In this edition of our 5×5 series, we’re talking to five authors about the celebration of Black hair culture in children’s literature. Hair culture has a rich and compelling history with deep roots within the Black community, acting for many as a symbol of identity, autonomy, empowerment, and community. Yet despite this, preconceptions and prejudice about hair and hairstyles still abound, both from outside the Black community and within it. Let’s learn more about five authors who are creating books for young readers that affirm and celebrate the beauty and diversity of Black hair.
The Authors
Samara Cole Doyon
Samara Cole Doyon is a poet and award-winning children’s book author with Haitian roots, living on unceded Wabanaki/Abenaki territory. She is a neurodivergent mother of neurodivergent children, continually learning more from her progeny than they could ever learn from her. Samara earned both a Lupine Award and an International Literacy Association Award for her debut picture book, Magnificent Homespun Brown. Each of her books has received the coveted starred review from Kirkus, and her most recent picture book, Next Level, was a runner-up for the Black Joy category in the 2024 Black Kidlit Awards. She works for Maine Writers and Publishers Alliance and lives with her husband, two children, rescue pup, and tabby cat in central Maine.
Ruth Forman
Ruth Forman is an acclaimed poet, author, and friend of words. She is the award-winning author of best-selling children’s books Curls, Glow, Bloom, Ours, and One, children’s book Young Cornrows Callin Out the Moon, and poetry collections We Are the Young Magicians, Renaissance, and Prayers Like Shoes. Ruth has received the Barnard New Women Poets Prize, The Pen Oakland Josephine Miles Literary Award, The National Council of Teachers of English Notable Book Award, and recognition from The American Library Association. She is a former teacher of creative writing with June Jordan’s Poetry for the People program at UC Berkeley and the University of Southern California as well as a longtime faculty member with the VONA writing program. Ruth is currently a professor at the Middlebury Bread Loaf School of English. Ruth’s most recent children’s books are Like So and Light (Simon & Schuster).
Dana Marie Miroballi
Dana Marie Miroballi is a writer and teacher turned speech-language pathologist for Chicago Public Schools. She is the author of If My Hair Had a Voice (Beaming Books, 2024) and Inventions to Count On: A Celebration of Black Inventors (Abrams Appleseed, 2025). Working with students and parenting young children inspired Dana to create books that celebrate cultural diversity, introduce overlooked people and events, and make nonfiction topics fun and accessible for all ages.
Yvonne Sewankambo
Yvonne Sewankambo is a Ugandan-Canadian-Australian writer and publicist based in Sydney, Australia. Having lived on three different continents (and traveled to even more), Yvonne is passionate about telling stories that celebrate identity while transcending borders. Her first two children’s books, Good Hair, illustrated by Freda Chiu, and First There Was Me, Then There Was You, illustrated by Aurore McLeod, are out now. In addition, Yvonne also wrote My Superhero Voice, illustrated by Nea Valdivia — a children’s storybook created and launched in 2024 as part of the Australian National Office for Child Safety’s “One Talk at a Time” campaign, to help adults start conversations with their children about child sexual abuse.
Carole Boston Weatherford
Carole Boston Weatherford has authored 80-plus books that have garnered 2 NAACP Image Awards and 18 American Library Association Youth Media Awards, including a Newbery Honor, Coretta Scott King Award, and Caldecott Honors. She has been recognized with the North Carolina Award for Literature, the Nonfiction Award from the Children’s Book Guild, and nomination as the 2024 Young People’s Poet Laureate. The retired English professor lives in Maryland.
The Interview
1. What was the moment of inspiration that led to you writing a children’s book about Black hair culture?
Samara: I’ve thought about Black hair a lot. I grew up in Maine, and finding people who knew how to do my hair as a child was challenging at times. But I always felt so beautiful after visiting a Black hairdresser. One important moment for me, as an adult, happened when a professional hair stylist and friend came to my home to braid my hair before my son’s birth. It was a way for me to care for myself by letting someone in my community care for me. I was preparing to bring another soul into the world, and this woman did my hair with so much care and skill. She made me feel beautiful. And it struck me how tender and powerful it is to have someone work that kind of magic on your spirit, lifting your head, helping you see yourself differently.
Ruth: At around three or four, my daughter came home from a less diverse school saying she didn’t like her curly hair and wished she had straight hair. She also expressed that straight hair and light skin were better than curly hair and brown skin. I knew that she probably would have to deal with these issues at some point, but I didn’t realize that it could happen so soon. A few other preschool mothers expressed that their daughters felt the same way, and we turned to literature to give our daughters something that reflected and celebrated their identity.
Unfortunately, there was not a lot out there for very young readers at the time. This was about 2014 or so, and there were few books at that time around black hair. I probably brought all of them home for her. And it was precious. She loved picking out the styles she liked. I’m thinking specifically about the back pages of Penny and the Magic Puff Balls. I already understood that books for young children of color were important in helping to form a sense of positive identity, self-worth, and inspiration. But as a mother, I understood in a new way how very critical they were.
I was already working on children’s literature, so after this firsthand experience, I recommitted to writing stories for children of color, especially girls of color, that would reinforce self-love and identity. Curls was the first book in this series celebrating identity and self-love around hair and skin color for children of color and for all children to enjoy.
Dana: If My Hair Had a Voice started as a poem in 2020 while I was reading about Madam C. J. Walker for a possible picture book biography. Reviewing the history of hair straightening methods and products prompted me to reflect on my relationship with my hair as a biracial woman and question why it took me until my late 20s to embrace my natural texture. The poem explores how one’s hair might react to being rejected and vilified for not conforming to Eurocentric beauty and societal standards. This sparked a desire to learn about African ethnic groups and traditional hairstyles. Like my main character, I was amazed by what I uncovered. I started shaping the poem into a story in 2022 for Mindy Alyse Weiss’s annual PBParty writing contest.
Yvonne: It wasn’t one single moment, but a series of moments spread across three decades of my own hair journey. Growing up in Uganda, the rules at my primary and secondary schools (and most schools across the country) dictated that regardless of gender, hair must be kept natural and shaved for reasons ranging from tidiness to keeping our focus on studies — one of the many legacies of colonialism. However, this didn’t apply to non-black Africans as they were allowed to grow their hair to whatever length they pleased, without requesting special permission. All I could hear was my natural Black hair wasn’t good enough.
Fast forward to my life in Canada, the US, and Australia over the past 17 years, my tightly coiled hair was/is not considered a mainstream beauty standard, with society still constantly trying to reinforce the inadequacy I felt as a child. Even though I’m much more confident in my own skin today, especially since the natural hair movement, I do sometimes find myself occasionally having the same thoughts as my young self because I’m human. While Good Hair is a story about loving your hair, no matter the shape, size, color, or texture, it’s also a story about self-acceptance and appreciating the diversity of beauty — a message I hope stays with children of any racial identity when they read this book.
Carole: The 2019 crowning of five Black women as winners of major beauty pageants provided inspiration for Crowning Glory: A Celebration of Black Hair. Their diamond-encrusted crowns reminded me of the versatility of and rituals behind Black women’s hairstyles.
2. Why do you think that it’s so vital for young readers to have media that affirms their natural hair and the rich culture and history surrounding it?
Samara: As I’ve said, I live in Maine. It is still a very white state, and I have always felt deeply Othered. Dehumanizing comments about Black hair textures float around everywhere and are spoken thoughtlessly by many and with harmful intent by some. I want the Black and brown children moving here from more diverse communities, or growing up as first or second-generation Mainers to see books like mine in their school libraries. I want them to hear these books read aloud as their teachers and librarians celebrate them. And I want their peers to experience this, too. Celebrating the full humanity of everyone in our communities is empowering and healing for everyone in our communities.
Ruth: Again, these are critical developmental years. What they are born with and have is naturally beautiful, but there is much that can and often does tell them otherwise. It’s so important for them to have something that reflects, honors, and celebrates their identity such that they have a sense that they belong and are loved in this world; so that knowing their own natural beauty and magnificence is a normal thing, as regular as breathing; so that they carry this feeling inside and do not even question, and so that they can go on and do the wonderful things they were meant to do.
Dana: When children see characters who resemble them, it validates their experiences. This type of representation allows them to not only feel included in the audience but that they could be a part of the story, too. Seeing hair textures that reflect their own in a positive light can also challenge stereotypes, instill pride, and encourage children to celebrate their cultural roots.
Yvonne: Because it could save them from so many hours, weeks, months, and years of self-doubt. If the world constantly shows/tells you that what you see in the mirror is not the “norm” or is always up to no good, you may start to believe it and essentially start to devalue yourself by trying to be anything but yourself.
Carole: I believe that The Crown Act, which aims to protect the right to wear natural hair, says it all. As a mirror, mainstream media often fails Black girls. They deserve to see their innate beauty reflected in the media.
3. How important was it for you as a creator to explore the full diversity of Black hair, from natural to treated to braids and so on?
Samara: It’s become more important to me over time. I think my earliest instincts in thinking and writing about Black hair was to emphasize completely natural styles and textures that have not been traditionally labeled “good hair.” I wanted to add my voice to those flipping texturism on its head and say, “Look at my brothers and sisters! Their hair is magic! It is better than good!” But talking to and listening to others helped me realize that maybe some elitism and privilege were pushing my lean into a “natural only” mentality. Because it’s not that hard for me to go natural. While I heard hurtful things about my hair from white people at times growing up, I’ve always had the kind of hair other Black folks called “good.” And, as Black people, we love ourselves, our hair, and our communities in lots of different ways. So I started to feel I should make an effort to be more inclusive and to celebrate Black hair in all its manifestations — braided, flat-ironed, however it’s done and loved.
Ruth: I think especially with Bloom, I wanted to emphasize the beauty of our hair and its diversity. Just as flowers bloom in beautiful ways, I wanted to celebrate that our hair and hairstyles do that too. I remember my three-year-old daughter at one point saying she wanted her hair to go down. But so much beauty in nature goes up and out as well! Think about hydrangeas, marigolds, roses, pompon dahlias, and allium for example — and these are just a few! I wanted to connect our beauty with that natural beauty. I thought about connections with liatris and braids, angelica flowers and Bantu knots, etc. Just like those flowers make a garden, our girls with their naturally beautiful hair and selves make a garden too. As I say in Bloom’s dedication, “for all of our beautiful flowers in the world‘s garden.” We are part of our world’s garden.
Dana: Once I started writing and conducting research for If My Hair Had a Voice, I realized how little I knew about the diversity and history of Black hair. The more I learned about the cultural significance of various styles, the more I wanted to share. The story itself allowed for a limited number of style references, so I created a more thorough guide for the book’s backmatter. In doing so, I was able to explain the variance within style categories, like the differences between types of braids, and explore interesting haircare treatments and practices. I also felt it was essential to showcase the diversity within Africa and how hair texture and traditions can vary by ethnic group.
Yvonne: As a writer, I think it’s important to bring a little bit of you into your work. As a children’s author, in particular, I simply write stories I would have wanted to read myself or ones that I would want to read to my son, nieces, and nephews, then go from there. For example, my second book, First There Was Me, Then There Was You, is inspired by my own bond with my brother. So, showcasing the diversity of Black hair was essential for me because it is my lived experience. Black hair is anything but monotonous, which is why portraying just one hairstyle would have been an incomplete representation of what it actually is, and in turn, what my community actually is.
Carole: Black hair is so versatile. In my 60-some years, I have worn many of the styles in the book. And, some of the styles that I haven’t worn have adorned my daughter’s and granddaughter’s heads.
4. Describe the process of working with your illustrator. How did you collaborate to develop artwork that honors the beauty and joy of Black bodies and their hair?
Samara: As a traditionally published author, I didn’t work with the illustrator of Magic Like That at all. I submitted my work to the publisher, Lee & Low Books, and they communicated separately with me and with the illustrator, who brought her own vision and experiences to the book. Geneva Bowers did a phenomenal job.
Ruth: With my board books, I’ve been fortunate to work with three wonderful Black female artists. With Curls it was important for me to have a black woman artist who really knew and understood Black hair — who would be able to illustrate it well. My publisher and I worked hard to find the right artist who could explore and celebrate curly hair in really beautiful ways. Geneva Bowers’s artwork is amazing, and she did a really glorious job!
I usually write notes for what I envision, and then the artists bring their magic to that. This is true for Geneva Bowers with Curls and Glow, Talia Skyles with Bloom and Ours, and Katura Gaines with One and Light. There is so much that we do with our hair that is beautiful, and I wanted Black female artists who knew black hair to be able to show that beauty. For each, I wrote notes, and then they brought their unique magic to the styles. They also brought their magic to the representation of Black bodies and skin tones. Raissa Figuroa does this sweetly in her representation as well, in my picture book Like So.
Dana: I love how Patricia Grannum brought If My Hair Had a Voice to life. We didn’t collaborate directly, which is usually the case with traditionally published picture books, but I provided notes for illustration suggestions and edits through my Beaming Books editor, Liz Schleisman. I also created a chart with photo references, origins, and descriptions for each hairstyle in the story and backmatter.
Yvonne: Freda Chiu and I collaborated via our senior editor at Walker Books Australia — a common practice at most traditional publishing houses if the two creatives aren’t an already-existing team or haven’t worked together before. This protects the illustrator from constant micromanagement and allows them creative freedom, essentially giving them a chance to come up with illustration ideas that the author and publishing team might not have even thought of.
Of course, prior to the illustration process, I chatted with my publishing team about my non-negotiables, such as the race of the main family and their respective hairstyles, as well as the main messages of the book. Once Freda submitted her storyboard, I provided my feedback and notes before she moved on to the final art. I think it’s important to remember that authors and illustrators are both creators, so illustrators should be allowed to do just that — create. And Freda certainly created something magical!
Carole: This is my second collaboration with my dear sister Ekua Holmes. She is so talented and I conceived this book with her in mind. I love her art for the book. But we each work independently as is usually the case for picture books.
5. What is the most important lesson about Black hair that you want young readers of any hair texture or racial identity to take away from your book?
Samara: I want everyone to see and to understand that Black hair is truly beautiful and magic. That it is living, breathing art. That it should be respected and appreciated. It’s not something silly, cute, or novel. It is not a toy or a tool to be manipulated and played with, nor is it a museum artifact to be examined. It is a part of our humanity. I want Black and brown children to know they are allowed to love themselves and their hair fiercely.
Ruth: Black hair is such a gorgeous expression of nature. Black hair is rich, creative, and beautiful, and if you love it, it will love you back.
Dana: I hope If My Hair Had a Voice helps young readers, regardless of their hair texture or background, to recognize that Black hair belongs and that Black hairstyles are beautiful, versatile, and culturally significant. Perhaps some will even be inspired to learn more about the featured ethnic groups and styles.
Yvonne: Black hair is so versatile and beautiful — no matter its texture, length, or style — and while it’s an important part of who we are, it’s not all that we are.
Carole: There is power and beauty in the versatility of Black hairstyles and the legacy of styling rituals.
Bonus Questions!
What’s an unusual or interesting writing ritual or habit that you’ve developed over time?
Samara: I don’t have writing rituals. At this point in my motherhood journey, I just write whenever I can. On my phone in bed. Through voice notes I leave on my phone and string together later. There is no ritual. It is all complete chaos.
Ruth: One habit I’ve developed when I write is to just give myself a few minutes to “open the door” so to speak. To just write without judgment and let whatever wants to come out, come out. I’ll time myself and let it flow. Sometimes, nothing emerges that I can work with. But other times, gems emerge. These can be things that feel meaningful just for me or things that I go on to develop. I tend to do this in the morning. It’s really important to give myself that time, even if it’s only five or ten minutes. It changes my relationship with the day.
Dana: Another writer introduced me to an app called Ooooo that uses audio waves to create a desired mind state based on a chosen frequency and tone. My settings are adjusted for “working wakefulness.” It helps me to zone in. I also write in my head while I shower, so I always have my phone nearby to record voice memos.
Yvonne: Music and movement are such important parts of my writing process … and life in general. Before any planned writing session, I get up and dance my heart out. I have a pre-writing playlist that gets me in the right mood.
What’s your favorite song to listen to while you wind down?
Samara: I love Tracy Chapman. I find her music incredibly healing. Her cover of “Stand By Me” is medicine. I also love the Cowboy Carter album and still find a lot of those songs easy to listen to and lose myself in. Beyonce’s cover of “Blackbird” is divine. “16 Carriages” and “Texas Hold ‘Em” always get me, too.
Ruth: That’s a hard one! What I listen to is always changing. But I’ll say a tried-and-true artist that I listen to when I wind down is Alexis Ffrench. In terms of songs, maybe “Golden,” “Papillon,” “Fireflies,” or “Rivers.”
Dana: I love classical music. One of my favorite pieces for relaxing is “Spiegel im Spiegel” by Estonian composer Arvo Pärt.
Yvonne: This is a tough one! I don’t have one single favorite song, but I do have a wind-down playlist, which is actually playing as I write this. Right now, it’s Janet Jackson’s “Every Time” and before that was Meshell Ndegeocello’s “Fool of Me”.
Carole: “Rise” by Solange.
A massive thank you to Samara, Ruth, Dana, Yvonne, and Carole for taking the time to share their work and insights with us. Authentic and affirming representation should always be a priority in children’s literature, and we’re so grateful to creators like them who are providing it to the developing minds and hearts of young readers, encouraging them to feel beautiful, powerful, and complete.
Find Samara Cole Doyon here.
Find Ruth Forman here.
Find Dana Marie Miroballi here.
Find Yvonne Sewankambo here.
Find Carole Boston Weatherford here.
For more children’s books that celebrate Black hair, check out our interview with author Keenan Jones about his debut picture book, Saturday Morning at the ‘Shop.
To see all of our recommendations for mini bookworms, check out our Bookshop bookshelf.
