Dorothea Lange, National Hispanic Heritage Month

National Hispanic Heritage Month (Sept. 15 - Oct. 15) comes on us so fast at the beginning of the school year that sometimes it doesn't get much attention. I just found some incredible photographs by Dorothea Lange in the California fields of the migratory Mexican farm workers.

Mexican picking melons in the Imperial Valley, California

 Children of migratory Mexican field workers. The older one helps tie carrots in the field. Coachella Valley, California. Feb. 1937

Migratory Mexican field worker's home on the edge of a frozen pea field. Imperial Valley, California

(If you look closely, you can see a girl peeking out of the doorway.)

Migratory Mexican field worker's home, March, 1937. Dorothea Lange

Lange also photographed workers arriving as part of the Braceros Program. We called them "guest workers," they called themselves enganchados, the "hooked ones." Here's more about the controversial Bracero Program.

First Braceros, 1942. Dorothea Lange

Want to teach your students about what it was like to be a child working alongside your parents in the California fields? Here's a great lesson plan, Children in the Fields:, by Theresa Chaides at Marquez Charter Elementary School.

Tribute to Maurice Sendak

Sendak was a querulous, opinionated genius. He was grumpy, but he was our grump. We revered him, and feared him, all in the same moment. We loved how he wrote and illustrated dark, savage, powerful, and hopeful picture books. Books where kids triumphed.

He started, decades ago, illustrating other authors' books. Here's my favorite, much beloved book when I was a child:

Years ago, Sendak came out to Berkeley and autographed books at Cody's. I stood in a long, long line, inching my way forward. We were told to hold our books out, open to the page to autograph. Sendak didn't look up, just scribbled his name, reached for the next book. I held out my book, Charlotte and the White Horse by Ruth Krauss. He looked up, startled. "I haven't seen this book for a long time," he said. "Tell me your name, and I'll put your name in."

And he did.

I read Charlotte's White Horse over and over, carefully penciled in my initials under my godmother's signature. Later I realized my initials weren't supposed to be there, so I just as carefully erased them.

 I loved this book because it was a book about a girl and a white colt. Her father tells her he's going to sell it to save money to send her little brother to college one day. She begs her father to let her keep the colt, and he agrees. "And ever after, every morning, she groomed him and they went for a gallop and in the evening she tucked him in and said goodnight."

A book where a father understood, and a girl triumphed.

So how did the Dorothea Lange shoot go?

 Months ago my friend Dyanna Taylor asked if she could shoot interviews with her scholars at my dad's house. On her sixth application --- sixth! -- to NEH she finally got funding for her American Masters film on her grandmother, Dorothea Lange. The crew arrived with an unbelievable amount of stuff, and took over the living room, dining room, kitchen, even my bedroom. Cameras, monitors, sound equipment, black out shades and sheets, huge backdrops.

For days I watched Dyanna interview the scholars. Amazing people like Clair Brown, Sally Stein, Linda Gordon, and Anne Whiston Spirn. Even though my dad's house is huge, once all that equipment was in place, we had a fairly small hidey-hole to do the interviews. Here's Dyanna interviewing, a camera lens over her left shoulder.

Then it was my turn. First, make-up.

 Get wired for sound. 

 Look over notes one last time while Dyanna adjusts the lights.

Keep pencil in hand for whole interview to be able to think clearly. Be serious said Dyanna, and so I was.

Now Dyanna has to go home, head for her next hidey-hole, an editing room. She has to take the interviews, the footage she's shot, the archival photos and interviews and footage she's collected, and make it into an hour and twenty minute documentary.

I'm telling you my writer friends, we have it easy. One little hidey-hole... our writing room... with our papers and books and flights of imagination. Easy street.

Thanks to Paul Marbury and Allyson Feeney for the photos.