So some parents, teachers (and likely also some self proclaimed activists) might well want to consider Patricia MacLachlan’s 1982 picture book Mama One, Mama Two as perhaps being a much too positive and optimistic portrayal of a young girl (Maudie) going into fosters care. For indeed, there seem to be in Mama One, Mama Two no serious issues with anxiety, homesickness and the like (or scenarios much more problematic) textually depicted by Patricia MacLachlan, and that foster mother Katherine is not only shown by MacLachlan in Mama One, Mama Two as being totally sweet, totally understanding, but that she also repeatedly points out to her foster daughter that she, that Katherine will only be Maudie’s foster mother (her Mama Two) until Mama One, until Maudie’s biological mother is well enough with regard to her mental health issues to once again take care of her daughter on a permanent basis.
But considering that Mama One, Mama Two is a picture book and thus geared towards younger children, for me and in my humble opinion, Patricia MacLachlan’s text provides a gentle and non threatening general introduction to foster care, a bit overly tinted with the proverbial rose coloured eyeglasses perhaps, but the main storyline for Mama One, Mama Two is still sufficiently realistic and also does clearly show that prior to going into foster care, Maudie was definitely not getting adequate care and attention from her majorly depressed mother and often had to fend for herself regarding food and that after Maudie’s mother herself called the authorities and asked for help, a social worker came and set Maudie up in foster care with Katherine and also made sure that Maudie’s mother received the necessary mental health supports she requires (an inherently hopeful story, even though by the end of Mama One, Mama Two, Maudie is still with Katherine but with her return to her birth mother clearly looming in the near future).
Now with Ruth Lercher Bornstein’s illustrations for Mama One and Mama Two, while her accompanying artwork works pretty well successfully mirroring Patricia MacLachlan’s presented text, I do find Lercher Bornstein’s pictures a bit flatly one dimensional and also totally, utterly not at all ethnically diverse. And since with MacLachlan’s story as it appears in Mama One, Mama Two, there is actually no textual indication whatsoever about the ethnicity of the featured characters, I do certainly find it more than a trifle disappointing that ALL of the characters are illustratively rendered by Ruth Lercher Bornstain as Caucasian, as it certainly would make Mama One, Mama Two better and less one-sided if say the social worker for example would be drawn as African or Asian American.