The Rock in My Throat
Age 5+
Children's & Young Adult: General Non-Fiction
A powerful true story about the author's own experiences with selective mutism in school.
"At first, no one noticed when I stopped talking at school."
In this moving true story, Kao Kalia Yang shares her experiences as a young Hmong refugee navigating life at home and at school. Having seen the poor treatment her parents received when making their best efforts at speaking English, she no longer speaks at school. Kalia feels as though a rock has become lodged in her throat, and it grows heavier each day. Although the narrative is somber, it is also infused with moments of beauty, love, and hope.
Creators
Kao Kalia Yang is an award-winning author of books for children and adults including Asian/Pacific American Award for Literature winner From the Tops of the Trees. She lives in Minnesota and is committed to the telling of stories that will inspire hope, find beauty, and offer refuge to those in need.
Jiemei Lin is an artist born in Hangzhou, China, currently living and working in the Inland Northwest, Washington State. Lin works with both digital media and traditional media to create paintings, murals, and illustrations.
Reviews
The result is a compelling and heartfelt story that’s bound to resonate with anyone who’s ever struggled to express themselves or be heard. The book is capped with beautiful endpapers that feature repeating symmetrical patterns, reminiscent of those found in traditional Hmong embroidery, each one revealing glimpses of the story inside.A powerful window into the perspective of a young immigrant.
Kirkus Reviews
Tenderly told in first person, Yang’s lyrical autobiographical picture book depicts her childhood struggle with selective mutism. Her descriptions of how selective mutism presents at school are vivid and authentic, as when she relates the distressing experience of being called to speak during attendance: “Trying to get the air out of my mouth feels like I’m pushing my heart up into my throat.” Readers learn that her discomfort with speaking stems from alienating experiences witnessing the impatience of native English speakers when her immigrant Hmong mother tries to communicate. In contrast, young Kalia is comfortable speaking Hmong with her family at home, where “everyone speaks normally to everyone else. It is a song, uninterrupted, and it flows and flows.” Classmates, portrayed with various skin tones, are shown engaged in conversation or play while Kalia remains alone, immersed in examining natural objects such as a feather or pebble. Lin’s earth tones and muted colors reflect Kalia’s affinity with the natural world. Nods to Hmong culture are captured through Lin’s illustrations of clothing, meals, and artwork adorning the household. The story ends with a hopeful encounter with a potential friend. In the author’s note, Yang provides a pronunciation guide and translations and shares her journey to finding her voice through writing.
The Horn Book
