age range: 8-12
genre: contemporary fiction; magical realism
setting: Senegal
Leah Henderson’s website
discussion and activity guide

Debut author Henderson’s depiction of Senegalese life is well researched and warm with affection….Mor’s drive to do right and his love for his family are unmistakable. Keep an eye on this author!
— Booklist

Through tight, polished sentences and a smattering of regional vocabulary, debut novelist Henderson believably evokes the harsh realities of the impoverished seaside village and the resilience of its residents….Mor’s indomitable spirit, love for his family, and refusal to give up make him a fascinating and well-rounded protagonist.
— Publisher’s Weekly

Thanks so much for inviting me to Classroom Connections!

You’re welcome, Leah. I’m excited to have you on the blog today — the day of your paperback release! Please tell us about your book.

One Shadow on the Wall takes place in contemporary Senegal and is laced with magical realism. It’s about a newly orphaned boy named Mor Fall who must decide between doing what is right and what is easy in order to keep a promise he made to his father before his death. With an aunt ready to separate Mor and his sisters the first chance she gets and a group of boys ready to take all he has, Mor must figure out ingenious ways to keep his family safe and together. At its roots, this story is about love and loss, family and friendship, and creating your own future—even if it’s hard to do.

What inspired you to write this story?

A few years ago, while on a trip in Senegal, West Africa, I happened to glance out a car window and locked eyes with a young boy sitting on a beach wall. I’m not sure what it was about him, or that moment, but it stayed at the forefront of my mind all day. Later when I went back to the town where I’d first seen him, I saw him again.

This time I asked permission to take a photograph. Moments later, I stood, staring at it. I remember feeling like the boy was saying so much to me in that image. I felt like he was daring me not to see who he really was, as if most people had overlooked the essence of him so many times before. I know it may seem a bit far-fetched that I might have felt all this from a simple photograph, but I did. And I remember thinking at the time: “I do see you.” The whole encounter took less than 90 seconds, but it was the start of a story for me. My way of letting him know he wasn’t invisible to me.

In a number of interviews you discuss your research process for this book. Why was doing research for this particular story so important to you? Could you share with readers how you conducted some of your research?

From the minute I started writing this story I knew I knew nothing. I was a visitor to Senegal, and had only been two times before that. No part of me felt like an expert on the country or her people. At every step I was hesitant. I knew I had to do research!

This all started with a 10-page story that I shared with a professor in graduate school never thinking it would go any further than that. Where I just wanted to process the young boy’s challenge, my professor saw the start of a novel.

For almost a year I dragged my feet, not sure this was my story to tell. Then my father told me not to stand in the way of that boy seeing his possibilities on the page. I agreed. And in order to do that, I needed to learn as much as I could to create a fully rounded world for Mor and his community.

I was fortunate enough to be able to go back to Senegal to do that research. When I stepped off the plane, my senses were my guide. I watched, listened, recorded, wrote, touched, tasted, and experienced everything I could in every way that I could. Never knowing what I might need or how I might use what I compiled. For me, it was about being as present as possible while I was in the country. I asked a ton of questions and tried everything that I could. I filled notebooks, took endless amounts of photographs, tried different foods, squished fish guts, and did so many other things that I thought my character Mor might do.

What are some special challenges associated with introducing a setting your audience might be unfamiliar with?

Senegal is an amazing country, but it is also a place many of my readers maybe unfamiliar with. I wanted people to experience the heartbeat of the place like I had, but I also realized since they couldn’t see what I could see, and hear what I could hear, and touch and smell what I could experience I had to find a way to show that on the page. Daily life in the village I envisioned can be a bit different from here. I knew many readers would have no reference point or perhaps a very imbalanced one. African communities are not always shown in the best light. And I wanted to give a bit more balance in my story, if I could.

At times I found myself overwriting, unsure if my words were capturing the essence of a moment. Also, because certain things might be new to my audience I had to do more explaining in general which at times during revision felt like it was pulling me out of the story.

Basically a bit of world-building had to happen before I could even get to the heart of Mor’s journey. And that happened over many drafts!

What topics does your book touch upon that would make it a perfect fit for the classroom?

My hope is that it can be utilized many different ways in the classroom. Mor’s story is unique in some aspects, but there are also notes of similarity as well.

One of the first things I talk about with students is how I found my way into writing this book—through finding my commonalities with Mor and building on those to understand how and why our life experiences may be different.

I ask students to write about their own summer experiences and then we compare them to Mor’s. Students are always surprised by how much they have in common when things are simplified. Shared love of sports, family, or the summer months. Many young people also experience bullying and this story may be a way into a larger discussion on the topic as well.

Cultural elements are also strong in this book. Exploring more about the country itself could be a wonderful addition to any unit on Africa.

Thank you again for having me today, and thanks, everyone, for taking the time to learn more about One Shadow on the Wall.

age range: 10-12
genre: contemporary fiction
Corabel Shofner’s website

It’s not often that a book gets everything so right: characters, plot, setting, voice. It’s even rarer to find all that in a first novel. But Shofner has taken all the established, important elements of a good middle-grade novel, given them a brisk shake, and served them up to readers in way that both entertains and enlightens.
— Booklist, starred review

One undersized but indomitable tomboy tackles tough issues with wry humor as she attempts to create the home and family for which she yearns . . . Ruby’s folksy precociousness and determination are as endearing as her realization that the world is not perfect and that love comes in pieces. . . . a rollicking read.
— Kirkus Reviews

Plucky and wise beyond her years, Ruby relies on hope and common sense in equal measure, and her voice is the star of Shofner’s debut novel . . . A quirky and ultimately uplifting tale, perfect for fans of Kate DiCamillo and Joan Bauer.
— School Library Journal

Please tell us about your book.

Almost Paradise is a reverse coming of age story. Ruby Clyde has taken on the adult role in her family. I have seen this often and think it is a tragedy because the child loses her childhood, yet adults often praise them for being grown up.  After Ruby Clyde’s mother is arrested, she must find worthy adults and learn to trust them. In this way she is able to reclaim her childhood.

That said, Ruby Clyde is a clear-headed, spirited little human who stands on her own two feet and tells it like she sees it, which is often funny.

What inspired you to write this story?

Inspiration comes AS I write. It usually begins with a character.

With this story, I was in bed, having just been diagnosed with multiple sclerosis. Full of steroids and uncertain of the future, I began writing. A child marched into the room and while bouncing on the bed she announced:

“My name is Ruby Clyde Henderson and I am not stupid. What’s more, I look like a boy, even at my age—I am skinny, and as my mother says, ‘flat as a pancake.” So when I want, I tell them my name is Clyde, and when I don’t want, it’s Ruby. Some don’t even believe I’m a girl, with my hair being so short. It’s funny, people tell you not to lie, but they hardly ever want to hear the truth. If you try to tell it, they call you a liar. Liar, liar, pants on fire. But if you lie, they believe you.”

Ruby Clyde is a self-proclaimed healer. I believe writing can heal and I believe that my good health, despite a dreadful disease, is in large part due to writing Ruby Clyde.

Could you share with readers how you conducted your research or share a few interesting tidbits you learned while researching? 

I did much legal research and then told it through a child’s eye, so the law is a bit simplistic but clear, I hope. I am a lawyer in Tennessee but I had to research Texas law. I sat in on a couple of trials in Austin, one of them for what was known as the yogurt shop murders which was chilling. I spent much time in the Texas Hill Country which is one of the most beautiful places on earth. It is a lot like Israel. Dramatic and dry, rocks and twisting trees. In many ways this book is a love letter to the Hill Country. I love the spirit of Texans. I researched Peach Orchards outside of Austin and learned the difference between freestone and cling peaches, which is how much the peach clings to the pit. Long ago, I met briefly an Episcopal solitary nun but I had to find another one to answer all my questions. How to get in? How to get out? Can she live in solitude on donated land? Can she wear whatever she wants even if it is a full habit with a wimple? Could a child come live with her on the ranch? Can the nuns sell peaches?

You lean on Charles Dickens, especially Oliver Twist, to tell your story. What are some special challenges to using a book within a book?

Ruby Clyde is a reader, and the book she reads helps shape and give depth to the story. But this can be tricky. A writer must find the right passages from a book to trigger insights. Too much information might be boring. Dickens works on many levels for me: reflecting the plot, enhancing Ruby Clyde’s character, and leading readers to want to read Dickens.

What topics does your book touch upon that would make it a perfect fit for the classroom?

Confidence and problem solving.

Children who take on the adult role.

Children with incarcerated parent. (Legal system.)

Vocabulary — Ruby Clyde often refers to her “wordly wizard” workbooks.

A thematic use of Charles Dickens’ books.

Children surviving in a damaged family.

Finding trustworthy adults and reclaim childhood.