A Gift for Amma: Market Day in India, by Meera Sriram, illustrated by Mariona Cabassa, is out just this month from Barefoot Books. Just when I found myself getting used to staying put in one place, this book arrived to tug at my memories of India. Cabassa’s art conjures the deep, vivid palette of the region and the convoluted silhouettes of a south Indian cityscape. And then there’s the progression of colors in the concept-grounded text–all designed to evoke that visceral feeling of a vibrant, living city.
I asked Meera to tell me more about how she’d grown this book. Here’s what she said:
Just to offer context, in this story, a little girl explores many colorful items at a bustling street market in India while trying to pick a special gift for her mother. It is illustrated by Barcelona-based artist Mariona Cabassa and the setting is inspired by the vibrant street life in Chennai, the city in southern India where I grew up.
A book on colors set in India is almost like a low hanging fruit. So, I knew I had to push myself to make it fresh. Since it’s a colors concept book at its core, my target audience sort of fell in place. And considering their age group (around 3-8 years), I had two important aspects in mind: read-aloud and re-readability.
Lyrical and rhythmic text with fun sounds, rich vocabulary, and active verbs helped upgrade the read-aloud factor of the narrative. I “sang” every couplet (to a beat) as I wrote, to make sure it followed the rhythm. And I read the full manuscript aloud countless times! Introducing onomatopoeic words (achoo, ding-a-ling, clink ) paved way for a sensory experience and prompted me to include smells, taste words and textures. For richness, it was a light bulb moment that elevated the manuscript – I was using culturally iconic items to show color when it occurred to me that many of them were also color descriptors. Like saffron, vermillion, terracotta, and indigo – they do double duty as color shades and culturally relevant items. This gave the colors concept a fresh makeover. Lastly, I tried to “pull” readers into the chaos on the streets by including action on every spread – goats shoving past, rickshaw pedaling, peppers spilling, drums beating, birds pecking, buffalo stomping, and so much more. In the end, it was all about word choice – fun, strong, rich, active vocabulary – for sparse text to be able to grab attention, engage senses, and move the story forward.
At some point, I also introduced a traditional story arc celebrating a child’s love for her mother. This allowed for hook, tension, and a surprise ending in the narrative, all of which helped make it a story that young kids would hopefully want to go back to. Back matter for deeper understanding also boosts re-readability. More than anything, Mariona’s dynamic illustrations definitely give children enough reason to keep going back to the book.
It might seem like I knew exactly how to go about the narrative, however, that’s not true at all. The narrative only grew richer with many, many revisions, plenty of mistakes, lots of guidance from critique partners, and several insightful rejections. Picture book writing is fascinating because it really does take a village, and a very long time, to tell half of a story in a few hundred words. Every word counts they say, and they don’t say it for nothing.
Thanks, Meera! May we move ahead someday to a new tomorrow when cities can bustle once more.