity and respect for all languages within academic discourse. By acknowledging the significance of Black Language in my dissertation, I hope to contribute to a broader conversation about language, identity, and power, ultimately fostering a more inclusive and just academic environment. ix CHAPTER ONE: A DEDICATION TO BLACK YOUTH The first Black written text I read in my entire K-12 education was given to me my 11th grade year of high school. This course was an Advanced Placement (AP) course at my charter school. My teacher at that time, Ms. T, molded the entire class as a college course. We read a total of nine books, most of which were on the AP test that we’d take at the end of the semester with the hopes of securing college credit. Out of the nine books though, only one was written by a Black author. This book was Toni Morrison’s The Bluest Eye. Set during the Great Depression in Lorain, Ohio, the novel traces how Pecola Breedlove, the dark-skinned daughter of a poor African American family, has an obsession to have blue eyes, which she believes would make her more beautiful according to white cultural standards of beauty. The novel chronicles Pecola's madness, disintegration, and the familial and societal traumas that plague her. Rather than just following a young girl who is destroyed by the world she inhabits; the story also critiques the socio-cultural stifling forces that lead to her destruction. Ms. T split us into groups and the group you belonged to would be the group that created a presentation about that specific book. Ms. T presented brief summaries of each book. Some of the books to choose from were George Orwell’s 1984, Tim O’ Brien’s The Things They Carried and Khaled Hosseini’s The Kite Runner. After hearing the complete selection, I remembered everyone wanting to get The Bluest Eye… Every student in that class wanted the Black book because unconsciously, or maybe consciously, we knew it would possibly give us an opportunity to connect with the book culturally and linguistically; an opportunity that is rarely given to Black students in English classrooms. 1 I went to Frederick Douglass Academy High, a predominately Black charter high school in South Central Los Angeles, California. Although most of my teachers were white, Black Language (BL) was the primary language the students, including me, spoke in. Black Language goes by many names including Ebonics, African American Language (AAL), Black English (BE) or even African American Vernacular English (AAVE)1 Smitherman (2006) contends that Black Language is recognized as: […] a style of speaking English words with Black flava—with Africanized semantic, grammatical, pronunciation, and rhetorical patterns. [Black Language] comes out of the experience of U.S. slave descendants. This shared experience has resulted in common speaking styles, systematic patterns of grammar, and common language practices in the Black community. (p.3) A specific rhetoric with a combination of both verbal and nonverbal communication of English and various African languages, this language was developed by enslaved Black people in the mid-1700 slave trade era (Hankerson, 2016). Black Language is a counter-language with its own rules, grammar, and features. It is the direct, but subtle head nod Black people give each other when we find ourselves surrounded in a sea of white faces. It is engrossed in hip-hop and RnB. It is poetry. It is a language filled with power and connection. Black Language is an integral part of a lot of Black people’s lives. Black Language is also the same language that we used to commune with each other at Frederick Douglass Academy. Black Language was the language we used to talk about our classes; the ones we liked and the ones we hated. My friend Lillian would discuss her irritation with some of the teachers, “Girl, Mrs. C on one today.” I 1 It is important to note that, like many other Black Language scholars and linguists, I understand Black Language as an actual language and not a vernacular because calling it a vernacular lessens the fact that Black Language is a language in its own right. See Smitherman 2006. 2 immediately understood what Lillian said. Lillian didn’t literally mean that Mrs. C was actually on a one. The Black Language rhetorical feature that Lillian used here is called an ethnolinguistic idiom, which is defined as an expression that cannot be understood from the meanings of its separate words in white mainstream English (wME) but grouped together the words have a separate meaning in the Black community. At that time, I was not aware of the name and definition of this rhetorical feature of Black Language, but I did immediately understand that through the language Lillian used, through this Black Language, I understood that Mrs. C was simply not in the best mood that day. Black Language is a mother tongue. In fact, Smitherman (2006) contends that, “children acquire their language from the community of speakers they play, live, grow up, and socialize with. This process of acquiring language and learning to speak is a universal fact of life characteristic of human beings throughout the world” (p. 5). Like many other Black youths universally, Black Language was natural to the Black youth in my community because it reflected our families, our community, and our overall existence. We had grown up acquiring this language and we never questioned it because that was just the way our mothers talked, our sisters, brothers, cousins, and friends. Although most of us at the time did not know Black Language was an actual language with rules and specific structures, what we did understand was that Black Language was normal and natural. We’d use it to discuss stories from home and school. Lunch time would come, and the lunch tables would be filled with students speaking in Black Language. Black Language would also be used in the main office by our principal and the office staff. Ms. H., the administrative assistant, would always playfully ask the kids that were coming in the office to give their absence excuse, “Now, why you aint come to school yesterday?” And even though our 3 football team was lousy, I remember our pep rallies being the most enjoyable time. We would have live DJ’s who played all the hottest music, and there would always be an introduction of all the football players, the cheer squad would cheer so well that we’d actually feel like we would win the game. In every corner of Frederick Douglass Academy, Black Language was thee language we spoke in. We would often talk about our favorite shows and music, mostly Hip- hop. At that time, around 2014, Young Money records was dominating the music industry. We would debate about who was the best rapper on the Young Money team and we’d rehearse bars as evidence to prove our point. My friend Quinton stayed hypin up Nicki Minaj, he was the best when it came to reciting the language in the music. He’d say: “Nicki said, ‘It’s goin down, basement Friday The 13th, guess who's playin Jason? Tuck yourself in, you better hold on to your teddy It's Nightmare on Elm Street and guess who's playin Freddy?’2 Did you hear what she said?! She a genius! Her bars are unmatched. Stop playin with her! She the hardest on the team.” Some would agree and some disagreed, still, the debate always continued. As Black youth, we understood the complexity and finesse that was involved in creating music… From this verse, we understood the craft of what Nicki Minaj was saying and the way in which she said it. As the biggest woman MC on the Young Money team, in this verse, she was saying that everyone should be afraid of her, that she should be feared by any other rapper who tries to compete. And most of us, Quinton especially, marveled at Nicki Minaj because of the language she used, not 2 The song is called “My Chick Bad,” by Ludacris featuring Nicki Minaj, 2010 4 knowing at the time that that language was Black Language. As Black language speakers, we knew that Nicki’s verse was ours, but we could not name it. We didn’t have the knowledge that this verse used Black features like phonological patterns that drop the sound of the -ing suffix and replace it with -in (Baker-Bell, 2020; Lyiscott, 2014; Labov, 1968; Smitherman, 1977). We weren’t aware of Black Language rhetoric of signifyin, which is a genre of linguistic performance in the Black speech community that allows for the communication of multiple levels of simultaneous meaning, oftentimes involving wordplay and misdirection (Smitherman, 1977; Baker-Bell, 2020; Gates, 1988;). As Black youth, we were aware that this language differed from white mainstream English (wME), but we weren’t given the opportunity to explore this other language that we relied on, although Black Language was the main language, we experienced life in. This narrative is not unique, but representative of a long history of Black youth being and experiencing life in and out of the classroom. The experiences I had at Frederick Douglass Academy High was engulfed in Black Language. Black Language was interconnected with many of our experiences. In most schools with any Black student population, Black Language will be spoken. Yet, none of us had ever been told that we were speaking in a different language. We understood that certain words we’d stretch in pronouncing meant different things. For instance, “girl.” always told a different story than “girllllll.” Specifically, “Girl.” is certain and the statement behind it should be taken seriously. Whereas “girlllll” implies some drama, some mess— “girlllll” signifies a very good and juicy story. As Black youth, we understood that this language that we relied on was different from the English that we heard on the news, it was different from the tests we were required to take and the books we were assigned in school. Sill, we depended on it because it was a part of who we were. Down every hall at Frederick Douglass 5 Academy High, Black Language was spoken because that was the best language to use when we wanted to commune with each other. Stories and experiences we shared while using Black Language felt more intense, fun, suspenseful, witty, and cool. Despite never knowing about its specific rules and structures, we relied on Black Language, a language that has always been ours even though we had no idea that it existed. As I recall, the whole class read The Bluest Eye, for Ms. T’s AP course, but I was one of the students selected to present on Morrison’s novel. We talked about its themes, messages and how much we enjoyed the connection we had to it. We talked about the gossiping women in the town, and how they mirrored our mothers, and aunts through the words they used. Yet, the specific name of Black Language, or Ebonics, or African American Language never came up in our discussions—not by us or Ms. T. When we did discuss language, we discussed the way the Breedlove family spoke, especially Pecola. We understood the language she used as a deficit, most students were uncomfortable in her speech, although it was a replication of how we spoke every day, it replicated how our grandparents spoke, yet it didn’t resemble how we were taught to speak in the classroom. Therefore, we othered the language. We were in possession of this linguistically rich novel that reminded us of our families, communities, and culture, yet we barely engaged in it, and when we did engage it, we criticized it (Baker-Bell, Paris, and Jackson, 2017). Scholars have consistently proved language is power, and Black Language is no different (Richardson &Ragland, 2018). Language is tied to identity (Smitherman, 2017; Rickford &King, 2016; Swindler Boutte &Johnson Jr., 2013). Knowledge of one’s mother-tongue, its rules and history, provides a profound insight into the self. The Bluest Eye provided the Black youth at my school a moment to engage in various aspects of Black culture, which included Black 6 Language. Yet, none of our engagement with the novel dealt with the language Morrison purposefully used. Scholars have discussed Morrison’s purposefulness of using language to represent race and Black culture (Simpson, 2007). In the foreword of The Bluest Eye, Morrison (1970) writes: The other problem, of course, was language. Holding the despising glance while sabotaging it was difficult. The novel tried to hit the raw nerve of racial self-contempt, expose it, then soothe it not with narcotics but with language that replicated the agency I discovered in my first experience of beauty. Because that moment was so racially infused (my revulsion at what my school friend wanted: very blue eyes in a very black skin; the harm she was doing to my concept of the beautiful), the struggle was for writing that was indisputably black. I don’t yet know quite what that is, but neither that nor the attempts to disqualify an effort to find out keeps me from trying to pursue it. The origin of this novel came from an experience Morrison had with a childhood friend who was dark-skinned, in elementary school. The friend confessed to Morrison that she wanted blue eyes. Confused and angered by her friend’s confession, Morrison wondered who made her feel that it was better to be a ‘freak’ than who she already was? Later, Morrison understood that her friend was experiencing racial self-loathing, and years later she wondered how one learns that. The very origin of this novel was to speak back to that experience. Morrison had to recapture that experience, an experience that was racially infused. This novel was created due to a racial experience between two black girls, and to capture the legitimacy of this experience, the writing of this text needed to be ‘indisputably black.’ Morrison connects cultural experiences with race and language by demonstrating that many Black experiences include Black language. In this context, denying the language is equivalent to denying the experience. Morrison was very 7 tactical in the language she used in her novel because it was necessary to honor the experience that led to the creation of the story. The first line of Pecola’s story incorporates Morrison’s use of Black Language as a necessary means of analyzing the reader's relationship to the story, context, and characters. The first sentence reads, “Quiet as it’s kept, there were no marigolds in the fall of 1941” (Morrison, p. 3, 1970). ‘Quiet as kept’ is a familiar phrase in Black Language, which implies some kind of gossip that is simply not supposed to be widely discussed (Smitherman, 2000). For Morrison, this phrase was significant to the story because it was a part of the Black culture she remembered from childhood. As a child, Morrison listened to Black women conversing with each other, and that term was used when they told a story or gossiped about someone or an event that happened in their families or communities (Morrison,1970). The phrase is ‘conspiratorial’, it suggests a shared secret, and is ultimately what the act of writing the novel was about— a public exposure of a private confidence (Morrison, p.212, 1970). In the context of the novel, this secret that the reader is trusted with, does not only show the undoing of Pecola Breedlove, but it demonstrates the way in which the community was implicit in her demise. As readers we understood that the secret was not just about Pecola getting pregnant by her own father, but also how the community reacted to it. This story is hushed because of the horrifying nature of Pecola’s life. It demonstrates a scandal that is whispered throughout the community. In that way, beginning the story like that, allows the reader a more intimate reading, as if they are a part of this secret that no one really wants to talk about anymore. In retrospect, as I think back about the novel, I am aware of the messages I missed. I noticed the language spoken on the page, but I did not know, nor was I taught, what to do with it. I did not understand that the purposefulness of the language used and how that related to the 8 overall story, altered the understanding of the actual story. I remember hating the community that Pecola lived in, especially her parents. For me and the rest of the students, the community was the only problem, yet through the breakdown of Morrison’s use of Black Language, the problems of race, racial and familial trauma, class, and white supremacy, are intensified—and there is so much power in knowing that. As Black students, why were we not given that opportunity, why weren’t we given that chance to know, to actually learn our primary language? Especially in a book whose author was purposeful in providing that language for us in her novel. Why were we not engaging in the commitment that Morrison had towards Black Language and its connection to Black culture? The blame does not completely lie on Ms. T, but the school, the curriculums, policies, and the whole U.S. educational system. The same system that for my whole K-12 education has purposely eradicated Black Language learning. The same system that told me white Mainstream English is all I needed to know to survive. Quite often I wonder if I knew the rules, structures, and history of Black Language in the earliest years of my K-12 education, would I have been more engaged in school? Would I have raised my hand more in class? Would I have written more truthful write-ups in English class? Would I have taken my education more seriously? Some of these questions are rhetorical, however it has been argued that things like reading comprehension among African American children would improve if the literacy materials were more meaningful to them (Kunjuf, 1984; Madhubuti, 1989; Harris, 1990). Statement of Problem For many Black youth, Black Language is a part of their identities—the way many Black youth speak is interchangeable with how they exist in the world. Smitherman (2017) contends that sociolinguistic and anthropological research makes it clear that language, culture, and identity are intertwined, and that they are indeed, inextricable. Black Language functions as a 9 natural form of communication between black people, especially the Black language that I discuss here, which centers Black Americans. The issue then, is that there is a gap between Black Language and Black Literature. However, I am interested in investigating the gap between Black Language and Black children's and Young Adult (YA) literature. I opened with the racial narrative of my high school experience and the reading of The Bluest Eye by Toni Morrison because this memory, in retrospect, forged the beginning of my understanding of how my racial realities include my linguistic realities— these two realities of my world are intertwined. I want Black youth, teachers, policymakers, principals, students, and parents to understand that many Black youths’ racial and cultural realities cannot be discussed nor understood adequately without discussion of their linguistic realities. Many Black people, Black youth, speak Black Language (Smitherman, 1994, 2000b; Baker-Bell, 2020; Boutte&Johnson, 2013; Baldwin, 1979). It is blasted in our communities by our parents, our favorite cousin, our friends, the music we listen to, the shows we watch and the books we read, yet Black youth do not have adequate access to it (Baker-Bell, 2020; Rickford&King, 2016). If we understand that language is a part of ones’ identity and culture, then we must give Black youth opportunities to deeply interrogate and understand it, and Black literature; Black children’s and YA literature, allows for that type of exploration. Black Language is everywhere, and many scholars have already proven that (Baker-Bell 2020; Smitherman, 1994, 2000b; Richardson, 2004; Kynard, 2013; Moore 1996; Rickford & Rickford, 2000). However, the major problem lies in the fact that many Black youth and children are still not fully aware of this language and its actual history and rules (Baker-Bell, 2013, 2014, 2020) although there are so many authors who are purposeful in creating Black children’s and young adult literature that affirms Black Language and its existence. There has been so much 10 research on the necessity of representation in Black children’s and YA literature (Brooks&McNair, 2009; Harris, 1990; Brooks, 2006, 2009). Yet many of these conversations are centered around hair and skin color (Brooks&Hampton, 2008; Harris, 1990). If we understand that representation matters, then we must begin to discuss Black Language in Black children’s and YA literature because Black Language is a part of many Black youth lives and experiences; therefore, it is a part of how they should be represented. It is necessary for Black youth and the people that attend to them to know about Black Language, its rules and history, because learning about Black Language has proven to give many Black youth confidence and affirmation (Baker- Bell, 2020), and we must continue to engage in more ways to do this in and out of the classroom. There is constant conversation about how educators can affirm Black Language in the classroom, one technique is providing them with Black literature that affirms its existence. Statement of Purpose I created and implemented a Black Language Book club with the primary texts being Angie Thomas’ Concrete Rose with secondary texts that provide necessary information about Black Language and an exploration of the life and legacy of Angie Thomas. Because learning Black Language and its history has been proven to make Black youth feel good and affirmed (Baker-Bell 2014, 2020), we must continue to attend to Black youth by addressing their linguistic experiences. Using Black children’s and young adult literature will help provide Black youth that opportunity because this kind of literature, at its very origin caters to the many experiences, cultures, and histories of Black people. Black children’s and young adult literature was created out of need for Black youth to see themselves and experiences represented, to imagine their futures, and to engage in their cultures (Bishop 2007; Harris, 1990;). The purpose of this study is twofold: First, it tracks Black youth language attitudes across a series of readings 11 and assignments to see if the Black Language book club impacted how they felt about Black Language and themselves. Secondly, it provides educators with a model of how they can use linguistic justice as a framework in the classroom while exploring Black children’s and young adult literature and the authors that write it. This is connected to my goal to provide educators with a framework because Black children’s and young adult literature can be used as a reliable tool to teach Black Language with authors who, like Morrison and Thomas, are purposeful about its usage in their books. Oftentimes when scholars in the field of Black children’s and YA literature discuss the writings and the history of this field, there is very little time spent on discussing the people that wrote this literature and why they wrote it. If we understand that this literature, from its very origin, was created for Black youth by former Black youth, then we must engage in their stories, their lives, and legacies. I define attending to Black youth as an action. Attending to Black youth means, providing, caring, and addressing Black youth and their full experiences, unapologetically. It is a framework of care, this kind of care differs from the generalized approach of most teachers because it is insistent on a pedagogical relationship between Black language, Black children’ and YA literature, identity, and power and in my understanding of this definition, I believe it is necessary to acknowledge the relationship between how Black authors attend to Black youth in their writings because there is this understanding in most literary classes that author’s intent and context does not matter; however when dealing with Black children’s and YA literature– this is the complete opposite. Black children’s and YA literature is different from children’s and YA literature because Black children’s and YA literature was created out of a need for Black youth at a time when Black youth were violently denied representation of seeing themselves in books. It took motivation, resilience, intellect, and power getting there. It 12 took love and care for Black youth to complete this kind of work, and black adults, teachers, parents did that work for Black youth. In that understanding, it is necessary to acknowledge the intentionality of Black authors because the very origin of why this literature was created, calls for that investigation. Research Questions There are two central research questions that guide this study: 1. In what ways might a book club that centers Black Language and Black children's and young adult literature affirm the members’ linguistic and racial identities? 2. How do Black youth and their families experience a book club where they have an opportunity to learn about Black Language through Black children’s and young adult literature? Data Sources To answer both research question #1 and #2, I created a literary Black Language book club that provides participants the opportunity to engage, critique, and evaluate Black literatures and Black Language in a specific social setting. 10 participants took part in this book club for 8 weeks. Data sources for this study include interviews (pre and post), survey questionnaire, video and audio recordings, and observations. I analyzed the data using discourse analytic methods to identify the members of the book club and track their experiences. Organization of Dissertation In chapter 2, A Dedication to Black Youth: This One’s for You, reviews the literature on Black Language and Black children’s and young adult literature to illustrate the conversation and tensions of each field. As a result of my analysis of Black children’s and young adult literature, I 13 emphasize the need for Black Language education and situate Black children’s and young adult literature as necessary literature that allows Black youth to see their racial and linguistic realities. Chapter 3, Buildin Bridges: Methodological Frameworks for Understanding Black Language and its Connection to Black Children’s and YA literature, I explain my methodology of using Thomas’ novel for the book club. This chapter describes what we did in the book club. I also introduce the book club members, A.K.A, The Crew and I discuss the research design. Chapter 4, Our Time: Stories That Ain't Just Ours, explores the ways that the crew responded to the Black Language book club. I focus on two members of the crew, Michael, and Reggie, and I present if and how their linguistic and racial identities were affirmed through the Angie Thomas’ Concrete Rose and the book club in its entirety. Chapter 5, Put Some Respect on Its Name: Black Language and How We Must Get It Right discusses the experiences of the Book Club. I focus on two members of the crew, Noel and Daquan, and analyze how they experienced a book club where they have an opportunity to learn about Black Language through Black children’s and young adult literature. Chapter 6 concludes this dissertation by detailing what it means to attend to Black youth using Black children’s and YA literature. I will also discuss the implications of this study. Definitions of Key Terminology and Ideas: Terms and definitions that are pertinent to this study are defined below. • anti-Black Linguistic Racism—Coined by April Baker-Bell, this term describes the racism and violence enacted on Black Language speakers. As a framework, anti-Black linguistic racism identifies and fully captures the linguistic violence, persecutory and dehumanizing treatment Black Language-speakers face within schools and in everyday life (Baker-Bell, 2020). 14 • Attending to Black Youth—is an action. Attending to Black youth means, providing, caring, and addressing Black youth and their full experiences, unapologetically. It is a framework of care, this kind of care differs from the generalized approach of most teachers because it is insistent on a pedagogical relationship between Black Language, Black children’ and YA literature, identity, and power. • Black Children’s and Young Adult (YA) Literature—Literature dedicated to Black youth. It is Black authored, with Black main characters. This literature demonstrates various experiences of Black children and youth. • Black Language (BL) — There are multiple Black languages, globally which include Haitian creole or Jamaican Patois. However, in this study I refer to Black Language as the primary language that most Black Americans speak in. It is a language with its own rules and features. A variety of other names may be used for this language, such as: African American Language (AAL), Black English (BE), Ebonics, etc. It is engulfed in rhetoric, rap, RnB, poetry, comedy, and all other media. • Black Youth— I use this term throughout my dissertation in my discussion of Black American children and young adults. • Linguistic Justice – Is centered around Black liberation. It is a book, a framework, and a pedagogy created by April Baker-Bell. Under this pedagogy, Black Language is placed at the center of Black students’ language education. It prioritizes Black Language and dismisses the inaccurate narrative that Black youth must know white mainstream English to survive. Black Language and its impact on the Black community is heightened (Baker- Bell, 2020). 15 • Intentionality—I use this term to describe authors’ purposes. Essentially, authorial intent is the way in which the author wants their readers to perceive their work. The purpose of this research is to specifically examine and honor authors' own words as they discuss their intentions for their work, rather than just relying on the works of authors. A collection of their conversations, interviews, biographies, and autobiographies will be compiled carefully. As I describe these Black authors' intentionality, I will specifically focus on their actual own words. • white Mainstream English (wME)— In keeping with Baker-Bell's work (2020), I use wME instead of standard American English. There is always a relationship between racial and linguistic power structures, and this term illustrates that relationship. This term is more precise than Standard American English (SAE) because the very idea of a standard language is constructed and reconstructed on a going basis by those who have vested an interest in the concept. According to linguist Lippi-Green the standard [American English] language is a myth. She calls the idea of a standard language an imaginary thing that non-linguists are comfortable describing and defining in the same way that they are able to describe a unicorn—both are concepts from the shared American cultural heritage that we’ve picked up at some time in our daily lives (Lippi- Green, 1977). I chose the term wME over SAE because it captures how race and class play in the way we think about English and what is considered “standard.” 16 CHAPTER TWO: BLACK YOUTH, THIS ONE'S FOR YOU: A REVIEW OF THE LITERATURE Despite Black Language’s dominating presence in print and pop culture including commercials, music, and all social media platforms (Baker-Bell, 2020; Rickford &Rickford, 2000; Smitherman, 1994, 2004), there are still many Black youth who are unaware of Black Language, its rules and history. Scholars have constantly argued about the necessity of entering classrooms as your full selv(es) (Johnson, 2017), yet Black students are rarely given that opportunity because many classrooms continue to be informed by deficit language theories (Ball & Muhammad, 2003; Baker-Bell, 2020; Canagarajah, 2006) that refuse to acknowledge Black Language and its interconnectedness to many Black youth. From scholarly research, what can we learn about the tensions and conversations around learning Black Language? And what can be done to address those tensions and conversations so that Black youth feel supported in using their rich linguistic resources? This critical review examines Black Language learning and the effectiveness of using Black children’s and young adult (YA) literature as a way to attend to Black youth. Considering this, two major areas of literature were examined critically: (1) historical and current contexts of Black children’s and young adult literature, and (2) factors inhibiting and influencing Black Language learning at school. A review of these areas provides an understanding of the need for exploring what it means to fully attend to Black youth in the classroom if we utilize Black children’s and YA literature as the primary site of exploration to learn and value Black Language—a conversation I will explore throughout this study. 17 Black Children’s and Young Adult (YA) Literature While Black children’s and young adult literature can be understood as two different fields, they are still interconnected. The main differentiation that separates these literatures comes at the age of the readership. In fact, Bishop (2007) believes Black children’s literature has a [Black] authorship that focuses on [Black] people and our various life experiences and is written for Black children till the age of fourteen. Harris (1990) similarly understands Black children’s literature as radical literature because it was developed to explicitly appeal for racial solidarity, uplift, pride, and authentic Black experiences that countered false images found in general children’s literature. Still, the understanding and purpose remains the same—to provide Black children, Black youth, with mirrors for them to see themselves represented. Young adult literature is defined as literature written for young people ages 12 to 18 […] (Short and Johnson 2015, p.3). Black young adult literature is a body of literature intended primarily for Black youth and others, at a certain time of life. Both literatures are created with Black youth in mind. This review is not interested in the ways in which Black children’s and young adult literature are different, but the ways in which they are similar. This similarity lies in the development of both literatures. Both literatures were created out of need—a need to attend to Black youth. This review acknowledges that Black literature for children and young adults has similar thematic attributes (McNair & Brooks, 2012), so Black children’s and young adult will be interpreted as one to expand and add to the conversation. Black Children’s and Young Adult (YA) Literatures’ History There are two competing perspectives regarding who gets to author this literature. Certain scholars argue that Black [children’s and young adult] literature is a form of multicultural literature, and because of this, they define this literature as any literature with a Black protagonist 18 (Wilson 2014). However, there are other scholars that understand Black children’s and young adult literature to be about Black Americans and written by Black Americans (Bishop, 2007; Brooks & McNair, 2009; McNair, 2013). Although a longstanding debate, the history of the development of this literature posits itself as a Black production. In fact, scholars such as Bishop (2007) have argued that the seeds of Black children’s [and young adult] literature “were sown in the soil of Black people’s struggles for liberation, literacy, and survival” (p. 1). This literature as a Black creation is reaffirmed by Haywood (2002) who argues that “African Americans have been producing and publishing literature for their children as early as 1854, but much of it has been buried in the pages of black-owned periodicals and newspapers, such as the Christian Recorder” (p. 417). This literature is a Black production written by and for Black people because of the development, the very history of this literature, was initiated by Black people because of Black youth. In 1887, Mary V. Cook read a paper before the National Press Convention titled “Is Juvenile Literature Demanded on the Part of Colored Children?” Cook called for literature created and explicitly addressed to Black youth. This call was one of the first public calls for literature meant primarily for Black youth and was significant to the development of Black children’s and YA literature (Bishop,2007, p. 16). According to Sergeant (2010), Amelia E. Johnson expeditiously answered this call and produced two periodicals: The Joy and The Ivy that targeted and instructed Black youth. Cook’s public call, and the actual publication of these periodicals by Johnson, illustrates the work and pure intent that Black people, specifically Black women had, which was integral to the development of Black children’s and young adult literature. 19 Black children’s and Young Adult Literature has always been a dedication to Black youth. Bishop (2007) states the following: Because of the historical circumstances from which it has emanated, much of African American children’s literature has been purposeful, intended to serve functions that have not been expected of the larger body of American children’s literature. Several Black authors and artists have articulated the goals and objectives they wish to achieve with their children’s books, and the philosophical ideas and ideological stances that underlie those books or motivate them to write for children. (p. xii) Through the study of Black children’s and YA Literature there has been this understanding that Black children’s and YA literature had to be purposeful, and this understanding is easily identified in the ways that Black authors and artists have told stories, with the very futures of Black youth in mind. For instance, Jessie Fauset, Augustus Dill, and W.E.B. DuBois’ The Brownies’ Book exemplifies the intentional dedication Black authors provided to Black youth. There were many similarities between the tactics used in The Brownies’ Book and earlier Black cultural movements. Technological developments in print and visual culture and Black access to them had long been used to advance the cause of racial uplift. Aside from this, they would often also be concerned with Black futures, and thus with the children who would be able to live in that future (Fielder, 2019, p. 160). Fielder (2019) demonstrates that even before The Brownies’ Book, in the earliest moments of the written texts of African American literature, Black writers and editors have always considered Black children as readers. She asserts that “African American children have never been fully shielded from experiences of or knowledge about anti- Black racism, and this fact is reflected in the ways they have been positioned and understood as readers by those who have attended to them” (p. 160). Black print culture has always engaged 20 Black children, although written for adults primarily, The Christian Recorder and The Colored American were both magazines that had children’s sections that engaged the readership of Black children. This is an important fact because the dominant framing of Black children in the 1800s perpetuates a falsity that Black children were not valued for anything other than salability, were illiterate, were easily reduced to racist stereotypes because they were indistinguishable from one another, were neglected by their own families and communities, were not beautiful, and had no future (Fielder 2019). Although this dominant framing persists in children literary and history conversations, these things have, historically, not been true to those who care about Black children. It is evident that some writers have perpetually framed their writing for, and about Black children based on seemingly specialized knowledge about the humanity of Black children, despite racist abstractions of Black childhood abounding. It is important to recognize and learn from their examples (Fielder, 2019, p.162). The Brownies’ Book, then, is a perfect example to learn from. Attending to Black youth emerged through the Black visuality captured in The Brownies’ Book because it proliferated photogenic representations of actual Black children and provided actual pictures of Black childhood in the early twentieth century. The photos then, captured Black youth being, and that visual representation allowed Black youth to picture themselves, it allowed them to picture their present and their futures. Dedicated to the future of Black youth, The Brownies’ Book was created. In its first issue in 1920, the dedication of the magazine states: To children who with eager look Scanned vainly library shelf and nook For History or Song or Story That told of Colored People’s glory 21 We dedicate The Brownies’ Book. (DuBois et al., 1920) Scholars such as Fielder (2019) believed that Black writers and editors considered Black children among their readers since the earliest written records of what would later be known as African American literature. Yet, Black children having their own magazines specifically dedicated to them gave them and the people who attended to them the opportunity to imagine their futures. In this dedication, Du Bois, Fauset and Dill’s words capture the fact that Black children have always been eager to read about themselves and their histories. For centuries, Black parents, educators, and activists have always understood this and offered ways for the Black youth they serve to achieve it. The sentiments that DuBois, Fauset, and Dill state in this dedication echoes Bridgette Fielder’s (2019) understanding of the practice of attending to Black children, this attending to Black youth “is not a twenty-first century development, but a historical and methodological turn that carefully takes up the kinds of work that Black writers, parents, educators, activists, and intellectuals have done long before us” (p. 170). The very creation and development of Black children’s and young adult literature is another example of attending to Black youth. Black children’s and young adult literature is crafted around intricate pieces of love, attention, and primary care for Black youth and their futures. Attending to Black Youth Attending to Black youth means addressing, seeing to, and caring for Black youth. It is a framework of care, this kind of care differs from the generalized approach of most teachers because it is insistent on a pedagogical relationship between Black language, Black children’ and YA literature, identity, and power. Attending to Black youth is a historical and methodological tradition that carefully takes up the kinds of work that Black writers, parents, educators, activists, and intellectuals have always done (Fielder, 2019, 170). This attending is invested in the study 22 of Black people, Black history, Black futures, and Black artistry, an interest that has always extended beyond the bounds of academic institutions and formal education (Fielder, 2019, p. 159). Angie Thomas, a black young-adult author attends to Black youth when she states: You know, when I write, my main priority is to think about the young people who will pick my book up and see it as a mirror. They are always the ones for me. As a writer— as a Black woman writer specifically, I have to think about the Black kids who pick up my books first and foremost (Npr.org). Thomas recognizes that as someone who writes for Black youth, she must think of them first. Thomas has given herself that responsibility. Thomas continues, “Now, if everybody else reads it and takes away something from it, great. But I feel as if the way I’m the most authentic with my writing is by focusing on Black kids, is by giving them a mirror that’s not distorted, giving them a mirror without smudges.” For Thomas, Black youth took precedence—this is the very essence of what attending to Black youth accomplishes. The unapologetic tone of Thomas’ statement also echoes the understanding of what attending to Black youth means and what it looks like—it is the instinctual understanding that as a Black young-adult author, you are writing firstly for Black youth simply because they deserve that precise attention that genuinely reflects who they are. Attending to Black youth is the care and thought June Jordan articulates in her novel His Own Where. In explaining that attending, Jordan writes: My novel, His Own Where, was the immediate reason for my receiving the Prix de Rome. I wrote it as a means of familiarizing kids with activist principles of urban redesign or, in other words, activist habits of response to environment. I thought to present these ideas within the guise of a Black love story, written entirely in Black English – in these ways I might hope to interest teenagers in reading it. (Jordan, 1995, p. 60) 23 According to Jordan (1995), His Own Where was highly criticized for being written in Black Language. Yet, Jordan writes her novel thinking about Black youth, first. This is demonstrated by Jordan intentionally writing the entire novel in Black Language because Jordan’s main audience was Black youth who speak in Black Language. The significance of Jordan’s use of Black Language in her novel, of her demonstration of Black language in His Own Where was an example of how she attended to Black youth. Like Thomas, Jordan is “dedicated to the health of our children as they prepare themselves for life” (Jordan, 1995, p. 72). This dedication can also be found in the life and legacy of Lucille Clifton, who attends to Black youth when she writes more than twenty children’s books with stories “woven with the love of black culture and history and filled with the magical stuff of life, [her stories] are lyrical tributes to Black children whose experiences she wanted the world to see” (Lyons, 2015). Even as a mother of six children, Clifton wrote daily, and her children would watch her as she sat at the dining room table, with her old-fashioned typewriter. Maybe then but certainly now, her children understood that “Mom wrote children’s books to fill an obvious void” (Lyons, 2015). Although my focus here is on literature, attending to Black youth is ultimately an action of writing, loving, caring, and teaching Black youth. Attending to Black youth is what Mary V. Cook does when she publicly calls for Black adolescent literature in 1887. Attending to Black youth is Johnson responding to that call, with others like Fauset, Dill, and DuBois to follow in the tradition. It is the intentionality of tending to Black youth and their needs, their representations, their love, and their experiences. Attending to Black youth is knowledge sharing; it is an imagining of their futures, of Black futures. 24 Attending to Black Youth in The Brownies’ Book The Brownies’ Book draws on the tradition of attention and care for Black children within its historical context. It does not represent a beginning, but a continuation of Black print culture’s engagement with Black children (Fielder, 2019). There were many Black newspapers like The Colored American and the Christian Recorder, that had children’s sections, and earlier periodicals that acknowledged the Black child readership more specifically like The Joy and The Ivy. Still, The Brownies’ Book was a substantial periodical created specifically for Black children, or as DuBois’ called them, “children of the sun.” The magazine existed from January 1920 to December 1921, and it featured biographies, poetry, songs, stories, opinion columns, and Black children’s accomplishments in a section titled “Little People of the Month” (McNair, 2007& Bishop, 2007 p. 29). We must articulate the truths that all Black adults are former Black children. This may seem an apparent fact, but acknowledging this fact connects shared experiences between the Black writer and the readership of the Black child. This connection is easily found in how the authors, illustrators, and editors attend to Black youth in The Brownies’ Book. There are many ways that Black authors attend to Black youth in the literature they create, and The Brownies’ Book’s attention of reiterating images of Black youth was a key example of how the magazine attended to Black youth.3 The Brownies’ Book was a landmark publication in Black children’s and YA literature, created by Jessie Fauset, Augustus Dill, and W.E.B. DuBois (Bishop, 2007). Fauset, Dill, and DuBois’ creation of The Brownies’ Book is an example of attending to Black youth in Black 3 I join Jessie Fauset, Augustus Dill, and W.E.B. DuBois along with all other former Black children who have been implicit in the tradition of attending to Black children by bringing in photos that reiterate the fact that these people are real. 25 children’s and YA literature because it provided Black youth an opportunity to see themselves through various forms of art, including photography. Fielder (2019) maintains that despite the racist caricatures of Black people that dominated mass print culture, these images served as a counterbalance to them. The proliferation of photographs of Black children in The Brownies’ Book allowed Black people to envision Black childhood in the early twentieth century (Fielder, 2019). The increase in the pictures of Black youth in The Brownies’ Book is an example of what it means to attend to Black youth because it showed them living, learning, and experiencing. Wallace and Smith (2012) studied how African American intellectuals, authors, orators, and activists understood, used, and responded to photography to create new spaces for themselves and their communities in the nineteenth and early twentieth centuries. 26 Figure 1: The Brownies’ Black Angel Figure 2: Portrayals of Blackness in the Brownies’ Book Figure 3: The Grown-Ups’ Corner 27 Along with other intellectuals of the period like Ida B. Wells, and Sojourner Truth, W.E.B. DuBois was one of the figures studied. Wallace and Smith (2012) understood that the photos these Black intellectuals took, helped them in their varied pursuits for social and political justice, expanding the political power of the photograph, even though they never focused the lens or released the shutter. It is justifiable to say that these women and men practiced photography even though they were not photographers. DuBois was invested in using the visual to perpetuate representations of Blackness and Black children in The Brownies’ Book. The need for Black children’s proliferation of positive images is discussed in the February 1921 issue of The Brownies’ Book in the “Grown-ups’ Corner” section. It states: Heretofore the education of the Negro child has been too much in terms of white people. All through school life his textbooks contain much about white people and little or nothing about his own race. All the pictures he sees are of white people. Most of the books he reads are by white authors, and his heroes and heroines are white. If he goes to a moving picture show, the same is true. If a Negro appears on the screen, he is usually a caricature or a clown. The result is that all the Negro child’s idealism, all his sense of the good, the great and the beautiful is associated almost entirely with white people. The effect can readily be imagined. He unconsciously gets the impression that the Negro has little chance to be good, great, heroic, or beautiful. This section of the “Grown-Ups Corner” was a way for Black parents to communicate with the authors of the magazine. The magazine asked for parents to write in and suggest ideas about what to publish, problems their children were facing, or any other information they wanted the writers of the magazine to know. The creators of The Brownies’ Book wanted to use the wisdom that came from the parents (DuBois et al., 1920). In fact, DuBois et al. (1920) writes: 28 This magazine is published for Children, but no one understands the needs of children, or the problems that arise in their training, particularly in colored families, so well as their Parents (p.24). This magazine and everything in it, was personal. There was a personal motivation to counter American cultures’ depiction of Blackness, but specifically the Black child. There was no sort of attending to Black youth and their experiences because in most newspapers, magazines, schools, and films, visual culture centered whiteness and defamed Blackness. Capshaw (2017) articulates that American visual culture was filled with derogatory depictions of the supposed depravity of Black people, which infantilized Blackness in order to support white paternalism in the form of control over Blackness in the prison system, economy, education, and media. The Brownies’ Book was an investment in the visual to counter the fictitious representation of Blackness, specifically for Black children. The Brownies’ Book circulated images of Black childhood as a constant reminder of the Black children it hoped to address, engage, and construct (Fielder, 2019). Du Bois’s children’s magazine and the photographs it captured of Black children, both studio portraits and photographs that depicted the movement and playfulness of Black youth, emerged out of the deep commitment to social uplift—in which Du Bois’s photographic investments participate—along with a desire to bolster Black children’s racial self-confidence. (Capshaw, 2017). Between the content and the proliferation of photographs of Black youth, The Brownies’ Book is an articulation of what it means to attend to Black youth in literature because it captures the various experiences of Black youth. The Brownies’ Book, like most Black adolescent literature, captures genuine experiences of the fact of Black children, the fact of Black youth. The field of Black children’s and young adult literature tends to focus on various realities of Black youth, especially their racial realities; yet there is not enough conversation about how 29 Black children’s and YA literature also allows Black youth to see and hear their linguistic realities as well. In exploring what it means to attend to Black youth, it is necessary that there be focus on language because the experiences of many Black youths include Black Language. Black Language (BL) An effective relationship between Black Language, Black youth, and the U.S. educational system requires an understanding of the development of Black Language and its relationship to American slavery. Essentially, Black Language demonstrates the resilience, intellect, and determination of Black people. Development of BL Two perspectives exist on the history and development of Black Language. According to Lanehart (n.d.), Creolists believe that Black Language is the result of combining various West African languages with parts of the English language. Whereas Anglicist scholars believe that Black Language is a British English dialect that derived from British peasants and indentured servants because of their interaction with Africans in America (Rickford &Rickford, 2000). Nevertheless, this “great debate” is insignificant, since neither side of this debate propels us closer toward attending to Black Language speaking youth in education (Lanehart, n.d., p.16; Baker-Bell 2014). Despite their competing positions, both Anglicist and Creolist agree that Black Language “is a linguistic legacy of American slavery and its aftermath” (Paris &Ball, 2011 p. 87; Baker-Bell 2014, 2020). Due to the manipulation and control of language and literacy by European slave masters, BL developed in the U.S. under sociolinguistic conditions. Enslaved Africans who survived the Middle Passage arrived chained together in the Caribbean, the Americas, and various parts of Europe after a traumatic and violent journey from West Africa to the New World. They did not 30 have a common language to communicate with each other because they were separated from others that spoke their native language, nor were they yet capable of speaking the language of their oppressors (Baugh, 2015). European enslavers used language planning to restrict the uprising and rebellion of enslaved Africans. Baugh (2015) explains that: slave traders routinely separated slaves by language whenever possible upon capture. This practice of isolating recent captives who shared a common language was intended to minimize uprisings; if [enslaved Africans] had a harder time communicating, they were less likely to be able to organize revolts. This form of “language planning” was intended to isolate the enslaved African captives from the language(s) they knew and used. More over, this linguistic isolation began in West Africa prior to the Atlantic crossing, and because of these efforts, no African language survived the Atlantic crossing completely intact. (p.293) Enslaved Africans were linguistically isolated, unable to speak to others in their native languages. These enslaved people were never given the opportunity to speak to others using their native language, and once they arrived in America, they were denied literacy by law. Enslaved Africans, essentially, created Black Language out of survival with the intent of this language being unintelligible to whites (Smitherman, 1977; Baldwin, 1997; Paris & Ball, 2011). And although white people can understand parts of the language, there were still many things that were concealed, purposely. A coded spiritual, for instance, is one of the methods enslaved Africans used to escape enslavement (Wells, 2011), this is an example of Black Language acting as a counter language because it has the power to convey simultaneous double meanings (hooks, 1994; Smitherman, 2006; Baker-Bell, 2014). A coded spiritual might not be 31 coded entirely by the language used, but it is still filled with the use of BL features and Black rhetoric like signifyin and idioms. The development and history of Black Language is profound. Often, I consider bell hooks’ (1994) imagination of the horrifying experience enslaved Africans on slave ships and auction blocks, as well as the unfamiliar architecture of plantations, and how that horror was further extended because this terror was also happening in a language they could not comprehend. It had to frighten them just to hear the sound of English. Still, these displaced Africans used this language and made another. They shared it with one another and in possessing this shared language, “black folks could find again a way to make community, and a means to create the political solidarity necessary to resist” (hooks, 1994). What a powerful thing to know about Black people and our history. There is more to Black Language than the fact that it empowers resistance to white supremacy; it also opens space for both alternative cultural production and epistemologies—different ways of thinking and knowing, essential to establishing a counter hegemonic worldview (hooks, 1994). Black Language in Education When the U.S. Supreme Court ruled for the integration of all schools in the country, the use of Black Language in education changed. Before integration, BL was not understood as a hindrance to Black youth in Black schools (Moore, 1996). Yet, after the supreme court’s ruling, speaking BL was then deemed as a deficit to learning (Smitherman, 1974). Many linguists and educators noticed this shift that painted Black youth and their language as a prevention to their learning, when it was actually teachers and their lack of knowledge and practice with Black language pedagogies (Moore, 1996; Baker-Bell, 2014, 2020). People like Toni Cook, Beryl Bailey and members of the Conference on College Composition and Communication (CCCC) 32 understood this and tried to address the needs of students from diverse linguistic and cultural backgrounds (Baker-Bell, 2014; Smitherman, 1999). In 1974, the CCCC embraced the Students Right to their Own Language (STROL) resolution that protected the rights of students to use the language they identified with (Smitherman, 1999). Although STROL was certainly a great attempt in theory, it had restrictions in praxis because many educators were unknowledgeable in attending to the diversity of student languages (Baker-Bell, 2014). The 1979 Ann Arbor Black English case acts as evidence of STROL’s limits. In this case, the federal district court found the Ann Arbor school district responsible for inadequately preparing teachers to respond to the language needs of 11 Black children at the Martin Luther King, Jr. elementary school after teachers misidentified them as having an intellectual disability. This misidentification from the teachers caused those Black youth to be unfairly held back in their grade levels, suspended, placed in speech pathology classes, and violently ignored by their teachers (Smitherman & Baugh, 2002). The judge ruled in the children’s favor. Still, the outcome of the judge’s ruling placed a lot of responsibility on the in-service teacher and did not at all help in eliminating the inequality BL speaking students were facing (Baker-Bell,2014). While easy to dismiss STROL as a theory that did not completely transform language pedagogies, it did aide in developing various language educational programs like Standard English as a Second Dialect (SESD), as well as the Bridge program. There were many programs like Language Curriculum Research Group (LCRG), a Brooklyn-college research collective that developed a composition curriculum that centered BL by creating textbook manuscripts, and trained writing teachers (Baker-Bell, 2014; Wible, 2006). LCRG also provided opportunities to read literature from Black authors who used BL and learn about its usage in their own communities using ethnographic research. Unfortunately, there was no mainstream distribution of the LCRG manuscript because of 33 conservative political factors emerging in the mid-1970s (Weaver, 2020). Still, LCRG was developed in part, because of STROL. The Oakland Ebonics case of 1996 reflected the volatile relationship between BL, Black youth, and the U.S. educational system. The Oakland school board proposed nine recommendations to remedy the findings from the 1994 National Assessment of Educational Progress that demonstrated that Black students were performing considerably below grade level. Although this data stated that Black students were doing considerably below grade level, this data was not reflective of Black students’ ability to perform, but of the lack of care given to those youth and their language practices (Rickford & Rickford, 2000; Baker-Bell, 2020). Still, an Oakland taskforce was put together and they believed that pedagogies using Black Language as a bridge to learn white mainstream English would aid in helping Black students. This proposal was met with a lot of negative attitudes from the public, both Black and white people reacted negatively to the resolution. In fact, Maya Angelou discussed the language and said she was ‘incensed’, and that “the very idea that African American language is a language separate and apart is very threatening, because it can encourage young men and women not to learn standard English” (Rickford & Rickford, 2000). Not only was this outrage misplaced, but there was no specific conversation from the opposing side that addressed how to attend to Black youth linguistically and practically, there was no conversation about what Black youth needed and how the Oakland taskforce tried to meet Black youth where they were comfortable at. This comfortability is important because this is what is necessary in attending to Black youth. There also was certainly disassociation between what the original Oakland Ebonics resolution was trying to do versus how people actually understood it (Garcia, 2013; Rickford & Rickford, 2000), which ultimately called for the resolution to be revised (Rickford & Rickford, 2000). This 34 negative attitude that some Black people shared about BL was troublesome because people like Maya Angelou participated in using Black Language, too. This demonstrates a disconnect that is tied to not fully knowing the features, history, and origins of BL, and how that unawareness can lead one to disregard parts of themselves. Ms. Maya Angelou consistently used BL in her works. For example, in two stanzas of Angelou’s poem, Ain’t That Bad, Angelou writes: Dancin’ the funky chicken Eatin' ribs and tips Diggin' all the latest sounds And drinkin' gin in sips. Puttin' down that do-rag Tighten' up my 'fro Wrappin' up in Blackness Don't I shine and glow? This poem in its entirety, stresses the beauty of Blackness. This poem loves on Black culture, Black traditions, and Black people. Within that praise, Black Language is used, including the phonological patterns of dropping “g” from the -ing as well as BL lexicon (Smitherman, 2000). Additionally, Angelou’s well-known poem Still I Rise indeed engages in the Black rhetorical feature of call and response, a form of expressive interaction between speaker and audience (Charity Hudley, 2014). This is not an attack on Angelou and the phenomenal work she has done, but a demonstration of how BL is easily attacked and misunderstood, even by Black folks who use it. Angelou’s response to BL reflects the same issues that many Black youth have about BL because of it simply not being adequately introduced and taught to them. 35 Historical aspects around the development of BL and the U.S. educational system provide insight to the current conditions and consequences in U.S. schools and the Black youth that exists within them. Reexamining the historical dimensions of BL is vital to understanding the factors that inhibit and influence BL learning at school. Factors Inhibiting and Influencing Black Language Learning Despite Black Language being a part of many Black youths’ identity, this part of them is constantly ignored in the classroom because the histories of pedagogies and practice in the classroom are predominately informed by deficit language theories that reject attending to the Black language speaking student. Language Theories There are certain language pedagogies that impact classrooms around the U.S., and the deficit theory approach is the primary language pedagogy practiced. The deficit theory or monolingual approach’s main objective is the eradication of what is presumed as deficient and the imposition of what is perceived as better (Ball&Muhammad,2003). Labov (1970) argues that deficit theories divert attention away from the real deficiencies of the educational system and focuses on the imaginary deficiencies of the child, which is extremely harmful to learners whose main language is not white Mainstream English. The other language pedagogy used in classrooms is the code-switching approach, which allows multilingual students to use their mother tongue to learn white Mainstream English. The code-switching approach positions a student's primary language as informal (Wheeler & Swords, 2004). While some scholars believe code-switching is effective, it still is violent because it passively positions a student's primary language as something that is wrong. Wheeler & Swords (2004), confirms this through an activity Mrs. Swords does with her students, “We then compared and contrasted the sentences in each column. Immediately, one child said, “Oh, that’s wrong. All the ones on that side [in- 36 formal] are wrong and the ones on the other side [formal] are right.” Whether educators that follow code-switching use “formal and informal” youth still recognizes the negative connotations that come from differentiating a child’s mother tongue and wME. This approach tells multilingual students that their language is secondary to the dominant language. Scholars like Young (2009) argue that code-switching allows teachers to ignore the politics between race and language. Refusing to discuss the interconnectedness of language, race, and power, ignores students and their cultures. These language pedagogies are ineffective for multilingual children. The monolingual approach is motivated by erasing the multilingual child's primary language. The code-switching approach teaches multilingual students to view their primary language as inferior. These language pedagogies are violent, and many language scholars (Canagarajah, 2006; Young, 2009;) inquired for language pedagogies that remedy the violence grounded in deficit theories. Multilingual approaches like code-meshing, which allows the multilingual student’s primary language and white Mainstream English to mesh (Canagarajah, 2006) were developed. Translingualism is another multilingual approach that “views all languages as resources that must be preserved, developed, and utilized” (Baker-Bell, 2014, p. 21). While multilingual approaches like code-meshing and translingualism seek to value students’ languages, this approach is still limited in capturing the unique linguistic oppressions Black Language speaking students experience in school. Historical features around the development of language pedagogies and the U.S. educational system reveals the elevation to specific Black Language pedagogies. Reexamining the historical dimensions of BL pedagogies is vital to understanding what it means to attend to Black youth in the classroom. 37 Black Language Pedagogies As demonstrated by the aforementioned multilingual language pedagogies, scholars have been determined in addressing the needs of multilingual students. April Baker-Bell (2020), in her book, Linguistic justice: Black language, literacy, identity, and pedagogy, joins in this tradition by offering “a framework that explicitly names and richly captures the type of linguistic oppression that is uniquely experienced and endured by Black Language-speakers” (Baker-Bell, 2020, p. 8). Baker-Bell (2020) names three pedagogies that are currently practiced in classrooms: 1. The eradication approach aims to eradicate Black Language by disregarding and ignoring it. Under this approach, Black Language is treated as inferior and is unacknowledged as a real language. The objective of this approach is to eradicate Black Language from Black youths and replace it with white Mainstream English. As Baker-Bell (2020) contends, “Anti-Black Linguistic Racism is embedded in this approach as Black Language gets interpreted as a defect of the educational system’s response to it” (p. 28). This approach is racist in that it perpetuates violence on Black Language speakers because it tells Black Language speakers that their mother tongue, their first language is invalid, and this can be detrimental to Black students’ identity and being (Kynard, 2013). 2. The respectability language pedagogies, which acknowledges BL as an actual language that should be affirmed, but only as a bridge to learn white Mainstream English. It is connected to monolingual approaches, such as code-switching. This Black language pedagogy adheres to the politics of respectability (Baker-Bell, 2020). The U.S. school system does not attend to the needs of Black youth when it comes to their language practices, and the fact that these two pedagogies are still being currently practiced, proves that. In the U.S. classroom, there has not been enough attention given to 38 other languages and cultures of the world (Smitherman, 2000). While there have been many teachers who have understood the value of Black Language education, there still are many who are fueled by the misguided notion that eradicating or using Black Language at an informal time and place is the best option in readying Black students for the “real world” (Smitherman, 2000). Still, there are many language scholars and educators (Alim, 2007; Young, 2009; Kynard, 2013, Canagarajah, 2006; Ball&Muhammad,2003; Richardson, 2004) that are actively fighting against this linguistic racism. In fact, Baker-Bell’s (2020) Antiracist Black Language pedagogy is ideal in capturing what it looks like to attend to Black Language speaking youth in the classroom: 3. The Antiracist Black Language Pedagogies allow Black Language to be learned, affirmed, and appreciated. According to Baker-Bell (2020), by putting Black Language at the center, it allows students an opportunity to critically question white linguistic hegemony and anti-Black racism. The goal of this approach is to dismantle anti-Black Linguistic Racism and students’ internalization of it and empower Black students to develop agency and make critical political choices. Baker-Bell (2020) forwards her Antiracist Black Language theory as a transformative approach to Black Language education. In all of this, our thinking must examine Baker- Bell’s attention, her attending to Black youth through her approach. Attending to Black youth by Attending to Black Language in Linguistic Justice Baker-Bell’s (2020) Linguistic Justice displays how Black Language is tied to many Black youth identities. This book is a praxis text, with the primary audience being educators, people who frequently interact with youth. The book provides activities and lesson plans that 39 teachers can use to teach Black Language to students. The book itself is an example of what it means to attend to Black youth because she makes their lives and experiences visible. She incorporates their stories, their ideas, and is intentional in attending to their needs as Black Language speakers. This is evident at the end of her book when she states: As I looked around the classroom at the Black faces that seemed to be filled with joy, as I listened to them freely communicate with one another in the language that reflected our mother tongue, as I heard their Black voices rap the words to Kendrick Lamar’s ‘Don’t Kill my Vibe’ in perfect harmony, I could not help but embrace that moment in space and time! This is what Black Linguistic Justice should feel and look like! (Baker-Bell, 2020) The image captured here is quite exceptional. Baker-Bell worked with those students at Leadership Academy and once there, she had noticed that although many of the students suspected that their language was often disregarded simply because they were Black, they found it difficult to explain or make sense of how racism can be experienced through language (Baker- Bell, 2020). For many Black Language speakers, there is difficulty in explaining how racism can be experienced through language, especially when one doesn’t even know they have an actual language, with histories and rules of its own. Baker-Bell wrote the epigraph after teaching them the history of Black Language, its rules and style, and provided them with the understanding that Black Language is theirs, too. At the conclusion of her time there—that’s what she sees—Black faces with Black voices filled with Black joy as they rap in unity, Kendrick Lamar’s “B*** * Don’t Kill My Vibe.” What a fitting song for such a BLACK celebration, because in that moment—nothin was gone kill they vibe. It is at that moment that Baker-Bell showed the outcome of her Antiracist Black Language pedagogy approach, and that result embodies the care and joy that Black youth require when they are being attended to. Baker-Bell (2020) allows us to 40 see how race, power and language are interconnected while also simultaneously informing us that literature, provides us a “rich opportunity to examine how language and race inform identity and experience” (p.103). This is vital to Black children’s and YA literature because, often the field of Black children’s and YA literature tends to provide Black youth opportunities to see their racial realities and lived experiences, but what Baker-Bell does here is provide us with an understanding that those same racial realties of Black youth’s lived experiences include their language practices, it includes Black Language. In this book, through her Antiracist Black Language pedagogy, Baker-Bell (2020) demonstrates what it looks like to attend to Black youth in the English classroom. However, there is also interest in how Black authors of Black children’s and YA literature model and inform a similar process of attending to Black youth in Black children’s and young adult literature. What are the attitudes and concerns of the authors writing Black children’s and YA literature? How can we use Black children’s and YA literature as a vehicle to teach Black Language? Conclusion A review of this literature helps explain the connection between Black children’s and YA literature and Black Language education. Both fields were created and developed to attend to Black youth. If we understand that attending to Black youth “is a historical and methodological tradition that carefully takes up the kinds of work that Black writers, parents, educators, activists, and intellectuals have always done “(Fielder, 2019, 170), then we must look at what has been done. In tracing the development and history of both Black children’s and YA literature and Black Language education, we edge closer in understanding how to utilize Black children’s and YA literature to teach Black Language. This chapter helps situate the significance of the present 41 study. The present study investigates how Black youth respond to learning about Black Language, its history, and features, while using Black children’s and young adult literature. The instruction and learning of Black Language should embrace Black children's and young adult literature, since this specific literature exemplifies Black racial and linguistic experiences. This dissertation study adds to this body of research in both Black Language education and Black children's and young adult literature. My study utilized Black children's and young adult literature to provide a forum for critical and reflective conversations about Black Language. Next, in chapter 3, I provide an overview of the critical Black Language book club. 42 CHAPTER THREE: BUILDIN BRIDGES: METHODOLOGICAL FRAMEWORKS FOR UNDERSTANDING BLACK LANGUAGE AND ITS CONNECTION TO BLACK CHILDREN’S AND YA LITERATURE I want to chronologically explain how and why I decided to do a critical Black Language book club. Prior to conducting the Black Language Book Club study, I imagined the study to take place in a school setting, but I switched to a more familiar setting. Originally, I was going to work with a high school that was in my community, but because the study took place so close to Summer, communication with the school was difficult. Also, once I did speak with the counselor, she was concerned about student participation due to the semester being almost over. Therefore, I chose to pivot to close friends and family, this included my cousins and friends (I will discuss the participants in more detail later in this chapter) who were already in Los Angeles or coming for summer vacation. I was excited to hear about the crew’s Black Language practices and their experiences with reading, in school and on their own time. Qualitative Inquiry The main purpose of this study was to explore how Black youth and their families experience a book club where they have an opportunity to learn about Black Language through Black children’s and young adult literature. This study builds on previous studies that were conducted to explore how learners experienced Black Language in a specific social setting that prioritizes Black children’s and YA literature as a pedagogical technique to learn, affirm, and name Black Language (Baker-Bell, 2020; Bishop, 1990). In this chapter, I introduce the two theoretical frameworks which include “Linguistic Justice” (Baker-Bell, 2020) and “Mirrors, Windows, and Sliding Glass Doors” (Bishop, 1990). These theories were significant and aided in grounding this study’s methodological and analytical frameworks. Following this, I move into 43 describing the study’s research design, research questions, site selection, the crew, and the methods of data collection and analysis. Theoretical Frameworks Linguistic Justice: According to Baker-Bell (2020) Linguistic Justice as a framework, “is about Black Language and Black Liberation. It is an antiracist approach to language and literacy education. It is about dismantling Anti-Black Linguistic Racism and white linguistic hegemony and supremacy in classrooms and in the world” (p.7). This theory fundamentally prioritizes creating educational spaces where Black students' language practices are recognized, respected, and valued. It involves embracing linguistic diversity, empowering students through their language abilities, and transforming educational systems to be more inclusive and equitable for all learners. Considering that most K-12 classes follow a traditional monolingual approach, this was an important aspect to consider for the study (Ball & Muhammad, 2003; Rickford & Rickford, 2000). Generally, the monolingual approach in education refers to the use of only one language in the classroom, often the dominant language of instruction. This excludes or marginalizes other languages spoken by students. Based on this approach, it is assumed that all students must be proficient in the dominant language, and that instruction and communication must be carried out primarily in that language for them to succeed. In fact, Baker-Bell (2020) states, Within a Linguistic Justice framework, excuses such as “that’s just the way it is” cannot be used as justification for Anti-Black Linguistic Racism, white linguistic supremacy, and linguistic injustice. Telling children that white Mainstream English is needed for survival can no longer be the answer, especially as we are witnessing Black people being 44 mishandled, discriminated against, and murdered while using white Mainstream English, and in some cases, before they even open their mouths. (p.7) The theory of Linguistic Justice remedies the violence that monolingual approaches perpetuate by explicitly revealing the harm that Black students, and other students of color, endure when their mother tongues go unacknowledged in the classroom and how that leads to negative feelings about their culture and themselves. Linguistic justice calls for educators to investigate the interconnectedness of Black Language and Black liberation. This theory was an important aspect to my study because it placed Black Language as the primary language learners could engage in. Although this book club existed outside of the classroom setting, I still had to reassure the members that this setting was not created like the traditional classes that they've had. Under the theory of Linguistic Justice this was quickly achieved because learners were given the opportunity to thoroughly engage in Black Language while reading Black children’s and YA literature. Mirrors, Windows, and Sliding Glass Doors: Rudine Sims Bishop metaphor of “mirrors, windows, and sliding glass doors” demonstrates the gravity of diverse representation in children’s literature. Bishop (1990) talks about stories as "mirrors" that reflect readers' own experiences, identities, and cultures. The presence of characters of the same race, ethnicity, language, culture, abilities, or experiences in books validates children's identities and fosters their sense of belonging. As a result of these stories, children who see themselves in books are able to affirm their identities by gaining a sense of belonging and feeling valued in their community. “Windows” are the kinds of stories that offer readers and listeners images into experiences that may differ from their own (Bishop, 45 1990). Through window stories, readers can learn about cultures, holidays, identities, and traditions that create a different perspective (Bishop, 1990). Looking through a window provides a view of another place or reality, so reading books about people, cultures, and experiences can differ from one's own understanding and can offer readers insight, understanding, and empathy. This can contribute to how people understand different holidays, traditions and culture that can be based in hair care, religious activities, celebrations, and mourning. While “sliding glass doors” allows readers with a perspective to actually input themselves into stories and experiences that allows readers to walk into a specific story and stay for a while. Sliding glass doors stories promote the ability for readers to try on identities and experiences that differ from their own— granting a means for reflection, action, social justice, and learning (Bishop, 1990; Jackson, 2023). This theory was important to my research because in an ideal classroom, students should have access to a balanced combination of mirrors, windows, and sliding glass doors. This ensures that they see themselves reflected in the curriculum, learn about diverse cultures and perspectives, and have opportunities to actively engage with the world around them. For most students of color, specifically Black students, they are rarely given the opportunity to engage in the balance of mirrors, windows, and sliding glass doors stories. Especially texts that explicitly mirrored their own experiences and cultures. This book club positioned literature and texts that gave the crew access to engage in stories that represent Black cultures and experiences, an opportunity rarely given to Black students. 46 The Black Language Book Club Research Design: I designed this study in response to the many Black authors that write literature that caters to Black children and young adults. I observed the way that scholars and educators do not explicitly name language as a part of representation in Black children’s and young adult literature. As discussed in chapter 1, the major problem lies in the fact that many Black youth and children are still not fully aware of this language and its actual history and rules (Baker-Bell, 2013, 2014, 2020) although there are so many authors who are purposeful in creating Black children’s and young adult literature that affirms Black Language and its existence. There has been so much research on the necessity of representation in Black children’s and YA literature (Brooks&McNair, 2009; Harris, 1990; Brooks, 2006, 2009). Yet many of these conversations are centered around hair and skin color (Brooks&Hampton, 2008; Harris, 1990). If we understand that representation matters, then we must begin to discuss Black Language in Black children’s and YA literature because Black Language is a part of many Black youth lives and experiences; therefore, it is a part of how they should be represented. Thus, I designed and implemented a critical Black Language book club that centered Black children’s and young adult literature. The design has included surveys, interviews, and small talk conversations. Research Questions: I ground my research in the following questions: 1. What ways might a book club that centers Black Language and Black children’s and YA literature affirm members’ linguistic and racial identities? 2. How do Black youth and their families experience a book club where they have an opportunity to learn about Black Language through Black children’s and YA literature? 47 Site Selection: The study took place in different settings, including my house, other home spaces and even public spaces like the park. Neutral settings for reading offer a refreshing departure from the confines of the traditional classroom. I wanted the members of the study to understand that this book club was not a classroom. It was important for members to experience settings that promoted a welcoming environment. This helped the members immerse themselves in stories without the pressures of traditional instruction. It is in these neutral spaces, the magic of storytelling truly comes alive, inviting the crew to embark on an unforgettable literary journey. I include figures of a few of the various settings below. Changing of settings fostered a sense of relaxation and exploration. Whether we took up space in a cozy living room or seated comfortably in a park, the members of the book club engaged with literature on their terms. Changing of settings fostered a sense of relaxation and exploration. Whether we took up space in a cozy living room or seated comfortably in a park, the members of the book club engaged with literature on their terms. 48 Figure 5: An Introduction Meeting Figure 6: A Cozy Home Meeting Figure 7: A Background Meeting 49 Participants: A total of ten members, ranging in age from fifteen to twenty-eight, participated in the book club4. For the book club, the members chose a thought-provoking novel, Concrete Rose by Angie Thomas, that explores themes of identity, coming-of-age, and love. The book's captivating storyline and relatable characters sparked lively discussions and deepened the members’ understanding of the world around them. Although 17 people agreed to participate in the book club, only 10 members actually participated (See Table 4.1). Each member of the crew had to sign consent forms and if they were younger than 18, they had to sign an assent form and their parent/guardian had to sign an informed consent form as well (See Appendix A and B). Table 2.1 Participants Race/ Ethnicity Gender Familiarity of Black Languages’ rules and history Leisurely Reading of Black children’s or YA literature 8 Black/ African American 6 Females 2 had some familiarity 3 leisurely read 2 Biracial 4 Males 2 had little familiarity 6 had no familiarity 7 did not leisurely read Mercedes was always a leader. Many people rallied behind her because she was so sure of herself. She said what she said and meant every word. She was the oldest of her siblings. And although she was only 20 when we began this book club, life experiences and responsibilities made her wise beyond her age. She enjoyed reading books she chose on her own. Mercedes wanted to be a part of the book club as soon as I offered it, and I believe because she wanted to 4 I used pseudonyms for all the members of the book club. The names given are the names that each member chose for themselves. 50 attend, it made it easier for her sister Toni and Mercedes’ boyfriend Daquan to follow through as well. The youngest and coolest person in the book club was Book Club Baby. She was a mere 3 months when she joined the club with her mother, Mercedes and father, Daquan. She was present for every meeting. She barely cried or whined. At random times though, Book Club Baby would make her presence known. The “silent thinker" in the group was Toni. Although she sometimes tried to conceal her thinking and understanding, Toni loved using her brain–whether that be to speak, listen, or observe. Toni was witty and shy at the same time. One had to pay close attention to her comebacks because they happened so fast that you wouldn’t even see them coming. She was careful expressing her thoughts when it came to her reading of Concrete Rose, although she was the first to finish the novel. Angel was the gentle spirit in the crew. Everything she did expressed some type of comfort. She showed support through her tone and silence. Her use of “Mmm” and frequent eye contact and head nods made the rest of the crew feel seen and heard. Her presence was always nurturing, calm, and positive. Malichi was unapologetic about anything he said in the book club. He consistently asked questions and listened to what others had to say. His perspective was important because he was a young Black man, and we were reading about a young Black man. The focal participants were Michael, Reggie, Noel, and Daquan. These four members were chosen to serve as focal members because not only did their experiences and understanding become representative of most members' experiences, their engagement in the book club also demonstrated diversity in terms of backgrounds, perspectives, and reading preferences. 51 Furthermore, their levels of participation and commitment differed, which provided a well- rounded analysis within the group. Michael missed the first introduction meeting of the book club but once he was present, his voice was the loudest in the room. Michael constantly made connections. He consistently had something to say, add, or question. He liked the novel from the beginning but every time we met after his first meeting, he continued to surprise everyone with just how much he had to say. Reggie has always displayed confidence. He had a knack for remembering what people said and applying it to various conversations. Reggie was the kind of guy you immediately felt comfortable around. He was funny, kind, and relatable. All those characteristics showed up in the book club. The goofball of the group was Noel. She always had a way of making everyone around her feel comfortable. Noel was always real about her feelings and opinions, and she certainly was able to connect what she was thinking to other conversations happening in and out of the book club. During the first couple of meetings, Daquan barely said a word. Daquan needed time to be comfortable sharing his thoughts and ideas. He sat back, listened, and watched the dynamic of the group and once he felt comfortable, he began to express his thoughts and feelings. Researcher’s Role: I was a participant observer. I include myself as part of the crew because I was. According to Bhattacharya (2006), “The role of the observer varies based on the study and the researcher’s positionality. The researcher can choose to be intimately involved in the setting that s/he observes or remain as an inactive member, akin to being a fly on the wall” (p. 140). I was a researcher, observer, and member of the book club. I did not want the rest of the crew to believe 52 that this was a traditional classroom setting where there was a teacher and student dynamic. We all spoke in the same language, which helped build the connection that DeWalt & DeWalt (2010) discussed because “Participation requires being able to communicate effectively in the local setting; being able to follow [conversations and join in on jokes]” (p. 56). Although I read this novel, I re-read it again with them. I was not the person that knew everything about this book. I had questions of my own that I wanted answered just like the rest of the crew. I consistently would state incorrect responses and confuse names of characters and situations and wait to be corrected by someone in the crew. This act alone eliminated peoples’ understanding that what I said, or thought was definite. However, one of the challenges that came with this role was finding an “appropriate balance and rhythm in participating” (DeWalt & DeWalt, 2010, p. 65). In the beginning, I struggled with finding a balance between talking too much and then getting quiet. However, as the book club continued, I found an effective balance. I did this by paying attention to the transcriptions or video recordings after our meetings. I paid attention and literally “read the room” to understand the crew better. Methodological Framework Methodological research in qualitative methods focuses on analyzing phenomena in their natural settings by emphasizing the context in which they occur. The aim was to uncover how the crew made meaning of their experiences. Similarly, to Johnson’s (2014) study, I created a book club because “I wanted to work and to learn with and from my participants” (p. 53). Along with Tatum’s (1997) understanding that “For Black youth, book clubs can provide an opportunity to articulate their thoughts and feelings about race and identity in a supportive environment” (p. 126). The book club was conceived as a safe and nurturing space where members could engage with Black children's and YA literature and explore Black Language, and 53 its relationship to their identity. Through open and respectful dialogue, the crew was encouraged to share their perspectives, reflections, and personal connections to the readings. This methodological approach aimed to uncover the experiences, beliefs, and understandings that emerged from the interactions within the book club. By centering the voices and experiences of Black youth and their families, this research sought to illuminate the significance of Black Language in shaping their sense of self, community, and cultural belonging. Data Collection Methods Qualitative research methods and methodologies were used to capture the stories and experiences of those who are not naturally given a platform to share their narratives. As part of the study, I interviewed, conducted group discussions, and observed participants to gain a deeper understanding of their lived realities and perspectives. Using qualitative approaches, I was able to uncover nuances, emotions, and insights that are rarely captured by quantitative data. In employing qualitative research, I hoped to capture a vivid and authentic picture of how the Black Language Book Club has impacted its members. The collection of data first began with a survey of participants’ reading practices and familiarity with Black Language and its rules and features. The other primary data sources included both unstructured and semi-structured interviews, small talk conversations, video, and audio recordings. Each data source captured the various experiences, narratives, verbal, and nonverbal interactions, of each member of the book club crew. Survey: The first step was creating a survey that asked questions about the participants favorite book (if they had one), their familiarity with Black Language, and their overall reading practices (see Table 3.1). During our first introduction meeting, I spoke to the group about their survey as a whole as a way to elicit the different perspectives that each person was bringing to 54 the group about their reading habits, about who they read and why. The group consisted of only Black Americans, ranging from the age of fifteen to twenty-eight. In short, most of the members (85%) could not name more than five Black authors they read. Also, about 30% of people reported that they did not know anything about Black Language. Table 3.1 Introduction Survey Introduction: Survey Questions 1. What languages do you speak? 2. How do you identify as a person? What are your pronouns? 3. Do you be reading? 4. Do you have a favorite book? What's the title? Why is it your favorite book? 5. What is your favorite subject or class in school? Why? 6. What are a few of your favorite things to do outside of school? 7. Who makes sure you good? Who takes care of you? (Both in school and out of school. This can be teachers, counselors, friends, family, etc.) Explain what this care looks like to you. 8. Do you know what Ebonics or Black Language is? (It's completely fine if you do not know!) 9. Who and what do you wanna be when you're older? (It’s OK if you don’t know yet.) If you do know, please explain. 10. What kind of student are you? And is there anything about education you would like to change? 55 Observations and Field notes: I observed, video and audio recordings each meeting. Then after each meeting, I would transcribe every discussion we had and paid attention to the nonverbal communication that existed in each meeting as well. Observing the nonverbal parts of each discussion not only allowed me to make room for the nonverbal expression that exists in Black Language, but it also gave me the opportunity to completely capture the real picture of how each meeting went. The video recordings captured the verbal language we used, but also the movement that was present in each meeting. Interviews: Before conducting the interviews, I had each member complete a consent form that demonstrated the participation each member would experience in the book club and how that would be recorded. The interviews that happened were semi-structured, allowing the participants to share their thoughts and experiences freely. This approach ensured that each member of the book club had the opportunity to express their individual perspectives and insights freely, resulting in rich and diverse data that captured the nuances of their experiences. This approach allowed for a deeper understanding of the diverse range of opinions and insights within the group, ultimately enriching the overall research findings. Small Talk Conversations: Small talk conversations are casual, light-hearted, and informal exchanges that serve to establish rapport and create a sense of connection. The small talks serve as a gateway to more meaningful conversations and relationships. I decided to start having small talk conversations with the members because although everyone got along and became very familiar with each other from the very beginning, I found that some of the book club members expressed more or critically thought about ideas and connections better when they were in conversation with me. 56 Table 3.2 Data Collection Procedures Phase Before BLBC5 Length of Phase 2 weeks Implementation of BLBC 6 weeks Immediately after BLBC 3-5 days Weeks after BLBC 3-7 weeks Beyond Intermittently Data Collected • Pre-Survey Questionnaire • Pre-Interviews • Small Talk Group Conversations • Observations • Small Talk Group and Individual Conversation • Crew Discussions • Video and Audio Recordings • Group Discussions • Small Talk Conversations • Group Discussions • Post-Interviews • Small Talk Conversations • Text Exchanges • Social Media messaging Phase 1: Before the implementation of the Black Language Book Club (BLBC), I began to finalize the structure of the book club. I also sent out a survey questionnaire that each official member of the book club had to complete. Then, I began to have unstructured interviews with a few of the members. Phase 2: During the implementation of the book club, I met with the crew once a week. I made observations and took field notes for each meeting and with conversations I had with members outside of our meetings. Phase 3: I immediately began to interview the focal members 3 days after the book club ended. I also had small talk conversations with other members about their experiences. 5 BLBC stands for Black Language Book Club. 57 Phase 4: I continued to keep in contact with most of the members of the book club. I also continued to have unstructured interviews and small talk conversations with both focal and non- focal members of the book club. Phase 5: I remained in contact with most of the members of the book club. We communicate through social media or text messages. Many of them have expressed wanting to have another book club. We also just share updates on each other’s lives. Data Analysis I conducted a general analysis in which I read across the various data I had collected through audio and video recordings and transcriptions of each meeting. Discourse analysis was necessary for this study because it highlights context. According to Gee (2014), “‘Context’ is a crucial term in discourse analysis. [...]Context includes the physical setting in which the communication takes place and everything in it; the bodies, eye gaze, gestures, and movements of those present; what has previously been said and done by those involved in the communication; and any shared knowledge those involved have, including shared cultural knowledge” (p.12) Discourse analysis captures everything from the words people use to the way they use them, revealing the underlying structures of meaning, power dynamics, and social norms that shape our interactions and identities. It examines not just what is said, but also what is left unsaid, the nuances of tone and gesture, the context in which communication occurs, and the larger social forces at play. In essence, discourse analysis provides a lens through which we can better understand how language constructs and reflects our social realities. Discourse helped me look at how Black Language was represented in the data. I video and audio recorded every meeting. 58 This kind of mapping allowed me to capture exactly where everyone sat, any gestures or movements they made when they talked or others around them talked. It allowed me to capture both the verbal and nonverbal communication that exist in Black Language. I employed qualitative methods of discourse analysis to address both of my research questions. My analytical frameworks for answering each research question are summarized in the table below. I then describe my procedures for analyzing the data. Table 3.3 Description of Data Collection and Analysis Research Questions Data Data Collection Data Analysis 1 2 Transcripts Field Notes • Survey Interviews • • Observations • Group Discussions • Video Recordings • Transcriptions • Discourse Analysis • Video and audio Analysis . Transcripts Field Notes Interviews • • Group Discussions • Audio and Video Recordings • Transcriptions • Discourse Analysis • Video and Audio Analysis Procedure: Step 1. Organized Data for Analysis: I began this process by organizing the data I collected from each meeting. The data then was sorted in a chronological order. Next, I placed the data on a flash drive and also used a google drive titled with the date and page number we read up to in each meeting. I also kept both the audio and video recordings on a flash drive and a locked folder on my laptop. Both audio and video recordings were also added to a drop box on my laptop within the week we met. Lastly, I kept an electronic version of the video and audio 59 conversations I transcribed from each meeting. I also kept my fieldnotes in a journal and on my Notes app on my phone. Step 2. General Understanding of Data: My research questions guided my reading of all the data. I viewed the data numerous times to get a sense of the study's overall meaning. I derived the following conclusions from my analysis of the data: (1) there was evidence that members used Black Language, and (2) none of the members could recall reading three or more Black children’s and YA literature in or out of school. At this level of analysis, I identified that the crew was excited about the process of the book club more than others. Also, the crew came in with different reading practices. For instance, Noel and Michael loved humor and storytelling, they seemed to approach the readings with a mix of recreational and active reading. During discussion, they would often highlight funny passages and make notes of jokes and witty remarks. On the other hand, Daquan, Angel, Reggie, and Mercedes appeared to favor a critical reading style, constantly questioning the characters' motives and the author's choices. They often brought up points for debate, challenging the group to think about the story, characters, and context in greater depth. Although quiet in our meetings, Toni was a close reader. Reading the text attentively, she studied its structure, meaning, and language carefully. She rarely began discussion but was one of the first to answer questions raised by others from the crew. Step 3. Displaying Data: To make sense of how the data answered my research questions, I focused on the transcripts from each meeting. I traced how members discussed conversations surrounding Thomas’ Concrete Rose and how/if they related to the characters we were reading. I also wanted to capture the frequent and natural way many members of the book club spoke in 60 Black Language. I monitored and observed how they talked to one another, how they joked with each other. I captured most of that experience by going back and analyzing the video recordings that revealed the nonverbal communication that exists in Black Language. I also reviewed all our transcriptions. Step 4. Applying Analytical Frames: To achieve this level of analysis, I used discourse analysis to delve into the entirety of language usage, uncovering the intricacies of both spoken and unspoken communication. It unveils the hidden frameworks of meaning, power relations, and societal norms that mold our interactions and sense of self. Through this method, I examined the subtleties of tone, gestures, movement; the context in which communication occurs. I did this by analyzing the transcriptions of conversations and interviews in each book club meeting, as well as the Black Language used by the crew and in Concrete Rose. Step 5. Member Check In: When I arrived at certain answers based on my analysis of the data, I went back to focal participants to verify if my understandings were accurate according to the participant. The Black Language Narrative Form For this study, I used a form of storytelling to capture the real-life experiences of each member of the book club. The approach to how I narrated this study with the focal members of the book club followed hooks’ (1994) understanding of personal narrative “[as] a powerful resource in the construction of identity. Personal testimony is often what is most persuasive to people. Our stories speak most eloquently to our values, beliefs, and commitments'' (p. 63). I created these personal narratives by staying close to the data from interviews, group discussions, and the small talk conversations. Due to me transcribing every conversation I had with each member of the book club, I was able to always go back to exactly what each member said. The 61 audio and visual allowed me to track those interactions and capture what they said exactly how they said it. This was a necessary method of analysis because in our meetings and interactions, each member in various ways, used Black Language. Personal narratives “care for the soul” (hooks, 1994, p.207) and I had to show care with how I captured the members’ through their narratives–I only captured what each member said and did and provided parts of what I observed during our interactions. Most importantly, the members of the book club were excited to be read about. They were thrilled to be able to read about themselves in the narratives we created together. My methods prioritized that. Oftentimes, no one ever asks enough what it feels like to be you. There are not a lot of avenues that allow for Black youth to experience that–to be captured raw and real– the expressions on their faces, the way they talk, how sometimes their intrusive thoughts win, etc. All these parts of people make them who they are, it makes them a combination of unique and familiar— their narratives had to express that. Conclusion In conclusion, the decision to conduct a critical Black Language book club stemmed from a desire to explore and understand how Black youth and their families engage with Black Language through Black children’s and YA literature. While initially envisioned in a school setting, logistical challenges and timing led to a pivot towards a more familiar environment—my close friends and family. This shift provided a rich opportunity to connect with loved ones, including my growing cousins, and delve into their reading practices and experiences with Black Language. Drawing on previous studies by Baker-Bell (2020) and Bishop (1990) that emphasized the importance of linguistic justice, and linguistic representation, this study aimed to investigate how Black youth responded to Black children's and young adult literature as a means of learning, affirming, and naming Black Language. Grounded in the theories of “Linguistic 62 Justice” and “Mirrors, Windows, and Sliding Glass Doors,” the study's methodology was carefully designed to explore this unique intersection of Black literature, language, culture, and community. By delving into the research design, questions, site selection, participant profiles, and methods of data collection and analysis, this study seeks to contribute to a deeper understanding of how Black youth and their families navigate and engage with Black Language within the context of a critical Black Language book club. I then developed my final conclusions in chapters 4, 5, and 6. 63 CHAPTER FOUR: OUR TIME: STORIES THAT AIN’T JUST OURS “I was talking about time. It's so hard for me to believe in it. Some things go. Pass on. Some things just stay. I used to think it's just my rememory. You know. Some things you forget. Other things you never do. But it's not. [...] What I remember is a picture floating around out there outside my head. I mean, even if I don`t think it, even if I die, the picture of what I did, or knew, or saw is still out there. [...] Someday you be walking down the road and you hear something or see something going on. So clear. And you think it's you thinking it up. A thought picture. But no. It`s when you bump into a rememory that belongs to somebody else.” ― Toni Morrison In the context of our time in the book club, I often find myself revisiting this insightful quote by Toni Morrison from Beloved. It resonates with the discussions we've had. The thing about books and collective reading is that we all participate in an experience that captures a specific essence of our individual selves. It took time for some to reach that point, wanting to express their feelings about the book and how it related to their own experiences, joys, insecurities, love, and even traumas. However, once they did, there was always another member adding to that experience, there was always someone there to embrace those experiences and feelings. The 64 book club achieved numerous significant accomplishments, many of which were entirely unexpected. However, the time we spent together, coupled with the literature we delved into, provided a sense of validation to numerous members. It confirmed that their life experiences, thoughts, and emotions were not merely products of imagination but real and profound. The literary exploration of Angie Thomas's Concrete Rose, her life, and the dialogues we shared, further validated, and affirmed the recollections and (re)memories of each member—their personal stories of remembrance. In the forthcoming pages, I will start by reviewing The Black Language Book Club members, followed by an exploration of Angie Thomas as an individual and her initial impact on the book club. Additionally, I will present an overview of Thomas’ renowned young adult novel, Concrete Rose. Finally, I will address my research questions: 1. What ways might a book club that centers Black Language and Black children’s and YA literature affirm members’ linguistic and racial identities? 2. How do Black youth and their families experience a book club where they have an opportunity to learn about Black Language through Black children’s and YA literature? The time each member gave to the book club; their commitment, the literature, and each other, enabled me to answer both research questions. In addition to revealing the experiences of each member, the narrative scenes derived from book club meetings, one-on-one discussions, interviews, and surveys, also address the two research questions. Through the commitment of each member, the exploration of powerful literature, and the bonds forged within our group, I was able to address these questions. The narrative scenes drawn from our meetings, one-on-one discussions, interviews, and surveys, will illuminate not only the experiences of individual members but also the collective journey we undertook together. The Crew consist of my family 65 and friends who became members in the book club. The crew included Mercedes, Malichi, Daquan, Michael, Book Club Baby, Reggie, Toni, Noel, and Angel. Michael and Reggie contribute to answering my first research question in this chapter. Daquan and Noel’s narrative addresses my second research question in chapter 5. The Black Language Book Club- A Review of the Crew A total of ten members, ranging in age from fifteen to twenty-eight, participated in the book club. Twenty-year-old Mercedes has always made her own way—she has always been viewed as independent, even as a kid! She loved the drama of the novel and was very straight to the point on which characters she liked and disliked, and her opinions of them hardly changed from the beginning all the way to the end of the book. It was beautiful capturing pieces of who she is now, especially as a new mother. For example, Mercedes would bring her baby to every meeting. Her baby was a few months old but was present for every session, so much so that the group began to call her “Book Club baby.” Our crew consisted of two groups of siblings: Mercedes, her little brother Michael (16 years old), and their sister Toni (15 years old). In my family, there are hardly any boys, so Michael grew up surrounded by girls and getting to know him all over again during this book club demonstrated him as this secure and creative young man. Toni was a Virgo at heart, silly but always analytical. She constantly wore her hair up– whether it be a low bun or high ponytail, either way, the style captured that beautiful baby face she had with her dark eyebrows and beautiful innocent eyes…As competitive as any strong Virgo trait, Toni finished the book before everyone else. She listened a lot and when she wanted to share her ideas, she did. Daquan (21 years old) was Mercedes’ boyfriend and father of “Book Club baby.” In the beginning, Daquan was an observer but the more we met, the more he began to talk. Daquan was a quiet soul, but once he felt comfortable; his perspective–what he thought 66 and felt, radiated through our meetings. Daquan was beautifully made– his dark skin and wide dreamy eyes. He took care of himself, always had a fresh cut; and if he didn’t, he neatly wore a durag. Sometimes he would come to our meetings with durags in different colors, Nike slides and long Nike socks; he always looked comfortable. His appearance reflected who he was as a young man– positive, observant, and caring. Then there was Noel (27 years old), the “wild card" of the group. She was able to constantly relate the book to real life, especially through her perspective as a young Black woman. Noel’s younger brother Malichi (26 years old) constantly had an opinion that most of us never considered, and he was never afraid to let his voice be heard. As for Reggie (28 years old), he went to high school with a few of the members including Noel, Malichi, and myself. In high school, Reggie was so knowledgeable and never afraid to speak his mind and share his ideas. In the book club, he continued this trend. Lastly, there’s Angel (27 years old). Although she had the calmest tone, members really paid attention when she spoke. Angel’s soft presence created balance within the group. I created a diagram of the book club members in the Black Language Book Club (Table 4.1) to visually capture the connection each group member had with one another. 67 Table 4.1 Breakdown of Book Club Members 68 The Tea on Angie Figure 8: What’s Tea on Angie? It is valuable to introduce the author to help readers gain a better understanding of the author's work and intention. By offering up pieces of Thomas’ life, legacy, and intent to her readers, the novel becomes more intimate and enjoyable. In fact, I made room to include information about Angie Thomas during the first book club meeting to the very end. Knowing about her and her intent for the book sometimes guided the book club members’ discussions or supported some of their input. This undervalued technique of including Angie Thomas as a writer and actual person in our book club was purposeful, and it proved beneficial. For instance, I created a book club guide that included a summary of the novel, themes, questions I wanted the book club to think through, as well as providing space for questions they may have had. This page demonstrates 69 what is traditionally understood as the "about the author” section, however I renamed this section “What’s Tea on Angie?6” This section discussed how Concrete Rose was a prequel to Thomas’ New York bestselling young adult novel, The Hate U Give. In addition, this section also discussed where Angie Thomas grew up and her hobbies as a young child. We also viewed video interviews of Thomas’ discussion around her purpose for writing and her inspiration of Tupac. However, what resonated the most with the book club members, is the quote from Thomas’ interview with Npr. It read: You know, when I write, my main priority is to think about the young people who will pick up my book and see it as a mirror. They are always the ones for me. As a writer—as a Black woman writer specifically, I have to think about the Black kids who pick up my books first and foremost. Because—if for nothing else, one, publishing hasn’t thought about them enough. We’ve seen that. The numbers show it. You know? Like, last year alone, there still were more books featuring animals and trucks as the main characters than Black kids. —Angie Thomas, Npr This quote from Thomas’ interview created a lot of dialogue about Black authors, Black youth, access, attention, and connection. For example, the group elaborated on the issue Thomas discussed about animals being featured more than Black characters in literature. In fact, the members of the book club used what Thomas said as an example as to why they didn't read 6 This is an example of a Black Language feature because asking “What’s Tea?” is understood as eliciting some gossip or information that must be shared. “What’s Tea?” comes from the customs in the South when women would gather in the afternoon to drink tea and gossip. 70 because most felt like they weren't really represented in literature, especially in school. For instance, when Mercedes reflected on this quote, she asked, “I mean, do we even have a lot of Black authors?” Mercedes's question is an honest one, indicative of the systemic racism that exists in our schools. This question is not a reflection of Mercedes, but a reflection of the lack of education and access given to Black youth to read Black children’s and young adult literature in school. This lack of access is due to a lack of representation of Black authors in curriculums, in school libraries and in the classroom. As a result, Black youth are not given enough opportunity to read stories that reflect their lived experiences, which can limit their access to quality education (Harris, 1990). This conversation about Thomas also revealed that the members appreciated that Thomas was a Black woman who adored Tupac, which made the members excited to read. They relished the idea of reading a novel from someone that had some of their ideas, even ideas as simple as loving the same icon as her. The book club had a total of ten members, and after knowing a few things about Angie Thomas, they were ready to read. A Summary of Concrete Rose: Concrete Rose by Angie Thomas is a compelling novel that delves into the life of a young man named Maverick “Mav” Carter. Set in the same universe as Thomas' previous bestseller, The Hate U Give, this book serves as a prequel and offers a deeper understanding of Mav's character as a young man. The story takes place in Garden Heights, the same neighborhood where The Hate U Give is set. Mav is a seventeen-year-old dealing with the challenges of growing up in a community plagued by poverty, violence, and drug dealing. As the son of a legacy gang member, Maverick finds himself torn between keeping up with his old life and his desire for a better life. Mav's journey is one of self-discovery as he navigates the 71 complexities of fatherhood, love, and the pressure of learning how to become his own man. With the help of his family, including his mother, his cousin Dre, his girlfriend Lisa and best friend King, and his newfound mentor, Mr. Wyatt, Maverick learns that the promise of change exists within himself. Angie Thomas skillfully captures the raw emotions and struggles faced by young Black men in America. Her writing style is engaging and authentic, allowing readers to connect with Maverick and experience his journey firsthand. The narrative is filled with moments of heartache, hope, and tenacity, making it a thought-provoking and impactful read. Concrete Rose not only sheds light on the challenges faced by marginalized communities but also celebrates the strength and determination of its characters. It is a story that educates, inspires, and sparks important conversations about social justice, family dynamics, and the power of community. In conclusion, Concrete Rose by Angie Thomas is a powerful and thought-provoking novel that explores the complexities of growing up in a disadvantaged neighborhood. With its compelling storyline, well-developed characters, and impactful themes, this book is a must-read for fans of The Hate U Give and anyone interested in thoughtfully examining the realities faced by young Black men in America. In this chapter I address my research question of what ways might a book club that centers Black Language and Black children’s and YA literature affirm members’ linguistic and racial identities? I do this by capturing members' experiences in narrative form. This kind of analysis allows for an in-depth exploration of the various experiences that members had when they became a part of the Black Language book club. By exploring members' experiences in narrative form, I gain valuable insights into how book clubs can be used to empower members, racially and linguistically. Finally, I am given insight into the power of the interconnectedness 72 between Black Language, Black children's and YA literature, and Black experiences. I begin with Michael. Setting the Scene: Michael’s Time Michael is my little cousin. Every time I look at him, I’m reminded of the chubby baby he used to be. The same chubby baby that accidentally had a sip of Coca Cola and would not let the can go for anything! He cried for about an hour because he wanted more. Although he is now sixteen, that image of him will be forever ingrained in the way I see him. I wanted Michael to be a part of this study because this novel was about a young Black boy, and I wanted to know how Michael would react to reading about Mav, the main character in Concrete Rose. Our first official book club meeting took place at my home. Book club baby was in a separate room sleeping. The rest of us were in my very little living room. Although small, the nine of us made it work by sitting in a circle. I was to the far left Daquan on the left of me with us being in our own chairs. Then Angel, Mercedes, Toni, and Reggie sat on my mom’s couch. Michael, Noel, and Malichi sat on the other side in their own chairs. My mom is constantly redecorating our home. Every few years or so, she’ll change the color theme of our home, move furniture around, add new things and get rid of others. What she did not get rid of though, was her two accent chairs and sofa. She had to have reupholstered those three furniture pieces about four times, then she started buying her own materials and redoing them herself… And there Michael was, sitting in that same chair. A chair that he has sat in at 10 years old, the same chair he teased his younger sister, Toni, in at 12 years old. The exact same chair that he sat in and would ask “KK, what's the Wi-Fi password?” at 13 years old. Now, here he was, at 16, wearing his LA hat with a broken heart on it, his hat positioned at an angle that showed his baby face even though he had facial hair. There he was, providing time and insight about his experiences of being a young Black boy 73 and speaking his ideas in front of us all. The members of the group had to read up to page 138. At this time in the novel, we learn a lot: 1. Even though Iesha is King’s girlfriend, Mav is the father of Iesha’s baby (the baby is originally named King as well). Once the paternity test proves that Mav is the father, everybody begins to find out the truth. King is also Mav’s best friend, so this truth creates some division in their friendship. However, now that Mav is the father, Iesha unexpectedly leaves the baby with Mav and his mom as soon as the test is revealed (Thomas, 2021, p.25). At first, Mav is completely overwhelmed; the school semester begins, and now he must make legal money to provide for his baby boy that he renames Seven. 2. Dre is Mav’s big cousin. They are very close, and it is Dre who tells Mav that he needs to distance himself from the King Lords (the gang they are all from) and find a legal job. Mav does not like this idea because getting a legal job means not making the real money he was making when he was dealing drugs. With Dre’s help though, Mav gets a job working for Mr. Wyatt at his store (Thomas, 2021 p. 60). Life is still very overwhelming, but Mav is doing the best that he can, he’s going to school and working. He even tells Lisa, his actual girlfriend, about Seven being his baby. Lisa breaks up with him and although he is hurt, Mav tries to keep going. All that motivation though, is lost when Dre gets killed in front of Mav’s house (Thomas, 2021 p. 118). Mav heard the gunshots and ran out his house to find Dre dead in his car. Mav hates that he did not see anything. He feels helpless, but most of all, he feels angry, and he wants revenge (Thomas, 2021 p. 127). 74 The Cacklin Careshas’7: As we all sat in that circle, I asked the members what and how they felt about the book so far. A lot of the members mentioned loving the presence of Tupac and learning about the number seven through Mav’s perspective. As Mav explain his theories to Dre, he says: “Pac got all these connections to the number seven. He was shot on the seventh. He died seven days after that, exactly seven months to the day that All Eyez on Me dropped[...] He died at 4:03p.m. Four plus three is seven. He was born on the sixteenth. One plus six, seven. [...]Then the name of his last album. That Makaveli joint8.” (Thomas, 2021 p. 55) The group talked about Mav’s theories and were intrigued by them. We then began to discuss how ultimately; these theories came from a love that Mav had for Tupac and how this was representative of many people who felt the same way about Tupac. Most of the crew were born in Los Angeles, so we all felt the cry of LA when Nipsey Hussle was killed. I inquired about the way that Mav was trying to make sense of what happened to Tupac and asked if there was a connection between the way people viewed and loved on Nipsey Hussle. Michael began to speak: I also am seeing a connection because of where Tupac and Nipsey Hussle came from. Nipsey Hussle, being from South Central LA and growing up gangbangin and turning somethin bad into fame and fortune. Same with 7 “The Cacklin Careshas’” is an epithet (an epithet is an adjective or phrase that is used to express a characteristic of a person or thing). Most epithets prioritize white names, i.e., Nervous Nancy and Chatty Cathy. I created the epithet “Cacklin Careashas” to prioritize Blackness by giving it a Black name. The name “Caresha'' comes from a rap duo called The City Girls. One of the artist’s names is Young Miami but her real name is Caresha. Thus, Cacklin Caresha pays homage to her and is defined as someone who laughs a lot. 8 The name of Tupac’s last album was called The Seven Day Theory. 75 Tupac. Tupac was very smart, seeing as his parents were Black Panthers. And him doing everything he did to be killed in Las Vegas because of beef, or like a war…Yeah, they both died young, but they inspired a lot of people9. Michael was about to continue but Mercedes and Toni let out this loud laughter. They were falling over each other laughing loud and hard… Everyone stared at them, some smiling, other members looking confused. “They so silly…” Angel said with a smile on her face. “Okay you two, yall been laughing and snickering next to each other ever since he started talkin…What's so funny? I ask, looking at Mercedes then Toni. Toni looks at Mercedes, they both still grinning. “Nah, like… It's just weird to hear him [Michael] talk like that.” Mercedes says, smiling. “Yeah. Like who are you!?” Toni adds, jokingly. We all laughed. And when I looked over at Michael, he had a smirk on his face. After others added their opinion, Michael proudly continued sharing his ideas. This moment of the study captured Michael’s growing confidence. This boy has been understood by his family, teachers, and school counselor, as someone who does not value school. This is evident as Michael was at risk of being held back and Michael’s lack of participation in class. His grades throughout most of his high school career have demonstrated his lack of follow 9 I purposefully executed how each member talked in all our discussions. The reason why I intentionally demonstrate how each member in the book club spoke is twofold: first, I want to honor how they talk by capturing it verbatim. Secondly, the way the members talked is in Black Language, even before we viewed all the rules and features, BL has always been present in their speech because it is their mother tongue. 76 through when it comes to completing assignments and homework. He has constantly gotten into trouble for not doing his work. Yet here he was talking passionately about ideas he understood. The experience captured here shows Michael analyzing the book and drawing connections from that book to his own experiences. He was discussing how he felt and provided evidence of this feeling. He was doing the work by investigating what was said and relating it to what he knows. Michael was beautifully discussing his opinions, ideas, and truth. He was reluctant after his sisters’ laughter, but when he found out that the laughter came from amazement, he couldn't hide his pride. At that moment, he felt good. Michael’s sisters Mercedes and Toni, aka the Cacklin Careshas’, outburst demonstrated Michael speaking the way he wanted, sharing his thoughts, providing historical facts about Tupac was representative of a few things: first, it captured Michael being informative about a topic and speaking confidently about it and this type of certainty from Michael was something that Mercedes and Toni were not used to hearing from him. This is evident when Toni asks, “Who are you?” This also is an example of a Black Language feature. Toni's question illustrates how Black Language was used brilliantly and intellectually throughout the book club. When she asked, "Who are you?" Toni didn't ask this because Michael looked different. Instead, she basically was saying that Michael showed up in the book club as a different person! Toni's question was her way of expressing her surprise and confusion over the change in Michael. Her question was a clever and funny way of conveying her thoughts and feelings. This book club allowed for Michael to feel comfortable expressing his ideas, something he was not comfortable doing in school. In fact, Michael’s “lack of participation” in school and his unwillingness to do work and participate emphasizes the problem with school; not him. In every book club meeting, Michael always participated, and it is because he enjoyed the book, it 77 is because he had freedom to speak in his mother tongue because this environment and the novel he read, affirmed that practice. According to Michael, the novel Concrete Rose was the first text he read that he could actually see parts of himself in, something that his school did not prioritize. Michael then, understood school as something that was useless and boring and without further investigation. His school affirmed that he was incapable of keeping up, and in many ways declared him illiterate. Kirkland (2006) discusses how so often Black young males are viewed as illiterate in the classroom. He argues: Literacy is never stable or fixed, but is contingent and flexible, a practice that requires choice and selection. Why after four hundred years, then, do we still read Shakespeare in classrooms? This question raises serious concerns as to who has ownership over classroom texts. While they have some ownership over the texts they read outside of classrooms, Black males, in general, have limited ownership over texts read within classrooms. Issues of authority and ownership of texts are not only important in understanding school’s domination over classroom literacy learning. They are also important aspects of literacy learning in general. (pgs. 43-44) Michael has never been illiterate. He grasps concepts and ideas quite clearly. He is a rap artist who uses so many different Black Language features, although he never knew the names of them10. But how he writes, his music, is rooted in Black Language. His braggadocious tone expresses how purposeful he is in his music in his song “Bully.” He raps: Call me Mr. Krabs, 10 This is an example that clearly demonstrates how Black Language is a natural language, it is a mother tongue because although many Black youth cannot name its features, they do engage in it naturally. 78 Money, money, money Where the cash at? In this one bar, Michael employs signifyin, zero copula, and semantic inversion. Each feature is used skillfully to employ how Michael sees himself and how he wants his listeners to see him. He tells the listener to call him Mr. Krabs because he wants us to know that he is about his money. Mr. Krabs is a character from the cartoon show Sponge Bob Square Pants. Mr. Krab is SpongeBob’s boss, and he is in love with money. He kisses it, talks to it, and in a few episodes, he is even seen putting his money to bed. Through Michael’s wordplay, he is telling his listener that he loves money just as much as Mr. Krabs does. Hutchinson (2021) argues rap music unapologetically articulates the social, political, cultural, and economic issues in Black communities by employing Black Language. Hutchinson (2021) states that “there is no Hip Hop without Black Language—no matter the element. The whole culture revolves around the elaborate Black storytelling that catches audiences' ears, imaginations, and hearts.” Black Language is hip hop and Michael, like many other Black people, do Black Language every day. Michael’s ability to creatively create HipHop often, demonstrates the complete opposite of how he is perceived as a student. Through our conversations about school, reading, and writing, Michael said, “The work just gotta matter to me.” No doubt, the work we did in this book club mattered to Michael because he got to learn about parts of himself. He got to learn that how he writes and talks, is a skill; it is a tradition that should not be denied but celebrated. The book club celebrated who Michael was by affirming his linguistic and racial identities because he got to learn Black Language and name it, but he also read Concrete Rose which affirmed Black Language as well. Michael’s attitude in the book club contrasted the characteristics he was given as a student. Unlike his presence in class, Michael 79 participated in every meeting. He always had something to say, especially in the car rides before and after each book club meeting. “I Love This Book, KK:” After each book club meeting, I would take Michael back to the home he was staying at for the Summer. We were riding, listening to music. I like listening to music loud when I’m in the car and so does Michael. Just him and me, windows down, cruising. Although I was really feeling the music, I was thinking and reflecting on our first official meeting, listening to everyone talk about the characters–who they liked and who they weren't sure about so far. Although some of them did not know each other, everyone got along and joked around like they all knew each other their whole lives. There was an instant connection between all the crew. I turned the music down and looked over at Michael, he was in the passenger seat fidgeting with his hat. “Hey, how you feel about the book club so far?” I asked. “It's cool. I actually really like this book.” He replied, nodding his head. It got quiet for a second. Michael continued, “I actually never read a book with the main person being a black male. I do like that. He (Mav) not like me, but he kinda is.” “What you mean by that?” I asked. “He goin through a lot. Like, he got a girl pregnant, he wanna help out his mom, he tryin… That's a lot of pressure. I know how that feel…I know a lot of guys that feel like that sometimes.” Mav offered Michael a character he could relate to on some levels, in other conversations, Michael discussed how Mav sometimes reminded him of himself. After this car ride 80 conversation, I decided to start having “small talk” conversations with the members because although everyone got along and became very familiar with each other from the very beginning, I found that some of the book club members expressed more or critically thought about ideas and connections better when they were in conversation with me. Since the first meeting, Michael spoke in every meeting. However, it was our rides after the meetings where he became vulnerable and confident expressing himself in relation to the novel’s characters, especially Mav. After our first session, the novel takes a drastic and dark turn. During our next two sessions, the members of the book club had to read up to page 174. At this time in the novel, the book club members learn that: 1. Dre, Mav’s big cousin whom he loves dearly, is killed in front of Mav’s house (Thomas, 2021 p. 118). Mav is devastated, but also very angry. Mav becomes depressed because Dre has always been there to guide and mentor him-–tell him right from wrong. Even though Mav loves and communicates with his father, his father is in prison, so it was Dre who was there; emotionally and physically. Mav adored Dre and relied on him for advice about fatherhood, manhood, and life in general. 2. The big homies from King Lords come to pay their respects at Dre’s funeral. Although Mav is not completely sure who killed Dre, he does believe he knows who is responsible. He wants revenge and he will stop at nothing to get it (Thomas, 2021, p. 127). Lisa, Mav’s girlfriend, gets pregnant. Now Mav must figure out how to provide for two babies. Mr. Wyatt, the owner of the store Mav works at, notices a shift in Mav. Mr. Wyatt knows Mav is angry at the death of his cousin, but he offers him advice and encouragement. 81 Before and after every session, I would pick up Michael. However, after the first session, Michael would get in the car, ready to talk. “I love this book, KK” Michael said, closing the door to get in my car. “Well, hi to you too! I replied, with a smile on my face. “My bad. Hi KK…But like I was sayin, I love this book.” Michael repeated. “Oh, really? You went from liking to loving it fast!” I replied, jokingly. Michael smiled. He put on his seatbelt and looked forward, his smile slowly fading. “Nah, it was really the funeral scene that got to me. I felt exactly how Mav felt when uncle died. Especially that funeral part. Even how Mav talked about it… It felt real.” In Concrete Rose, during the funeral scene, Mav is still in disbelief that Dre is gone. He says, “I was at Dre’s funeral but wasn’t. I zoned out for most of it. Only remember bits and pieces. Dre lay in the coffin in a suit he should’ve gotten married in” (Thomas, 2021, p. 123). For Michael, this scene helped him voice his feelings about a death in our family that really hurt him. Like Mav, Michael lost someone he really admired. In Concrete Rose, Mav’s character allowed Michael to voice his feelings about his uncle’s death. Michael grew up surrounded by women. His father was in and out of his life. However, Michael had Uncle Bruce. Uncle Bruce was the father figure for Michael ever since he was a baby. Uncle Bruce was a tall and chocolate man. He was bald, something Michael would tease him about. Still, Uncle Bruce was fly. The kind of man that thoroughly paid attention to what he wore and how he wore it. He would iron out his clothes and lay them gently on the bed, everything in perfect order. He always smelled good, and he knew how to put it on! In his later years he became a deacon at his church, but he still partied with the best of em.’ Many families have that uncle that was the life of the party 82 (although our family was blessed to have two), Uncle Bruce always got the party started. He was a very special man. In fact, at his funeral, some people had to stand up because there were no seats left. He was genuinely loved by everyone he met, especially Michael. Uncle Bruce died of a heart attack. It was unexpected. He had recently proposed to his girlfriend and was about to get married… Same as Dre. Uncle Bruce’s death hurt all of his family. However, many worried about Michael, even Uncle Bruce’s own children. Uncle Bruce meant so much to so many people. Over the years, many would share their memories of him. However, Concrete Rose triggered something in Michael. Seven years later, Michael became very vocal and emotional about Uncle Bruce’s death. Darnell Moore (2020) explains mourning and Black manhood. He writes: It is especially hard to mourn as men. We are taught to believe that breaking ourselves open reveals our weaknesses. Goodbyes, like mourning, require us to sit in the break, in the liminal spaces that exist between our frail and shattered parts, such that we might piece back together a different self—crafted out of ruins. There are many ways in which people experience grief. Everyone's grief is unique and personal, and it can affect people in different ways at any time. Grief does not have a timeline and it can come in waves, often triggered by certain memories or events. Some people experience grief gradually and some experience sudden bursts of emotion. Concrete Rose provides an insightful look into the journey of a 17-year-old Black boy, but it also situates grief within his overall journey. Through this novel, the reader explores how grief can affect a person's life. The main character, Mav, is faced with the sudden loss of a close family member and he must learn to cope with his own grief; the process is not easy though. The audience sees Mav go through different 83 emotions; the main one Michael resonated with was denial. Like Mav, Michael could not believe that someone he loved dearly was gone and that feeling caused him to not want to deal with any other feelings. In the novel, Mav finally breaks down about Dre’s death to Mr. Wyatt: This sound come outta me, and I don’t know if I’m screaming or crying. I pull my shirt over my mouth, but that don’t muffle the sobs. It only catch my tears. Mr. Wyatt wrap his arms around me. He hold me tight, as if he know I’m breaking and he tryna keep me together. ‘It’s okay, son’ he says. No it ain’t. As long as my cousin is dead, it never will be. (Thomas, 2021, p. 164). This is the first time that Mav allows himself to cry. When Mr. Wyatt consoles Mav and tells him “It’s okay,” Mav does not reply to Mr. Wyatt, but instead just thinks that it will never be okay. This scene demonstrates Mav’s feelings about Dre’s death for the rest of the novel. It is important to note that Mav is not fully healed at the end of this book. He still never sees Dre’s death as something that has been resolved. Mav has so much dissatisfaction with Dre's death, but he does understand that he must live. He must practice in being the man that Dre wanted him to be, the same man that he ultimately wants to be for himself. Mav does begin to feel and do better. Grief is a flighty emotion and Thomas allows this grief journey to feel rough and shaky. Everything is not resolved at the end of the novel. Concrete Rose does not end with Mav completely healed. Mav does not finish school, Dre’s murderer is not captured, but Mav plans to get his GED, and he knows he’s interested in landscaping. He now has a plan. As Michael says, “He tryin.” 84 Table 4.2 Chart of Michael’s use of Black Language in the Book Club Michael’s Black Language Examples in Feature Definition the Book Club Semantic Inversion: Words or expressions taken from white mainstream English lexicon to either reverse or create new meanings by Black Language speakers. Phonology: Varied pronunciation of words in Black Language that differs from white mainstream English. Semantic Inversion (+ phonology) Lexicon He [King] kept pressin the issue.” (Vocabulary) The vocabulary of Black Language that can be viewed in three parts: words, phrases, and slang. "Jacked up" Zero Copula In Black Language, copula verbs (is, were, are, am, etc.) are optional. Black Language: “He [Mav] still conflicted by it.” white mainstream English: “He [Mav] is still conflicted by it.” Conclusion: Thomas’ depiction of Mav facing various challenges and emotions validated Michael’s own feelings. Michael was able to see characters experiencing similar feelings and within that he felt more understood. Concrete Rose, but especially Mav, validated Michael’s emotions and made him realize that others have gone through similar struggles. In a post interview about Michael’s overall experience in the book club and the reading of Concrete Rose, Michael says: 85 This one of the best books I’ve read. It catered to me. He [Mav] reminded me of me. People make it seem like I don’t care about school, but school don’t cater to me. With this book, everything just came to me. Michael’s time demonstrates how a book club centering Black Language and Black young adult literature affirmed both his linguistic and racial identities because Mav became an embodiment of how many young Black men feel. Thomas executes this in the way she captures Mav’s journey, especially how she captured Black grief. Through Mav’s journey, Michael began to self-reflect and discuss feelings about Uncle Bruce’s death and how he plans to honor him: Uncle Bruce loved that song “(Olivia)11 Lost and Turned Out.” Your mom just helped me find out who sung it. Uncle Bruce used to play this song repeatedly. He would have it playin loud, do his lil two-step while he cleaned or ironed his clothes. I still remember that… I wanna sample this over a song I write. I’m still putting the song together because it gotta be perfect. The shared experiences that Michael received by reading and connecting with Mav, provided confidence in Michael. Through the book club, Michael learned and was able to put a name to Black Language features while also getting to experience them through the characters in the novel. Michael read a novel in his mother tongue, which was a cultural and emotional experience. This experience shaped and reinforced his identity, gave him a sense of belonging, and encouraged a connection to his cultural roots. 11 This song was created by The Whispers in their album Headlights in 1978. The song “Olivia” is an oldie by one of the best R&B Soul groups. 86 Setting the Scene: Reggie’s Time Reggie was always attentive in school. He enjoyed getting A’s, but he would also make himself available to people who needed help. Toward classmates, Reggie was helpful. In class, he was always willing to explain how he got the correct answers to students who did not. He served as a voluntary teacher's assistant in most of his classes, providing simple examples of how he reached the right answers. Reggie's skin was a rich chocolate brown, and he had dark eyebrows and full lashes. The way he carried himself was always very welcoming. Reggie grew up close with his family. His dad and mom met during their high school years, and they had Reggie when they were nineteen. Reggie adores his parents. Especially his father, who he shares a unique bond with. Throughout his life, Reggie developed a strong understanding and appreciation of his parents' unconditional love and support. His father, in particular though, has always been someone he was inspired by. In discussing the relationship with his father, Reggie says: Both of my parents have always been in my life. But I was really raised by my father. My father showed me how to be a man. He has always been there for me, and he showed me what unconditional love looks like, you know… Even when I went through certain things, my father taught me how a man protects himself, how he controls his emotions, and never lets anybody walk over him. Reggie spent five years in prison. As explained by Reggie, being in prison made him miss out on a lot. Prison had taken away five years of his life with his family, his friends, and 87 himself. Reggie has been out of prison for two years. In this time, he had come home, reconnected with his family, started working, and went back to school. When presented with the opportunity to join the book club, Reggie was prepared, and it was demonstrated in every meeting. In Concrete Rose, Thomas creates three main parts in the novel that divide the chapters: Germination, Growth, and Dormancy. Many topics are covered in the first part of the novel, Germination, which means the beginning of growth: 1. After the paternity test proves that Mav is the father of Iesha’s baby, Mav begins to bond with his son. The realization that he is now a father finally begins to ensue. Mav says, “I watch my son, and I gotta admit as much as I’m awe I ain’t never been this scared in my life. He a whole human being that I helped make. Got a heart, lungs, a brain partly ‘cause of me, and now I basically gotta keep him alive” (Thomas, 2021, pgs. 29-30) 2. Mav tells his father, Adonis, that the baby is his. Adonis is currently incarcerated, so most of their conversations happen on the phone. Adonis is not angry at the news of Mav being a father, he tells Mav “Well, it is what it is” and asks Mav “How you handling it?” (Thomas, 2021, p. 44). Mav is relieved by Adonis’ reaction, and although he feels happy to finally talk to his father, he still feels distant because his father is still in prison. Reggie the Writer: “Germination,” the first part of Concrete Rose, allowed readers to get to know the characters. From the beginning of the novel, the reader is placed directly into Mav’s drama. When the reader meets Mav, he, his family, and some of his friends are waiting to hear the DNA results to find out if he fathered a baby. Once the results prove that Mav is the father, the reader is shown how the people in his life react to this news. The members of the book club had 88 already begun to form bias about who they favored and who they were going to watch out for as they continued to read: “Mav is triflin. Not only did he cheat, but he didn’t even tell Lisa that he cheated, and he might be the father of the other girl he cheated with baby” Mercedes said in disgust, rolling her eyes. Reggie scoots forward to turn and face Mercedes on the couch. Toni is sitting in between them. He puts his hand up, the inside of his palm and fingers facing her and says: “Hold up, homegirl. They was on a break. That is not cheating!” Everyone in the room laughs, even Mercedes cracks a smile. “Look at yall choosing sides like yall know these people!” I tease. “I just feel like Mav is a cool guy.” Reggie replied. “Yeah, he definitely not a bad guy to me” Daquan added. “Why does he feel so familiar to yall? Is it the way he acts? The way he speaks? Also, what do yall think about the language that's used in the novel? I asked. “I didn’t like it.” Reggie responded. Everyone laughs at how quickly he responds. “Danggg. Why you say that?” I ask with a smile on my face. Everyone laughed. Reggie continued: “It was just a little off. Some of the things [Angie Thomas] writes—You know I speak Ebonics, but I wouldn't have said it like that. It irritated me a little. Like this is a prime example: It wasn't necessarily like words, so this is page 32. Like it say, ‘Dre crack up.’ Like he was crackin up. The tense is off. You know, I get it. He [Dre] was laughin but 89 you know like, [the best way to say that is to say] ‘He cracked up’ or ‘Dre was crackin up.” The issue that Reggie had with this specific sentence, “Dre crack up,” is not that Black Language was used, but how it was used. Reggie had no critique of the use of semantics12 like “cracking up,” defined in many black communities to mean to laugh. Certain words and phrases have always been in many Black people’s vocabulary. In fact, in 1994, Geneva Smitherman created a Black Language dictionary called Black Talk: Words and Phrases from the Hood to the Amen Corner. In discussing how she created this work, she writes: Several methods were used in compiling this dictionary. Some words/phrases are from written language surveys and word lists completed by Black people from various age and social groups around the country. Other words/phrases were gathered from songs, hit recordings, and films. Still others were gathered using ethnographic methods: participating in and observing conversations and speakers; conducting informal face-to-face interviews, collecting words/phrases from community bulletins, leaflets, meetings, announcements, handwritten notes and letters, call-ins to radio programs; and occasionally even eavesdropping.” (Smitherman, xii) This dictionary serves as a Black reference book that provides definitions, meanings, pronunciations, and often other information about words. Its primary purpose is to help individuals understand the meanings and usage of words in Black Language. What is important 12 Semantics is an element of Black Language. In Black Language, semantics refers to the study of meaning within linguistic structures and expressions. It involves understanding the nuanced ways in which words, phrases, and linguistic features convey specific meanings, cultural values, and social identities within Black speech communities 90 to note though, is that Smitherman relied heavily on Black communities within different age groups from around the country. This demonstrates the complexity of this language and how Black people use it and play with it on their tongues, in their attitudes, and within their identities. This language must be captured and expressed in certain ways. The book club, especially Reggie, paid attention to that in the reading of Concrete Rose. In discussing the complexity of the language, Reggie continued: “But then I just chucked it up to the era that they were in. You know maybe back then, you know, in the 90s, they could of just said it differently.” A mother tongue is defined as a language that a person has grown up speaking from early childhood. Along with the rest of the crew, Reggie critically thought through how Thomas captured Black Language in her novel. He became so analytical of how and what worked with the language. Reggie understood the line “Dre crack up” but presently, this is not how some Black Language speakers would have used the word crack to describe that Dre was laughing. Reggie even provides examples of how Thomas could have captured Mav’s dialogue to make it more authentic and current. Thomas’ intention to use Black Language in Concrete Rose was necessary and it affirmed Reggie and his artistic abilities. The book club gave Reggie space to dissect the language presented in Concrete Rose and feel empowered in providing his opinion of how Black Language was captured. Parts of Black Language will consistently change. With Reggie's participation and time in the book club, he pondered this language and imagined what it would be like if he wrote his own novel: “As far as Black Language, it did kinda give me a passion. If I wrote something, I would write a book, you know, with [Black Language with our LA vibe].” 91 Towards the end of the book club, Reggie began to consistently talk about writing a book. He began to consider what his novel would look like. This demonstrates that this Black Language book club was inspiring to Reggie. Reggie was motivated by this book and through that motivation, Reggie pondered certain choices of the Black Language features that Thomas decided to employ. The choices in Black Language that Thomas decided to use not only show the complexity of Black Language when one considers time and geography, but also how Black folks make sense of this rich language. It was important to Reggie to understand why Thomas wrote the dialogue the way she did, but he also became motivated by the idea of writing Black Language in his own novel, something he hadn't considered before the book club. This book club, that centered Black Language and Black literature, affirmed Reggie’s linguistic and racial identities by demonstrating that he could also write a book using Black Language. Participating in a book club offered a range of benefits for its members. For Reggie, the Book clubs exposed him to a contemporary novel that loved on Black Language and Black experiences. This language in this novel, the same language that Reggie uses every day, introduced him to new possibilities of what writing could look like. Lastly, this book club provided a social setting for Reggie to connect with others who share similar interests. How Roses Grow: The book club met once a week. The crew spent hours with one another during each meeting. We met in different settings, including my house, other spaces, and even public spaces like the park. The routine always remained the same. First, we would eat, and drink then spend time updating one another on how our week was going. We would also discuss what happened in the novel and the crew would talk about certain topics that stood out to them. In addition to 92 experiencing the novel together, the crew also got to know one another through each meeting. In Concrete Rose, the crew explored a couple of feelings and lessons Mav had to confront: 1. The person Mav believed killed his cousin, is killed as well. Mav is dissatisfied because he does not know how to feel (Thomas, 2021, p.173). Mav is dealing with so many emotions that he becomes overwhelmed. Then, Mav finds out Lisa is pregnant with his second baby, and he is terrified because working legally for Mr. Wyatt is not enough for all of his new financial responsibilities. Mav resorts back to selling drugs with King, but then he realizes that he is again putting not just his life at stake, but all of those he cares about. 2. Mav finally ends his close friendship with King. The ending of this friendship demonstrates Mav realizing that he and King have grown apart (Thomas, 2021, p.337). Although it hurts for Mav to create distance with someone he once viewed as his best friend, he knows that it’s for the best. Mav is letting go of everything that does not benefit his future. We discussed the characters often in our sessions. Each week the crew changed or affirmed their feelings of certain characters. King was one of the characters that created a divide within the crew. King was Mav’s best friend, but their relationship began to fall apart early in the novel. As the reader sees Mav accept that he is the father of Iesha’s baby, we also see King accept that he is not the father. Mav provides some type of vulnerability to the reader, but King is different. The reader must read between the lines when it comes to King and rely heavily on his actions instead of his words. Some of the crew empathized with King, while others questioned his actions: 93 “He don’t have any guidance. He don’t have no one in his ear, you know like Mav had Dre… Who King got? He goin off what he think is the right way… He never really felt like he had real love, so how he supposed to show it?” Daquan said, rubbing his chin timidly. “[King] don’t show no emotion,” Mercedes added. “One of yall said that he is gonna betray somebody and yeah, he’s gonna crash and burn. He’s gonna be out of control eventually” Reggie replied. Reggie stares blankly, yet focused. He takes his left hand and rubs his right elbow up to his shoulder blade… He asks, “Does [King] have children?” The room responds and talks about how King thought Iesha’s baby was his and for a moment some of the crew got fixated on the name change of the baby from King to Seven. Reggie sits, rubbing his arm, his eyes fixated on each person that adds input. His mouth slightly open, ready for his turn to speak. Reggie finally breaks through the chatter, looking directly at Daquan: “But [King] can't hide his emotions forever, it even comes out and [King] like ‘[Dang], you gone change his name…’ He can't hide it forever.” Throughout the novel, we see King struggle with his emotions. King was supposed to be the father of Iesha’s baby because that was his girlfriend. Although he knew and encouraged Mav to be with Iesha, none of them really thought about the outcome of pregnancy. So, when Iesha has the baby, and it is revealed that Mav is the father–this puts some disconnect between the two best friends. Iesha, King, and Mav were all convinced that King was the father, so King was the present father initially. However, once it is revealed that King is not the father, he must take a step back so Mav can be in his biological son’s life. Mav immediately takes all responsibility for his child. Mav also changes the baby’s name from King Jr. to Seven, and King acts as though it 94 does not bother him. Reggie discusses this as very telling of King's inability to express himself. The consensus from most of the crew at this point was that King’s inability to discuss his feelings could stunt his growth. King doesn't express how he really feels to Mav about the name change and the crew noticed that. Angel responds: “Mmm…Yeah, its [King’s] emotions that he’s struggling with. I feel like when you don’t have no support and you used to only countin on yourself, like you kinda do it out of survival more than anything. [Angel gestures to Daquan] And you don’t know no other way cuz nobody else is showin you…So how do you surrender? How do you surrender to love? How do you let other people help you and support you without thinking that they are going to betray you or hurt you—” “How do you get pruned?” Reggie adds. Earlier in this meeting, Reggie discussed Concrete Rose and Mr. Wyatt, the neighborhood mentor and owner of the store where Mav works. In this section, Mr. Wyatt discusses the tenacity of roses: “Roses, they’re fascinating li’l things. Can handle more than folks think. I’ve had roses in full bloom during an ice storm. They could easily survive without any help. We want them to thrive. We’ll have to prune them, things like that.” (Thomas 2021, pgs. 102-03) Pruning is the practice of removing parts of the plant's growth, this stimulates the growth of new stems. From the very beginning, King struggled with telling his truth–this first happens with Mav and their side job that the current leaders of the King Lords gang do not know about (Thomas, 2021, pg.9). Another example is that despite knowing Mav is looking for Iesha, the mother of Mav's baby and King’s girlfriend, King does not even tell Mav that Iesha is staying 95 with him (Thomas, 2021, pg. 222). The reader consistently sees how King hides his emotions and truth. He is very unforthcoming about what he does and how he does it, even if that affects others around him. This behavior inhibits King’s rejection of getting pruned. Reggie’s question of how one gets pruned ultimately, is a question of how one thrives. Reggie's question ties back to an earlier discussion about the tenacity of roses from Mr. Wyatt, the neighborhood mentor. Pruning, is a necessary practice for the health and growth of roses. It involves removing parts of the plant to stimulate new growth, prevent disease, and encourage flowering. The process may leave the roses looking sparse initially, but they soon fill in and flourish. In a similar vein, King’s reluctance to express his emotions and truths mirrors the need for pruning. Just as the roses need to shed certain parts for new growth, King must confront his inner struggles and allow himself to be vulnerable in order to thrive. Throughout the novel, King’s refusal to open up contrasts with Mav’s growing ability to express himself. While Mav evolves and learns to navigate his emotions, King remains stagnant, trapped in a cycle of hiding and survival. Throughout the novel, the crew sees how King moves, refusing to really let anybody in. The conversation between Angel and Reggie about Concrete Rose sheds light on King's struggle with expressing his emotions and the impact it has on his relationships. Reggie's observation about King's inability to hide his emotions forever prompts a deeper exploration of King’s character and his journey throughout the novel. King’s initial belief that he was the father of Iesha's baby, coupled with the revelation that Mav is the actual father, creates a rift between the two best friends. King finds himself in a situation where he must step back and allow Mav to take on the role of the biological father. This shift in dynamics highlights King’s struggle with expressing himself and his feelings about the situation. The crew notices King’s apparent acceptance of the name change from King Jr. to Seven, but Reggie sees it as a facade, a mask 96 hiding King’s true emotions. Angel, in response, delves deeper into King’s struggle, attributing it to a lack of support and a survival mentality. King, used to relying only on himself, finds it difficult to surrender to love and accept help from others without fearing betrayal or hurt. Reggie's question served as a poignant reflection on King's journey and the challenges he faces in overcoming his emotional barriers. For King, the path to thriving lies in his ability to surrender to love, accept support from others, and embrace vulnerability. It prompted the crew to consider how one truly thrives—by confronting their truths, expressing their emotions, and allowing themselves to be pruned of the burdens that may hold them back. Trynna Restore My Community!: The title of this section comes from Marshawn Lynch (#24), a former Black NFL football player for the Seahawks. During a game, Lynch was asked by his teammate Richard Sherman (#25), what he was doing for Christmas. This is how the rest of the conversation goes: Lynch: “Christmas? I mean I gotta get through Thanksgiving first… I’m goin to give out turkeys back in the hood.” Sherman: “I’m with you. You want me to come?” Lynch: “You will? I appreciate it though, big dog.” Sherman: “Anytime.” Lynch: “But Ima be in the hood givin out turkeys like Nino Brownnn13, baby!” Sherman: “Like Nino Brownnn!” Lynch: “Trynna restore my community!” 13 Originally portrayed by Wesley Snipes in the 1991 crime thriller New Jack City, Nino Brown has become one of the most iconic characters in movie history due to his memorable quotes, stylish looks, and depiction as a larger- than-life criminal. 97 Figure 7: Marshawn Lynch ft. Richard Sherman This exchange between Marshawn Lynch and Richard Sherman captures a genuine conversation about giving back. This exchange was wholesome because of the Black Language used and the overall humorous and authentic tone of the complete encounter. The signifyin of Nino Brown in their conversation adds a layer of cultural significance within many Black communities. Although in the film, Nino Brown literally passes out turkeys in the hood, there is more to say about the iconic character of Nino Brown. In the film New Jack City, Nino Brown is a controversial character who is viewed by some as a charismatic leader, while others see him as a ruthless and manipulative criminal. Nino’s character can be portrayed as both an antagonist and a protagonist. He is indeed a complex character who can be interpreted in different ways. By invoking Nino Brown in his conversation, Lynch humorously links his own community efforts to the idea of restoring and uplifting his hood in his own way. The sort of call and response that flows between Lynch and Sherman also demonstrates camaraderie and familiarity, showcasing 98 the bond between Lynch and Sherman. This kind of bond was also displayed in the connections Reggie made in the book club. Reggie enjoyed expressing his ideas in the book club community that we built together. He took pride in the novel and gathering with the crew. Reggie loved the book club, and he had no problem voicing that. In a post interview, Reggie says, smiling: “To just say I’m involved in a book club. I mean everybody I talked to around that time, like the first month, I’m like, ‘I’m in a book club, I’m in a book club.’ They like ‘Really? How can I join?’ And I’m like kinda snobbish [with my reply], like ‘I’m sorry, its closed.’’’ This book club felt exclusive to Reggie. He enjoyed being able to just brag about the fact that he was a part of a book club. Reggie was a part of a collective, and he admired that. He felt like he was part of something bigger than himself. Reggie was eager to show off his newfound knowledge and brag about the conversations he had with people outside of the book club. He felt like he was part of something special and unique. Reggie was proud that he was a part of a book club that created its own lil community. Reggie demonstrates this when he says: “[This Book Club] is definitely something that I would want to do. I would want to hold a book club, and I would have never thought about it before this. And also [this book club] helped me create tight bonds. I even had [Daquan] come and work with me one day[...] He work at this [other job] and I got hired because of him [too].” Throughout the book club, the crew formed new friendships with each other, one of the prominent ones was between Reggie and Daquan. I learned that after the book club ended, 99 Reggie and Daquan continued to communicate and hang with one another. In the post interview, Reggie expressed how they both helped each other find jobs. Although slightly different in age, Reggie and Daquan shared many experiences. They communicated about life, family, and looked out for each other. Reggie and Daquan’s friendship proves how the crew showed up for one another. The Black Language book club created a supportive community. The results of this book club were beautiful because not only did the crew communicate about the literature, but they communicated with each other about their own personal lives and experiences. Most of the bonds that were formed in the book club continued outside of it. The Black Language book club, much like the banter between Lynch and Sherman, becomes a space where members can express themselves authentically, engage in meaningful conversations, and build lasting bonds. Reggie’s reflections and newfound aspirations are a testament to the transformative power of the book club, where he not only gains knowledge but also reimagines his own capabilities and potential for leadership within his community. Through the book club, Reggie finds a sense of purpose, community, and empowerment, mirroring Lynch's humorous yet sincere desire to “restore [his] community.” Throughout our meetings, Reggie reflected often. Most of his reflections came with a sort of ambitious attitude. The experience of being a part of a Black Language book club and reading a novel that centered Black Language, allowed Reggie to see other possibilities that he has never considered. Through this book club, Reggie began to see himself as a writer that could write his own novel filled with Black Language. Also, through this book club, Reggie began to see himself as a person that could create and model a book club that he could lead. Reggie’s time in this book club, that centered Black Language and Black literatures, provided Reggie with grit. Prior to the book club, Reggie had never considered such ideas of writing his own works or 100 leading a book club of his own. The book club was so enjoyable for Reggie that he envisioned creating his own book club that embodies the same values and goals in the future. He reimagined his capabilities and confidently voiced how he planned to accomplish the new ambitions he set for himself. Furthermore, Reggie's statement about creating “tight bonds” through the book club highlights the deep connections he has formed with the other members. The discussions, debates, and shared experiences within the book club meetings have not only enriched his understanding of literature but have also forged strong friendships. The book club has become more than just a space to talk about books—it has become a community where members support each other, share insights, and grow together. In essence, the example of Reggie and Daquan's friendship, along with the overall community formed in the book club, illustrates how such a space can affirm members' linguistic and racial identities. It provides a supportive environment where individuals can freely express themselves, form meaningful connections, and feel a sense of belonging and affirmation within their cultural and linguistic heritage. 101 Table 4.3 Chart of Reggie’s use of Black Language in the Book Club Feature Definition Examples in the Book Club Reggie’s Black Language Refers to Black cultural items or icons that usually carry symbolic meaning to Black communities. “Issa marathon NOT a race.” (This reference is a mantra from Nipsey Hussle, who was a Black Hip-Hop artist and humanitarian.) Words or expressions taken from white mainstream English lexicon to either reverse or create new meanings by Black Language speakers. “After he [Mav] found out the baby was his, they came out to a bag of clothes. They got on.” The vocabulary of Black Language that can be viewed in three parts: words, phrases, and slang. “You good.” Cultural Reference Semantic Inversion Lexicon (Vocabulary) Conclusion: In reflecting on Toni Morrison's profound words from Beloved, I am reminded of the journey we embarked on in our Black Language Book Club. Morrison's insight into the nature of memory and the shared experience of rememory resonates deeply with the discussions and connections we forged through literature and language. Our time together in the book club was not just about reading; it was about delving into the depths of our individual selves and finding validation in the collective experience. As members shared their thoughts, feelings, joys, insecurities, loves, and traumas, we discovered that our stories were not isolated but interconnected, floating in the shared space of our discussions. The validation of our experiences through literature, and the affirmations of our linguistic and racial identities all became apparent as we journeyed through Angie Thomas’s Concrete Rose. Through the characters, the settings, and content, a lot of the crew was able to find parts of 102 themselves, their families, and their cultures, present. The book club meetings, held weekly in various settings, provided a platform for the crew to delve into the themes and characters of Concrete Rose. Through their discussions, the crew not only explored the storyline but also delved into the emotions and struggles of the characters, the language the characters used, and the intent of Angie Thomas. In this chapter, I introduced the vibrant book club crew, each person bringing their unique perspectives and experiences to our discussions. However, Michael and Reggie were the two focal narratives I shared to address the research question of what ways might a book club that centers Black Language and Black children’s and YA literature affirm members’ linguistic and racial identities? The interactions and discussions within the book club served as a mirror for the members' own experiences and emotions. Through analyzing the characters' struggles, the crew members found resonance with their own lives, joys, insecurities, and traumas. The book club meetings became a safe space for them to share and explore these feelings, affirming their linguistic and racial identities in the process. 103 CHAPTER FIVE: PUT SOME RESPECT ON ITS NAME: BLACK LANGUAGE AND HOW WE MUST GET IT RIGHT “Sincere recognition of Black language as legitimate will mean formal instruction and encouragement in its use, within the regular curriculum. It will mean the respectful approaching of Black children, in the language of Black children.” –June Jordan, Civil Wars In creating the Black Language Book Club, the main objective was to emphasize this quote by June Jordan. This quote is necessary because it highlights the power and impact of how this formal instruction requires encouragement in the use of Black Language. What better technique allows that than Black literature, especially Black children’s and YA literature because both respectfully approach the language of Black youth. These kinds of literature continuously affirm Black Language through Black experiences. Black literature can shape our understanding of the world and ourselves. This specific literature emphasizes the importance of reading and sharing Black books as a way to expand our minds, challenge our perspectives, and foster affirmation and pride in its relation to our understanding of Black Language. The Black Language Book Club celebrates Black literature and promotes intellectual growth within the Black experiences it prioritized by utilizing Black Language. The Black Language Book Club served as a platform for open discussion, encouraging individuals to think critically and challenge their own 104 perspectives. As a result of reading Black authors' books in their mother tongues, the crew gained a deeper understanding of Black cultures and life experiences, fostering confidence and confirmation. Additionally, the Black Language Book Club created a sense of community, where people connected to share their thoughts and bond over their shared knowledge and intellectual engagement. The inspiration behind creating the Black Language Book Club was to introduce the names, features and the history of Black Language while simultaneously confirming Black Language as part of Black experiences. The crew had in some way, or another understood that many Black people talk with a certain style and flare that often differed from white Mainstream English. However, they were unaware of the features and history behind their language. They were unknowing of the creativity, innovation, and intention that guide how many Black people communicate. The biggest challenge then was to first, use Concrete Rose as a catalyst. As the crew read this young adult novel, I employed the rules and features of this language. I introduced Black Language by decentering the idea that this language was just slang. I employed the Black Language Book Club as a formal instructional setting that was purposeful, informative, yet familiar. The crew was not bombarded with lectures, but instead asked for their insights and experiences and in that sharing, they also shared their reflections and analyses of Black literature. The crew found Concrete Rose to be a novel they could relate to in different ways. According to reflections and discussions between the crew, the characters and plot felt very personal, but the language kept looming. The use of relatable and vivid language in Concrete Rose helped the crew establish a deep connection. The crew was able to easily visualize and understand the characters, plot, and themes because of the way the language was crafted. The language brought the story to life and allowed the crew to immerse themselves in the narrative, creating a personal 105 and meaningful reading experience. Noel and Daquan displayed this in the time and approach they gave to the book club. Noel’s ability to provide insight and relate her understanding to connection of the Black experiences in the novel to her own experiences and Daquan’s progress from the beginning to the end, demonstrate the positive experience they had within the Black Language Book Club. In this chapter I address my research question of how do Black youth and their families experience a book club where they have an opportunity to learn about Black Language through Black children’s and YA literature? I do this by capturing members' experiences in narrative form. This kind of analysis allows for an in-depth exploration of the various experiences that members had when they became a part of the Black Language book club. Through exploring the crew's narratives, I gain a deeper understanding of how book clubs can offer Black youth and their families a transformative and beneficial environment. Through the lens of narratives, I delve into the rich stories and experiences within the book club, each representing a unique journey of self-discovery, cultural exploration, and community building. Finally, I am given insight into the power of the interconnectedness between Black Language, Black children's and YA literature, and Black experiences. I begin with Noel. 106 Noel’s Time Setting the Scene: Noel is truly a unique individual. She grew up with her parents and her little brother, Malichi. She is close with her family, especially her Aunty and grandma. Noel has such a welcoming presence. In fact, I’ve witnessed strangers randomly walk up and begin conversations with her. Noel is kind, analytical, and organized. She is the kind of girl to create PowerPoint presentations for vacations. Each slide including pictures of the resort, activities, catchy puns, with themes and colors to match the destination. I have known Noel for more than a decade and she is still one of the funniest people that I have ever met. Noel's humor is unparalleled. The stories and jokes she comes up with are always unexpected and hilarious. She always finds a way to make others laugh in any situation. She is also giving with her time and energy, and she is an excellent listener. Noel carried all of who she is into each book club meeting. She took her time getting to really know the rest of the members. She had met a few of the members prior to the book club, but this book club allowed her to get to know them in a specific social setting. The presence she has and her open heart, made her an invaluable asset to the book club. We were all fortunate to have her. The members of the group had to read up to page 212. At this time in the Black Language Book Club, the crew learned more about Black Language and its rules and features. A few of the biggest talking points about this language were: 1. Braggadocious is a Black rhetorical feature14 that is richly interwoven into the everyday Black Language conversational context, and it involves bragging. This feature can come off as boastful and arrogant. 14 Most Black rhetorical features require participants to possess certain forms of cultural knowledge and cultural competencies. Without this background knowledge, much of the meaning will be inaccessible. This required 107 2. Semantic inversion is the process where Black Language speakers take words and concepts from white Mainstream English lexicon and either reverse their meanings or create entirely different meanings. The communication system of Black Language was created out of resistance and intellect. Africans in America used the oppressor’s language to create an entirely new one that was unintelligible to the oppressor. 3. Phonology is the sound system of a particular language. And the phonological patterns of Black Language differs from white Mainstream English. The sound – ing gerund is realized as –in in most Black Language contexts. For example, in Black Language, most speakers will say, • Walkin instead of walking • Openin instead of opening • Listenin instead of listening • Comin instead of coming “I aint sayin ‘chilling.’” In the Black Language book club, I would often reserve spaces that the crew could meet. I thought having book club meetings in neutral spaces promoted a more comfortable and inclusive discussion environment. The space for this meeting was a loft, filled with a neutral tone aesthetic. The space in the living room consisted of a smallish-medium couch that was a very light beige, then right across were two light blue single chairs. We all sat in a circle around a modern coffee table, the legs shaped in a sturdy metal circle. Before we began our meeting, the knowledge can range from Black popular culture and celebrity gossip to the experiential knowledge of navigating US culture as a racialized subject. See Baker-Bell. 108 crew was greeted with pizza and snacks. Rushing to get entry into the loft, I forgot to get drinks. The crew had fun crackin on me for not getting it: “Girl. How you forget the drinks? What we supposed to do, swallow our spit?!” Noel said jokingly while taking a bite of her pizza. “Right!” Toni chimed in, smiling looking me in my eyes, then rolling them. “Oop. Well, my bad yall. Me and Michael was runnin behind and we was in the store and everything, but it just slipped my mind.” I reply unapologetically, looking at everyone then rolling my eyes back when my eyes got to Toni. “We not trippin.” Mercedes replies, reassuringly. “There is a fridge in here so you can go ahead and see if they got anything in there to drink,” I continued, gesturing my finger to the kitchen. Toni got up to look with Mercedes right behind her. They both come back and plopped on the chairs across from one another. “Nope. They don’t have no bottles of water or nothin.” Toni states. “Dang, my bad yall… Well, sucks to suck because I got me a little bottle of juice in the car,” I say nonchalantly. Everyone laughs. “Nah tho seriously, eat your food! Because today is the day we begin to talk about our Book Club retreat in Las Vegas. As yall know, we will spend a few days in Vegas for our commencement of the book club. We will stay in an Airbnb, and I will bring games and have activities for us to do.” “I’m ready,” Michael says, dappin up Daquan. They both smiling. 109 “I’m ready to go too! So, I need you all to go in the next room so I can hide the flashcards around the space for our Black Language Scavenger Hunt.” They all hurry in the room, excited. Pushing each other, trying to race to the room. Immediately there is trash talk. Michael and Daquan swear they gone win the game, and Noel, Toni, and Mercedes claim themselves as the winner. While I hide the cards around, I can still hear them arguing about who is gonna win, throwing in petty insults to sweeten their banter. Book club baby is in the main space with me, her perfectly round head and cute lil baby features swaddled in her pink baby blanket. I still hear the crew arguing and laughing in the next room. I go over to Book Club Baby: “Hey, my beautiful lil baby cousin, do you mind if I put this flashcard under your blanket by your feet?” I whisper to her. She budges just a lil bit. I put the flashcard at the bottom of her blanket. And I finish hiding all the rest of the cards all over the space. I put the flashcards under the cushions of the sofa, behind pictures on the wall. Through magazines on the coffee table and a few under the pizza box. I go to the office and put more under the keyboard and even one in the fridge. The flashcard with the Black star, the one that holds all the power, I put under a vase right by the door. I go over to the door and knock on it, “Alright, yall can come out!” The crew comes out lookin around. I stood right in front of the coffee table, “Okay, can yall please come and sit down for a minute so I can go over the game?” Everybody shuffles to a seat. I explain the game: I hid 27 flashcards around the room. If you find ten flashcards, then you win! But if you do not find 10 flashcards, you can still win if you find the one flashcard 110 with the Black star on it. So, your main motivation should be trying to find that card with the Black star on it! Whoever is the winner will receive a special prize when we go on our retreat. “What is the prize?” Daquan asks “Yeah,” Michael says, rubbing his hands together with a grin on his face. “The surprise is a secret, but I think whoever wins will like it” I reply. The crew begins to speculate what the surprise is, each person getting louder with their guess. “Okay, yall ready? Start lookin in 1…2…3…Go!” I yell. Everyone takes off! Some go in completely different directions while others follow each other. Toni was the first to find something, clinging to the flashcard, she threw her hand in the air yelling, “found one!” Everyone stopped briefly to look, their competitiveness growing by the second. The game took about 35 minutes to complete. When the game was over, each member had found at least two flashcards. No one found 10 cards, but Daquan found the special card with the Black star on it. Everyone was hot15. They all laughed and talked about how close they were to finding the special card or how close they were to finding 10 cards. After they all got done joking, we all gathered back together in a circle. Then, I asked each member to read the information on each of their cards. After each of their cards were read, we’d spend time talking about what they understood from the information they heard and if they had any questions. I also clarified certain information. This activity allowed the crew to really connect what they already knew about Black Language by providing them with the rules and names of Black Language features. Throughout the entire activity, Noel was thoroughly engaged, asking questions, and 15 This is another example of a semantic inversion in Black Language. I do not mean that everyone was actually hot, but that they were annoyed or mad because they didn’t find the flashcard with the Black star. Many Black Americans will understand this, however many others will not. This is proof of how Black Language is indeed a coded language. 111 commenting on the information she heard. As we all sat in the room, we got on the topic of phonology and how many Black Americans pronounce certain words. Like the rest of the crew, Noel completely related to how many Black Americans play with language. As we listened as members read their card, Daquan read about Black Language's phonology: “Phonological patterns: When it comes to the sound -ing, the sound -in is mostly used.” I provided various examples like “runnin instead of running,” to demonstrate the way many Black people have a natural way of how they speak in this language. The room filled with an immediate familiarity with this rule, Toni was the first to vocalize her understanding: “We lose the ‘g’” Toni gathered. “Yup, we just drop the ‘g’. [Many Black Americans just don't think it is necessary” I added. “I aint sayin ‘chilling.’” Noel proclaimed. Everyone began to scoff at the idea of saying “chilling” and pronouncing the ‘g’ at the end of the word. They started to speak and took time to actually hear themselves to see how they sounded if they tried to pronounce “chilling” with the ‘g’ and everyone was dissatisfied. The way in which each member took issue with that pronunciation shows how natural the language is to the crew. Noel’s declaration that she “aint saying chilling” demonstrates the ways that this language is natural and familiar. For Noel, adding the sound of the ‘g’ just did not feel or sound right. Noel’s insistence displays that there is a right and wrong way of using Black Language. Black Language is a form of speech that originated from Black people’s imagination and intellect. Its own distinct grammar, vocabulary, and pronunciation are features that are commonly practiced every day in the lives and experiences of so many Black people. The use of Black Language holds significant cultural importance as it serves as a representation of identity, resilience, and cultural heritage 112 within the Black community. Black Language also encourages Black individuals to maintain cultural traditions and assert their authenticity, which explains the crew and Noel’s unbending position. “Its givin…Enrichment” I titled this section “Its givin…Enrichment” because of Noel. Noel used this specific wording when asked about her experience in the Black Language book club. In that specific statement, Noel uses signifyin16 because the statement alludes to the song “Its Givin” by Latto, a Black woman rap artist. The phrase means that an experience, person, or vibe delivers a certain emotion or feeling which can be positive or negative. For example, “Its givin pressed” can mean that that certain person or experience is upset/upsetting. While “its givin outside all Summer” can mean that a person plans to be going out and having a great time all Summer. This demonstrates the art and intricateness behind Black Language because Black folks do language17. The way words and phrases get used to make new meanings out of them, how words flow from our tongues… Black folks do language by protecting our cultures and traditions and securing the many ways that we exist through our language practices. What a marvelous thing. Noel expressed this same sentiment in our post-conversation about her experience in the book club where she had the opportunity to learn about Black Language through Black children’s and YA literature, Noel reflects: 16 Signifyin is a rhetorical linguistic expression completed in many Black communities. It represents an idea indirectly by offering double meanings that require competence of Black culture to catch meaning. 17 See Toni Morrison’s Nobel Prize lecture. 113 “This made me excited to read again. [This book club] reignited my love for reading.” “Wowww, not this reignited your love for reading, girl?!” I replied, teasingly. “Yes, sis! You did your big one!!” Noel bragged, squinching her shoulders up, rockin her head from left to right. Noel’s insistence that I’ve done “my big one" exemplifies her experience in the Black Language book club. When a person does their “big one,” this means that they have excelled at a task or experience and yielded great results. Noel’s praise articulates her belief that we achieved something significant and is indicative of the supportive culture of the Black Language Book Club. It is a recognition of the hard work and dedication that created an inclusive and informative book club that affirms Black Language practices. The experience in the book club where she had the opportunity to learn about Black Language through Black children’s and YA literature. This experience had been invaluable and had helped her to gain a better understanding of the importance of Black Language and its contribution to our culture. Noel showed gratitude for the support she had received from this book club and was committed to the different perspectives she heard, especially from the young Black men. At our post-interview, I asked Noel about her experience with the book club. We were at a Ramen spot in downtown Koreatown. The town is filled with Korean culture with stores and restaurants filled with some of the best Korean eats. The restaurant we went to was in the middle of other shops and bars. The restaurant was quaint and full, so we sat outside. Although it was night, the outside seating was bright with hanging lights that dangled from this big white tent. The tent housed about 8 tables, with seating for two to four people. The outside seating took over a piece of the street and had a gate wrapped around it. We got the last available table all the way 114 at the end. Once we sat down, we watched as cars drove by and began talking about our day. I sat across from Noel; Reggie was sitting next to me. Noel reflected: “I really loved reading and also getting to know people’s perspectives, getting to hear other viewpoints [that differ from] my own. Hearing especially from our black men when they would speak up, especially Daquan, Reggie…Michael. [Oh, and] the other boy sometimes…” “The other boy? You talkin about, Malichi? Your brother?” I questioned. “Yeah… him” Noel replied, nonchalantly. Our table went silent, then we all burst out in laughter. “You a trip, but yeah it was nice to get their input as young men” I add. “Mhm, especially like Michael. To be so young, [he had] like a lot of great input. And it’s like [okay,] the youth is alright. [I mean because I feel] sometimes that I don’t know [about them]. But, that one…he’s alright.” Noel confirmed. One of the key things that Noel did was show interest in hearing how the Black male youth felt about Concrete Rose. She also engaged with them by asking them questions about themselves, how they thought and what they felt about reading and life in general. From the very beginning, Noel and Michael joked with each other. They had the same type of corny and extremely silly comedy. They kind of clicked instantly and enjoyed each other’s jokes. For instance, in our small talk conversations I had with both, each shared how they thought the other was funny. In one of our meetings, Noel and Michael was crackin on each other debating on who would win the game. Most of the time, Noel started it: “What’s goin on with them knuckles? Look like you work at a bakery18.” 18 This is an example of signifyin and playin the dozens. Noel knows Michael does not work at a bakery, but she is jokingly implying that his hands are ashy/dry. 115 “Oh, you got jokes…Yeah, alright I got you.” From the very beginning, Noel talked to every member like she knew them forever. Her charm was displayed by her immediate comprehension of knowing everyone’s name and saying whatever came to mind. Noel had the ability to make almost anything funny. She joked with everyone, even Daquan, who was at first very reserved. In fact, during one of our meetings, the crew decided to meet at the park. I set up three tables, with the help of Reggie and Michael. We used the table covers of Black, green, and red. I also used silver table toppers to stop the table covers from falling off. The day was semi-sunny, and the wind was blowing. But we secured three tables right by the lake inside the park. Reggie came right after Michael and I. Gabby and Malichi came a little later, then followed Toni, Mercedes, and Daquan. Everyone had burgers from West Coast’s known In-N-Out burger spot. Following tradition, we always sat and ate, talking about whatever came to mind before we delved into Concrete Rose. Although we had three tables reserved, naturally everyone sat at one table, even other members stood around the table when there was no room to sit. I turned my back towards them while I searched for my book in my backpack. I heard different conversations, some louder than others. Then a laugh so hard, I turned around. It was Noel’s laugh: “KK, he think he better than us” Noel yelled. “Who? What happened?” I questioned. Everyone began to speak at the same time. Noel’s voice projected the most. “Take off your hat” Noel demanded. “He think he better than me!” Noel stated again, playfully. With a smirk on his face, Daquan took off his hat. He placed his hand closer to the middle of his head and motioned his hand up to his forehead. His hand gently caressing his hair. 116 “I’m lost. I don’t get it. What am I supposed to see?” I ask, contagiously laughing. “You don’t see the waves on swim?! You not seeing this?” Noel questions as she grabs her stomach and covers her mouth to demonstrate that she feels seasick. Noel continued: “I said this nigga got a brush in his pocket and he [Daquan] like, ‘yeah, it’s on the table.’” Everyone laughed. Followed by shouts and screams confirming what Noel said. This exchange demonstrates how Daquan presented himself in the book club. He was the “pretty boy” who always maintained his looks, kept himself clean and he was always brushing that hair! No one was hating, but each member noticed each other. We all began to pick up on how each person came into the spaces we shared. Noel discussing how she felt “seasick” from looking at Daquan’s hair is Black Language. In this statement, Noel uses signifyin when she asked, “you don’t see the waves on swim?” In Black culture, men have a hairstyle called “waves” in which their short haircut is so neatly brushed that it creates a wave pattern in their haircut. So, when Noel said Daquan “waves was on swim,” she was saying that the waves in his hair was so prominent that one could swim in them. Ultimately, Noel was complementing Daquan by saying his hair was maintained very well. Noel even teasing Daquan about his hairbrush demonstrates how he takes great care of his hair because he took his hairbrush everywhere with him to make sure his cut stayed perfect. This shows how perceptive Noel is. She took time to learn the members in the book club. Daquan always came very clean-cut; he took care of himself, and Noel jokingly teased him about it. Noel's presence and the fact that everyone joked with each other demonstrates all the bonds that were created. During our conversations, we talked about 117 everything—the good, the funny, the sad, and even our personal thoughts and feelings. Sometimes those feelings related to Concrete Rose, Black Language, or something completely different. Daquan started the book club unforthcoming. Like Noel, the crew helped Daquan come out of his shell and speak his mind…And it turned out, he had a lot to say. Table 5.1 Chart of Noel’s use of Black Language in the Book Club Feature Definition Examples in the Book Club Noel’s Black Language Signifyin’ Signifyin is a rhetorical linguistic expression completed in many Black communities. It represents an idea indirectly by offering double meanings that require competence of Black culture to catch that meaning. “She [Book Club Baby] said ‘no more locked doors.’” (Signifyin from a scene from the film Next Friday.) Semantic Inversion Words or expressions taken from white mainstream English lexicon to either reverse or create new meanings by Black Language speakers. “You a fall and you callin her a trip.” Ethnolinguistic Idiom In the Black community, an expression grouped together has a separate meaning that cannot be understood from the meanings of its separate words. “He had people trynna like, lil boy him.” There are times when nonverbal cues may convey an implied message that is not directly apparent from the spoken word, but which may reinforce the verbal cues. Messages are conveyed quickly through nonverbal expressions. Suck teeth: The process of literally sucking your teeth which creates a sound that is usually made from annoyance or disbelief with a person, place, or thing. Nonverbal expression Conclusion: The research question of how Black youth and their families experience a book club where they have the opportunity to learn about Black Language through Black children’s and YA literature is answered through the narrative of Noel’s experiences within the Black Language 118 book club. Known for her welcoming and humorous presence, Noel’s narrative shines through because it showcases her unique traits and how she brought her whole self into each book club meeting. Noel was an active member of the crew, her contributions about Concrete Rose and Black Language demonstrated her eagerness to learn and connect with the material. Through this experience, Noel felt the book club rekindled her love for reading and her exploration of Black Language through Black children’s and YA literature. Through Noel’s experiences and interactions within the Black Language Book Club, her narrative highlights the sense of achievement and fulfillment she felt as a member of the book club crew. Her interactions with other members of the crew like Michael and Daquan, provided her with diverse perspectives and insights into their experiences. Noel demonstrated gratitude for the supportive and inclusive environment of the book club. Noel’s commitment to learning about Black Language and its cultural significance reflects how Black youth and their families experienced a book club where they had an opportunity to learn about Black Language through Black children’s and YA literature. Daquan’s Time Setting the Scene: I met Daquan very recently. He dates my lil cousin, Mercedes. He became a part of the family way before I met him. Before I met him physically, I was told about him from conversations with my mom. My mom loved him at first sight, “Kaelyn, he’s a nice guy. He reminds me of lil Stevie…just as handsome as can be.” Lil Stevie was my mom’s nephew. I never got to meet him because he was killed before I was born but my mom talked about him often. On my mother’s side, my family is made mostly of women and girls. And as some sort of “rite of passage,” my little cousins would bring the guy that they were dating “to meet aunty Kim.” I believe out of all 119 the boyfriends my mom met, she really liked Daquan. When I finally did meet him, I shared the same sentiments. I met him when my cousin Mercedes came over to get some food my mom cooked. She also came over to tell us she was pregnant. Quiet as kept, we already knew… Family always tells your business. I was introduced to Daquan and told Mercedes was pregnant with his baby during the same visit. Mercedes stood at the corner of our tiny kitchen with the biggest smile on her face. I looked at her and then looked at Daquan, he was standing right next to Mercedes with a smile on his face too. As she talked, I watched him stare at her so lovingly. No doubt, Mercedes had his nose wide open. Although Mercedes and Daquan agreed to be in the book club, I was not completely convinced because she had the baby just a couple of months before our first meeting. However, Mercedes, Toni, and Daquan came to every meeting with Book Club Baby in tow. I watched Daquan closely in the first couple of meetings. I noticed very quickly that Daquan is very reserved when he meets new people. He was a little uncomfortable in the beginning, this is evident because in the first two sessions he barely spoke. In most sessions, I would start the book conversation by asking “What happened in the book since the last time we met?” Most of the crew would blurt out whatever topic they thought was important to discuss. During the first few meetings I would not directly call on him, but I would look at Daquan in his eyes. I made direct eye contact with him to illustrate that I wanted to hear from him. I would use non-verbal Black Language to communicate with him that I wanted to hear what he had to say. I purposely dismissed the idea that this book club was a traditional class. Through some of the crew's surveys and “small talk” conversations, I learned that most of the members did not have the best experiences in school. Daquan shared that his school experience was “okay.” With the crew from the very beginning, I communicated with them that this experience would not be like 120 school. This experience was a book club and there was no teacher/student structure. We were all just reading a book together. Making sure they understood that was necessary. This book club was created so we could learn about ourselves and each other. The crews’ discussion of the novel was driven by their understanding of what they were reading, as well as seeing if it related to their own lived experiences. Daquan, like most of the members in the book club, found parts of himself in the novel and shared them with us in a language we all understood and related to. The members of the group had to read up to page 279. At this time in the Black Language Book Club, the crew learned more about Black Language, its rules, and features. A few of the most significant talking points about this language were: 1. Black Language is intertwined with many Black experiences (Richardson & Ragland, 2018). 2. Black Language is a coded language because “Africans in enslavement were forced to use English--their version of English, as a common language because the [oppressor’s] practice was to mix Africans from different ethnic-linguistic groups in order to foil communication and rebellion” (Smitherman, 1994, p.26). However, enslaved Africans used their intellect to make new meaning. Words in English were assigned different, and sometimes oppositional meanings to create this counter language. 3. Black Language was created by Black people. Black culture, Black history, and Black traditions are woven into this language. This language is spoken by black people every day. This language is natural to many Black people because it is interconnected in most of their experiences. It is a language that has the same 121 structure and rules, yet it continues to evolve from the performance, intellect, and mouths of Black people. “It is what it is.” Around the middle of our Black Language book club, I booked a home space for one of our meetings. Per usual, we ate, and talked about how our week was going. We ate lasagna, with a salad and we had bread sticks. Most of us ate around a huge island in the kitchen. Daquan sat on the sofa and placed Book Club Baby next to him on the gray couch. The space from the kitchen to the living room had an open concept so we were able to still see each other. After we talked about how our week was going, we went outside to have our session. We sat at a long rectangular table under two heating lamps. At the head of the table was Daquan. I sat to his right, next to me was Noel. Mercedes sat on the other side of Daquan, followed by Toni then Michael. 3 people were missing in that meeting, so it was the smallest meeting we ever had. We talked about how we liked the outside seating. The backyard was big and had hanging lights and outdoor chairs that surrounded a fire pit. The grass was manicured and bright green. As we were sitting down, I looked around… I was happy to see everyone sitting at the table, the bright red book cover of Concrete Rose created pops of color from the gray table. After the crew shared what was happening in the novel, I directly asked a question based off what the crew was saying: “Okay, so something else that I kinda noticed from what yall sayin is how these characters are dealing with their feelings… Like especially Mav, who struggles to show his emotions about really anything through most of the novel… Wassup with that? “ 122 I wanted to discuss how some young men do not feel comfortable being honest about what they feel, and I used Mav as an example. I asked the crew if they noticed that in the novel, and if they felt the same way. I wanted to hear both opinions from the young men and the young women. Mercedes started: “It really depends on the person.” Daquan interjected himself, “Nah, that just seems weak to me…” Mercedes continued “Because you gotta be a certain person to everybody. Like, you gotta give off this [certain perception] to people. Like [for Mav], the boys in his hood, he gotta be tough and stuff. Mr. Wyatt is like a safe place, like he could go and cry and stuff [to him.] Mr. Wyatt give Mav that comfort.” “Mmm, yeah, he gives him some sort of stability,” I confirm. It gets quiet. I nod my head up and down, waiting for Daquan to continue what he was saying but he does not say anything, so I revisit his statement: “Okay and you were saying that you can't be honest with your feelings, even now because it looks weak? You mind sharing why you think that?” “I feel like that shows weakness. If I show my people [when I’m feelin sad or angry, or scared], I’m bein weak and that’s gone make them be weak” Daquan states. Noel poses her own question, leaning up from her seat, turning her body to face Daquan, “So, I was talkin about this with my brother [Malichi] and I’m mad that he not here… cuz he feels the same way. Like he’s been more vulnerable with me lately because we went through [some things] growing up and we got kinda closer as we’ve gotten older…But I was tellin him, I feel like a lot of Black men, like yeah 123 even to the world you [feel] like you have to have this hard exterior but to people you love–your boys, your family, you still feel like you have to hold it in and that's unhealthy. You should feel safe with the people you love and [my brother was like] ‘I do have that with people… But it's some that don't have that, like they don't have a safe space even within their own community…So I just wanted to know your feelings about that, why don't you feel safe to be vulnerable, not to the world but to the people around you that like, you know, love and care for you?” “Cuz, I feel like I’m supposed to be strong,” Daquan immediately replied. “Who taught you that?” I ask “Myself.” Daquan responds. “Mmm, okay. I hear you” I reassure. “But it had to come from somewhere though?” Noel analyzes, pushing her glasses up on her face. Daquan plays with the book on the table before he says, “I mean, I just feel like people will look at you being vulnerable and take it as a weakness. Like you less than a man.” Mercedes adds, “It comes from trauma.” “I feel like, people already got this notion of what a man supposed to be and I’m just trynna fulfill that” Daquan states, shrugging his shoulders. Noel expresses, “Nah, I definitely get that. I just hope that one day, especially for Black men and boys that yall can be vulnerable like [because] yall deserve some peace.” 124 Michael includes his thoughts, “I gotta agree with [Daquan]. You know when I was younger, I use to like cry a lot. And I used to get in trouble because of that. Like I was told, ‘stop cryin or boys don’t cry…’ you know stuff like that.” I brought up Mav and a particular scene between him and Dre before Dre was killed. In this instance, Mav is completely overwhelmed. He finds out he is a father, he is scared that his girl is going to leave him, and his best friend is passively angry at him. Everything is wrong. Dre asks Mav “You good, cuz?” and Mav does not answer, he avoids Dre’s question (Thomas, 2021 p. 53). But the reader is shown that Mav feels terrible, and a few days later, he has a breakdown. I compared the conversation that I was hearing with the guys in the group to the conversation between Mav and Dre and I express how it seems like they are all frontin about their feelings, and I ask about the benefit of that: “Who does hiding vulnerability benefit? In the story, it certainly did not benefit Mav, and we see it time and time again. He lies about what he feels to his mom and to Dre…Does this help or harm him?” I question. Daquan replies, “[For me,] I just go with the punches…If I get through it, I get through it. It is what it is. And I just say to myself, it's probably worse [things] that somebody else is going through…” “But we talkin about you though, and it's okay to center you” I reply. Daquan nods, “nah I hear that.” I realized that in this session, we barely opened the book. The conversation had shifted away from the novel, and we spent more time centering feelings, listening to each other, and respecting each other's perspective. Each person that wanted to speak did exactly that and it was a beautiful and supportive moment. Daquan was completely open about his thoughts and ideas and the rest 125 of us sat and nourished those feelings. Daquan felt that, and it was demonstrated when I heard my alarm go off. I had placed my alarm on to alert me that we had 15 more minutes before we had to leave the space. When the alarm went off, it made almost everyone jump, especially me: “Aww, we ran out of time! I didn't mean to turn this into a whole therapy session! We barely got to really dive into the book!” “Nah. This was cool,” Daquan reassured. “Yeah, it kinda felt needed,” Noel adds. Daquan nods, “forreal.” Although we did not talk deeply about Concrete Rose in this meeting, we had a meaningful and engaging conversation about various other topics that allowed us to deepen our understanding of each other's perspectives and fostered a sense of camaraderie within the group. Additionally, by veering off-topic, we were able to explore new ideas and expand our intellectual and emotional horizons in ways that may have been limited if we had solely focused on the assigned novel. This is what this book club was about. We were not just discussing a book, but we were engaging in a collective exploration of ideas and perspectives. Unlike solitary reading, the book club provided a space for vibrant discussions, where members could share their interpretations, challenge each other's viewpoints, and deepen their understanding of not just a text but also of themselves. This book club offered a communal exchange of thoughts and emotions. Daquan confirming that he was okay not discussing the book is proof that this conversation felt necessary to him. It benefited him to sit with his own thinking and say it aloud. This is evident when I tried to conclude our meeting: “I hate that we ran outta time, but don't worry! We will review more in depth [conversations about the book] during our next session. I would like for us to read 126 to page 310. Cool? Okay, great! Before we officially wrap up, anybody got any questions…Comments?” I scan my eyes across the table, starting on my right where Noel was sitting. She shakes her head; I continue to scan. Everyone else looks content, ready to go back inside and make their to- go plates. My eyes finally land on Daquan. He is looking at me, his face filled with uneasiness. “You look like you got somethin to say…” I state, sitting back in my chair with a smile on my face. Daquan smiles and leans back, too. Placing his left elbow on the arm of the chair: “This book is just good.” Daquan says, picking up his copy of Concrete Rose. “Yeah. I had to stop reading sometimes because it honestly felt too real. Like to things that's goin on in my life right now!” Mercedes adds. Daquan continues: “I feel like every character has a real life…I don’t know, it’s real to me. Like Iesha, how her and her mom are not emotionally connected so she just runnin around…She don’t know what she looking for. And then [the book] don't talk about her havin a father so, she's not hip to what she should be lookin for in a man. And that's why I feel like her and King go together–he don't have nobody and neither does she.” I chime in, “I didn’t even think about that. Whewww, cuz that mama of hers is a piece of work!” “Yeah, and I feel that. I really connect with that right there… Havin a mother like that, you know” Daquan inserts. “Mmmm,” I receive. 127 Daquan resumes: “That's why I feel King too. He seein all the support that [Mav] got from his mom and I feel like, that's me lookin at… Well, anybody could be lookin like, ‘oh, they got this type of support, why I don't have that type of support from my parents. You know, they learned this, why I didn't have someone to teach me that?” In this discussion Daquan offered a perspective that Nic Stone highlights in her thinking of Concrete Rose. Stone (2021) writes, “It's a novel that, like Thomas's other books, plucks at the strings of our complex humanity. It walks us into the life of a character who is easy to condemn from the outside, and then dares us to try to judge him once we've gotten in. It's almost as though Thomas gets right in the reader's face and says, ‘No, I will not allow you to dehumanize other people just because you 'don't agree' with how they live or the decisions they make. Let's put you in their position and see what you would do’” (Stone, 2021) The topic of “complex humanity” is something that Daquan voiced in our conversation. But instead of focusing on Mav, the main character, he used Stone’s understanding and focused on King. King was a foil character in this novel. A foil character is a literary device whose main “function [...] is to highlight the qualities of the protagonists through their follies, serious or humorous” (Rabia & Sumera, 2022, p.135). A foil character usually contrasts the protagonist. Foil characters often possess traits that are opposite to those of the protagonist, serving to highlight the strengths, weaknesses, or complexities of the main character. Foil characters are not necessarily antagonistic towards the protagonist; they simply serve to contrast and complement the main character. However, conflicts between the protagonist and foil 128 character may arise due to their differing perspectives or approaches. Daquan’s ability to engage in the difference between how Mav grew up compared to King, also shows how Daquan was making sense of the complexities of the characters, including Iesha and Iesha’s mother. Daquan even close reads when he analyzes how Iesha’s father is never mentioned, and the fact that every time Iesha’s mother is present in the novel, she is not supportive of Iesha. These layers of complexity are a part of why this novel felt so real to most of the crew. Daquan for example, was able to use his own experiences within his life and notice and analyze those same complex experiences with characters that were not the main characters, and this allowed him to literally read between the lines of the novel by focusing on what was concealed instead of what was easily revealed. In this discussion, Daquan exhibited a level of expression he had never demonstrated before. Daquan revealed vulnerability; Literally doing the same thing that at the beginning of the meeting he said he did not like to do. However, Daquan became comfortable after we talked about feelings and the importance of vulnerability at the start of our session. Instead of talking about the novel, we had a real conversation about vulnerability, toxic masculinity, and the pressure put on Black men and boys. We created a supportive space in this book club by having real life conversations in Black Language–this combination provided Daquan with comfort and confidence to voice his thoughts and understandings that were meaningful and necessary for him and the rest of the crew. The time Daquan gave to this book club demonstrates his growth. Here we were about to leave, and Daquan wanted to discuss the novel… This was the same guy who barely spoke at all during the first couple of meetings, now here he was introducing conversations and wanting to discuss them because he had so much to say. Being in this book club was a shared experience 129 that fostered a sense of belonging and confidence, enabling Daquan to feel more comfortable expressing himself and actively participating. The book club provided a supportive environment where Daquan felt secure enough to share his thoughts and engage in discussions, especially since he was able to do so in his mother tongue, which further enhanced his confidence and fluency. Table 5.2 Chart of Daquan’s use of Black Language in the Book Club Daquan’s Black Language Examples in the Book Feature Definition Club Regularized agreement Permits agreement between subject and verb in Black Language that would not agree in white Mainstream English. “They was talkin bout Sean look at [Mav] as a lil brother, too.” Semantic Inversion Phonology Words or expressions taken from white mainstream English lexicon to either reverse or create new meanings by Black Language speakers. “I gotta keep it pushin.” Varied pronunciation of words in Black Language that differs from white mainstream English. (i.e., Using -in instead of -ing gerund) If you don't, you crashin out.” Multiple Negation Occurs when two negative words are used in the same clause or sentence. “[King] don't have nobody.” Lexicon (Vocabulary) The vocabulary of Black Language that can be viewed in three parts: words, phrases, and slang. In Black Language, copula verbs (is, were, are, am, etc.) are optional. “She not hip.” 130 Conclusion: Daquan's evolution within the book club stands as a testament to his personal growth and newfound confidence. From the initial meetings where his contributions were scarce, if existent at all, to the moment when he eagerly initiated discussions about the novel as the club was about to adjourn, the transformation was palpable. His burgeoning enthusiasm and willingness to engage reflected a journey of self-discovery within this shared literary space. The book club, serving as a platform for communal exploration of ideas, not only nurtured a sense of belonging but also provided Daquan with the supportive environment he needed to flourish. Here, amidst fellow members of the crew who encouraged dialogue and embraced diverse perspectives, Daquan found a haven to articulate his thoughts. This nurturing atmosphere was particularly empowering as it allowed him to communicate in his mother tongue, a language that resonated deeply with his identity. Through these interactions, Daquan not only honed his linguistic fluency but also cultivated a newfound comfort in expressing himself. In essence, the book club became more than a literary gathering—it became a catalyst for Daquan's personal and linguistic development, highlighting the profound impact of shared experiences on individual growth. 131 CHAPTER SIX: BEYOND THE PAGES: CONCLUDING THE CONVERSATION The narrative of my high school experience, particularly the reading of Toni Morrison's The Bluest Eye, serves as a foundational moment in my understanding of the intertwining of racial and linguistic realities. It reflects a broader issue within K-12 education: the absence of Black Language (BL) acknowledgment and exploration. Morrison's purposeful use of Black Language in her novel, reflecting the lived experiences of many Black Americans, was a revelation that went largely unrecognized by my classmates and me. This lack of recognition of Black Language and its cultural significance in the educational system reflects broader systemic issues (Baker-Bell, 2020; Smitherman, 1977; 2017). My experiences at Frederick Douglass Academy High, a predominately Black charter school, highlighted the disconnect between the language spoken by students—Black Language—and the English taught in classrooms. Despite Black Language being the primary mode of communication among students, it was rarely acknowledged or valued within the educational curriculum. Disconnects like this reflect a larger problem in education, which relies heavily on white mainstream English (wME) and marginalizes linguistic diversity as a result. Scholars have long emphasized the power and importance of language in Black communities. Black Language is not just a mode of communication; it reflects identity, culture, and history (Smitherman, 2017; Rickford & King, 2016; Swindler Boutte & Johnson Jr., 2013). Understanding and embracing Black Language is a form of empowerment and affirmation for Black youth. Yet, the gap between Black Language and Black Literature persists, leaving many Black students without access to a critical aspect of their identity. 132 The purpose of my study was to track Black youth and their families' language experiences through a Black Language Book Club that centered Black children’s and YA literature that aided in learning and recognizing the richness of their mother tongue. In the book club, we traced the 7 elements of Black Language: Lexicon, Semantics, Non-Verbal Tradition, Phonology, Syntax, Spirituals, and Rhetorical Discourse Features. We focused on the Black Language used in Angie Thomas’s Concrete Rose while simultaneously learning the rules and features of Black Language. Then the crew began to express how they use and see this language every day–in music, television, social media, etc. From the perspective of the crew who participated in this book club, I found that: (1) members became more confident in their use of Black Language once they were able to learn and identify its features and history, and (2) Black children’s and YA literature was deemed critically necessary because it provided learners a chance to see themselves represented racially and linguistically within a text. The first major finding of this study was the growth of confidence members acquired of knowing more about their language practices. Learning parts of the language and being able to identify the name of the features that they used was fun for them. Most of the members of the book club initially viewed Black Language as slang. Some had heard a few things about Ebonics or AAVE, but they couldn't initially provide any rules or features of the language. Each member knew that the way they spoke differed from white mainstream English, while Black Language was understood that it was “just how some Black people talk.” This generalization of Black Language was echoed in their surveys and first initial book club meetings. Yet, once the crew learned more about Black Language and its history, they gained a deeper understanding of the complexity and richness of Black Language through the exploration of the 7 elements. Moreover, according to the study, Angie Thomas' Concrete Rose is an excellent resource for 133 learning about Black Language in literature. Members found numerous examples of Black Language in the text, allowing for a deeper dive into its usage and context. The study demonstrates the transformative impact of a book club centered on Black Language and Black children's and YA literature. It showcases how members grew in confidence once they recognized the complexity of Black Language and critically engaged with literature. This affirmed their linguistic and cultural identities. The second major finding of this research was Black children’s and YA literature was deemed critically necessary because it provided members with a chance to see themselves represented racially and linguistically within a text. I found that once members had a sense of what Black Language was and were able to actually point out and name Black Language features, their engagement with the book club discussions deepened significantly. The ability to recognize and discuss specific linguistic elements such as braggadocious or semantic inversion allowed members to delve into the richness of Black Language. This newfound awareness sparked animated conversations, with members eagerly sharing examples from the readings and their own lived experiences and realities. Reading Thomas’ Concrete Rose gave the crew actual evidence of what Black Language looks like on the page. Thomas’ novel captured the interconnectedness between Black Language and Black experiences through her characters— whether it was Mav's journey of grief, King's controversial views on loyalty, or the way Mav’s momma, Faye Carter, supports yet keeps it real with her son…These experiences felt familiar to the crew, and I observed progressively how each member found something that resonated with them from the novel. As we navigated the pages of Angie Thomas’ Concrete Rose and engaged in heartfelt discussions, as we discussed the novel, our memories began to merge with the characters and themes of the novel, creating a 134 space in which time stood still and passed simultaneously. For these reasons, I conclude that Black children’s and YA literature like Concrete Rose are necessary resources because it aids in affirming and celebrating Black youth and their racial and linguistic identities. This book club was not just about dissecting the plot or analyzing characters; we delved into the depths of our own lives. It took time for some members to open up, to share their joys, insecurities, love, and even traumas. But as they did, something profound happened. Each shared experiences and revelations, creating a bond that stemmed from reading a book with Black Language. It seems so simple, but the use of Black Language in the book allowed us to connect on a deeper level and understand each other's experiences in a way that transcended traditional educational spaces. It fostered a sense of belonging and unity among us, highlighting the power of language in building connections and care. The achievements of the book club were numerous, unexpected, and deeply meaningful. But perhaps the most significant achievement was the validation it provided to each member. Through our exploration of Black Language and Black children's and young adult literature, we affirmed and celebrated our linguistic and racial identities together. The critical Black Language book club emerged from a desire to bridge the gap between academic scholarship and lived experiences, to delve into the rich tapestry of Black Language through the lens of literature. The pivot to a more intimate setting with close friends and family proved to be a serendipitous turn, offering a profound opportunity for personal connection and scholarly exploration. As this study unfolds, it is my hope that it contributes to a deeper understanding of the power of Black children’s and young adult literature as a vehicle for learning, affirmation, and empowerment within Black communities. This critical Black Language book club seeks not only to tell the stories of Black youth but to imagine and create 135 the possibilities of a world where their voices, languages, and stories are celebrated and valued. Through this journey, may we continue to honor the resilience, creativity, and brilliance of Black youth, both in literature and in life. Implications The results of this study demonstrate how a book club that focuses on Black Language and Black children's and young adult literature has a transformative impact. The critical Black Language book club demonstrated how members grew in confidence, recognized the complexity of Black Language, critically engaged with Black literature, and affirmed their linguistic and cultural identities. The findings of this study carry significant implications for linguistic representation and advocacy for linguistic justice. They also impact preservice and current teachers, Black authors, community education, and families within both educational and community settings. Implications for Linguistic Representation in Black Children’s and YA Literature: Many scholars in the field of Black children’s and young adult literature have consistently emphasized the crucial need for young readers to encounter reflections of themselves within the pages of the books they read (Bishop, 1990; Martin, 2004; Thomas, 2019). The demand for representation in literature aimed at Black youth and children has reverberated strongly throughout the years. Despite this resounding call, a notable gap persists in the recognition and exploration of Black Language and its profound historical roots within the realm of Black children’s and Young Adult (YA) literature. While a significant body of scholarship has tackled the importance of representation and cultural authenticity in Black children’s and young adult literature, the discussion around language as a crucial aspect of this representation has often been overlooked. Black Language, 136 beyond reflecting the lived experiences and multifaceted identities of Black individuals, also functions as a potent vehicle for the preservation of cultural heritage and the interrogation of dominant narratives. By delving into the linguistic choices and patterns embedded within these literary works, scholars stand to deepen our comprehension of the intricate layers of Black representation, particularly through the lens of linguistic representation. This exploration opens avenues to unveil the complexities and nuances that shape the portrayal of Blackness in literature, thereby enriching our understanding of these narratives and their impact on readers. Advocacy for Linguistic Justice: The goal of linguistic justice is to recognize and address linguistic inequalities and biases, especially within the educational and societal contexts. Ultimately it means all languages and language varieties should be respected, validated, and supported as inherently valuable. Black Language revolves around the liberation of the Black community. It encompasses a book, a framework, and a pedagogy developed by April Baker-Bell. Within this pedagogy, Black Language takes a central role in the language education of Black students. It gives precedence to Black Language and rejects the false belief that Black youth need to master white mainstream English to thrive. This approach elevates the significance of Black Language and its profound influence within the Black community. The Black members that were involved in this book club displayed the sort of linguistic justice that Baker-Bell (2020) talks about in her book. The goal was not just to show members of the book club black language features, but also to give literature that affirmed its presence. Relevance for Aspiring and Current Educators: The implications for pre-service and current teachers who read this study are significant. Educators can develop greater confidence in addressing linguistic and cultural diversity in their 137 classrooms because this study enhances confidence in addressing linguistic diversity. Understanding the transformative impact of engaging with Black Language and literature can empower teachers to incorporate these elements into their teaching practices. Teachers can also learn the importance of engaging critically with literature that reflects their students' backgrounds (Bishop, 1990). This engagement can help students connect more deeply with the material and see themselves represented in what they read. Teachers can use the insights from this study to affirm their students' linguistic and cultural identities. This affirmation is crucial for building a positive self-concept and academic confidence in students from diverse backgrounds. The findings emphasize the need for linguistic representation and advocacy for linguistic justice. Teachers can advocate for policies and practices that support linguistic diversity and promote justice within educational settings. Pre-service and current teachers can incorporate Black children's and young adult literature into their curricula, ensuring that the materials reflect the diverse linguistic and cultural backgrounds of their students. Additionally, the study can inform professional development programs, helping teachers acquire the skills and knowledge needed to effectively integrate Black Language and literature into their teaching practices. Overall, the study provides a roadmap for teachers to create more inclusive, engaging, and affirming learning environments for all students, particularly those from Black linguistic and cultural backgrounds. Advantages for Black Authors: This study substantiates the use of Black Language in literature, demonstrating its transformative impact on readers. This validation can motivate Black authors to persist in writing in their authentic voices, recognizing the value and significance of their language and stories they tell. Observing the positive effects of their work on readers' confidence and Black linguistic 138 identity can bolster Black authors' confidence in their own writing. They can be assured that their contributions are meaningful and appreciated. Furthermore, the study underscores the importance of linguistic and cultural representation (Jordan, 1995). Black authors can be inspired to advocate for greater inclusion and diversity in the literary world, pushing for more opportunities and support for Black writers. Additionally, Black authors can recognize the potential for their work to be incorporated into educational settings. This realization can drive them to create literature that not only entertains but also educates and empowers young readers about Black linguistic practices (Fielder, 2019). This study highlights the powerful role Black authors play in shaping and affirming the identities of their readers. It provides a compelling argument for continuing to write and advocate for literature that reflects the diversity and richness of Black linguistic and cultural experiences. Gains for Community Education: Community education adeptly addresses the challenge of enhancing education on international, national, and local levels by building bridges between home, school, and community. By broadening the conventional roles of public schools, it provides opportunities for learning and collaboration that benefit both individuals and communities. This study emphasizes the necessity of incorporating cultural and linguistic education. Community education can embrace this comprehensive approach, ensuring cultural contexts are woven into language learning. This integration can deepen participants' understanding and appreciation of their cultural and linguistic identities. Additionally, the study found that participants' engagement with book club discussions intensified once they could recognize and articulate specific linguistic features. Community 139 education can cultivate similar environments where participants feel encouraged to share their experiences and insights, fostering vibrant and meaningful dialogues while also learning and naming Black Language. This can take place in settings such as after-school programs, book clubs in libraries or local bookstores, and community and recreational centers. People that participate can all meet in a community setting to read and discuss a specific book. Community settings were created for people to meet and share community. This study provides insight on what can happen when people, especially youth, meet and express themselves and opinions through a shared YA novel. Nurturing Family Connections: This study found that participants became more confident in their use of Black Language after learning and identifying its features and history. For Black families, this means a stronger affirmation of their linguistic identity, encouraging pride and confidence in their everyday communication. Furthermore, the book club format fosters intergenerational learning, where family members of different ages come together to discuss and explore their language. This not only strengthens family bonds but also promotes a shared understanding and appreciation of their linguistic and cultural heritage. The inclusion of different perspectives enhances knowledge- sharing across generations. Initially, many participants viewed Black Language as slang and had limited knowledge of its rules or features. The study helped shift these perceptions, enabling families to see Black Language as a legitimate and rich form of communication. This can lead to a more positive self- concept and linguistic pride within Black communities. Finally, the study’s findings can inspire Black families to advocate for more inclusive and representative educational materials in schools. Recognizing the value of Black children’s and 140 YA literature can drive a push for curricula that reflect the diversity of students’ linguistic and cultural backgrounds. Limitations This study acknowledges several limitations, some of which are standard criticisms of qualitative research methodology as a whole, while others pertain specifically to the study's research design. One limitation is the inability to generalize these findings to represent the experiences or perspectives of all Black individuals. Another constraint is that while this book club concept may inspire educators to consider new approaches to teaching Black literature in classrooms, the study did not occur within an actual classroom setting. As a result, teachers may encounter different outcomes and could need to adapt their pedagogy to suit their specific contexts. Additionally, conducting this study within a book club setting rather than a classroom provided the freedom to envision the club without the challenges that educators often face. These challenges include standardized testing, book banning (such as the banning of books like Concrete Rose), and the political landscape that can limit the content and timing of what educators are able to teach. These factors were not a concern in the book club setting in this study. Furthermore, the fact that this study involved my family and friends may have influenced the outcomes due to their familiarity and comfort with me. If the book club had taken place in an after-school program or within a school environment, the outcomes might have differed. Conclusion This groundbreaking research enriches the fields’ knowledge of Black Language in Black children's and young adult literature because not a lot of research is given to the interconnectedness of Black Language and representation in Black children’s and young adult 141 literature. Scholars can enrich our understanding of Black representation by examining linguistic nuances and intricate patterns found within Black children's and YA literature. Black children's and YA literature's portrayal of Blackness is profoundly influenced by linguistic representation. Through this scholarly investigation, new avenues are unveiled, shedding light on the complexities and subtleties that shape the depiction of Black characters, communities, and cultures in these texts. The study of Black Language in Black children's and young adult literature contributes to broader discussions about representation and identity by identifying the rich tapestry of Black experiences, identities, and traditions. Readers can engage deeply with these stories as a result of this process, enabling them to gain a deeper appreciation and nuanced interpretation of the texts. This lens allows readers to better understand and appreciate Black life through the rich array of diversity and dynamic realities reflected in Black literature. I created a Black Language Book Club, centered on Angie Thomas' Concrete Rose as the primary text along with secondary readings that delve into the nuances of Black Language. Research has shown that learning about Black Language and its historical significance can have a profoundly positive impact on the sense of affirmation and well-being of Black youth (Baker- Bell, 2014, 2020). Therefore, it is imperative that we continue to prioritize the linguistic experiences of Black youth, and this book club sought to do just that. By utilizing Black children's and young adult literature, the aim was to create a space where Black youth can see themselves reflected, their experiences validated, and their culture celebrated. From its inception, Black children's and young adult literature has been a response to the need for representation, allowing Black youth to envision themselves, their futures, and engage with the richness of their cultures (Bishop, 2007; Harris, 1990). Through the establishment of this book club, the aim was 142 to create a space for exploration, validation, and empowerment for each member—it is my hope that this was achieved. 143 REFERENCES Baker-Bell, A. (2014). “STOP KILLING MY VIBE”: A CRITICAL LANGUAGE PEDAGOGY FOR SPEAKERS OF AFRICAN AMERICAN LANGUAGE. Baker-Bell, A. (2020). Linguistic justice: Black language, literacy, identity, and pedagogy. 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(2009). “But This Story of Mine Is Not Unique”: A Review of Research on African American Children’s Literature. Review of Educational Research, 79(1), 125-162. Bucher, K.T., & Manning, M.L. (2006). Young adult literature: Exploration, evaluation, and appreciation. Upper Saddle River, NJ: Pearson Education. Canagarajah, S. (2006). The place of world Englishes in composition. College Composition and Communication, 53(4), 594-630. DeWalt, K. M., & DeWalt, B. R. (2010). Participant observation: A guide for fieldworkers. Fielder, B. (2019). Before The Brownies’ Book. Lion & the Unicorn, 43(2), 159–171. “Grown-ups’ Corner,” The Brownies’ Book, February 1921, 63 Garcia, A. [Anthony GarciaMedia]. (2013, October 28) Oakland Unified School District's Ebonics Controversy [Video]. YouTube. Harris, V.J. (1990). From Little Black Sambo to Popo and Fifina: Arna Bontemps and the 144 Creation of African American Children’s Literature. The Lion and the Unicorn 14(1), 108-127. doi:10.1353/uni.0.0124. Harris, V. J. (1990). African American children’s literature: The first one hundred years. The Journal of Negro Education, 59, 540–555. Haywood, Chanta M. (2002) “Constructing Childhood: The ‘Christian Recorder’ and Literature for Black Children, 1854-1865.” African American Review, vol. 36, no. 3, pp. 417-28. hooks, bell. 1994. Teaching to Transgress: Education as the Practice of Freedom. New York: Routledge, pp.167-175. Hudley, C. (2014). The Language of Maya Angelou. Slate. https://slate.com/human- interest/2014/05/maya-angelou-language-how-the-poet-s-words-reflect-both- african-american-english-and-standardized-english.html Johnson, L. (2018). Who Let the Elephant in the Room?: Reframing the Student Success Agenda in Higher Education. Rutgers University Press. Jordan, J., & Beacon Press. (1995). Civil wars. Chapter 7: White English/Black English. Touchstone. Kynard, C. (2013). Vernacular Insurrections: Black Protest, and the New Century in Composition- Literacies Studies. Albany, NY: SUNY Press. Labov, W. (1970). The logic of non-standard English. In Alatis.J. (Ed), Report of the twentieth annual round table meeting on linguistics studies (pp. 1-43). Washington, D.C.: Georgetown University Press. Lanehart, S. (n.d.). Re-viewing the origins and history of African American language. Lyons, Kelly Starling. “Day 22: Lucille Clifton.” The Brown Bookshelf, 28 Dec. 2021 . McArthur, S. A., & Muhammad, G. E. (2020). Pens down, Don’t shoot. McNair, J.C., & Brooks, W.M. (2012). Transitional Chapter Books: Representations of African American Girlhood. Reading Teacher, 65(8), 567-577 McNair, J. (2013). ‘I never knew there were so many books about us’ parents and children reading and responding to African American children’s literature together. Children’s Literature in Education, 44(3), 191-207. Moore, R. (1996). Between a rock and a hard place: African Americans and Standard English. Morrison, T. (1970). The Bluest Eye. Random House. Ndemanu, M.T. (2015). Ebonics, to Be or Not to Be? A legacy oof Trans-Atlantic Slave Trade. 145 Nieto, S. (2017). Language, culture, and teaching: Critical perspectives. Taylor & Francis Gee, J. (2014). How to Do Discourse Analysis: A Toolkit: VOL. 2nd ed. Routeledge. Richardson, E. (2004). Coming from the heart: African American students, literacy stories, and rhetorical education. In E. Richardson & R. Jackson (Eds.), African American Rhetoric(s): Interdisciplinary Perspectives (pp. 155–169). Carbondale, IL: Southern Illinois University Press. Richardson, E., & Ragland, A. (2018). #StayWoke: The language and literacies of #BlackLivesMatter Movement. Community Literacy Journal, 12, 27–56. Rickford, J. and Rickford, R. (2000). Spoken soul: The story of Black English. New York, NY: John Wiley and Sons. Sergeant, S. (2010) Pre-1900s African American Writing for Children. The Tar Baby and the Tomahawk: Race and Ethnic Images in American Children’s Literature, 1880-1939, http://childlit.unl.edu/topics/edi.2010.2010.002.html. Short, K. 2015. Essentials of Young Adult Literature. Northern Illinois University. Smitherman, G. (1972) “English Teacher, Why You Be Doing the Thangs You Don’t Do?” The English Journal, vol. 61, no. 1, National Council of Teachers of English, 1972, pp. 59– 65, https://doi.org/10.2307/812897. Smitherman, G. (1999). CCCC and “students’ right to their own(cid:0)language.” Talkin that talk: African American language and culture (pp. 375-399). New York, NY, Routledge. Smitherman, G. (2000). Talkin that talk: Language, culture, and education in African America. Routledge. Smitherman, G. & Baugh, J. (2002) The Shot Heard from Ann Arbor: Language Research and Public Policy in African America, Howard Journal of Communications, 13:1, 5-24. Smitherman, G. (2006). Word from the mother: Language and African Americans. Routledge. Tatum, B. D. (2017). Why are all the black kids sitting together in the cafeteria? And other conversations about race. Basic Books. Thomas, A. (2021). Concrete Rose. Balzer + Bray. Thomas, E. E. (2019). The Dark Fantastic: Race and the Imagination from Harry Potter to The Hunger Games. New York University Press. Toliver, S.R. (2020). “We wouldn’t have the same connection”: Using read-alouds to build 146 community with Black girls. Voices from the Middle. Tolson, N. D. (2000). 'brutal honesty and metaphorical grace': The blues aesthetic in black children's literature. Children's Literature Association Quarterly, 25(1), 56-60. Tolson, N. (2008). Black children’s literature got de blues: The creativity of Black writers and illustrators. New York: Peter Lang. Paris, D. & Ball, A. (2011). African American Language in U.S. education and society: A story of success and failure. In Fishman, J., & Garcia. O. (Eds), Handbook of language & ethnic identity: The success-failure continuum in language and ethnic identity efforts (Volume 2) (pp. 85-95). Oxford University Press. Phillips, Michelle H. “The Children of Double Consciousness: From the Souls of Black Folk to The Brownies’ Book.” PMLA: Publications of the Modern Language Association of America, vol. 128, no. 3, May 2013, pp. 590–607. Vinson, A. (2020, June 04). Black Language Shouldn't Have to Be Muted for White Readers. Wallace, M., & Smither, S. (2012) PICTURES AND PROGRESS early photography and the making of America American identity. Weaver, M. (2020) Critical Language Awareness Pedagogy in First-Year Composition: A Design-Based Research Study. Doctor of Philosophy (PhD), Dissertation, English, Old Dominion University, DOI: 10.25777 Wheeler, R. S., & Swords, R. (2006). Code switching: Teaching standard English in urban classrooms. Urbana, IL: NCTE. Wible, S. (2006). Pedagogies of the “Students’ Right” era: The language curriculum research group’s project for linguistic diversity. College Composition and Communication, 57(3), 442-478. Wilson, Deleon Miriam, “Interpreting Blackness: A Phenomenological Case Study of African American Young Adult Literature” (2014). LSU Doctoral Dissertations. 2423. https://digitalcommons.lsu.edu/gradschool_dissertations/2423 Young, V. A. (2009). ‘Nah We Straight’: An argument against code switching. Journal of Advanced Composition, 29(1-2), 49-76. 147 APPENDIX A: RESEARCH PARTICIPANT INFORMATION AND CONSENT FORM Study Title: Attending to Black Youth: Black Literacy and Language Practices in Black Children's and Young Adult Literature Researcher and Title: Kaelyn Muiru, Doctoral Candidate Department and Institution: English Department at Michigan State University Contact Information: Muirukae@msu.edu BRIEF SUMMARY You are being asked to participate in a research study. Researchers are required to provide a consent form to inform you about the research study, to convey that participation is voluntary, to explain risks and benefits of participation including why you might or might not want to participate, and to empower you to make an informed decision. You should feel free to discuss and ask the researchers any questions you may have. You are being asked to participate in a research study of Black literacies that can be found in Black children’s and Young Adult literature. Your participation in this study will take about six weeks in total. You will be asked to participate in this book club that will meet twice a week that explores both the racial and linguistic realities of Black youth. All of our discussions will take place in Los Angeles, California. The most likely risks of participating in this study are that your age will be known. However, because you will be creating your own pseudonyms as the participant, this is unlikely. The pseudonyms allow protection of identifying markers about the participants. The potential benefits to you for taking part in this study are participants may get to learn about black literacy practices that center them as students. If participants may need a letter or recommendation for scholarships or college applications, I will be able to provide that. Also, 148 your participation in this study may contribute to future educators, scholars, and researchers to further investigate other ways of teaching and educating Black youth by unapologetically centering their voices. PURPOSE OF RESEARCH The purpose of this research study is to investigate the gap between Black literacy language practices and Black children's and Young Adult (YA) literature. In addition to interviews, and discussions on Black literacy and language practices, Black children’s and young adult literature will be used to provide ways in which Black authors are advocating and affirming Black literacy and language practices. It has already been proven that once Black youth see themselves represented in literature and education that centers them, they feel better about themselves, their intelligence, and their future, the hope then, is for the participants to see themselves, parts of their stories and realities written down in the ways Black authors have worked to represent the beauty and richness of Black youth and their cultures. POTENTIAL RISKS There are no foreseeable risks. PRIVACY AND CONFIDENTIALITY Data for this study will be kept for 3 years after completion. The data will include memo notes, signed consent forms, and audio recordings to ensure the accuracy of the study. Also, to reference the study for larger book projects and teaching presentations. Data will be saved on a personal computer with locked access and destroyed after the 3 years. Still, the data will be stripped of identifiers and used in future research without anyone being aware of the personal information of the participants. If I were to leave MSU, the copy of the data will be taken with me and will not be accessible to others. 149 YOUR RIGHTS TO PARTICIPATE, SAY NO, OR WITHDRAW You have the right to say no to participate in the research. You can stop at any time after it has already started. There will be no consequences if you stop, and you will not be criticized. You will not lose any benefits that you normally receive. COSTS AND COMPENSATION FOR BEING IN THE STUDY You will receive a $25 gift card to amazon for participating in this study. This is to help with any cost of literature that the participants would like to purchase after the study. The books needed for this study will also be provided and given to you for free. I will also provide food and drinks for every book club meeting we will have. RESEARCH RESULTS If the participants of their parents would like me to share the study findings or any additional resources related to the study, it would be no problem to share that information with them. FUTURE RESEARCH Information that identifies you will be removed including your age and real name. However, the pseudonym names you create, and your age could be used in future research. CONTACT INFORMATION If you have concerns or questions about this study, please contact the researcher (Kaelyn Muiru: muirukae@msu.edu, 323-535-7775). If you have questions or concerns about your role and rights as a research participant, would like to obtain information or offer input, or would like to register a complaint about this study, you may contact, anonymously if you wish, the Michigan State University’s Human Research Protection Program at 517-355-2180, Fax 517-432-4503, or e-mail irb@msu.edu or regular mail at 4000 Collins Rd, Suite 136, Lansing, MI 48910. 150 DOCUMENTATION OF INFORMED CONSENT: Your signature below means that you voluntarily agree to participate in this research study. Signature Date _____________________________________________________ Signature of Parent if Assenting Child (ages 13-17) Date ______________________________________________________ ***As required to be in the project, you will be audiotaped/videotaped. Please check the box and initial below that lets me know that you agree to allow audiotaping/videotaping of the book club. Yes No Initials ____________ Yes No Initials of Parent if Assenting Child (age 13-17) ____________ You will be given a copy of this form to keep 151 APPENDIX B: RESEARCH PARTICIPANT INNFORMATION AND ASSENT/CONSENT FORM You are being asked to participate in a research study and your parent is being asked to provide parental permission. Researchers are required to provide an assent form/parental permission form to inform both of you about the research study, to convey that participation is voluntary, to explain risks and benefits of participation, and to empower you to make an informed decision. You should feel free to ask the researchers any questions you may have. Both of you need to agree for the child’s participation in this study. In this assent/parental permission form, the YOU refer to both you (the participating child) and the YOUR CHILD refers to parental permission. Study Title: Attending to Black Youth: Black Literacy and Language Practices in Black Children's and Young Adult Literature Researcher and Title: Kaelyn Muiru, Doctoral Candidate Department and Institution: English Department at Michigan State University Contact Information: Muirukae@msu.edu 1. PURPOSE OF RESEARCH: • Your child is being asked to participate in a research study of Black literacy and language practices in Black children’s and Young Adult (YA) literature. • Your child has been selected as a possible participant in this study because they expressed interest in participating in the book club. • From this study, the researchers hope to engage with Black youth by reading Black children’s and YA literature that the Black youth will feel connected to. 152 • Your child’s participation in this study will take about 5 weeks in total. • In the entire study, I would like at least 10 people to participate. 2. WHAT YOUR CHILD WILL DO: • Your child will be asked to participate in a 4-week, meeting two times a week, book club utilizing a series of short stories with the themes that surround Black children’s and Young Adult (YA) literature. • If your child would like me to share the study findings or any additional resources related to the study, it would be no problem to share that information. I do not foresee any conversations that will cause your child discomfort; also, because I have created this book club in a heavily discussion-based format, my hope is that every participant understands that this book club is engineered to be a place of solidarity and community. 3. POTENTIAL BENEFITS • The potential benefits to you for taking part in this study are that they may like reading more. Many scholars have proven that when Black youth see themselves represented in the literature they read, they are more likely to enjoy reading. However, if this is not the case for your child, their participation in this study may contribute to the understanding of the significance of using Black children’s and Young Adult (YA) literature in classrooms. • Your child will receive a $25 gift card to amazon for participating in this study. This will be given at the completion of the book club and with it, they can purchase whatever they choose. 153 4. POTENTIAL RISKS • There are no foreseeable risks associated with participation in this study. 5. PRIVACY AND CONFIDENTIALITY • Data for this study will be kept for 3 years after completion. The data will include memo notes, signed consent forms, and audio/video recordings to ensure the accuracy of the study. Also, to reference the study for larger book projects and teaching presentations. Data will be saved on a personal computer with locked access and destroyed after 3 years. • The data for this project will be kept confidential. If I were to leave MSU, the copy of the data will be taken with me and will not be accessible to others. • Information about your child will be kept confidential to the maximum extent allowable by law. • We will be meeting in person at a specific location and classroom at the school site. To ensure our privacy. • Pseudonyms will be used for the name of the participants. This is to ensure protection from any identifying markers about your child. • The results of this study may be published or presented at professional meetings, but the identities of all research participants will remain anonymous. • Your child’s name collected as part of the research, even if information that identifies them is removed, will not be used or distributed for future research studies. 6. YOUR RIGHTS TO PARTICIPATE, SAY NO, OR WITHDRAW • Participation is voluntary. Refusal to participate will involve no penalty or loss of benefits to which your child is otherwise entitled. Your child may discontinue 154 participation at any time without penalty or loss of benefits to which they are otherwise entitled. • You have the right to say no. • You may change your mind at any time and withdraw. • You may choose not to answer specific questions or to stop participating at any time. 7. COSTS AND COMPENSATION FOR BEING IN THE STUDY • As previously stated, your child will receive a $25 Amazon gift card. Along with a letter of recommendation if requested. 8. CONTACT INFORMATION • In the case of a research-related injury or if you have concerns or questions about this study, please contact the investigator (Kaelyn Muiru: muirukae@msu.edu, 323-535- 7775). • If you have questions or concerns about your child’s role and rights as a research participant, would like to obtain information or offer input, or would like to register a complaint about this study, you may contact, anonymously if you wish, the Michigan State University’s Human Research Protection Program at 517-355-2180, Fax 517-432- 4503, or e-mail irb@msu.edu or regular mail at 4000 Collins Rd, Suite 136, Lansing, MI 48910. 9. DOCUMENTATION OF INFORMED CONSENT. Your signatures below mean that you both have voluntarily agreed for your child to participate in this research study and the parent has also given permission for his/her child to participate ___________________________________________________ Signature Date 155 _____________________________________________________ Signature of Assenting Child (13-17) Date ***As required for your child to be in the project, they will be audiotaped/videotaped. Please check the box and initial below that lets me know that you agree to allow your child to participate in the audiotaping/videotaping of the interview. Yes No Initials____________ You will be given a copy of this form to keep. 156