You have changed my life, in the same way that I hope to have changed yours. “ I would like to offer a special thank you to the many teachers, librarians, students, and parents who love and champion my books. I hope that readers of all ages will see the kindness and understanding that my characters exhibit and emulate those feelings in their day-to-day lives. That’s why it has always been important to me to show kids of color as just regular kids, and to create iconic African American characters like Jordan Banks from New Kid. Books aimed at kids like me seemed to deal only with history or misery. But through it all, what has not changed are my goals for my books: helping kids become the kind of readers that I never was letting kids see themselves on my pages and showing kids of color as just regular kids.Īs an African American boy who grew up in Washington Heights in New York City, I almost never saw kids like me in any of the books assigned to me in school. “ Many aspects of my life have changed drastically since my book New Kid became the first graphic novel to win the Newbery Medal. Sign up for the HouWeAre newsletter here.Ĭraft’s posted his response on the Office of Intellectual Freedom of the American Library Association’s site. So goes Verhoeven, who once again rolls in the mud of worldly urges: The grinning auteur behind Showgirls isn't above a little showing of some flesh, but he isn't below the high-flown theatrics and blurred moral reasoning of wartime espionage, either.We want to foster conversation and highlight the intersection of race, identity and culture in one of America's most diverse cities. An answer arrives with the closing credits.Įllis' story has it both ways - it's irrepressible and doomed, the oxymoronic mindset of a heroine who can't help but endure. ![]() Ellis utters both of them: "While there's life, there's hope" and "Will it never end?" The first, quoting Cicero, strikes a note of optimism that's quickly supplanted by the murky fatalism of the second. At its conclusion we return there, two bromides echoing in the distance. We know she survives because the film opens on her life in an Israeli kibbutz, circa 1956. It hurries from raids to hidey-holes to postwar recrimination against Nazi collaborators, and through it all, our plucky protagonist remains unscathed. Verhoeven, a survivor of the Nazi occupation, penned the script with frequent collaborator Gerard Soeteman - who also co-wrote their 1977 take on the Dutch World War II experience, Soldier of Orange. Video of Houston security guard weeping at Kendrick Lamar concert racks up 11 million viewsĪt some point the black book of the title enters the picture, suggesting tangled layers of betrayal.Time Magazine's newest cover featuring Brittney Griner is drawing mixed reactions.Yankees trade for Andrew Benintendi, taking a bat off the board for Astros.How Lance McCullers stepped up when 11-year-old Astros fan had his glove stolen.Texas troopers are causing car chase fatalities and racially profiling drivers under Abbott’s border crackdown, complaint claims. ![]() This is how astronauts see Houston, Texas Gulf from space with unaided eyes.WATCH: Selena Quintanilla's official video for Tú, Sólo Tú is released almost 30 years later.The plucky heroine promptly goes undercover as Müntze's secretary-cum-concubine, and before long she's whooping it up with drunken Nazis in the last bacchanalian spasms of World War II. Too convoluted to recount, the story follows Ellis from the death of her parents and brother at the hands of Nazis - during a botched nocturnal flight from Holland - to her subsequent rescue by the Dutch Resistance, for whom she agrees to work. The movie consciously evokes both Greta Garbo and Mae West (is that a pistol in his bedsheet, or is he just glad to see her?) along with every other over-plotted, melodramatic spy puzzler ever made. So begins their torrid fling, which is less the point of Verhoeven's epic than the swinging excuse for many of its most enjoyable clichés. "Are these Jewish?" Ellis asks, placing his hands on her breasts. Within minutes of this two-edged philatelic conversation, Ellis is on her way to buck naked and Müntze is spotting brunette roots under the blonde. Such is a typical nugget of dialogue between the sultry Ellis deVries ( Carice van Houten), a spy for the Dutch Resistance, and Reich hottie Müntze ( Sebastian Koch, The Lives of Others), the Gestapo head in the Hague.
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