Tag: Tara Rahman

Project Bookshelf: Tara Rahman

The bookshelf in my room contains different literary genres and book forms—manga, graphic novels, poetry, fiction, and nonfiction. Many of these books center on diverse characters, histories, and cultures, or are written by authors from traditionally marginalized communities. I have always enjoyed reading global literature and stories that highlight underrepresented voices. Growing up as a queer and first-generation Bangladeshi-American in small-town North Carolina, I actively sought out books where I could see identities and experiences like mine in the pages, as well as books that taught me about different time periods and regions of the world. 

The top shelf is dedicated to my manga and graphic novel collection, which mostly consists of shoujo and josei manga (genres that explore the experiences and perspectives of girls and women), queer and yuri/GL (Girls’ Love) manga, and queer and feminist comics and graphic novels. As a teenager exploring her queer identity, comics like Lumberjanes and manga like Bloom into You were some of the first stories I read that showed wholesome, positive representation of queer and sapphic teenage characters and relationships. Coming from a South Asian household and a small, conservative high school, it comforted me to see BIPOC and Asian queer characters who could be happy, loved, and even fall in love. 

The bottom shelf holds YA and literary fiction, nonfiction, and poetry books. My favorite reads have tended to lean towards historical fiction, or books that address social and historical issues, such as war, gender-based violence, and racial discrimination and oppression.

For instance, Between Shades of Gray by Ruta Sepetys follows Lina, a Lithuanian teenage girl and artist who is arrested alongside her family and deported to a Siberian labor camp under Stalin’s regime. I first read this book in the seventh grade and it opened my eyes to a chapter of World War II history that I did not see often in YA or children’s historical fiction. This was also the first time I had read a book for young readers that did not censor or avoid talking about the cruelty and violence of war, and the generational trauma it leaves behind. Sepetys’s writing style Between Shades of Gray became a key inspiration for my own YA story on the Bangladesh Liberation War of 1971. 

Khaled Hosseini’s A Thousand Splendid Suns traces the intertwined lives of two Afghan women, Mariam and Laila, their bond, and their experiences facing war, patriarchy, and domestic violence from the 1960s to the early 2000s. As you can see from its well-worn condition, I’ve read this book more times than I can count. Hosseini’s ability to weave Afghanistan’s history into the narrative and illustrate the country’s cultural heritage, social structures, and sociopolitical issues is something I deeply admire. Coming from a Muslim family myself, I could also relate to Mariam and Laila’s stories on a personal level, such as their relationships with their families and the patriarchal systems around them. 

One of the things I noticed while reading different YA and literary historical fiction books was that there were not many that focused on South Asian history, and more specifically Bangladeshi history. This quest led me to pursue a Special Studies in creative writing during my senior year at Smith College, where I conducted academic and literary research in order to write a YA historical fiction set in Bangladesh. The Song of Our Swampland by Manzu Islam was one of the books that I read and referred to in my project. What makes this book especially interesting is that, compared to how much of the English-language nonfiction and fiction on Bangladesh is based on the city center of Dhaka, this book looks at the progression of the war and development of the independence movement from the perspective of rural and marginalized communities in the region. As a Bangladeshi-American born and raised in the United States, reading The Song of Our Swampland and working on this creative writing project was impactful for me because it helped me to learn more about my family’s country of heritage and understand the nuances within collective memories of war. 

This bookshelf only represents a portion of all the books in my collection. After my parents and I moved from Cary to Holly Springs, North Carolina, many of my books are scattered all around the house. The children’s books I grew up with, ranging from The School for Good and Evil to Faith, Hope, and Ivy June, take up three out of four shelves on a bookshelf in the garage (the last shelf holds my father’s chemistry books and Bengali-language books). Having recently finished my master’s thesis in Global Development, my academic books on development theory and practice, gender, and Bangladeshi and South Asian history are piled on my work desk, while the British and postcolonial literature, confessional poetry books, and creative writing books I used in my English degree are sitting on a small shelf right behind me. Each of these books has shaped me into the reader, researcher, and person I am today. 

A South Asian woman smiling and sitting on a green couch. She has black hair, half lying over her right shoulder and half down her back, and is wearing a wine-red turtleneck. Behind her are two closed window curtains, one light blue and floral print, and the other solid teal.

Tara Rahman (she/her) is a Sundress editorial intern with a BA in English Language and Literature from Smith College and an MSc in Global Development from SOAS, University of London. She is also a recent graduate of the Columbia Publishing Course in Oxford, UK. With a strong interest in culture, identity, and global history, her personal writing often focuses on intersectionality and the untold stories and experiences of marginalized communities. In her free time, she enjoys reading literary and YA fiction, watching anime, and spending time with her tripod cat, Tuntuni. 

Sundress Reads: Review of My Arabic Breakfast

A cover of a book, showing the top half of a silver, circular, engraved platter with various Levantine foods such as mint tea, zaatar, and olives arranged in a circle. A plate of sunny-side-up eggs sit in the middle. The title, "My Arabic Breakfast," is written in Arabic and English letters against a bright yellow background. The author and illustrators' names, Yasmeen Fakhereddin and Noor Naqaweh is written beneath in white Arabic letters.

Written by Palestinian-Canadian educator, Yasmeen Fakhereddin, and illustrated by Syrian-Palestinian artist, Noor Naqaweh, My Arabic Breakfast (Zingo Ringo, 2024) is a bilingual board book that introduces young learners to Arabic. With vibrant illustrations of Levantine breakfast foods, and accompanied by English translations and pronunciation guides, this book helps children build their vocabulary, pattern recognition, and numeracy skills, all while spotlighting Palestinian culture.

Naqaweh’s hand-drawn illustrations make My Arabic Breakfast a visual feast for the eyes. From the first page, readers are welcomed to the dining table teeming with flavorful Levantine dishes. Each food item is drawn in mouthwatering detail—sesame seed-coated falafel, labneh cheese balls doused in olive oil, and mini filled flatbreads with steam wafting off them. The liveliness of the dining room and the warm, bright colors throughout the book remind readers of home, the feeling that they have a seat at the table. Another highlight of My Arabic Breakfast is phonetic Arabic spellings and English translations, which make bilingual learning easy. Many immigrant and interracial families hope that their children stay connected to their cultural heritage. Fakhereddin, as a Palestinian-Canadian and parent herself, understands this, and so aims to build children’s confidence in Arabic while introducing bits of Levantine culture in a way that remains accessible to children.

The first, full-page spread inside My Arabic Breakfast. It shows a yellow dining room, three brown dining chairs, and a dining table with a variety of Levantine and Palestinian foods. The left-hand side contains a jar of jam, a plate of cucumber and tomato slices, a bowl of olives, a basket of pita bread, twin bowls of zaatar and olive oil, bowls of fava bean foul, and a platter of falafels. In the center are a plate of mini filled pitas on an Al-Khalili pottery plate, a pan of six sunny-side-up eggs, salt and pepper shakers, an assorted platter of cheese, and a bowl of labneh cheese submerged in olive oil. On the right side of the table is a red tea kettle with steam coming out of the spout, a sugar bowl and plate of mint leaves, five glasses of mint tea, a plate with donut-shaped date-filled cookies, a plate of watermelon slices, and a tissue box with a tatreez embroidered cover. On the wall hangs a painting of a green olive branch laden with black olives. The bottom of the page says "welcome" in English on the left side and "ah-lan wa sah-lan" in Arabic on the right.

What makes My Arabic Breakfast unique is that it is entirely Palestinian-made, from the author and illustrator to the publisher, Zingo Ringo Books. Throughout the book, Fakhereddin and Naqaweh highlight their Palestinian roots through small artistic details. The opening spread, for instance, depicts a platter of watermelon slices on the table and a painting of an olive branch, two enduring symbols that represent the cultural identity of Palestinians and the connection to their land. The plate with the mini flatbreads on page 4, and the bowls of zaatar and olive oil on page 7 feature Palestinian pottery designs from the Al Khalil region, while page 8 showcases a traditional Palestinian date-filled cookie. On the last page, where all the food has been eaten, there remains on the table a tissue box with tatreez (embroidery), a traditional Palestinian craft. The book ends with one final, subtle detail—a painting with the word sahteen (“bon appetit”) in Levantine Arabic. Food, the practices and habits around food, hold personal and cultural significance. It is a means for communities to retain their cultural identity. My Arabic Breakfast is not only a language-learning book, but also a love letter to Palestine: culture and people. Through the recurring motifs of Palestinian foods and traditions, Fakhereddin and Naqaweh convey a message of resilience and pride in their heritage. In this way, My Arabic Breakfast is a message to the children of Palestine and the Palestinian diaspora, encouraging future generations to remember and celebrate their identity.

My Arabic Breakfast stands out because it is a board book primarily geared towards bilingual children from the Arabic-speaking diaspora. The significance of Fakhereddin and Naqaweh’s book lies in the mirror it holds up for children of Palestinian and Levantine origin, reflecting their heritage, cultural practices, and everyday experiences, and affirming their sense of identity and belonging. A persistent issue in mainstream English-language children’s books is the misrepresentation and underrepresentation of people of color, Arabs in particular. Even in recent years, the number of children’s stories written by or about Arabs remains very limited. For this reason, My Arabic Breakfast is a meaningful contribution to children’s literature. They can practice recognizing and naming foods from home and learn basic numbers and words in both Arabic and English. At the same time, the visuals render the learning experience all the more engaging.

A spread of two pages inside My Arabic Breakfast. The left page has a purple background with illustrations of three falafels in the center. The left-hand side has the number 3 at the top and the word "falafel" at the bottom in English. The right-hand side has the corresponding Arabic numerals and words. The right page has The right side is a reddish-pink background with four bowls of fava bean foul in the center. The left-hand side has the number 4 at the top and the word "foul" in English, with the corresponding numeral and word in Arabic on the right side.

My Arabic Breakfast is also a delightful read for non-Arabic speakers, helping them develop cultural awareness and appreciation for diverse communities. The book paints an authentic picture of Levantine culture and cuisine, allowing for an immersive educational experience. Children can discover a wide variety of dishes—zaatar, shai bil nana (mint tea), and fava bean foul, among others—and also learn Arabic words and numerals. As I leafed through the book, I found myself captivated by the vivid artwork and the elegance of Arabic script. With each page, my fingers traced the words, following the English pronunciation closely. Even as an adult reader, My Arabic Breakfast offered me an introduction to the richness of Palestinian and Levantine culture. Reading this book reminded me of the food and cultural practices in my own family as a Bangladeshi-American Muslim, of the joy of visiting friends and sharing traditional foods, and of the deep sense of togetherness. Moreover, reading My Arabic Breakfast made me reflect on the importance of diverse and inclusive books for children. Growing up in a small town in the American South, I was always curious about my heritage and mother tongue. At school, opportunities to explore this curiosity were rare. Thus, the presence of books like My Arabic Breakfast in libraries and bookstores is essential. They encourage children to learn about and cherish their identities. Addressed to young learners, My Arabic Breakfast is all about celebrating and maintaining one’s roots.

A South Asian woman smiling and sitting on a green couch. She has black hair, half lying over her right shoulder and half down her back, and is wearing a wine-red turtleneck. Behind her are two closed window curtains, one light blue and floral print, and the other solid teal.

Tara Rahman (she/her) is a Sundress editorial intern with a BA in English Language and Literature from Smith College and an MSc in Global Development from SOAS, University of London. She is also a recent graduate of the Columbia Publishing Course in Oxford, UK. With a strong interest in culture, identity, and global history, her personal writing often focuses on intersectionality and the untold stories and experiences of marginalized communities. In her free time, she enjoys reading literary and YA fiction, watching anime, and spending time with her tripod cat, Tuntuni.

Meet Our New Intern: Tara Rahman

A South Asian woman smiling and sitting on a green couch. She has black hair, half lying over her right shoulder and half down her back, and is wearing a wine-red turtleneck. Behind her are two closed window curtains, one light blue and floral print, and the other solid teal.

I’ve had many changes and ups and downs in my life, but one thing that has always remained constant has been my love for books. Whether reading them, writing them, or even thinking about them, books have always been a big part of my life. As the daughter of a chemistry professor and a biologist, I grew up in a family that valued education and reading. Every shelf and table space was covered with textbooks, research papers, almanacs, newspapers, and nonfiction books. As a child, I would often flip through my father’s books as he graded exams and lab reports, trying to sound out the words and familiarize myself with them even though I didn’t yet understand what they meant. I’d also read and re-read my copies of Little Bear, Judy Moody, and Dear America books until they started falling apart. On top of this, I had limitless imagination and loved to create different worlds and characters. This often involved scribbling ideas down in my Dora the Explorer notebook and having my dolls act out the scenes in dramatic Bollywood-style fashion. Storytelling was my favorite pastime because there was always a new tale to explore. 

The first original poem I ever wrote was for my language arts class in second grade: a free-verse poem about nighttime, with a hand-drawn illustration of a sleepy girl and a moonlit window at the top of the page. After turning in my poem, my teacher, Ms. Emmond, pulled me aside to tell me that she loved my poem and asked if she could share it with the class. I remember how, like a public reading of an author’s latest work, she carefully read my poem to the entire class and asked me questions about my inspirations and word choice. The memory of her reading my line about falling asleep “in a bed sheet heap” and asking me about its meaning is something I cherish to this day. 

My love for language continued into my middle school and high school years. As a teen who faced severe bullying and later developed anxiety and depression, reading and writing became a source of comfort and a way for me to reflect on my experiences and the world around me. In the school library, I would immerse myself in different books and genres, including children’s fantasy like The School for Good and Evil by Soman Chainani, YA historical fiction such as Between Shades of Gray by Ruta Sepetys, literary fiction like A Thousand Splendid Suns by Khaled Hosseini, as well as Japanese manga and graphic novels. These books introduced me to diverse, complex characters and empowered me to develop my own unique perspectives and creative styles. 

This lifelong passion for literature and writing led me to major in English Language and Literature and concentrate in Creative Writing at Smith College. During my senior year at Smith, I pursued a Special Studies project where I wrote a YA historical fiction on the Bangladesh Liberation War of 1971, combining my interests in global history and diverse storytelling. I am grateful and excited to work with Sundress Publications and support its mission to champion traditionally underrepresented writers. 

A South Asian woman smiling and sitting on a green couch. She has black hair, half lying over her right shoulder and half down her back, and is wearing a wine-red turtleneck. Behind her are two closed window curtains, one light blue and floral print, and the other solid teal.

Tara Rahman (she/her) is a Sundress editorial intern with a BA in English Language and Literature from Smith College and an MSc in Global Development from SOAS, University of London. She is also a recent graduate of the Columbia Publishing Course in Oxford, UK. With a strong interest in culture, identity, and global history, her personal writing often focuses on intersectionality and the untold stories and experiences of marginalized communities. In her free time, she enjoys reading literary and YA fiction, watching anime, and spending time with her tripod cat, Tuntuni.