Whenever You Are

Written by Martine Leavitt

Groundwood Books 
978-1-77946-109-4
192 pp.
Ages 12–18
August, 2026 

 

Seventeen-year-old Finn Kelly is missing. Now Warden Johnson, social worker Mrs. Allish, some guy from the Department of Correctional Services, and Doctor Williams are interrogating—or is that interviewing?—Clemence Todd about his friend's disappearance. Both teens have been in juvenile detention—sorry, Training School—and Clem, who is set to be released soon, tries to help Finn adjust. 

When you first get to this place,

rules are a rut to walk in

when you have no idea

who you are anymore

or where you're going. (pg. 19) 

Though the boys are very different, Clem being a poet and lover of English, and Finn being skilled at maths and sciences, the two form a fast friendship. But, when Clem, who is always aspiring to do Something Fine with his life, tries to help get some dental attention for a fellow student, CO Keeper, as Clem labels him, throws Clem and Finn into ad seg a.k.a. solitary. Clem writes poetry in his mind and declares to Finn on their rare yard breaks that he will do everything to help the young man. But Clem begins to worry about Finn. He was already concerned about Finn's physical health, but when Finn begins to talk of travelling to the past through some space-time wormhole, Clem is unsettled. After a notebook and pen startlingly appear in the tree in the yard, just as Clem wanted, he writes his thoughts, his feelings, his interactions with Finn down in poetry. When Finn disappears—escapes?—Clem uses the poetry in his notebook to help those questioning him to understand what transpired before Finn disappears.

 

Whenever You Are is a complex read of human dynamics, soul-searching, shame, time, space, poetry, and empathy. It's learning to understand yourself and others through challenges, through joys, and through compassion. Martine Leavitt, a master of storytelling and novels in verse, gives us two boys who are as similar as they are different. They've both been detained because of behaviours that lead to injury. Both were accidental, though one happened through conscious choice. Both look to do something better with their lives but accept what they have to do now.

...I know now that there's all this forever

 inside every moment. (pg. 183) 

Martine Leavitt makes the reader think about life in terms of poetry and in terms of space and time. Those who oversee what happens with boys—all labelled simply by one attribute, like Warden, Social Worker, Suit Dude, CO, Doctor—interpret what they see and hear and expect without always understanding. In fact, some never make an effort to do so. (Not surprisingly, the discussions with these characters are always written as prose.) But these young men see more of themselves and others than most of us ever do. They've had to look at what they've done and at the impact they've had on others. But one looks to the future, while the other speaks of travelling back to the past. 

 

Novels in verse is perhaps my favourite genre, and we are blessed with more than a handful of exceptional Canadian writers of it. (I could add to my 2018 booklist of novels in verse easily.) As she has done in her earlier novels in verse, Martine Leavitt impresses by challenging our ideas about how care for others and ourselves. Whether she's examining mental illness (Calvin, 2015) or the sex trade and abuse (My Book of Life by Angel, 2012) or incarceration and shame, Martine Leavitt gives real voice to her characters and their circumstances. She shows us their reality with poetic beauty and gritty spirit. For Clem and Finn, where and when they will land will depend on Martine Leavitt and the lives she has created with them. 

Goodbye, Koi

Written and illustrated by Jack Wong

Orchard Books (Scholastic Inc.)

978-1-338830996

48 pp.

Ages 4–8

Releases September 15, 2026 

 

Moving means leaving as well as arriving. Anticipating the unknown can be scary, as can leaving the familiar and saying goodbye. For the young boy in Jack Wong's newest picture book, leaving his dear koi behind is a true reflection of what the child is feeling about his own move to another country.

...would remembering their old home make them feel lonely, too? (pg. 29) 

Illustration by Jack Wong from Goodbye, Koi, written by Jack Wong

The story starts with a boy and his dad taking their koi to their new home. The gorgeous fish of red and orange, who'd once lived in a large tank indoors, are taken to the ponds at a park with lush gardens, pavilions, bamboo, and more. As they prepare for their own journey, purchasing a winter coat and seeing friends for the last time, the boy thinks about his koi. Will they be cold outdoors? Will they make new friends? Will they remember? Will they be lonely? 

Illustration by Jack Wong from Goodbye, Koi, written by Jack Wong

Everything the child wonders about his koi reflects his own thoughts and concerns. Fortunately, his father reassures him with each answer, and the boy finally recognizes that, like the koi, they have each other to remember together.
 
Jack Wong appends his story with two sections titled, "A Journey of My Own," and "Hello, Koi." It is evident that, as he did in his earlier picture books like When You Can Swim (2023) and The Words We Share (2023), Jack Wong draws from his own life to give readers real stories. Goodbye, Koi may not be Jack Wong's story, but it is the story of moving, of leaving behind, of trepidation of the unknown, of a loss. It's wondering about what will be when you don't know what will be, and the ache of leaving something behind.

Illustration by Jack Wong from Goodbye, Koi, written by Jack Wong

For those who are familiar with Jack Wong's earlier picture books, you'll notice the distinct difference in his illustration style in Goodbye, Koi. Using Chinese brush painting, a traditional art style, Jack Wong reflects the essence of the koi and the movement of the boy and his family. There is a fluidity of brush stroke that matches the story better than any realistic representation could.
 
It's a new world for the koi and the boy and his father—who are last seen on a plane flying through blue skies—but it is one of promise for life and for opportunity, albeit through change.  

A Good Daughter's Ghost: Guest review

Written by Sam Wilket

Annick Press

978-1-834021157 

248 pp.

Ages 14-18

August 2026 

 

 

This guest review was written by Laura Krause.

 

A Hauntingly Good Debut 

This is a great horror story for young adults. It is a story in which a mother's grief allows literal ghosts to destroy the life of the family. Drawing upon her own heritage, debut author Sam Wilket, a second-generation Canadian of white British and Chinese descent, feeds her story with Chinese folklore and mythology, helping her to build the dread and danger at a near-perfect pace. But what really makes this novel shine is the more human story about grief, about how people move through it, and how it can slowly erode the foundation of a family, despite those who process that grief in a healthy way. 

This mother’s grief is an apt metaphor for the very mundane and non-paranormal way that the agony of loss can consume people. There are many creepy and chilling scenes that build horror associated with grief. These scenes, all occurring as characters process grief, include people having out-of-body experiences; having no memory of their actions and losing spans of time; hallucinating; and erupting into violent outbursts. The paranormal is used as a powerful metaphor for universal emotions faced by many at some point in their lives. 

Normally I get so frustrated with horror stories in which obviously supernatural and dangerous things occur. It is not uncommon to have characters who come up with ridiculous ways to rationalize what they experience, or who take far longer to reach their breaking point than feels realistic. But, in A Good Daughter's Ghost, I never once became frustrated at the characters' reactions to the increasingly scary circumstances because of the way Sam Wilket presented their emotional and life situations. The way they reacted made sense.

Apart from the subject of grief, the subplots focus on Rachel, our teen protagonist, and her relationship with her mom, as well as with her cultural identity. These story lines will be especially relevant to teens, the intended audience of A Good Daughter's Ghost, though the book can be appreciated by a far older audience too. 

 

I would have appreciated more detail in several aspects of the story. First, I craved more from the epilogue, so that there would have been more story of the aftermath of a violent and horrifying climax. Rather than jumping to six months later, I would have liked to see the journey to how things became okay again. Also, I would have liked for Sam Wilket to expand on how a Canadian Caucasian knew enough about Chinese spiritual practices to perform the steps that were taken. Perhaps because of her own background, which she writes upon on her website, Sam Wilket has such knowledge, though it would be unfamiliar to many persons. Some additional discourse about the source of that info would be valuable.

This may be a YA horror novel, but even as a reader who is beyond that age group, I still thoroughly enjoyed A Good Daughter's Ghost, and look forward to future titles from Sam Wilket.

 

~ Laura Krause (or LauraK483 as she is known online) is an aspiring book editor with a background in live theatre. She obtained her BFA in Theatre Production and Design from York University, and a master’s degree in Stage and Event Management from the Royal Welsh College of Music and Drama. She is currently completing the Editorial Skills program at George Brown Polytechnic. When she isn't working or reading, she is likely streaming video games on her Twitch channel or planning her next TTRPG project.

 

Backpack

Written and illustrated by Katie Arthur

Owlkids Books

978-1-77147-725-3

40 pp.

Ages 4–7

August, 2026 

 

Soon school will be starting for many children. As they become part of a large school body, many will want to find a way to define themselves. It could be loudly or quietly, with confidence or with shyness, with a look-at-me attitude or with a I'm-OK-by-myself outlook. And the backpack, that familiar bag of many students, will help define them.

 

Katie Arthur, who illustrated the recently reviewed Whale Man: The Story of Jon Lien (Robert Chafe, 2026), follows Izzy through the year, starting on her first day of Grade 1 to see what her backpack, a blue one with ears and a toothy grin, will mean for her.

Illustration by Katie Arthur from Backpack, written by Katie Arthur

Getting her out the door is hard enough, especially when Izzy wants to take multiple, large, stuffed animals with her, and her preschool sibling wants to wear the backpack. But get to school they do, and with some loving goodbyes, Izzy joins the throng of students. Her backpack now has a place beneath her name, and a place to belong. 

Illustration by Katie Arthur from Backpack, written by Katie Arthur

That backpack carries a lot and does a lot. For Izzy, what her backpack means is very complicated. It holds her treasures, the things she needs, what she wears, and even what she'll eat. There are messages, school work, and odd bits of Lego and stones. "All the bits and bobbles of your life, held together with a squish and a zip." (pg. 13) It will bring her joy, comfort, and even hold onto sadness. It can serve as a pillow, as a toy, and a travel buddy. "You carry it, and it carries you." (pg. 36–37)

 

This is more than a book about Izzy's backpack. It's about all the backpacks and those who carry them. It's about what it does, what it means to you, and how it's a part of your growth. We transition through different sizes, through different styles, and with different contents. Whether we're young or old, our backpacks keep us company and serve us well. Katie Arthur's story may be about Izzy B.—there must be two Izzys in her class if the initial of her last name is being used—but it's also about a younger sibling, and all the children who carry backpacks. I love the colour and style of Katie Arthur's artwork which works so well in a book about backpacks. Like the variety of their shapes and colours, Katie Arthur gives the story that same range of feeling. From nervousness to joy, to confidence and heartache, the child carries it all and so does her backpack. The illustrations are colourful and bold but also overcast as the scene necessitates.

Illustration by Katie Arthur from Backpack, written by Katie Arthur

There is a trend—but one that is actually decades old—of examining the contents of purses. I hope Katie Arthur will consider a sequel to Backpack that might expand on what's inside different backpacks, so as to investigate how and what the contents might reveal of the person carrying them. As with people, what's on the inside is perhaps more important than what's on the outside. And what a backpack can do is so much more than just being a vessel for school stuff, as Izzy and Katie Arthur show us.

Boogy & Tee and Twinkle & Hew

Written by Kathy Stinson

Illustrated by Mark Hoffman

Groundwood Books

978-1-77946-036-3

40 pp.

Ages 3–6

September 2026 

 

 

"Stop saying that we are all in the same boat.

We're all in the same storm.

But we're not all in the same boat."

— Greta Thunberg

 

 

Are we all in the same boat? People often say, "We're all in the same boat" as a way to show shared experience and empathy for a shared difficulty. But how often is this true? Kathy Stinson's latest offering, Boogy & Tee and Twinkle & Hew, challenges the notion of equal experience, as did Greta Thunberg in her quote.

 

In rhyming verse reminiscent of Edward Lear's The Owl and the Pussycat, Kathy Stinson begins her story with two pairs heading out onto the sea in good weather. Boogy and Tee set out on their luxury yacht for a cruise, while siblings Twinkle and Hew leave their shack to fish for food. But when a storm hits, the seagoers experience difference circumstances.

Illustration by Mark Hoffman from Boogy & Tee and Twinkle & Hew, written by Kathy Stinson

Twinkle and Hew's old fishing boat falls apart and the two worry they will never see shore again. Boogy and Tee can see no reason to fret about the storm. Though Twinkle and Hew are still in dire straits after the storm passes, a clear sky of brilliant stars appears, and reactions of all seagoers are very separate.

 

But, when the yacht hits a rock, Boogy laments the loss of his things. On the other hand, Tee notices Twinkle and Hew and aims to help them. By helping them, Tee finds a way to save the two siblings and herself and Boogy.

Illustration by Mark Hoffman from Boogy & Tee and Twinkle & Hew, written by Kathy Stinson

While Kathy Stinson's story may be taken as one of cooperation and compassion—important virtues to convey—it is an allegory of how our world is operating. Too often there is a separation of the haves and the have-nots. How they perceive the world, both its marvels and its menaces, can be embedded in the inequality. Boogy and Tee are wealthy, travel the sea by luxury yacht, and barely notice the storm. Even when the storm passes and they witness the glory of a star-filled sky, Boogy imagines owning all of the stars. On the other hand, Twinkle and Hew have to go out on their not-so-fine fine boat to fish for  food. Even when clinging to their wrecked boat, the siblings think about what they mean to each other.

Hew's boat fell apart, breaking more than one heart.

     The two wept like never before.

They held each other, said, "Love you, my brother."

     Would they every get back to shore,

          To shore?

Would they every get back to shore? (pg. 16) 

How Kathy Stinson ends her story is one of positive expectation. She shows us that the inequality that drives so much of our contemporary world can be eclipsed with kindness and cooperation. We've seen it with challenges like the COVID pandemic and major power outages, but whether it lasts only as long as the metaphorical storm will only become evident in real time. 

Illustration by Mark Hoffman from Boogy & Tee and Twinkle & Hew, written by Kathy Stinson

New Hampshire illustrator Mark Hoffman uses collaged painted paper and coloured pencil to create both metaphorical and literal clashes, both between people and of the sea waves. The angularity of cut paper creates a tension that is part of both the sea and the seagoers. And with colour, Mark Hoffman gives us atmosphere, both strained and coordinated.

 

Here's hoping that we can all work towards a world in which we all weather the inevitable storms on safe and strong boats and in partnership with others.

Whale Man: The Story of Jon Lien

Written by Robert Chafe

Illustrated by Katie Arthur

Running the Goat, Books & Broadsides

978-1-998802357

44 pp.

Ages 4–8

August 2026 

 

Jon Lien (1939–2010) was an extraordinary man. His accomplishments, both academic and charitable, earned him the Order of Canada and the respect of many. This is the story of how Jon Lien became the admired scientist whose benevolence saved countless marine mammals and the livelihoods of local fishers.  

Illustration by Katie Arthur from Whale Man: The Story of Jon Lien, written by Robert Chafe

Jon Lien may have grown up in South Dakota, but it was there that he learned to connect with animals, something that ultimately would help him become known as the Whale Man. Curious, Jon watched and learned how animals behaved. After his university studies, he and his wife moved to Newfoundland where he taught at Memorial University. Jon's curiosity with his new home and its many creatures made him a bit of a novelty among the fishers of his community, but when he was called upon to help, he resolved to do so.

Illustration by Katie Arthur from Whale Man: The Story of Jon Lien, written by Robert Chafe

When a fisherman got a humpback whale caught in his net, he called upon Jon. Knowing the disaster this could be both for the whale, who might not survive, and for the fisherman whose livelihood was dependent on his nets being undamaged, Jon saw that both were fearful of the possible outcomes. Looking into the eye of the great animal, Jon recognized fear. Wearing a diving mask, Jon repeatedly stuck his head beneath the water to untangle the net, knot after knot.

Illustration by Katie Arthur from Whale Man: The Story of Jon Lien, written by Robert Chafe

His success with this whale rescue led to more rescues and the founding of the Whale Research Group at Memorial University, as well as helping others to rescue these creatures when the whales became trapped in nets.

 

The story of Jon Lien, the Whale Man, is an extraordinary one. It is especially poignant as Jon Lien became the Whale Man because of his compassion for animals and his curiosity about living things. His understanding of how the whale might be feeling as well as the fisherman helped him find a solution, albeit it one that was perilous to him. His courage to make things right and to help others do the same is the story that author Robert Chafe of Newfoundland tells. It is not one of audacious bravery or imprudence. It is one of curiosity and grace. It tells of a man whose actions were governed by his heart and his inquisitiveness. Robert Chafe tells Jon Lien's story as that of a man of decency, a man who did the right thing. He looked into the eye of a whale and saw the need for mercy, not enmity.

 

The illustrations by Katie Arthur of Nova Scotia impress upon the reader the magnitude of Jon Lien's connection with animals, whether it's a donkey or a whale. Katie Arthur's ability to focus on the man and his efforts while still conveying the vastness of the sea and its inhabitants is a fine balance of her artwork. Most important is the folk-art nature of her art, which blends several media to convey the nature of a Newfoundland landscape and culture. Katie Arthur makes us see the people, the sea, the animals, and the spirit of the Maritimes.

 

I was delighted to make the acquaintance of Jon Lien via Robert Chafe and Katie Arthur's story Whale Man. He was an exceptional man who learned compassion from connecting with animals, from farm animals to birds and finally to whales and other marine creatures, to the betterment of them and of us. 

2026 CCBC Book Awards: Finalists announced

On Tuesday, August 15, 2026, the Canadian Children's Book Centre announced the finalists for its 2026 English-language book awards. (See their website for an announcement of finalists.) These awards celebrate picture books, historical fiction, YA, poetry, and more. Over the years, the awards have changed, some discontinued and some transitioned (e.g., the long-awarded Norma Fleck award for Canadian children's non-fiction is now sponsored to honour Sharon Fitzhenry). Still, this year's six awards are a sampling of the extraordinary books for young people created by Canadian authors and illustrators. They are a great resource for exceptional reads from 2025to 2026.

 

This year, the children's book awards include the following: 

• Marilyn Baillie Picture Book Award ($20,000) 
• Sharon Fitzhenry Award for Canadian Children's Non-Fiction ($10,000)  
• Amy Mathers Teen Book Award ($5,000) 
• Richard Allen Chase Memorial Award ($5,000)
• David Booth Children’s and Youth Poetry Award ($3,500) 
• Geoffrey Bilson Award for Historical Fiction for Young People ($3,000) 

• • • • • • •

 

Here are the short lists for each award category, as announced by the Canadian Children's Book Centre:

 

Marilyn Baillie Picture Book Award

Supported by A. Charles Baillie

This award honours excellence in illustrated English picture books for children ages 3-8 and written and illustrated by Canadians.

Everybelly
Written and illustrated by Thao Lam 

Groundwood Books  

Reviewed here 

Ins and Outs 
Imagined by Elizabeth Withey 
Illustrated by Salini Perera 

Orca Book Publishers

Reviewed here 

My Friend May 

Written and illustrated by Julie Flett 
Greystone Kids

 

The One About the Blackbird 

Written by Melanie Florence

Illustrated by Matt James 
Tundra Books

Reviewed here 

Rock 
Written by Laurel Croza 
Illustrated by Matt James 
Groundwood Books

Reviewed here 

 

 

 

 

 

Sharon Fitzhenry Award for Canadian Children's Non-Fiction

Supported by the Fitzhenry Family Foundation 

This award honours excellence in Canadian children’s non-fiction books for Grades 4-12 (ages 8-18).  

 

Game Changers: Stories of Hijabi Athletes From Around the World 
Written by Charlene Smith 
Illustrated by Natalya Tariq 
Orca Book Publishers 

 

Never Silent: A Hiroshima Survivor's Story 
Written by Setsuko Thurlow and Kathy Lowinger 

Illustrated by Michelle Theodore 
Annick Press

Reviewed here 

 

Ours to Tell: Reclaiming Indigenous Stories
Written by Eldon Yellowhorn and Kathy Lowinger
Annick Press

The Sustainable School: A Journey Through Time and Energy 
Written by Erica Fyvie 

 Illustrated by Scot Ritchie 
Kids Can Press

Reviewed here 

 

The True Story of Vanilla: How Edmond Albius Made History (Orca Biography)
Written by Ann Richards 
Illustrated by Arden Taylor 
Orca Book Publishers

 

 

 

 

 

Amy Mathers Teen Book Award

Supported by Canadian Children's Book Centre

This award honours excellence in fiction written in English for teens or young adults (ages 13-18) by a Canadian citizen or a permanent resident of Canada. 

Among Ghosts 
Written by Rachel Hartman 
Penguin Teen Canada

A Drop in the Ocean  

Written by Léa Taranto 
Arsenal Pulp Press 

The Fragments that Remain 
Written by Mackenzie Angeconeb 
DCB Young Readers 

 

He’s So Possessed with Me
Written by Corey Liu 
Little, Brown Books for Young Readers 

Songs for Ghosts 
Written by Clara Kumagai 

Penguin Teen Canada 

Reviewed here

 

You Started It
 Written by Jackie Khalilieh (Markham, ON)

 Tundra Books

 

 

 

 

 

 

 

 

Richard Allen Chase Memorial Award

Supported by Alice Chase 

This award is given annually to a Canadian children’s title written for an elementary school-aged audience in Grades 4–6 (Ages 9–12) exemplifying Richard’s guiding principles of compassion, kindness, humanity, environmentalism, inclusivity, and connection to the land.

Akemi's Song 
Written by Joanne Kwok 
Illustrated by Yiting Hui 
Plumleaf Press

 

Fantastic Lou: Little Comics from Real Life 
Written and illustrated by Qin Leng 
Tundra Books

 

kisēwātisi / Be Kind 
Written by Elizabeth Merasty 
Illustrated by Brie Phillips 
Woodland Cree translation by Edie Venne 
Your Nickel's Worth Publishing

 

Little Moments in a Big Universe 
Written and illustrated by Todd Stewart 
Owlkids Books

 

Oasis 
Written and illustrated by Guojing 
Godwin Books

 

 

 

 

 

 

 

 

 

David Booth Children's and Youth Poetry Award

Supported by Shelley Stagg Peterson

Honouring the late David Booth, former Professor Emeritus at OISE, this award recognizes excellence in Canadian youth poetry.

The Lightning Circle 
Written by Vikki VanSickle 
Illustrated by Laura K. Watson 

Tundra Books

 

Lights at Night 
Written by Tasha Hilderman 
Illustrated by Maggie Zeng 
Tundra Books  

 

A Pond, a Poet, and Three Pests 
Written by Caroline Adderson 
Illustrated by Lauren Tamaki 
Groundwood Books

Reviewed here 

 

Reasons to Look at the Night Sky 
Written by Danielle Daniel 
Tundra Books 

 

Song of Freedom, Song of Dreams 
Written by Shari Green 
Andrews McMeel Publishing  

 

This Is a Tiny Fragile Snake
Written by Nicholas Ruddock 
Illustrated by Ashley Barron 
Groundwood Books  

Reviewed here 

 

 

  

 

 

Geoffrey Bilson Award for Historical Fiction for Young People 

Supported by the Canadian Children’s Book Centre’s Bilson Endowment Fund

This is given annually to reward excellence in the writing of an outstanding work of historical fiction for young readers by a Canadian author.

I Won't Feel This Way Forever
Written by Kim Spencer 
Orca Book Publishers 

Joe and the Wreck of the Tribune
Written by Jacqueline Halsey 
Nimbus Publishing 

Saving Wolfgang 
Written by Gregor Craigie 
Orca Book Publishers 

Seabird
Written by Michelle Kadarusman 
Pajama Press 

A Storm Unleashed 
Written by Carol Matas 
Scholastic Canada 

 📚📚📚

The winners of these awards will be announced on October 26, 2026 at a ticketed event in Toronto.