Sarabeth's Garage

Written by Melanie Florence

Illustrated by Nadia Alam

Tundra Books

978-1-774885956

40 pp.

Ages 3–7

February, 2026

 

Sarabeth loves cars. She loves everything about them, from their tires and motors to their carburetors, and engines. She loves the way they look, how they move, and the sounds they make. Her family knows how much she loves being around cars and spending time at her dad's garage. Well, almost all of them understand. Sarabeth's grandmother doesn't. She shakes her head and cringes, telling her what girls should do and what boys do.

From Sarabeth's Garage, written by Melanie Florence, illustrated by Nadia Alam

But Sarabeth doesn't let it bother her. She puts on her blue coveralls with her name stitched on the pocket and helps her dad with oil changes, with fixing flat tires, and by replacing fan belts and spark plugs. And when she gets home, she has to scrub her nails and hands, though some of the grease never goes away. Sadly, her grandmother has something to say about that too.

From Sarabeth's Garage, written by Melanie Florence, illustrated by Nadia Alam

However, when Grandma is leaving, her car sounds terrible, and it belches out smoke. Sarabeth gets to work, and this time when her grandmother tells her, "In my day, little girls didn't know how to fix cars" (pg. 33), Sarabeth has a polite but confident reply 

 

I like to think that we've moved on significantly from those days of telling girls and boys and everyone in between what they can and cannot do. When we impose expectations on people that they either can't or choose not to meet, there is disappointment and even conflict. As a child, Sarabeth doesn't deserve to have her dreams of working on cars negated. It actually wasn't even a dream. She was doing it and doing it well and with confidence and joy. Thankfully Melanie Florence makes Sarabeth a strong character who knows herself and has the support of most of her family. She doesn't let her grandmother take away her passion. And by letting young readers see a child interested in tinkering and making, Melanie Florence supports children, and particularly girls, participating in STEM activities.

From Sarabeth's Garage, written by Melanie Florence, illustrated by Nadia Alam

I may have shared an anecdote from my teaching career but let me tell it again. I remember a girl in Grade 5 telling me that she couldn't do science, and it just about broke my heart. But it also disappointed me that someone had told her that she was incapable of something. I delighted in proving that person wrong. I'm pleased that Sarabeth knew what she wanted to do, and at such a young age. Her passions may change over time, but, as long as she is true to herself, it will be fine.

 

I believe this is the first book illustrated by Toronto artist Nadia Alam that I have reviewed, though she has contributed the artwork for a number of picture books. Her art, rendered in pencil and Photoshop, has a lighthearted edge to it. It is colourful and playful, but it is also thoughtful and revealing. Nadia Alam uses great detail to give Sarabeth's activity an atmosphere of work and interest, while using expressive lines to depict Grandma's displeasure and Sarabeth's parents' support for their child and patience with Grandma's narrow-mindedness.

From Sarabeth's Garage, written by Melanie Florence, illustrated by Nadia Alam

I know that many readers may read Sarabeth's Garage as a far lighter story than some of Melanie Florence's other award-winning books (e.g., Missing Nimâmâ, 2015, and Stolen Words, 2017). But Sarabeth's Garage has an important message in its own right, reminding children to forget those who say what you should do or what you should like or what you should be. If you're not hurting anyone and you're following your passion, do and like and be what you want. Sarabeth did.

I'm Busy

Written by Michael Ian Black

Illustrated by Debbie Ridpath Ohi

Simon & Schuster Books for Young Readers

978-1-6659-1524-3

40 pp.

Ages 4–8

Releases February 24 2026 

 

Michael Black and Debbie Ridpath Ohi's remarkable trio—a little girl, a pink flamingo, and a potato—from I'm Bored (2012), I'm Sad (2018), I'm Worried (2019), and I'm Sorry (2021) have returned, and now one of them is struggling with overcommitment and a lack of life balance. Together they've always helped each other through their issues. Can they help this time? And will there be a time when they can fit it in?

From I'm Busy, written by Michael Ian Black, illustrated by Debbie Ridpath Ohi

Flamingo wants to play, but every time he asks his friend, the little girl with the darling yellow barrettes, if she wants to play superheroes or Hula-Hoop, she tells him that she's busy. She may be painting or coding or experimenting or practising her trumpet, but it's always something. And her reasoning? "I can't! School starts in two weeks and then I've only got twelve years before college applications are due!" (pg. 7) Yikes. This child has a lot on her mind and her calendar.

From I'm Busy, written by Michael Ian Black, illustrated by Debbie Ridpath Ohi

Flamingo is very understanding, as is the droll Potato ("I can't read," he says when she shows them her calendar. [pg. 9]), but their questions about when she'll have time disquiet her. They try to help her slow down by watching the clouds, and that finally makes her realize that she needs to find balance to her dilemma. (FYI, a dilemma is not like a soufflé as Potato suggests.)

From I'm Busy, written by Michael Ian Black, illustrated by Debbie Ridpath Ohi

This little girl isn't just busy. She's also stressing because of that busyness. But with the help of her friends, making time for herself, and maybe some playing in the mud, she finds some balance in her life. And she finds it with humour, companionship, and uncommon wisdom. 

 

The humour is courtesy of American comedian (and actor and writer) Michael Ian Black who manages to make readers laugh while guiding them through common childhood dilemmas. Here, taking on more than she can handle is the result of uncertainty about her future and whether she can accomplish all that she feels she must. Though there are no adults in Michael Ian Black and Debbie Ridpath Ohi's I'm books, I can't help but think that there are some adults in the little girl's life compounding her worries. (Mind you, she's already coding so all this could be a result of her own awareness of what she needs to do to be successful.) Her friends may be unusual, but with Flamingo's eagerness for play, and Potato's apparent inertia, Michael Ian Black has created a perfect trio of characters that children will appreciate, maybe even know, and from whom they can learn while laughing, right down to the last line.

 

But I'm Busy needs Debbie Ridpath Ohi's illustrations to bring the story to life. We know the book's characters through her art, as well as Michael Ian Black's voice, but she gives them the colour and shape and expression that makes them easily identifiable and wholly adored. There is never any question that this little girl is accomplished but frantic with busyness. Her eyes are focused, she has a strained or absent smile, and, when she's really anxious, there are despair lines around her eyes. Debbie Ridpath Ohi's artwork is so evocative that she can create deep emotions with just a few lines. (Look at Potato in the illustration below. With just two eyes and a mouth, it is evident that he is cringing at her trumpet playing.) Thanks to Debbie Ridpath Ohi's art, reading I'm Busy is a treat for the eyes as well as the spirit.

From I'm Busy, written by Michael Ian Black, illustrated by Debbie Ridpath Ohi

Help young children find balance in their lives with some humour, extraordinary friends, and an abundance of colour and joy with a reading of I'm Busy. Then read the other I'm books in the series to help them understand their feelings and handle them with self-assurance, with or without a flamingo or a potato by their side.

 

• • • • • • • • • • • 

 

Read all five of the I'm books by Michael Ian Black and Debbie Ridpath Ohi. After all, it's important to make time for the good things in life. 

 

I'm Bored (2012)

I'm Sad (2018)

I'm Worried (2019)

I'm Sorry (2021)

I'm Busy (2026)

 

Also, there are some fun resources 

at Debbie Ridpath Ohi's page for I'm Busy here

• • • • • • • • • • • 

Left-Handed: Getting a Grip on Handedness

Written by Maria Birmingham

Illustrated by Catherine Chan

Owlkids Books

978-1771476201

48 pp.

Ages 8–12

January 2026 

 

While I suspect that identification as being left-handed is not the big deal that some used to make it, it is still an issue for many whose left hands are their dominant hands, particularly as they live in a world that is dominated by right-handers. For those who are left-handed and those who aren't but love learning about human behaviour, how our brains work, and what makes us unique and different, Left-Handed: Getting a Grip on Handedness offers opportunities for insight and for understanding. 

From Left-Handed: Getting a Grip on Handedness, written by Maria Birmingham, illustrated by Catherine Chan

Maria Birmingham, one of the stars of children's non-fiction (e.g., Snooze-O-Rama: The Strange Ways That Animals Sleep, 2021; Canada Wild: Animals Found Nowhere Else on Earth, 2022; When Nature Calls: The Unusual Bathroom Habits of the World's Creatures, 2024; Can We Talk?: How Humans Stay in Touch, 2025), takes a historical and scientific approach to the topic of why and how some people become lefties. Outside of her introduction and conclusion chapters, Maria Birmingham organizes her information according to the following:

• The History of Lefties
• Why is a Lefty a Lefty?
• Fact or Fiction?
• Inside Sports
• Body Talk
• Can Animals Be Lefties?
• Living in a Righty World 

After an introduction to being a lefty, including a fun quiz to help determine whether the reader is a lefty, a righty, or a bit of both—about one percent of people are ambidextrous—Maria Brimingham discusses some fascinating historic evidence of lefthandedness, like scratches on teeth and hand painting. She also writes of how lefthandedness was perceived in ancient civilizations—either as cursed or magical—through the middle ages, and into the Industrial Revolution. Readers will also learn how lefthandedness was seen in modern times, with parents and teachers forcing kids to write with their right hands.

From Left-Handed: Getting a Grip on Handedness, written by Maria Birmingham, illustrated by Catherine Chan

Beyond the history, Maria Birmingham gives readers the basics of the science of lefthandedness, from DNA to baby's development, and brain differences. There's also some discussion related to creativity, intelligence, and memory, as well as its role in sports and perhaps survival. And even though the term "lefthandedness" rests on the premise of having hands, other animals seem to show preferences too. A penultimate discussion about living in a world of righthandedness will give readers pause, particularly for righties who never consider the challenges for lefties using scissors, tech, and other tools.

From Left-Handed: Getting a Grip on Handedness, written by Maria Birmingham, illustrated by Catherine Chan

I appreciate Maria Birmingham's final note about moving away from the lefty-versus-righty idea. The issue isn't that we're different; it's the idea that one may be better than the other because of dominance. Since we're all about diversity, equity, and inclusion, maybe separating people along lines of handedness may not be appropriate. But, acknowledging those differences will help everyone be included and get what they need, and that's a good thing.

 

Left-Handed: Getting a Grip on Handedness is a terrific introduction to why some people use their left hands for writing and other functions rather than their right hands. The book is a thorough examination of the topic from history to science and sports, and even identity. With Toronto illustrator Catherine Chan's digital artwork (created on a Wacom tablet) to bring the non-fiction text to life in colour and context, Left-Handed: Getting a Grip on Handedness becomes an entertaining and informative read about the extraordinary nature of the ordinary.

Shirley: An Indian Residential School Story

Written and illustrated by Joanne Robertson with Shirley (Fletcher) Horn

Second Story Press

978-1772604542

70 pp.

Ages 9–12

Releases February 10, 2026 

 

Shirley, who originally came from Moose Factory, before moving with her family to the southern area of Treaty 9, on the Missinaibi River, remembers being happy. They hunted, fished, trapped, gathered food, and grew food in their garden. But when she was five, the Indian agent came, declaring that since her parents had separated, she and her siblings, which included three-year-old Billy and older sister Frances, would be going with him.  

From Shirley: An Indian Residential School Story, written by Joanne Robertson with Shirley (Fletcher) Horn, illustrated by Joanne Robertson

They were taken by canoe to St. John's Indian Residential School in Chapleau. The first order of business was separating the children into different areas, and Shirley declares that "separating us was their first act of cruelty." (pg. 11) As Shirley and her little brother were too young for school, she became the companion for the minister's young daughter, and Billy was kept outside with the chickens.

From Shirley: An Indian Residential School Story, written by Joanne Robertson with Shirley (Fletcher) Horn, illustrated by Joanne Robertson

When she was finally able to go to school, Shirley loved learning and felt that "being in the classroom took away some of the loneliness." (pg. 17) She saw her siblings at church and at mealtimes, but never being allowed to speak to them was difficult. 

From Shirley: An Indian Residential School Story, written by Joanne Robertson with Shirley (Fletcher) Horn, illustrated by Joanne Robertson

When St. John's Residential School was condemned, the children were moved to Shingwauk Indian Residential School in Sault Ste. Marie. They were able to see their father again, who presented them with generous bags of apples and oranges—which the supervisors took to oversee—and their aunt and uncle who "filled up more than our bellies in our brief visit. They filled up our spirits with good feelings." (pg. 18)

 

At their new school, their routines were quite strict. (The inside front and back covers display "Pupils' 'Timetable,' Shingwauk Home" with times, bells and activities, from workers to work  to the marching to dormitories and the saying of grace, laid out.) And, though Shirley and her friends find ways to endure the rigorous nature of their lives—having competitions, daring each other, and grabbing moments of joy when possible—Shirley missed her family very much. Not surprising that Shirley with others attempted several escapes, though hers were not successful being children so far from home. 

From Shirley: An Indian Residential School Story, written by Joanne Robertson with Shirley (Fletcher) Horn, illustrated by Joanne Robertson

The stories of residential schools are plentiful and always horrific. For children to be taken from those who loved them and to be forced to dissociate from family and their culture and heritage is heartbreaking. Shirley (Fletcher) Horn's story, as shared with Joanne Robertson (who wrote and illustrated The Water Walker, 2017), is an honest portrayal of her experiences, but still told in an age-appropriate tone. Enough stories of survivors of residential schools and of those who were victimized in those schools are plentiful and tragic. But, because Joanne Robertson and Shirley (Fletcher) Horn take Shirley's reminiscences, good and bad, and focus on her perspective on them and how she dealt with everything, what comes across most importantly is her resilience. As a child, she made herself think of other things, to delve into her learning, and to "shut off my loneliness." (pg. 30) She fought off bullies, fear, and, most of all, that loneliness. She is strong and gutsy, and she endured.

 

The images in Shirley: An Indian Residential School Story are a unique blend of photographs, many from Algoma University archives of Shingwauk Residential School Centre and from Joanne Robertson, and drawings by Joanne Robertson. By mixing two media, she helps us focus on Shirley and the other children, and less on their grim circumstances. By limiting colour to the children and any positive circumstances they appreciated like a confirmation dress, or the river banked by trees, Joanne Robertson reminds us of where the goodness is. 

 

Shirley: An Indian Residential School Story is an important addition to all compilations of middle grade stories about Indigenous children in residential schools. By telling her story, just as she did to the Truth and Reconciliation Commission, Shirley (Fletcher) Horn's has found a way to share for those who endured the same and for those who cannot imagine it and need to be informed. 

It's a Mitig!

Written and illustrated by Bridget George

D & M Kids (Douglas & McIntyre)

978-1-771-624817

32 pp.

Ages 3–5

January 2026 

 

Giizis is rising, the day is brand new.

Let's learn some words nature's gathered for you. (pg. 3)

 

So begins Bridget George's It's a Mitig!, a picture book originally published in 2020 and now available as a board book, perfect for a concept book for teaching Ojibwe (Anishinaabemowin) words. 

 

With the rising of the sun (giizis), readers are taken from place to place to meet a variety of animals and plants. From the ashigan (bass) to the gaag (porcupine), Bridget George introduces Ojibwe words. She never uses the words "sun" or "bass" or "porcupine" but the children to whom the text is read will put the visual and textual clues together and determine what these new words mean. And, because she uses short rhyming verse, Bridget George makes the text playful and easy to remember. Moreover, her text is always informative and clear in evoking the name of each subject. For example, the text for a bird tells the reader that, "This animal whistles and lives in a tree. Building a nest, it's a bineshiinh." (pg. 11) Bineshiinh is obviously the Ojibwe word for "bird."

From It's a Mitig!, written and illustrated by Bridget George

Though Bridget George's digital illustrations in The Animals Choose a Leader (written by Richard Wagamese, 2024) and  The Inquisitive Raven (also by Richard Wagamese, 2025) are of a Woodland style, her artwork in It's a Mitig! is less defined as of an Indigenous art style. However, this Anishinaabe author-illustrator continues to embed readers fully in the natural world of trees and acorns, rivers and fish. By pairing new words with familiar natural elements like the moon (dibiki-giizis) or a river (ziibi), Bridget George teaches twelve Ojibwe names with informative and bright art.

From It's a Mitig!, written and illustrated by Bridget George

While the original book includes a glossary page with a pronunciation guide, these are not included in this edition of It's a Mitig! But, for a concept book, they are not really necessary. This is a board book, so most likely read by an older reader to a young child. Those to whom the book is read will pick up on the words by listening and looking at the pictures, not by reading them themselves. And they will learn these words. Whether these children are Anishinaabe or not, there will be learning of new words, and it will happen with colour, bright shapes, and descriptive rhyme.

From It's a Mitig!, written and illustrated by Bridget George

2025 Lane Anderson Award: Winner announced

 

The Lane Anderson Award for excellence in Canadian science writing was awarded on Wednesday, January 28, 2026 in Toronto. The event, hosted by Carol-Ann Hoyte and Winston Stitwell, presented the winners from shortlists selected by independent juries of experts in science, science writing and literature. The awards created and sponsored by the Fitzhenry Family Foundation, and named for the mothers of its two founders, Robert and Hilda Fitzhenry, were given in two categories, one for adults and the other for young readers, with each winner receiving a generous $10,000.

 

 

  • • • • • • •

Congratulations to this year's winner

in the Young Reader category

 

 

A Planet Is a Poem
Written by Amanda West Lewis
Illustrated by Oliver Averill
Kids Can Press
56 pp.
Ages 8-12
2024

Reviewed here

• • • • • • •

 

Benjamin Grows a Garden

Written by Melanie Florence

Illustrated by Hawlii Pichette

Kids Can Press

978-1-5253-0321-0

40 pp.

Ages 3–7

September 2025

 

Melanie Florence introduced us to Benjamin in Benjamin's Thunderstorm (2023), also illustrated by Hawlii Pichette, and we got to know the little boy who learns more about his Cree culture and language while partaking in ordinary activities like playing in the rain and listening to the thunder. By making connections with his Indigenous heritage, Benjamin's experiences are far richer and more meaningful. This time, in Benjamin Grows a Garden, it is spring, and the boy is back outside and enjoying preparing a garden with his mother.

From Benjamin Grows a Garden, written by Melanie Florence, illustrated by Hawlii Pichette

With spring birds accompanying their efforts, Benjamin and his mother prepare the soil for the seeds that will grow into a variety of fruits and vegetables that feed the family and their community. He's already anticipating the corn, beans, and squash that will go into Three Sisters Soup; the berries that will be served with bannock; and the zucchini, tomatoes, and pumpkins that will become stews and pies and salads. 

 

Into the rich tilled soil, Benjamin drops the corns seeds and waters them. Later on, when they have grown a bit, bean seeds are planted. And even later, the squash is planted, so that the corn supports the bean vines, and the squash beneath keeps the soil damp and cool.

From Benjamin Grows a Garden, written by Melanie Florence, illustrated by Hawlii Pichette

This is an impressive garden, diverse in its offerings and expansive in its magnitude. With sun and water and careful attention to the garden's needs, there is a bounty to enjoy and share.

  Benjamin loved springtime.

  Spring was when Benjamin and his mother planted 

their garden together and watched it grow. (pg. 29)

This book was released last fall, but I think it's a perfect time to think about the coming spring and the opportunities for making a garden. Many are perusing seed catalogues right now in preparation, and I suspect Benjamin's mother will be doing the same, unless she derives all her seeds from her own plants. But, more than just the planting of seeds, Benjamin and his mother partake in a traditional discussion of why they plant what they do and speaking Cree as they name that which is planted. (A "Pronunciation Guide" provided by Dr. Arok Wolvengrey of the First Nations University of Canada presents help with this vocabulary.) As such, Melanie Florence, award-winning author of Missing Nimâmâ (illustrated by François Thisdale, 2015) and Stolen Words (illustrated by Gabrielle Grimard, 2017), makes planting a garden more than just the mechanics of getting seeds into the ground. Melanie Florence makes it a bonding time for mother and son, and a preservation of culture, language, and tradition.

From Benjamin Grows a Garden, written by Melanie Florence, illustrated by Hawlii Pichette

Hawlii Pichette, the Mushkego Cree urban mixed-blood artist who illustrated the first Benjamin book, continues to support Melanie Florence's story with visuals while furthering the culture through her Woodland style of art. Hawlii Pichette may use digital tools to create her art, but she retains the distinct elements of bold colours, thick black outlines, and segmented interiors for vegetables, trees, shirts, and more. With her style and emphasis on Benjamin and his mother's work tending to the land, the organic connection is evident. There is a distinct warmth of relationship to nature and between family that comes through in Hawlii Pichette's illustrations.

From Benjamin Grows a Garden, written by Melanie Florence, illustrated by Hawlii Pichette

If land and opportunity presents, now is the time to start thinking about planting a garden in the spring. Whether you and your children follow in the traditions of Benjamin and many Indigenous Peoples in the planting of corn, beans, and squash, or consider the countless other fruits and vegetables that might be grown from seeds, your bounty will include far beyond a mouthful of food.

 

• • • • • • • 

Benjamin's Thunderstorm (2023)

Benjamin Grows a Garden (2025)

Planting Sunshine

Written by Andrée Poulin

Illustrated by Enzo (Enzo Lord Mariano)

Groundwood Books

978-1-77946-095-0

116 pp.

Ages 9–12

February 2026 

 

As is often the case, Theo's day is normal enough until it isn't. And what changes everything is watching the news coverage of war breaking out far, far away.

Theo's father

turns on the TV— 

     and war arrives

in their living room. (pg. 9)

Theo cannot believe what he is hearing and seeing. Horrified by the sights and sounds of bombs and guns, tanks and drones, and most of all the destruction of people and place, Theo is troubled. He wants to know why this happens, whether they are safe, and asks why humans are so cruel.

From Planting Sunshine, written by Andrée Poulin, illustrated by Enzo

Though the countries involved are never identified, readers might recognize some of the images described as those from the attack on Ukraine by Russia, such as the elderly woman who confronts a Russian soldier with sunflower seeds and suggests that if he puts them in his pocket. . .

At least when you die here

     on the soil of my country

     the sunflowers will grow 

                    around you. (pg. 20)

Theo asks his neighbour Mrs. Lena, an elderly woman who grew up in "the country now caught in this terrible war" (pg. 21), about the war and this incident, and she tells him of the sunflower—soniashnyk, in Ukrainian—being the "flower that feeds hope." (pg. 22) Seeing Theo's continued distress, day after day, she gives him sunflower seeds to plant.

From Planting Sunshine, written by Andrée Poulin, illustrated by Enzo

Each day there is more horrific news from the war, and the details stay with Theo. He thinks about the numbers, about the images, about the losses, and all he can do is wonder why no one is stopping it. Each day Theo asks, "Will the war end today?" (pg. 38) The war may be very far away but it's impacting Theo in the way he sees life. The word "bomb" no longer reminds him of diving board cannonballs. His friends playing war angers him. His dad refuses to let Theo watch the news anymore, so Theo hides his tablet and watches at night. And then the nightmares start, a mix of anger, fear, hatred and more.

 

When he meets a girl drawing doves on a wall as protest, Theo is finally able to share what he's feeling–never wanting to burden Mrs. Lena or his teacher or his father—and feels a little less alone. And he finds his own way to express his anger and his grief. 

From Planting Sunshine, written by Andrée Poulin, illustrated by Enzo

Still, he is unconvinced that the war will end or that things would change, until Mrs. Lena offers him the idea of hope. She tells him, "Hope lives in the after." (pg. 91) And, with a little help from those around him, Theo finds a way to settle his anger, remember what should never be forgotten, work to help a cause, and find "a small way to start building peace." (pg. 110)

I could quote page after page of eloquent text that clutches at the heart of Theo's bewilderment and trauma. Andrée Poulin has always had a knack for telling tough stories lightly—not lightheartedly—for a young audience. Whether it's sanitation (Burying the Moon, 2021), diversity and tolerance (Tickled Pink, 2020), or abandonment (The Biggest Poutine in the World, 2016), Andrée Poulin recognizes that her audience is young, and will be impacted differently about important issues. Theo is just such a child, significantly impacted by a war thousands of kilometres away, and not understanding fully what is happening. He's feeling a lot and needs help understanding those emotions and directing them into activities that help. Andrée Poulin takes Theo full circle, from unfamiliarity with war, to an introduction by media, to immersion in images and sensory overload, to impact and trauma, and finally purposeful attention. And she does so eloquently in words and in verse form. This book will become an exemplar of telling a story with sensitivity and compassion, and awareness of how world events can impact children in powerful ways. 

From Planting Sunshine, written by Andrée Poulin, illustrated by Enzo

Enzo (a.k.a. Enzo Lord Mariano), a Montreal-based illustrator, provides the artwork that frames Andrée Poulin's story. Using Procreate with watercolour textures, Enzo gives us some war images—the ones of a blue tractor in a field of sunflowers that is later devastated by bombs is especially heartrending—but generally it's all about Theo because this is his story. It is not a story of war. It is a story of a boy who struggles with the concept of war and his emotions with the senseless destruction it perpetuates. Enzo helps us see Theo's anguish and his anger, the trauma of his sleepless nights, and his despondency. But Enzo also shows us family, friendship, and community, and how those can soften the suffering.

 

I don't think I can say enough about Planting Sunshine. (A French-language version, Semer des soleils, was published in 2024 by La courte echelle.) Not only does it remind all that there is an ongoing conflict in Ukraine, but that there are children beyond the borders of that war that are struggling with it. Highly sensitive children like Theo can be impacted by what they see and hear in the news and cannot always articulate what they are feeling or recognize how to grapple with those emotions. In a world of strife and public media, children will continue to be exposed to all manner of frightening news. Awareness of their potential struggles and attention to their needs might help them find ways to plant sunshine and to unearth hope.

The Bear Fairy

Written by Paul Coccia
Illustrated by Fred Blunt
Tundra Books
978-1-77488-558-1 
40 pp.
Ages 3–7 

Releases February 17, 2026

 

Adorable is an adjective I usually use for puppies and kittens, beautiful babies, and sweet children. But now I can use it for bear fairies. Or, at least, the Bear Fairy of Paul Coccia's debut picture book. He may not be the dainty fairy of many tales, but he twinkles with his own brilliance.

From The Bear Fairy, written by Paul Coccia, illustrated by Fred Blunt

Spencer is a red-curled and bespectacled boy who is determined to catch a fairy. He constructs a fairy door in a tree, a daisy chain, and even a box-and-stick trap. His blue-haired friend Mariah is convinced that fairies are only attracted to beautiful little girls like her. 

Surprisingly, it's a littered potato chip bag that ultimately draws a fairy. More surprising is that it is a bear fairy with pink wings and wearing a pink dress. Though he wishes to leave—the chip bag is empty after all—Spencer convinces the Bear Fairy to stay so the boy can show him to Mariah. They spend a day of playing in the park, racing remote cars, and watching TV, with plenty of. snacks. The Bear Fairy may be lots of fun, but he also has his own quirks which Spencer must accommodate, like his tardiness when getting ready.

. . . I'm still sprucing up—

90 percent of being a fairy 

is in the looks, you know. 

It's not all magic dust and 

fluttering around! (pg. 25)

From The Bear Fairy, written by Paul Coccia, illustrated by Fred Blunt

 But when Spencer presents the Bear Fairy to Mariah, herself festooned in a pink dress with pink wings, the girl declares that he's not any of the things expected of a fairy. Worse, she insists emphatically that he's a crummy old fairy because he's pudgy, hairy, and not beautiful.

From The Bear Fairy, written by Paul Coccia, illustrated by Fred Blunt

Spencer will not allow her to slander his fairy and defends the Bear Fairy as the perfect fairy he is.

 

Paul Coccia has a knack for giving us important stories, but always with a lightness that helps soften less than fortunate circumstances. However, his earlier books have all be been for middle grade readers (e.g., On the Line [written with Eric Walters], 2022; I Got You Babe, 2023; Leon Levels Up, 2024) and young adult novels (e.g., Cub, 2019; The Player, 2021; Recommended Reading, 2025). Now, young readers, and those who read to them, can experience that same mastery in storytelling with The Bear Fairy. Not only do we get a story of stereotypes—yes, there are fairy stereotypes—and accepting others as they are, we get humour, cheeky puns, and adorableness. Paul Coccia has given the Bear Fairy, Spencer, and Mariah voices that make them true in their characters. They offer hope that all may be accepted, eventually.

From The Bear Fairy, written by Paul Coccia, illustrated by Fred Blunt

Fred Blunt, a Welsh illustrator, must have a touch of the whimsy himself judging by the art credit that identifies his work as created "with cheap paper, pencils, tatty brushes, ink and a computer." His materials may be downplayed, but his art is nothing but lofty and animated like the Bear  Fairy himself. Fred Blunt keeps the bear fairy cheeky, while Spencer and Mariah are both ordinary and off-the-wall, and creates upbeat landscapes both indoors and outside. There's the colour of wonder, and the lines and shapes of jocularity and fun.

 

I'm glad I met the Bear Fairy, just as Spencer surely is. So what if his fairy is pudgy and hairy? He's also fluffy and cuddly and beautiful. (Those are Spencer's assertions, and I concur.) He's perfect just as he is. And I thank Paul Coccia for introducing us to the Bear Fairy who exemplifies all of us. We are as we are, sometimes seen as the best and sometimes seen as less than perfect. And if we don't fit some stereotype because of our gender, age, appearance, or abilities, then that's on those who reinforce those impressions. We're perfect for those who accept us as we are.

Sophie Shares the Stars

Written by Heather Smith

Illustrated by Catherine Petit

Orca Book Publishers

978-1-4598-4015-7

32 pp.

Ages 3–5

September 2025 

 

Sophie has lived with her Michael since she was three years old. (She is eight now.) It's obvious that she adores her adopted father and he her. In fact, he's given her the universe both as a ceiling display and as a deeply felt sentiment.

My Michael says, "You are the whole universe."

I think that means he can't live without me. (pg. 3) 

From Sophie Shares the Stars, written by Heather Smith, illustrated by Catherine Petit

The life they have together is filled with love. They spend time talking, playing, and going to beach, and, when she messes up, he helps do better. But when her father, affectionately called My Michael, becomes ill, things change. It doesn't change between them but around them. Sophie tries to help him as he helped her when she had been ill. But Michael's illness is not a flu or a cold or a broken leg or anything with a visible nature. He has one of the myriads of invisible illnesses that most people do not see. Not surprising that their neighbour, Mr. Donaldson, declares that he saw Michael the day before and he didn't look sick. The child never knows what to say—and she shouldn't have to explain for her father—and always changes the subject.

From Sophie Shares the Stars, written by Heather Smith, illustrated by Catherine Petit

But the one thing Sophie can do is share her universe with him. By removing some of the glow-in-the-dark stars from her ceiling and creating the Big Dipper on the wall behind her Michael's bed, she shares the stars with him. Her Michael has good days and bad, but she's always there to hope he'll feel better, to make sure he knows he's loved, and to see him as the Michael is.

From Sophie Shares the Stars, written by Heather Smith, illustrated by Catherine Petit

Sophie Shares the Stars is a touching story about a familial relationship, but it tackles more by including adoption and an invisible illness. In her "Author's Note," Heather Smith speaks to her personal connection with the story, but, even without that knowledge, I know that she would have treated the topics with sensitivity and understanding, never with judgement. Anyone with an invisible illness, particularly those which are chronic or a mental illness, can attest to the frustration and isolation that comes with dealing with the illness and with others. If those others cannot see a cast, an open wound, or bandages, many will not understand the complex symptoms with which the ill person is suffering. I appreciate that Heather Smith never reveals Sophie's Michael's illness, but it really is irrelevant to the story. It is invisible and that's all that needs to be said. Because the story is about Sophie and her relationship with her Michael, and how they became a family, and grow stronger each day as a family, regardless of the challenge of his illness.

 

Montreal illustrator Catherine Petit uses pencil and digital tools to create the upbeat artwork that is all about the relationship between father and daughter. This child is well loved, bursts with energy and wonder, and shares her goodness with her father, knowing that he would choose her again. His open arms, and his dedication to bringing her joy and safety, are visible in every illustration, even when he's not feeling his best. And her devotion to him is palpable. She may be his universe, but Catherine Petit lets us see her smile, her eyes, and her concerned hugs and soothing caresses that he is hers.

 

I know this picture book is aimed at young children, and those who have been fostered or adopted will appreciate how a new family can be created when a birth family is not available to care for a child. But Sophie Shares the Stars will also be a reminder to all readers that there are those who live with invisible illnesses who many appear unimpaired—"appear" is the operative word—but whose lives and those who love them are significantly impacted, even when symptoms wax and wane. Thankfully for both Sophie and her Michael, they are there for the other to make life not just bearable but bright.