SATA
ENTRY TYPE: new
WORK TITLE: THE LAST STAND
WORK NOTES:
PSEUDONYM(S):
BIRTHDATE:
WEBSITE: https://www.antwaneady.com
CITY: La Jolla
STATE:
COUNTRY: United States
NATIONALITY: American
LAST VOLUME:
RESEARCHER NOTES:
PERSONAL
Born in Beaufort, SC.
EDUCATION:Graduated from Clemson University.
ADDRESS
CAREER
Writer. Public speaker at schools and libraries.
WRITINGS
SIDELIGHTS
Antwan Eady is an award-winning picture book creator and children’s book writer. He frequently gives talks at schools and libraries about his books to young readers. In an interview in We Need Diverse Books, Eady talked about his journey to becoming an author. He admitted: “When I was younger, I wanted to be a scientist and a writer. For many years, during and after college, I worked in veterinary medicine and with nonprofit organizations. All of which I’m passionate about. I’ve learned now that it’s okay for us to have several passions and move in directions that allow us to cultivate each of them. I’ve done that. Now I’m writing and existing in a space that feels like a dream every day. This is the dream that I want to give my attention to now.”
In Nigel and the Moon, young Nigel shares all his dreams and aspirations with the moon one night. He wants to be everything from an astronaut and a dancer to a superhero. He isn’t brave enough to share these dreams with his classmates, even at the school’s career week. When he sees how proud his parents are of him, though, he gains the courage to share with others who he wants to be as an adult.
A Kirkus Reviews contributor found it to be “a poignant story designed to help young readers feel good about themselves and where they come from.” A contributor to Publishers Weekly found it to be “a loving exhortation to ‘Dream big… And be proud of who you are.’” Writing in School Library Journal, Elizabeth Lovsin mentioned that “this stirring tale of self-acceptance and parental support is recommended for first purchase.”
The Last Stand centers around Papa Earl as the last Black-owned farm in the community. Earl’s grandson narrates the story and paints the picture of a supportive community despite the trying times. As Earl grows old and tired, his grandson starts taking the produce to the market. The community sees the family struggling and offer a range of gifts to help Earl regain his strength. Booklist contributor Lucinda Whitehurst observed that “the warmth and support of the community shine through as customers send food and good wishes back to Papa.” A Kirkus Reviews contributor called it “a sumptuously illustrated, bittersweet story that’s at once an ode to and a eulogy for Black American farms.”
BIOCRIT
PERIODICALS
Booklist, January 1, 2024, Lucinda Whitehurst, review of The Last Stand, p. 76.
Kirkus Reviews, December 15, 2021, review of Nigel and the Moon; December 1, 2023, review of The Last Stand.
Publishers Weekly, December 13, 2021, review of Nigel and the Moon, p. 70; October 9, 2023, review of The Last Stand, p. 68.
School Library Journal, December 1, 2021, Elizabeth Lovsin, review of Nigel and the Moon, p. 76; February 7, 2024, Betsy Bird, “The Last Stand: A Talk with Antwan Eady and the Newly Caldecotted Pumphreys about the Book.”
ONLINE
Antwan Eady website, https://www.antwaneady.com (September 15, 2024).
Max’s Boat, https://www.maxsboat.com/ (March 21, 2022), Ratha Tep, “Interview with Antwan Eady, Nigel and the Moon.”
Savannah Morning News, https://www.savannahnow.com/ (July 13, 2021), Anne Hart, “Savannah Author Writes First Book, Influenced by Black Writer at Savannah Book Festival.”
We Need Diverse Books, https://diversebooks.org/ (February 15, 2022), Anushi Mehta, “Q&A with Antwan Eady, Nigel and the Moon.”
Originally from Garnett, South Carolina, Antwan Eady is author of the award-winning picture book Nigel and the Moon, illustrated by Gracey Zhang. Down the dirt roads of South Carolina’s Low Country is where Eady’s understanding of—and appreciation for—family, community, and nature unfolded. Now he shares those stories with the world. His upcoming titles include: The Last Stand, Poemhood: Our Black Revival (a Young Adult poetry anthology), The Gathering Table, Micah’s Rise, and Before the Bridge. When he isn’t writing, he’s visiting schools, libraries, and colleges throughout the country. A graduate of Clemson University, Antwan now lives in Savannah, Georgia.
All About Antwan
Antwan Eady is a proud Clemson University alumnus from Garnett, South Carolina. As the youngest of his siblings and the first in his family to graduate from college, he’s spent many years helping others do the same through his work with various organizations.
As an author, he believes children should have literature, and access to them, as resources to inspire them, to save them, and to change their lives. He writes with the intention of occupying a space within literature where the underrepresented may see themselves as the main character.
Eady is the author of the awarding-winning and critically acclaimed picture book NIGEL AND THE MOON along with upcoming titles THE LAST STAND, POEMHOOD: Our Black Revival (a Young Adult poetry anthology), THE GATHERING TABLE, MICAH'S RISE, and BEFORE THE BRIDGE.
When he isn’t writing, he’s visiting schools, libraries, and colleges throughout the country or searching for the best Lowcountry boil in Savannah, GA where he currently resides.
Eady is represented by Steven Malk of Writers House.
You can find him on Twitter @antwan_eady and on Instagram @antwan.eady.
Savannah author writes first book, influenced by Black writer at Savannah Book Festival
Anne HartFor Savannah Morning News
Debut author Antwan Eady of Savannah initially fell in love with words through poetry.
“It was my introduction to the power of words and the ways in which we can use them for good. Like a superpower,’’ said Eady, who grew up in Garnett, South Carolina. “So I’ve always written.”
Cover of "Nigel and the Moon" by Antwan Eady
That poetic influence is strikingly evident in Eady’s upcoming, lyrical children's picture book "Nigel and the Moon" (HarperCollins/Katherine Tegen Books). Eady and artist Gracey Zhang tell the story of a young Black school boy who dreams of moving past his fear of judgment to share his dreams with his class during career week.
“Nigel and the Moon” will be released Feb. 1 2022. Pre-orders are available now at amzn.to/3xCmMTk.
Eady’s journey toward publication began in 2019 after meeting Nana Kwame Adjei-Brenyah, author of “Friday Black,” during Savannah’s Book Festival.
“I often say that that’s the moment when I picked up the pen with intention and refused to put it down again. Here was this young, Black author right in front of me,’’ Eady said. “The connection to that moment and ‘Nigel and the Moon’ is that Nana Kwame showed me that my far-fetched dream was an attainable goal. I saw what was possible for me, a young, Black writer.”
Eady believes had he not met Nana Kwame when he did, he may not be published today.
Eady credits his parents for his love of picture books. For a period of time, Eady’s mom was a housekeeper on Hilton Head Island and she was regularly finding picture books that visiting families left behind. After being unclaimed for some time, she’d bring those books to Eady.
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“But one time, my parents gave me a picture book that was personalized, and it included my name and my siblings’ names,’’ Eady said. “I still remember the joy I felt of seeing our names for the first time in that way.”
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As a writer of novels and poetry, picture books will always have a special place in Eady’s heart.
“I write for children because I want them to have access to experiences they can relate to and/or learn from,’’ Eady said.
Antwan Eady
"Nigel and the Moon" is semi-autobiographical. Eady’s parents and Nigel’s have had the same occupations and Eady aimed to honor his parents, who are now deceased, in that way. Eady wishes his parents could have read “Nigel and the Moon” and knows they would have supported this dream to write books.
A saying that Eady often repeats is “Had I dreamt a thousand dreams, my parents would have supported me a thousand times.”
“I feel like they saw this author life for me long before I saw it for myself,’’ Eady said. “That brings me comfort.”
Similar to Nigel in the book, Eady loved staring at the moon as a kid. “It was my safe space,’’ Eady said. “My parents bought me several telescopes, and there were some nights, I’d just sit on my parents’ porch in South Carolina and pretend to know exactly what I was looking for out there.”
One of Eady’s favorite memories: every night while walking home, Eady would stare at the moon and wish for one of those Incredible Edible toy candy ovens. He wanted to make gummy worms. Eventually, he got one.
Anne Hart
There are more ways in which Nigel’s story has nuggets of Eady’s truth. But Eady thinks Nigel is much braver than Eady was at that age.
Maybe so, but here is this reader’s input: Nigel would certainly be proud of how brave Eady is today.
Eady gives his readers a little advice in the book’s dedication: “For my siblings and their young dreamers. And for you, dear reader. One day you will unlock the secret desires of your heart and fervently pursue them.”
Just like Nigel did in the book. And just like Eady is doing today.
Learn more at antwaneady.com.
Anne Hart is a contributing lifestyles columnist for the Savannah Morning News. Contact her at anne@southernmamas.com. Follow on Instagram at southernmamas. See more columns by Anne Hart at SavannahNow.com/lifestyle/.
Q&A With Antwan Eady, Nigel and the Moon
February 15, 2022 by JoAnn Yao
nigel and the moon header
By Anushi Mehta
Today we’re pleased to welcome Antwan Eady to the WNDB blog to discuss picture book Nigel and the Moon, illustrated by Gracey Zhang and released today, February 15, 2022!
From debut author Antwan Eady and artist Gracey Zhang comes a glowing tale about the young dreaming big. A perfect story to demonstrate how pride in where we come from can bring a shining confidence.
When Nigel looks up at the moon, his future is bright. He imagines himself as…an astronaut, a dancer, a superhero, too!
Among the stars, he twirls. With pride, his chest swells. And his eyes, they glow. Nigel is the most brilliant body in the sky.
But it’s Career Week at school, and Nigel can’t find the courage to share his dreams. It’s easy to whisper them to the moon, but not to his classmates—especially when he already feels out of place.
nigel and the moon cover
Dear Antwan, thank you so much for doing this interview with me!
Thank you so much for having me! We spoke about doing this a while ago, so I’m glad to see it’s finally happening.
Absolutely! Your parents played a large role in your love for picture books. Your mother, a housekeeper at Hilton Head Island, found books that visitors left behind, tell us more about the kinds of books you remember reading? What impact did they have on you? Did it occur to you that you weren’t represented in most of these books?
My parents played a major role in my love for picture books for sure. My mom worked many jobs, but in my younger years, she’d taken on the role of housekeeping on Hilton Head Island. In our part of South Carolina’s low country, this was common. Readers of Nigel will also see one of the other jobs she had because Nigel’s mom and my mom have this job in common. It was my way of honoring my late parents.
With housekeeping, when found books went unclaimed, my mom gifted those books to me. I loved it so much. I don’t recall any that truly stand out… I remember some of the illustrations. I was very young. But the book that stands out to me wasn’t one that my mom found. It was one that she’d purchased, and it was a personalized book that included my name and the names of my siblings. Funny enough, it had something to do with the moon, too!
I don’t recall not feeling represented because my parents were intentional about representation in other ways. My parents had all volumes of the Black encyclopedia. I recall reading those more than anything else. I’d read about Cicely Tyson, Flip Wilson, Redd Foxx, and more. I also had a Black dentist and orthodontist when I was younger, so if not in books, my parents did their absolute best to make sure we saw ourselves elsewhere. Also, I attended a predominantly Black school—elementary through high school. My teachers were Black and they, too, were intentional about our readings from (in my later years) Roll of Thunder, Hear My Cry to Their Eyes Were Watching God and The Color Purple. I need to revisit these as an adult.
That is so wonderful, Antwan. I love the fact that your mother got you a personalized book. I had one made for my children, too, but I think the value of it must have been so different at that time.
Through this book, you say you want to challenge the idea of what the question ‘What do you want to be when you grow up?’ means. This resonated with me so much (even as an adult); I keep wondering why I have to decide on ONE thing! What are your current dreams?
I’m living it now. Truly.
When I was younger, I wanted to be a scientist and a writer. For many years, during and after college, I worked in veterinary medicine and with nonprofit organizations. All of which I’m passionate about. I’ve learned now that it’s okay for us to have several passions and move in directions that allow us to cultivate each of them. I’ve done that.
Now I’m writing and existing in a space that feels like a dream every day. This is the dream that I want to give my attention to now. From here, I’m curious to see where writing takes me. TV/film, plays, and beyond. I don’t have to be just one thing. It took too long for me to realize this.
Wow! I am sure there are things you’ve picked up in veterinary medicine that you’ll be able to use in your writing, too. And I love people who manifest their dreams and goals, unabashedly.
One of the challenging parts of being a picture book author is identifying what words can be eliminated. Your text is lyrical, yet crisp. How did you get it to this level of perfection?
Thank you so much! I’m not sure about perfection, though, haha. I’ve grown so much as a writer since Nigel.
But the reduction/trimming process is what I love about picture books and short stories. No fluff. I’m a wordy person, so I welcome the challenge of saying more while saying less. It makes every sentence punchier. It’s probably my favorite part of the revision process.
Initially, Nigel was written as a first person POV story. There were many drafts and each time, while revising, I’d look for opportunities to trim it down. I also have Mabel Hsu as my fantastic editor.
I agree with you. Saying more with less is my favourite part of the revision process too.
Talk us through your journey from childhood to deciding to become an author. What pushed you in this direction? Were there times you struggled with self-doubt, and how did you move forward? What were the biggest roadblocks and what is the thing you are most proud of?
My journey… hmm. I wrote and illustrated my first picture book in 2007—The Big Big Book of Busy Busy Bees. But it wasn’t for publishing purposes. I didn’t know anything about publishing haha.
In 2019, more than a decade later, I met Nana Kwame Adjei-Brenyah, author of Friday Black, at Savannah’s Book Festival. It was only then that I felt like I could be an author. It took that kind of representation, seeing a young Black man do it, for me to see it was possible. I credit him for much of my “can do it” mentality because I picked up the pen that night and I’ve yet to put it back down.
From there, I learned about literary agents for the first time, too. I took a deep dive into the world of publishing.
Sure, I doubted myself a time or two. But those doubts were minor. I’m resilient, and when I decide I’m going to do something, I do it. I get that from my mom. Which leads me to the question about what I’m most proud of…
I’m most proud of never giving up on myself. My parents passed away five years ago. I’ve lost a sibling as well, and I don’t have any living grandparents. There have been plenty of moments where I could’ve given up on this journey… but I’m proud to have been able to put one foot in front of the other and keep going.
Of course, I’m surrounded by so much love from family and friends. I credit that love and support for getting me here.
I am sorry for your losses. It seems like all your loved ones have had a powerful and positive impact on your life, especially your mother.
Like Nigel, did you ever feel scared of letting your dreams be seen? Talk us through your childhood and growing up Black in America.
Nigel is me… just braver. I’ve always wanted to be a writer, but it isn’t something I shared with others. I’d enter writing contests and win. I’d perform spoken word or share my poetry with others. But I never told anyone it was what I wanted to do as a career. Not until many years later, of course. It felt too far-fetched.
As the youngest child of six, I became the first in my family to graduate from college. That responsibility weighed heavily on me, and choosing this career felt too risky. So I didn’t.
We should take a moment and look at how far you have come—it’s incredible!
The art by Gracey Zhang is done in so few colors, yet it feels explosive and dreamy. Both the text and the illustrations immediately set the tone for a bedtime favorite. Did you give any input for the illustrations? Did you have any thoughts on what Nigel should like (apart from being Black)?
Gracey Zhang is phenomenal! I didn’t really give input. I think the only art note I had was that I wanted to see Nigel on the moon. There was something so powerful about that image in my head… of seeing a young Black boy on the moon. Everything else was the genius of Gracey. I cried every time I received updates.
And a bedtime favorite? Thank you! I’d love that!!!
nigel and the moon quote
I love how the message of this story is two-fold in so many ways. Dream big, dream high, but also that family is the most important thing in the world. The title page (Nigel’s parents checking on him while he sleeps) and penultimate page (the three of them standing together, arm-in-arm) is absolutely evocative. Did this happen by happenstance or was it strategically planned?
Again, all credit to Gracey here. I’d also add that love and support are the most important things in the world. Sometimes it’s found in chosen family too.
I’d like to think Gracey planned this. There’s so much that she put into this book that impresses me every time, including her approach to the colors and the look of the book which reflects many homes here in Savannah, GA—where I reside. Gracey can explain it much better than I can, but she was influenced by homes here.
You wrote your first book on an old, borrowed laptop. What’s your writing set-up and schedule like now?
I did! While working in veterinary medicine, a client overheard me telling a colleague about wanting a laptop. So she gifted me an old laptop! How sweet is that!? This was in 2014 or 15.
I wrote many books with that laptop.
Now, I have a Macbook and my schedule… hmm. I write in a café, usually. My plan is to be there by 11 AM Tuesday to Friday. I use Mondays for authorly duties like updating my website, answering interview questions (like now), and catching up on life. I write on Mondays when I have time too.
I write for an hour or two, then take a quick social media break. I don’t force it, usually. So my schedule varies at times. I go off my mind and body. When I’m tired, I give in to the tiredness to avoid burnout.
Rapid-fire:
What’s a Low Country boil?
Short version without going into the history: it’s my favorite thing in the world. Growing up on the coast of South Carolina, my family’s Gullah Geechee… our boils have shrimp, crab (blue crab), corn, sausage, and potatoes. There’s a method to the madness here. But it’s seasoned to perfection… dumped on an outdoor table and made for all to share! Oh, and I love it fresh! I grew up crabbing, fishing, and all that jazz when I was younger.
Favourite poem:
“Desiderata” by Max Ehrmann. I hope Max wasn’t problematic because I love that poem so much. Someone gifted it to me before I went to college and I’ve had it on my wall since. 13… 14…years later.
Top 3 picture books of 2021:
The Old Boat by Jarrett and Jerome Pumphrey, The Boy and The Sea by Camille Andros and Amy June Bates, and Soul Food Sunday by Winsome Bingham and C.G. Esperanza.
What’s next for you?
I have Micah’s Rise (Katherine Tegen Books/HarperCollins, ill. Ricardo Edwards) coming in 2023. The Last Stand (Knopf BFYR/Penguin Random House, ill. Jarrett and Jerome Pumphrey) in 2024. A second book with Penguin Random House and a few more unannounced projects coming down the pipeline.
Dream project to work on?
Hmmm…Spyke (Evan Daniels) from X-Men, Storm’s nephew. I’d love to do a graphic novel or something about him.
Also, I’d love to see Nigel as an animation.
I can totally see Nigel as a Pixar Short, just putting out there in the universe! Thank you, thank you, Antwan, for indulging me. Your effervescence and hopes are so palpable and it was a pleasure doing this interview.
******
antwan eady headshotAntwan Eady is an author and a dreamer. Originally from Garnett, South Carolina, he spent many nights whispering his dreams; now he proudly shares them with the world. A graduate of Clemson University, Antwan now lives in Savannah, Georgia.
Ratha Tep
Mar 21, 2022
2 min read
Interview with Antwan Eady, NIGEL AND THE MOON
When Nigel looks up at the moon, his future is bright. He imagines himself as…an astronaut, a dancer, a superhero, too! But it’s Career Week at school, and Nigel can’t find the courage to share his dreams. It’s easy to whisper them to the moon, but not to his classmates—especially when he already feels out of place.
Max's Boat Pick:
NIGEL AND THE MOON
Written by Antwan Eady and illustrated by Gracey Zhang
Publisher: Katherine Tegen Books (February 15, 2022)
Buy now
Can you tell me the origin story behind Nigel and the Moon?
AE: "Thank you for this question. Nigel's a story about a young boy who's afraid to tell the world his dreams, so he shares them with the moon at night. I was inspired by my childhood and my love for the moon. The distance between myself and the moon felt like a safe space. I didn't have the language for it in my younger years, but looking back, I realize that's what drew me to it. So, I built upon that. I also used this story to process grief. In the story, Nigel's parents have the same jobs that my parents once had. This was my way of honoring my late parents. But I also wanted to highlight our everyday heroes...ordinary people doing extraordinary things."
What contemporary picture books do you hope will become the classics of the future? "Love this question! Off the top of my head, here are a few that instantly come to mind...books that I've sat with, revisited, and studied. The Old Truck by Jarrett and Jerome Pumphrey, Drawn Together by Minh Lê and Dan Santat, I Talk Like a River by Jordan Scott and Sydney Smith, The Day You Begin by Jacqueline Woodson and Rafael López, The Night Gardener by Terry and Eric Fan, Watercress by Andrea Wang and Jason Chin. A recent book that I love, and I’m certain I’ll study one day, is Soul Food Sunday by Winsome Bingham and C.G. Esperanza."
What picture books coming out in 2022 are you most looking forward to reading? Big and Small and In-Between by Carter Higgins and Daniel Miyares, The Blur by Minh Lê and Dan Santat, Lizzy and the Cloud by The Fan Brothers, and John's Turn by Mac Barnett and Kate Berube."
Do you have a favorite bookstore and / or library? "Bookstore - The Storybook Shoppe in downtown Bluffton, South Carolina. This bookstore has everything I love about children's books, and you can feel it as soon as you walk through those doors. It's magical. They only carry children's books too.
I also love Live Oak Public Libraries in Savannah, Georgia. Years ago, when I was starting out, I researched picture books at these libraries. The librarians there were always so helpful. They believed in me, too. Sometimes they'd give me books straight from the cart before they were shelved. haha."
The Last Stand: A Talk with Antwan Eady and the Newly Caldecotted Pumphreys About the Book
February 7, 2024 by Betsy Bird Leave a Comment
I have a treat for you today.
If you’ve already seen a copy of the new picture book THE LAST STAND by Antwan Eady with art from Jerome and Jarrett Pumphrey then you know how good it is. This is a book that’s already been raking in the starred reviews. SEVEN of ’em, to be precise. We’re talking Publishers Weekly, Kirkus, Booklist, BookPage, etc. Not too shabby, right? I didn’t know any of that when I picked the book up to read for myself, and what I found on the page I found particularly intriguing. Here’s the publisher’s description:
“Every stand has a story.
This one is mine.
Saturday is for harvesting. And one little boy is excited to work alongside his Papa as they collect eggs, plums, peppers and pumpkins to sell at their stand in the farmer’s market. Of course, it’s more than a farmer’s market. Papa knows each customer’s order, from Ms. Rosa’s pumpkins to Mr. Johnny’s peppers. And when Papa can’t make it to the stand, his community gathers around him, with dishes made of his own produce.”
Today, it is my utter delight and honor to speak to both author Antwan Eady and Jerome and Jarrett Pumphrey about the book, where it came from, and a whole host of other things that you will DEFINITELY want to know after you read the book for yourself.
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Betsy Bird: Antwan, thank you so much for taking the time to answer some of my questions today. While this is certainly not your first picture book, it does feel like it may be your most personal so far. Could you tell us a little about how the idea behind THE LAST STAND first germinated? What sparked an interest in writing this book?
Antwan Eady
Antwan Eady: Thank you for having me. I knew one day I’d tell a story about the community I grew up with as well as communities I’ve come to know. I just didn’t know when I’d tell that story. However, in 2020 we witnessed food shortages, supply chain issues and more. And for so many of us, we found solace on Saturday morning trips to the farmers’ markets. There was fresh air, fresh produce, fresh everything. More importantly, we were also able to support farmers who’d gone above and beyond for us during such unprecedented times. That’s when I knew the time to go from idea to story was now more than ever. The Last Stand is a thank you to those farmers.
BB: I think it does precisely that. And Jarrett! Jerome! Thank you so much for answering my questions too! And congrats as well on your (much deserved) Caldecott Honor! So how did you come to the manuscript of THE LAST STAND? And what drew you to this project?
Jarrett Pumphrey: Thank you, Betsy! For having us and for the kind words. Well, I’ll be honest, I had to dig through my email to refresh my memory as to what exactly happened. What my excavation uncovered is that our agent Hannah Mann had forwarded us the manuscript along with a lovely note from Rotem Moscovich, editorial director of picture books at Knopf. Rotem gushed over Antwan’s text (rightly so) and thought we’d be a perfect fit for the art. She hoped we’d see what she saw—a beautifully rich, multilayered, intergenerational story that spoke to audiences both broad and specific. She also wanted us to hear Antwan share his own personal story about growing up in South Carolina, his Gullah Geechee culture, and the history of Black farming in America, so she included a video of him doing just that. Well, Rotem knew exactly what she was doing because, man, did we fall hard for this project. Antwan’s manuscript was everything Rotem said it was and after a brief call with Hannah to confirm that even though this would be the second intergenerational story set on a farm we’d be illustrating (see THE OLD TRUCK), there was absolutely no way we were passing on this project. We really wanted to help Antwan tell this story.
BB: I hadn’t thought about it, but you’re right. This is your second intergenerational farm tale. Huh! Along those lines, Antwan, you also take time to mention that “land is complex” citing sharecropping and lands taken from Indigenous and Gullah Geechee communities. What’s your own personal connection to the community featured in this book?
AE: I was born in Beaufort, South Carolina and raised outside of it in a self-sustaining community like the one we see in The Last Stand. Instead of a farmers’ market, our farmers sold produce and more out of their pickup trucks at convenience stores, on the side of roads, and, at times, they’d drive by our homes to see if we needed anything. Beaufort, SC, is also known as the Lowcountry. It’s a part of a corridor where African Americans, with predominantly West African retention, exist. And we’re known as Gullah or Gullah Geechee. The retentions I mentioned earlier are often seen in our customs and traditions, arts, and crafts, and in our food and language. There’s also a moment in the story where Mrs. Rosa teases Papa for moving like a cootah. Cootah is the Gullah word for turtle. And it’s one of the few words I remember my grandma saying repeatedly when we went fishing. There were always plenty of cootahs around.
BB: Thank you. Jerome and Jarrett, tell us a little bit about your process when you have a manuscript and you have to figure out how to present it. Do you two sketch out your ideas together or come up with them separately?
Jerome Pumphrey
Jerome: This was only our second time illustrating a book together that we didn’t also co-author, so our process is probably still evolving, but what we’ve done so far is we read the manuscript separately to get a personal sense of the visual story (making notes and maybe a few thumbnails). Then we worked our way through the manuscript together, sharing our notes and thoughts, figuring out the visual story spread by spread.
Jarrett: At the time, Jerome was living in Florida. I was in Texas. So, it was a lot of Facetime and phone calls just talking through different ideas and taking notes. Lots of “Ooh, what about this…” inevitably followed by “Um, no, but what about this…” Back and forth. Anything goes. Good and bad ideas. We put it all out there. Eventually, we landed on something that was a blend of both our ideas, compositions that featured both our perspectives. Then Jerome took our notes and did the initial sketches for the dummy.
BB: Antwan, in your Author’s Note you write, “I’ve taken heartbreak and turned it into a story about a boy and his grandfather who now have the last stand at a farmer’s market in a community that can’t afford to lose it. I’ve taken the pain from our world to create beauty in another.” Picture books that do what you have done here stand as correctives and guides for our young readers. What then, to your mind, is the role of a picture book like THE LAST STAND beyond righting a wrong in the real world? What can this picture book do to help?
AE: The Last Stand brings farmers to the center stage. Thus, allowing young dreamers to know that it’s aspirational to become one. The Last Stand also brings Black farmers into a narrative that has overlooked them time and time again.
But, beyond righting a wrong in our world, The Last Stand leaves readers with hope. We see it on the last page where the Pumphrey Brothers are visually telling us that hope and change are on the horizon for this community. Sometimes it’s difficult for us to become (or believe in) what we’ve yet to see is possible, but now, we’ve created a place where hope and change exist. It’s a call-to-action to carry that feeling with us when we finish this story and take that feeling from Papa’s world to ours.
BB: I noticed that the text of THE LAST STAND comes in three acts. In the first act you have the boy and his grandfather gathering and selling. In the second the boy is on his own and he’s uncertain. And in the third it’s just the boy but he’s confident. You repeat specific images, like of gathering the eggs, between the first and third acts. When you’re first figuring out the art, is it clear how to illustrate such scenes from the get-go or do you come around to such decisions later in the process?
Jerome: Wonderful observation! There were some things that stood out from the get-go just on reading the manuscript, such as the rhythm of Earl’s and the grandson’s Saturday routine. There was this clear echo occurring between the acts. That did stand out to us, and we could immediately envision supporting that with similarly rhythmic imagery. It took a bit of experimenting to figure out what the compositions would be and how to have similar images that don’t feel too repetitive or dull.
Jarrett Pumphrey
Jarrett: We love a good visual echo. It’s such a great way to show how things both change and stay the same. We can’t always do it. In LANGSTON, for instance, I don’t think we did it at all—there was plenty else going on in that book anyway. But in this case, it made a lot of sense and occurred to us pretty early on. I think my favorites are the chicken coop scenes. We could have shown those scenes a number of different ways, and even made each instance entirely unique, but it just hit harder seeing it framed the same from inside the coop each time. The trickiest part, as Jerome mentioned, is just figuring out how to do it without it getting too repetitive. One day we’ll figure out doing a whole book where the camera never moves—like, we see an entire story unfold from inside the dog’s house or something—but here, the clear three-act structure made three the perfect number for looking-out-of-the-chicken-coop shots.
BB: Speaking of the gentle repetitions in the book, Antwan you go through the process of collecting the food and then taking it to market/delivery three times, which is reflected in the art. Once I noticed it, I saw that the book is essentially cut into three acts. Was that how you originally wrote out the story, or did you come to that format through the editing later?
AE: Thank you for noticing. Telling The Last Stand in three acts felt right/necessary. I knew I needed to show what a normal Saturday was like for Papa and Little Earl. I knew I wanted to leave readers with hope in the end. But it was in the middle where I wanted readers to understand who Little Earl is and what this community means to him, too. That was Little Earl’s hero’s journey. Of course, there was much story to flesh out thereafter. But the format was there originally.
BB: Jerome and Jarrett, when you were first coming up with ideas for how to illustrate this book, were there any ideas that you came up with that you eventually rejected?
Jerome: There were no scrap-everything moments on this project, which almost feels like a first for us. From first draft to final draft, the main changes were in tweaking compositions to ensure the best experience in taking in the visual story.
Jarrett: Yeah, this one was refreshingly smooth. I think it speaks volumes to how well Antwan crafted his text and how well we connected with it.
BB: That’s awesome. Antwan, did you know the Pumphreys before they came to work on this book? How do you feel about the final art?
AE: A dream collaboration! I knew them through their previous works like The Old Truck and The Old Boat. I’ve had conversations with them online, too, but I’d never met them outside of those spaces. But I was a fan, and they were a dream collaboration for me…one that I didn’t think was possible this early into my career. But what I didn’t think was possible, our editor, Rotem Moscovich, made possible. I can’t thank Jarrett and Jerome enough for sharing space with me here.
With regards to the final art, I feel like so many others. The Pumphrey Brothers are talented, so I consider myself lucky to have them lend that talent to my story. I stare at our book often and I feel joy on every page. It’s vibrant and beautiful. The community that exists here is the type of community I wanted to share with readers, and the Pumphreys delivered that (and more) for sure.
BB: Finally, what’s everyone working on next?
AE: I’m drafting/editing two picture books this year as well as a middle grade novel. So, I’m excited about completing those projects.
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Also, The Gathering Table (illustrated by London Ladd) will be released next year. A companion story to The Last Stand, The Gathering Table is inspired by a special table in my life. It follows a family year-round as they celebrate special occasions around a table in their backyard where food and relationships connect, and Gullah Geechee culture and traditions are shared. I’m thrilled to be working with London, and I’m currently reviewing sketches.
Jerome: I’m working on illustrations for a beautiful story called SO MANY YEARS by Anne Wynter. It looks at the subject of Juneteenth in a way I haven’t seen before. I’m right in the middle of final art for this one. I’m doing the art in acrylic paint on wood panel.
Jarrett: And in the meantime, I’m finishing the text for the next book in our LINK & HUD hybrid graphic novel/chapter book series, LINK & HUD: SHARKS & MINNOWS. The brothers are back, and this time, their imaginations are wetter than ever.
I can’t thank Antwan, Jerome, and Jarrett enough for taking the time to answer my questions today. Thanks too to Kathy Dunn and the folks at Penguin Random House for putting this all together. The Last Stand is on bookstore and library shelves everywhere so go and take a look at it for yourself.
EADY, Antwan. Nigel and the Moon. illus. by Gracey Zhang. 40p. Harper Collins/Katherine Tegen. Feb. 2022. Tr $17.99. ISBN 9780063056282.
PreS-Gr 3--Nigel shares his dreams with the moon: to be an astronaut, a dancer, and a superhero. In the harsh light of day, Nigel shrinks into himself. During career week, he is too afraid of his classmates' reactions to share his aspirations or the fact that his parents do not have "fancy jobs." Nigel's parents are the hue superheroes of this story. They are entirely accepting and supportive of Nigel and his dreams. Speaking to his class, they highlight the value of their jobs, but also proclaim parenting Nigel to be "the best job we've ever had." This unwavering public support finally gives Nigel the courage to share his true self. This story radiates a quiet power. Poetic language paired with bold brushstrokes and saturated colors reveals the magic of the night sky. The juxtaposition of the prosaic daytime scenes, often set against a stark white background, exemplifies the difference between Nigel's nighttime and daytime selves. Nigel is the only child with dark brown skin in his class. While a connection between his race and his anxious isolation is never made explicit in the text, the illustrations suggest a link. Nigel is frustrated that "a dancer like him cannot be found," while looking at a library book featuring one of Degas's dancers, his arm across the page a contrast to the dancer's pale form. The true beauty of this book is the potential breadth of connection. Nigel's worried face by day and his freedom by night will allow numerous readers to empathize and connect their own varied experiences of anxiety and ostracization. Caretakers should be inspired by the recognition that nothing is more empowering to children than loving adults telling them to "dream big" and "be proud of who you are." VERDICT This stirring tale of self-acceptance and parental support is recommended for first purchase. --Elizabeth Lovsin, Deerfield P. L., IL
Copyright: COPYRIGHT 2021 A wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
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Lovsin, Elizabeth. "EADY, Antwan. Nigel and the Moon." School Library Journal, vol. 67, no. 12, Dec. 2021, p. 76. Gale General OneFile, link.gale.com/apps/doc/A686052246/ITOF?u=schlager&sid=bookmark-ITOF&xid=ebabec60. Accessed 2 Aug. 2024.
Antwan Eady, illus. by Gracey Zhang.
HarperCollins/Tegen, $17.99 (40p) ISBN 978-0-06-305628-2
In this expansive exploration of childhood hope, a Black boy named Nigel shares his aspirations--to be an astronaut, a dancer, a superhero--with the moon each night but struggles with whether to share his closely held wishes Earth-side. During his class's career week, he can't find a ballerino who resembles him in any of the library's books, and when he shadows his postal carrier mother "house after house, block after block," rhe moon feels far away. Worried that he's wishing for too much, and aware that his parents "don't have fancy jobs" like those of his largely pink-skinned classmates' parents, Nigel avoids offering up his hopes publicly. But when his folks stop by to speak about their professions, delighting his classmates and mentioning "the best job we've ever had," Nigel finds courage to move beyond comparison. Hitting notes of hope, fear, love, and pride while subtly tackling themes of class, gender expectations, and race, Eady's debut is matched beat for layered beat by Zhang's (Lala's Words) fluid ink, gouache, and watercolor illustrations, which depict Nigel as small but trusting against a looming, ponderous moon. A loving exhortation to "Dream big... And be proud of who you are." Ages 4-8. Author's agent: Penny Moore, Aevitas Creative. Illustrator's agent: Hannah Mann. Writers House. (Feb.)
Copyright: COPYRIGHT 2021 PWxyz, LLC
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"Nigel and the Moon." Publishers Weekly, vol. 268, no. 51, 13 Dec. 2021, p. 70. Gale General OneFile, link.gale.com/apps/doc/A688057720/ITOF?u=schlager&sid=bookmark-ITOF&xid=b5fd88e3. Accessed 2 Aug. 2024.
Eady, Antwan NIGEL AND THE MOON Katherine Tegen/HarperCollins (Children's None) $17.99 2, 1 ISBN: 978-0-06-305628-2
Nigel, a brown-skinned young boy, peers out of his bedroom window and shares his dreams with the moon.
His desire is to become an astronaut, a dancer, and a superhero. With the moon, "his dreams are safe." During career week at school, his class goes to the library to read about various occupations, but Nigel does not find any books with dancers who look like him. When his classmates share their vocational aspirations, Nigel feels shy to admit that he wants to be a superhero. That night, he confesses his fear to the moon: "What if I wish to be too many things?" When his teacher asks the class to share what their parents do for a living, Nigel is ashamed to speak up since his parents "don't have fancy jobs." So, he is stunned when his parents make a surprise visit to his class to speak about their careers and prove to be a big hit with the students. Relieved and proud, Nigel finally gains the courage to share his dreams with his classmates. Zhang's ink, gouache, and watercolor illustrations are charming and thoughtful, effectively capturing both Nigel's anxieties and his fanciful inner world. However, readers may notice tokenism at play since Nigel and his parents are the only brown-skinned characters in the book.
A poignant story designed to help young readers feel good about themselves and where they come from. (Picture book. 4-7)
Copyright: COPYRIGHT 2021 Kirkus Media LLC
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"Eady, Antwan: NIGEL AND THE MOON." Kirkus Reviews, 15 Dec. 2021, p. NA. Gale General OneFile, link.gale.com/apps/doc/A686536621/ITOF?u=schlager&sid=bookmark-ITOF&xid=e248b603. Accessed 2 Aug. 2024.
The Last Stand
Antwan Eady, illus. by Jarrett and Jerome Pumphrey. Knopf, $18.99 (40p) ISBN 978-0-59348057-1
The last farmer's market stand in a close-knit Black community is run by the young narrator's grandfather, Papa, who sells eggs, peppers, plums, and pumpkins to faithful customers: "Don't worry. I've got ripe green peppers, just for you," Papa tells one. Eady (Nigel and the Moon) employs the child's keen observations ("Papa's hair is gray and thin. His movements slow and steady") to help readers understand that the man is aging ("Y'all coming later and later," says Mrs. Brown, when Papa and the narrator deliver plums after the stand closes). One Saturday, Papa's "too tired," and the young narrator works out how to keep the stand going. A wobbly first attempt on Granny's bike gives way to a successful second try involving a wagon; this quiet victory also signals a narrative turnabout as the community for whom Papa has long offered sustenance finds a way to provide for--and gather with--him, instead. In illustrations created with handmade stamps, the Pumphrey brothers (There Was a Party for Langston) convey a feeling of community-created abundance as the narrator reflects on family history in this intergenerational story that hints at larger sociopolitical issues. An author's note concludes. Ages 3-7. Author's agent: Steven Malk. Writers House. Illustrators' agent: Hannah Mann, Writers House. (Jan.)
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"The Last Stand." Publishers Weekly, vol. 270, no. 41, 9 Oct. 2023, p. 68. Gale General OneFile, link.gale.com/apps/doc/A770540039/ITOF?u=schlager&sid=bookmark-ITOF&xid=410797d9. Accessed 2 Aug. 2024.
Eady, Antwan THE LAST STAND Knopf (Children's None) $18.99 1, 30 ISBN: 9780593480571
The story of one Black farmer stands in for the plight of many.
The young Black protagonist who narrates the story farms with his grandfather, Earl, whom he calls Papa. Once one of many Black farmers who sold at this market, Earl's now the only one left, selling homegrown pumpkins, peppers, and plums. In this tight-knit community, folks look out for one another like family. When Earl is too tired to go to the market, his grandson harvests and sells the produce without him. But Earl's customers send the boy home with goods to help Papa heal: pumpkin pie, stuffed peppers, candied plums, and plum jam. References to color abound in both text and the art: Papa's black hands, which can make and fix anything; the black night sky in a community with no streetlights; Papa's blue truck; the purple plums. The Pumphreys' bold, stunning artwork, created with digitally edited handmade stamps, perfectly captures the pace of hot summer days in the rural South, the joy of growing produce for others, and the sadness of losing these important sources of nutritious food and community. In an author's note, Eady calls his heartfelt tale both a love letter to a fading way of life and an apology to those facing the racism that has contributed to the decimation of Black-owned farms.
A sumptuously illustrated, bittersweet story that's at once an ode to and a eulogy for Black American farms. (Picture book. 4-7)
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"Eady, Antwan: THE LAST STAND." Kirkus Reviews, 1 Dec. 2023, p. NA. Gale General OneFile, link.gale.com/apps/doc/A774415060/ITOF?u=schlager&sid=bookmark-ITOF&xid=dea8c8ee. Accessed 2 Aug. 2024.
The Last Stand. By Antwan Eady. Illus. by Jerome Pumphrey and Jarrett Pumphrey. Jan. 2024. 40p. Knopf, $18.99 (9780593480571). PreS-Gr. 2.
A young Black boy narrates the story of his grandfather's stand at the farmers' market. Papa, with dark brown skin and white hair, harvests pumpkins, peppers, and plums, while the boy gathers eggs. Together, they take Papa's blue truck to the weekly market, and the narrative maintains a matter-of-fact tone amid worrying undercurrents. There used to be five stands at the market; now there is only one. Papa is getting older; some days he is too tired to pick the crops, so the boy does it instead. Too young to drive, the determined child carries as much as he can on Granny's bicycle. When that plan proves less than successful, he engineers a way to hook a wagon to the bicycle. The warmth and support of the community shine through as customers send food and good wishes back to Papa. The Pumphreys' illustrations, created with their signature handmade stamps, capture the spirit of the setting and characters, portraying them as hardworking, caring people looking out for one another. Throughout the illustrations are small signs reading "Support Black Farmers," and Eady's author's note explains more about discrimination from the U.S. Department of Agriculture. This multilayered story can be shared either as a family pulling together to keep their business running or as a deeper exploration of a situation many Black farmers and communities have faced.--Lucinda Whitehurst
Copyright: COPYRIGHT 2024 American Library Association
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Whitehurst, Lucinda. "The Last Stand." Booklist, vol. 120, no. 9-10, 1 Jan. 2024, pp. 76+. Gale General OneFile, link.gale.com/apps/doc/A780973562/ITOF?u=schlager&sid=bookmark-ITOF&xid=d65ead9b. Accessed 2 Aug. 2024.