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BACK TO SCHOOL 2019: New kids’ books spotlight LGBTQ life

‘In My Footprints,’ ‘What Riley Wore’ among standouts

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(Book covers courtesy of the publishers)

For back-to-school time, here are some new and soon-to-be-published picture books with LGBTQ and gender-creative characters, all involving schools and classmates.

What Riley Wore,” by Elana K. Arnold and illustrated by Linda Davick (Simon & Schuster), is the winsome tale of a child who delights in playing dress up. On the first day of school, Riley (whose gender is never stated) wears a bunny outfit. Rather than making Riley an object of ridicule, Riley’s soft bunny ears comfort a classmate who was crying. We then see Riley around the neighborhood and at school, switching between a ball gown, a hard hat and overalls, a tutu and more — outfits that elicit praise from other children and Riley’s teacher.

At one point, another child asks, “Are you a girl or a boy?” and Riley simply answers “Today I’m a firefighter. And a dancer,” and several other fanciful things. The other child responds, “Want to play?” Arnold refreshingly conveys a message of acceptance without raising issues of teasing or bullying — important issues, but too often the only narrative told about children expressing gender creativity. The completely positive outlook makes this book stand out.

In “Ogilvy,” by Deborah Underwood (Henry Holt), the titular and gender ambiguous bunny is excited about meeting other children in a new town. Ogilvy’s medium-length garment confuses them, however, and they tell Ogilvy, “Bunnies in dresses play ball and knit socks,” but “Bunnies in sweaters make art and climb rocks.” Underwood smartly doesn’t divide the activities here along traditional gender lines, helping readers see the absurdity of such divisions. Ogilvy relabels the outfit at will and plays accordingly, until one day the other bunnies demand a fixed choice.

Ogilvy finds self-confidence, speaks out and convinces the other bunnies that everyone benefits from wearing and doing what they choose. The rhymes have a clear echo of Dr. Seuss and T. L. McBeth’s simple illustrations evoke Mo Willems, but the story blends its influences into an original tale whose combination of message and merriment should find many fans.

More heavy handed is “Dazzling Travis: A Story About Being Confident and Original,” by Hannah Carmona Dias and illustrated by Brenda Figueroa (Cardinal Rule Press). “Dresses and armor: Pink, black or green. I pretend I’m a knight, a king or a queen,” proclaims Travis, a young black boy.

Some of his classmates, however, nastily tell him that boys and girls must each play with different things. A few others, who express gender creativity themselves, remain silent. Travis summons his courage and explains to the bullies, over several pages, why they are wrong. “It’s not weird or strange to express the true you,” he concludes. The message is good, but it’s a bit pedantic, and many of the rhymes feel forced.

At the end there are short bios of several real people who “struggled against the opinions of others,” including 19th-century baseball player Elizabeth Stride, dancer Fernando Bujones, designer Coco Chanel and writer Langston Hughes. More contemporary choices might resonate better with likely readers (and Chanel’s connections with Nazis make her a dubious choice). Still, many may appreciate Travis’ self-confidence in the face of bullying (not to mention his dazzling style).

Sam!,” by Dani Gabriel (Penny Candy Books), with illustrations by Robert Liu-Trujillo, is the tale of a 9-year-old transgender boy “filled with dreams and spirit and laughter.” After he hears another boy in his class say, “Boys are born a certain way and girls are born a certain way,” however, he is sad and scared. He confides in his older sister Maggie that he’s not a girl like people think, but a boy. “Was I born wrong?” he asks.

Maggie assures him otherwise. She supports him at school and encourages him to tell their parents. They immediately accept him, but also acknowledge they all have a lot to learn together. More than anything, though, their pride in him shines through. Some kids tease him, but with Maggie’s support, he continues to play, succeed in school and dream.

Sam and his family could be read as Latino and they live in a racially diverse neighborhood. Robert Liu-Trujillo’s soft watercolor illustrations bring out the characters’ emotions in this warm story of sibling support and family love.

In My Footprints,” by Bao Phi and illustrated by Basia Tran (Capstone), Thuy, a Vietnamese-American girl, finds solace in nature and in her imagination after being teased by classmates about her two moms and her ethnic origins. She imitates a cardinal and envisions flying away like a bird; she growls like a bear.

Momma Arti and Momma Ngoc join her in pretending, “because we’re stronger together.” Momma Ngoc suggests a phoenix, which we learn in an afterward has both Eastern and Western origins, just like Momma Ngoc. Momma Arti suggests the “part lion, part bird” Sarabha from her Hindu heritage. Thuy then makes up her own creature — one that is “both a boy and a girl” and whose skin changes “from black to light brown to lighter and back to black — not to hide, but because it always wants to be different shades of pretty.” One could buy the book for that empowering line alone.

Phi, a poet and author whose awards include a Caldecott Honor and an Ezra Jack Keats Honor, has crafted a lyrical tale about the power of imagination and finding strength in family and cultural heritage. It’s also notable as one of few LGBTQ-inclusive picture books to focus on Asian characters. Consider this a must-have for any LGBTQ kids’ collection.

For more LGBTQ back-to-school resources, see my annual list at mombian.com.

Dana Rudolph is the founder and publisher of Mombian (mombian.com), a GLAAD Media Award-winning blog and resource directory for LGBTQ parents.

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Books

New book examines Trump cuts to LGBTQ healthcare

‘Aftershocks’ details impact of policy shifts on HIV response, broader public health

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(Book cover via Amazon)

As LGBTQ and HIV advocates continue to grapple with the Trump administration’s attacks on healthcare, a new book offers a timely look at what happens when public health systems — and the democratic institutions that sustain them — are pushed to their limits.

The book, “Aftershocks: Trump 2.0, Public Health, and Our Better Angels,” was written by Dr. José M. Zuniga, president/CEO of Fast-Track Health. Zuniga is a globally recognized public health leader with more than three decades of experience advancing responses to HIV, communicable and non-communicable diseases, and the health impacts of climate change. He is also editor-in-chief of the Journal of Fast-Track Health.

The book covers the first year of the second Trump administration. It chronicles the impact of federal policy shifts and budget cuts on the HIV response and public health more broadly, including for LGBTQ communities. Drawing from policy analysis, frontline insight, and lived experience, the author reveal how decades of hard-won progress became vulnerable through Project 2025 and DOGE, but also a paralysis in the HIV and public health communities following the outcome of the 2024 elections. 

“In other words, we were caught flat-footed when our opposition had a detailed plan to create chaos and disruption,” Zuniga says. “Thus, the book also offers Horizons 2028 as an antidote to Project 2025 as a starting point for a wide-ranging conversation about how we will build back better given the baseline pre-Trump 2.0 was already imperfect.”

Below is an excerpt from the book.

What Could Not Be Left Unsaid

Let me begin with a simple truth: I did not set out to write this book. Like many in the public health community, I set out daily to do the work of scaling prevention, expanding access to care, strengthening health systems, and ensuring that dignity, equity, and justice are operational realities. Writing, for me, has always been in service of action: policy briefs to shape decisions, editorials to provoke accountability, reports to document progress or failure, and books to synthesize experience into insight that can guide public health action. But Aftershocks is something different; it is not merely an analysis. Instead, it is a record of rupture, of response, and of what it means to continue when the ground beneath your work begins to shift.

This book was written because something changed, and that change came into sharp relief during the beginning days of the second Trump administration, including the erosion of norms, the weaponization of rhetoric, and the recalibration of governance itself. The change was not limited to policy reversals or budget cuts, though there were many. Moreover, it was not confined to rhetoric, though language played a central role. The change was structural and moral: a redefinition of how power understood its obligations to people, to evidence, and to truth itself. And for those of us working in public health, the effects were immediate and personal. We experienced a purposeful disruption of the public health ecosystem and a direct repudiation of the “health for all” principle that guides our work….

Writing this book was, unexpectedly, an act of catharsis. Not because it resolved anything, but because it created space to process what would otherwise have been overwhelming… Amid what many in the public health community experienced as both individual and collective trauma, documenting itself was stabilizing, allowing reflection without detachment and critique without disengagement. But catharsis alone is insufficient. This book is not an exercise in lament; it is also a response. If the period it chronicles is defined by disruption, then its purpose is to offer direction. Where Project 2025 represented a blueprint for ideological capture of institutions, language, and governance, this book offers a counterpoint: Horizons 2028… 

Horizons 2028 is grounded in a simple premise: that the future of public health – and of democratic governance more broadly – depends on rebuilding systems that are resilient to political volatility. That means strengthening not only federal capacity, but subnational leadership. It means embedding community-led accountability into data systems. It means aligning health outcomes with social determinants and recognizing that equity is not an endpoint but a continuous process of adjustment and correction. It means treating global engagement not as optional, but as essential to national well-being. In other words, it is a roadmap not for returning to what was, but for building what is required…

I write as an Independent. Not in the sense of detachment, but in the sense of accountability to evidence, to outcomes, and to the people whose lives depend on both… Independence does not mean neutrality in the face of harm; it means refusing to filter reality through partisan allegiance. Importantly, it also means being guided by a consistent commitment to equity, dignity, and justice. These are not abstract values… They are tested in moments of crisis, when the gap between principle and practice becomes most apparent. They demand accountability not only for what is said, but for what is done – and for what is allowed to persist unchallenged. And they require the courage to name harm clearly, even when doing so is inconvenient or politically unwelcome.

That commitment shapes the analysis that follows, but it is also what makes the writing difficult. Because to document harm is to confront it. To trace its origins is to name decisions and their consequences. And to do so honestly is to risk being read as partisan in a landscape where truth itself has become politicized. But the alternative – silence, or false equivalence – is not acceptable. Not when the stakes are as high as they are. There is, however, a thread that runs through this book that resists cynicism, is not optimism, at least not in the conventional sense, but is something quieter and more durable: a belief that even in moments of rupture, there remains a capacity – within institutions, within communities, within individuals – to reorient toward something better. 

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Books

Exploring Renée Richards’s life through lens of a trans author

Surprises await in new book about pioneering tennis star

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(Book cover image courtesy of HarperOne)

‘Finding Renée Richards’
By Julie Kliegman
c.2026, HarperOne
$28.99/272 pages

Come on in, the water’s fine.

Wade into it up to your ankles, your calves, your waist, you’ll be OK. You’ll adjust to the waves that swirl around you so come on, dive in, it’s all good. As in the new book “Finding Renée Richards” by Julie Kliegman, that goes for swimming, and for controversy.

Assigned to do a story on books written by trans tennis great Renée Richards, Julie Kleigman read the books and became “transfixed by a woman who had fought so hard to simply live as who she had long known she was….”. Their editor had figured that, as a nonbinary and trans individual, Kleigman would have “something incisive to say…” in an article. Instead, once they met and began interviewing Richards, Kliegman was left frustrated.

Born in the late summer of 1934, Richard Henry Raskind seemed to have arrived with a tennis racket in his hand. His mother was a psychiatrist; his father was an orthopedic surgeon who hoped “Dick” would follow his footsteps but Raskind was drawn instead to ophthalmology and tennis. He was also irresistibly drawn to wearing women’s clothing.

His sister knew of this pull and Raskind eventually came out to both parents, but few others on the tennis circuit were aware. When Raskind visited his hometown of New York City, however, he enjoyed furtively going out in women’s clothing but he also tried to squash the desire; in the meantime, he fell in love, married, fathered a son, and eventually learned that it was possible to become the woman he knew he really was.

To continue playing tennis professionally was a bonus.

And right there were the disagreements Kleigman had with Richards.

Richards, “To this day… [makes] a point of describing herself as a woman, period,” says Kleigman, but she firmly acknowledged Richard, almost as a separate individual, insisting that Kleigman use “him/his” pronouns when describing her earlier life.

And as for tennis and trans women’s participation in the sport, Richards had something even more frustrating to say.

Take that as a fair warning: you might be equally surprised at what author Julie Kliegman uncovered in “Finding Renée Richards,” and you may be truly gobsmacked by reading opinions from other women about the topic of trans women in sports.

That’s the main, huge point of interest in this fascinating book; the other is Richards’s life as seen through the lens of a trans individual. Kleigman’s wrestling with the 90-year-old Richards’ firmly dug-in heels is, in itself, worth your time as a study of highly varying viewpoints. That Kleigman and Richards have both lived at least a part of trans history is somewhat of a key to understanding how this book unfolds, as Kleigman offers up Richards’s tale. Readers who are able to read between the lines will be riveted.

If you’re a sports fan and you have opinions, you must read this book – and that goes double if it’s tennis you love. Also check out “Finding Renée Richards” if you just want a raucously good and very fine read.

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Bros + romance + fantasy = ‘Bromantasy.’

New book a romp full of humor, dragons, kings, and adventure

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(Book cover image courtesy of G.P. Putnam's Sons)

‘Bromantasy’
By Maire Roche
c.2026, G.P. Putnam’s Sons
$20/339 pages

“Danger” just happens to be your middle name.

Any fray, any tussle, anytime anybody needs help, they count on you to step in and save the day. You’re brave, smart and strategic, kind to old people, children, and small animals and, as in the new book “Bromantasy” by Maire Roche, dragons.

Of all the things there were to do – preserving food, keeping house for himself and his best friend Morningthall “Mo” Elmthorn, advanced skincare, and drinking at the local tavern down the road – the one thing Juniper O’Reilly couldn’t resist was a good brawl. It happened so often that Juniper honestly looked forward to it, though Mo wasn’t a fan.

Mo was more grown-up, calm, thoughtful, able, and Juniper loved him for it. He loved Mo, in fact, since they were little boys. He loved Mo in ways that they didn’t talk about, so they kept a wall between their bedrooms in their cottage.

Except for that one time.

They didn’t talk about that, either.

Instead, as they did often, on a warm fall night, Juniper and Mo went to the tavern, where mead was served and they could learn about the king’s weekly quests. There, Juniper could also find a good brawl, which is how he and Mo accidentally got into trouble: Juniper trounced one of the king’s men and was forced into a quest.

He didn’t want to fight dragons and he felt bad that Mo had been dragged along. He felt even worse leaving their farm, sleeping on the ground, wearing the same clothes every day, and not having enough skincare product along. A campfire added to the problem. A roving, lying prince, also in search of dragons, didn’t help. And though a quest was no place for a child, Juniper and Mo found a frightened little girl they had no choice but to protect.

A child with strange eyes, sharp teeth, and fire on her breath.

“And just like that, Juniper and Mo had a dragon.”

Bros + romance + fantasy = “Bromantasy.” It also could equal one of two other things: a romp full of humor, dragons, kings, princes, and adventure.

Or it could equal a whole lot of eye-rolling.

It’s a fact that this book is funny, in the way that a 1980s high school comedy movie is funny – meaning that it’s dippy, giddy, and very caricaturish but you’ll laugh quite often. The story contains everything you want in a fantasy romance (a “romantasy”), including human-like alternate species, a life-changing journey, and plenty of nudge-nudge-wink skirting around the attraction the two main characters have for one another. It’s a decent story, convoluted in just the right way. Purely, it’s an escape.

So why wouldn’t you want to read it? See above, and depending on your favorite reading genre. High-brow literature, this ain’t.

For the right reader, “Bromantasy” is a decent-enough vacation read, something not too taxing or hard on the brain. It’s for novel lovers, dragon hunters, king’s questers, princes, and romantics. For everyone else, this tale is just middling.

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