All things Dr. Seuss were in the air Monday at the 42nd branch of the New York Public Library, including a sea of students sporting Cat in the Hat  hats in an attempt to set a Guinness Book World Record, a read-aloud of Mr. Brown Can Moo! Can You? by NASCAR Cup Series champion Jeff Gordon, and even a visit from the Cat in the Hat himself. These festivities marked Random House Children’s Books and Dr. Seuss Enterprises’ launch of the “Hats Off to Dr. Seuss!” campaign, a yearlong celebration of the famed children’s book author that coincides with the 75th anniversary of The 500 Hats of Bartholomew Cubbins.

This first stop for the campaign also included an announcement of a new partnership between Random House Children’s Books, Dr. Seuss Enterprises, and the Jeff Gordon Children’s Foundation, an organization dedicated to finding a cure for pediatric cancer.

Meghan McCarthy, Susan Kuklin, Sue Macy, and Deborah Heiligman at NYPL’s Ethics & Nonfiction Panel.

The best juvenile nonfiction strives to be both entertaining and enlightening, but writing a book that is both factually accurate and enjoyable can be a big challenge, says author and illustrator Meghan McCarthy. McCarthy was on hand recently to discuss these issues with some of her peers at New York Public Library’s latest literary panel, “Ethics and Nonfiction,” held on January 5. NYPL Youth Materials Specialist—and SLJ blogger—Betsy Bird moderated.

For these authors, a strong commitment to conveying the truth is paramount. When Deborah Heiligman wrote Honeybees (National Geographic, 2002), it wasn’t until the last possible minute that she noticed a factual error that the book’s illustrator had made: several bees are depicted flying in curlicues, not in a beeline as the insects actually travel. While it was too late in the publishing process to correct the mistake, Heiligman’s consternation over this relatively minor detail illustrates the strict allegiance that many authors have to accurately representing their subjects.

Panelists addressed the tension between crafting a good story and correctly portraying their subject. “It’s so hard to…infuse the story with excitement and stick to the letter of the law,” said Sue Macy, who wrote a precise history of women’s basketball in Basketball Belles (Holiday House, 2011) but wished that the book had been more entertaining in places. “I fight myself on this all the time because you want people to read the book but you also want to be accurate.” She is currently dealing with this very issue as she works on a picture book on women’s roller derby in the 1940s. One moment in her book—a character jumping over the railing during a game—may not have actually occurred, but Macy (who will note for readers that this detail represents creative license on her part) believes this addition will enliven the narrative.

Though Heiligman disagreed with Macy about this particular example, she, too, acknowledged the difficulty of adhering to the facts when constructing a narrative. In her picture book The Boy Who Loved Math (Roaring Brook, 2013), the story of Hungarian mathematician Paul Erdös, she eliminated a line about how her subject’s sisters died of scarlet fever while he was being born, stating that she felt this would set a depressing tone and distract young readers from the rest of the book.

Authors also discussed the problem of how to proceed when not all the facts are available to them. When Susan Kuklin wrote Iqbal Masih and the Crusaders Against Child Slavery (Holt, 1998), the story of a Pakistani boy who became an activist against child labor, she came across conflicting information about the boy’s death. Unsure whether his death at age 12 was an accident or murder, she included both possibilities in her book. In this case, this was a “blessing in disguise,” as it provided opportunities for students to debate this question for themselves.

Panelists concluded by discussing the problem of information that some might see as inappropriate for younger readers. When working on Mary Leakey: In Search of Human Beginnings (W.H. Freeman and Co., 1995), Heiligman had some reservations about depicting Leakey’s affair with Richard Leaky, wondering if it would affect book sales, but ultimately included it. Macy said that when she was recently asked to write a middle-grade book on astronaut Sally Ride, she needed to be able to include that Ride had a same-sex partner, Tam O’Shaughnessy. Though her publishers were wary of the book being labeled a coming-out biography, Macy felt strongly that she needed to incorporate Ride’s relationship with O’Shaughnessy in order to honestly portray her life.

Ultimately, Heiligman’s words underscored the importance of accuracy in children’s nonfiction: “We have to make the choices as nonfiction writers to be…honest and true.”

Bullied when she was a girl, author and illustrator Frieda Wishinsky got payback by using her childhood persecutor as source material for her books. So Long Stinky Queen (Fitzhenry and Whiteside, 2000) is about two elementary school students who turn the tables on a bossy classmate, while You’re Mean, Lily Jean! (Albert Whitman, 2011), shows how a little girl finds a funny, effective way to stand up to her older sister’s overbearing new friend.

Wishinsky, the author and illustrator of over 60 picture books, says that her experience of being bullied taught her the importance of asserting herself. One of several authors participating in “Bullying in Books for Youth,” a New York Public Library Children’s Literary Salon on October 20, she advises using humor to outsmart bullies, much as her characters have done.

Authors Paul Griffin, Madeline George, and others on the panel, which coincides with National Bullying Prevention Month, discussed their personal encounters with cruel classmates, the healing power of books, and their advice to young people today—the bulliers along with the bullied.

Like Wishinsky, author Susane Colasanti drew from her own experiences when writing her semi-autobiographical novel Keep Holding On (Viking, 2012) about an abused girl who is teased and taunted by cruel classmates. “My purpose with every book is to reach out to teens and help them feel less alone,” she said.

Moderator Betsy Bird, NYPL youth material specialist and School Library Journal blogger, observed that current books often give the topic nuanced treatment by blurring the lines between bully and victim or by depicting perpetrators sympathetically. For instance, Dav Pilkey’s Captain Underpants and the Terrifying Return of Tippy Tinkletrousers (Scholastic, 2012), about two boys who take revenge on their tormenter with a series of pranks that soon become far worse than the original bullying.

Others concurred that the persecutor/victim divide is not always so clear. Paul Griffin, who has worked with incarcerated and at-risk teens since 1989, observed that bullies themselves are often victims of abuse. His own young adult novel, Stay with Me (Dial, 2011), includes a scene where a persecuted boy lashes back at his attacker, becoming a victimizer himself.

Similarly, author Colasanti imbued the antagonist of Keep Holding On (Viking, 2012) with a complex backstory and motivation for her malicious actions. Like Griffin, she feels that books showing bullies as well-developed, realistic characters, rather than one-dimensional villains, are much more powerful.

The authors also touched on how books can lead to positive changes in the lives of their readers. Griffin described an experience with a troubled teen during a school visit. One student responded enthusiastically when Griffin read a passage depicting a graphic act of brutality from one of his novels. Griffin learned that the teen was being severely bullied and was on the brink of violently retaliating. According to Griffin, “That kid that day needed to hear that scene” in order to voice his problems—bibliotherapy in action—and the author was able to ensure he received the support he needed.

George’s novel, Looks (Viking, 2008), about the unlikely bond between two outsiders—a silent overweight girl and a sharp-tongued anorexic poet—may provide therapeutic value of a different sort, she suggested. The book’s ambiguous ending offers only a “very slender thread of hope” that life will improve for her protagonists, she said. Panelists agreed that starkly realistic, honest works like this with uncertain resolution often resonate most with teens, as they did with George when she was a young adult.

Participants concurred that the best way for young people to cope with bullying is by having the courage to reach out to others. Griffin advocated getting young people together to discuss their problems, and Wishinsky agreed: “Don’t be that isolated kid, get a friend. If you can give anyone advice, it’s get a friend…so you’re not alone.”

Pincus, who spoke at the lecture, “Avoiding the Echo,” encouraged bloggers to explore other passions outside of children’s and YA literature. He mentioned Susan Taylor Brown, who blogs about poetry, but who’s also attracted a larger following by sharing her love of photography on her Facebook page. He also suggested that bloggers visit seemingly unrelated sites, explaining that once he stumbled upon a crafting site that drove traffic to his blog by linking to one of his posts. Although Pincus’s own blog isn’t craft-related, he spent time posting on the site and recommends doing the same because new fans can turn up in unlikely places.

Pincus advised bloggers to turn into trustworthy experts in their fields by publishing high-quality content and establishing a reliable online presence. Pincus brought up Lee Wind, whose blog I’m Here, I’m Queer, What the Hell Do I Read, which examines books with LGBTQ themes geared toward young people. Wind often moderates comments for hateful speech and provides a safe space for teens. Since his site is often used as a resource for young adults questioning their sexuality, Pincus also cited him as a blogger who’s succeeded in reaching audiences far beyond fans of children’s literature.

Pincus also advocates blogging about niche topics, rather than just writing about children’s books in general. For example, the popular blog, The Children’s War, also explores historical fiction and nonfiction set during World War II.

Above all, Pincus urged bloggers to share their love of children’s literature with others.

“Bring your love of the world of children’s literature to the rest of the world because they do want to hear it. They just don’t know it yet.”

From left: Biophilia co-creator Curver Thoroddsen, Bjork, Chris Shoemaker, NYPL's young adult programming specialist. Photo: Jonathan Blanc, NYPL

Biophilia uses the track listing from Björk’s 2011 album of the same name to create 10 “in-app experiences” that explore the relationships between technology, art, music, and natural phenomena, using an innovative approach to teaching kids about science and music. The apps, designed by Björk, along with interactive artist Scott Snibbe and a team of developers, includes an interactive game, musical animation for each song, an animated score, lyrics, and text that help students learn about different musical features while exploring the ideas behind each song.

“It’s not a bookish thing,” Bjork said at the unveiling the educational program on Tuesday. “You cannot learn to make music … from a book. There are things you can only learn from books, but it’s also important to introduce the physical aspects. So for me, it was very important to make, somehow, music education that was physical.”

Starting in July, two NYPL branches—one in the Bronx and the other in Harlem—will offer five weeks of Biophilia programs aimed at middle schoolers. The classes will expand to additional branches in September and October. The program is free, and there is no cap on the number of participants, says NYPL’s Adenike Olanrewaju. From July 6 to December 30, the Children’s Museum of Manhattan will host daily drop-in programs for children ages 3 to 11, including summer camps and school groups.

“The world of education is changing, and I am so proud that the library is involved in providing programming and supporting the tools that will allow young people—our future—to continue to learn in new, interactive, and exciting ways,” says NYPL President Anthony W. Marx. “The Biophilia app makes knowledge more accessible to children, and inspires them to learn more—both key missions of the library, as well.”

The inspiration behind Björk’s educational apps came from the heavy academic emphasis she experienced during her formative years in music, and says education should be more hands-on. The Biophilia education program is scalable, making it easy for any teacher or librarian to adapt for classroom use.

“I’m so honored that the New York Public Library and Children’s Museum of Manhattan are up for this,” says Björk, a longtime advocate for education through the arts. “I’ve spent four years on Biophilia, and these are dream homes for the project.”

This isn’t the first time Björk’s mixed her music with New York City kids. Last February she joined forces with the New York Hall of Science in Queens to present a three-week educational program for middle schoolers also focused around her Biophilia app album. She developed similar programs in Manchester, England, and her native Iceland.

Fast Company magazine included Björk in their list of the “100 Most Creative People in Business,” and earlier this week, Snibbe presented the singer with the Webby Award’s “Artist of the Year” honor for her work integrating science, art, and technology. The New York Times described Biophilia “among the most creative, innovative and important new projects in popular culture,” and iTunes named the app one of the top five music apps of 2011.

“Biophilia is at the forefront in the development of arts-based education and the development of a child’s creative thinking,” says Andrew Ackerman, CMOM’s executive director. “Its portability allows for learning to take place anywhere—at school, the library, and in a family setting at home. By leveraging the extensive network of the Center for Arts Education in combination with the NYPL, we will be able to reach thousands of children and teachers over the next six months.”

Information about NYPL’s Biophilia programming and CMOM’s Biophilia programing is now available.

Check out Björk’s Biophilia moon app tutorial.