In the stirring picture book When I Hear Spirituals (Holiday, 6–9 years), Cheryl Willis Hudson’s poetic text from the point of view of a contemporary Black child pairs with lyrics from spirituals, while London Ladd’s illustrations tell a story of that child and her family along with scenes from African American history. For more picture books about artistic expression, see our list “Engaging with the arts” in this issue of Notes. April is National Poetry Month; see the National Poetry Month tag on hbook.com for more resources.

1. Cheryl, what was your process — did you write the text first, choose the spirituals to present first, or a little of both?

Photo: Stephan Hudson Photography.

Cheryl Willis Hudson: The words and melodies of spirituals have occupied a special place in my soul from the first time I heard them sung as a child. When I think about how the process of writing the book came about, it seems as if When I Hear Spirituals has been inside of me over the years and was just trying to find the best way to express itself. I listened to spirituals often, sang them, made quilts about them, and wrote about them in my books. Writing this particular story was a kind of dual process where I’d hear a spiritual, and it would immediately inspire some kind of deep response inside and an emotional expression outside. I wrote the text first as a poem that captured those feelings. Later, as I studied more about African American history, I identified song lyrics and historical facts that connected with the feelings I had; i.e., sadness, joy, worry, struggle, happiness, defiance, longing, faith, hope. I came back to my core poem again and again. Then, finally, the entire book came together when I paired specific lyrics with lines of the poem. When I Hear Spirituals emerged into a narrative story of Black history told through song. What better way to share Black history than through music created through the lives of the people who experienced it? There were so many spirituals that I related to personally and loved, but I selected familiar ones such as “Over My Head,” “Wade in the Water,” “Go Down Moses,” and “Get On ’Board, Little Children.” There were also so many wonderful visuals associated with each spiritual. I felt they were so empowering and that children would certainly relate to them as I had done as a child.

2. London, how did you decide when to look to history for inspiration and when to be more contemporary?

Photo: Malcolm Taylor.

London Ladd: Subtle hints in Cheryl’s words and the lyrics of spirituals influenced my creative choices throughout the process. I felt guided in my work. I decided that the book’s first half would focus on the relationship between the child, her father, and her grandmother. This multigenerational dynamic is essential for illustrating how traditions are passed down through generations. As the art transitions to specific historical moments, it highlights the spiritual significance of key events in African American history, from enslavement to the civil rights era. This approach allows the main character, the young girl, to experience a sense of pride as she sings joyfully, her eyes closed, facing toward the heavens.

3. London, what was your thought process behind the perspectives and how much to show in the backgrounds and in characters’ expressions?

LL: Since the book is inspired by music, I aimed to visually communicate a sense of rhythm and movement akin to the flow of music. Some spirituals express intense emotions, sorrows, and hopes, often featuring call-and-response elements. For “Over My Head,” I envisioned an aerial view of a child looking upward, surrounded by music that fills the air like doves, embodying peace, love, and joy. Other pieces are slower and more reflective, such as “Sometimes I Feel like a Motherless Child,” where I imagined a young girl sitting atop a hill, lost in deep thought. For “Go Down Moses,” I listened to a rendition by Paul Robeson, whose deep, echoing voice conveyed a sense of rising from the depths to persevere onward and upward. The only vision I pictured was Harriet Tubman seen from a low perspective, rising and leading her people to freedom. It was critical to convey the essence of the spirituals with each page-turn.

4. Cheryl, why was it important to you to write a book on this topic?

CWH: Music is such a powerful and empowering force among human beings. It can bring people together, mount opposition to wrongs, soothe, encourage, lament, and inspire. It was important for me to write a book for children that would allow them to see the connections between African American culture and history and music. Spirituals are a form of musical storytelling rooted in the history and culture of Africans who were stolen from their homelands and enslaved in this country from the 1600s through the Civil War and even beyond. That music empowered our ancestors to survive and even thrive. Spirituals fueled so much of American history that followed (such as blues, gospel, R & B, jazz, and hip-hop), and that documentation needs to be shared widely as a part of acknowledging their value. I wanted to share the empowering saga of African American history with children in a picture book.

5. Is there a spiritual that you find especially meaningful, and why?

CWH: All of them are meaningful, but there are two that resonate deeply.

I love “Over My Head” because it acknowledges music and creativity connecting with a higher power. Music is that universal language that can and does bring people together.

“Oh, Freedom” is an expression of self-love and resistance against oppression and a reminder that struggle is a part of African American history. It was an often-repeated spiritual sung during the civil rights movement, and it is a constant reminder of our need to fight for social justice then and now.

LL: Absolutely! It is “How I Got Over.” I love that song on a variety of levels. I downloaded a live-recorded version by Mahalia Jackson as part of my research. Hearing it in its rawest form is special because of how Mahalia sings that song from the depths of her spirit. You can hear the echo of a small church setting and other people clapping, shouting, and singing in the background. Visually, the illustration has a personal meaning because a few years ago, when I was at one of the lowest points in my life, my daughter’s love helped carry me. That’s why you see the child embracing her dad, with his hand on her hands. That comforting sense of unconditional love can pull you out of some of the deepest valleys. It’s the child’s gift of rescuing the parent.

From the March 2025 issue of Notes from the Horn Book.