Stella and Sam ABC

Written and illustrated by Marie-Louise Gay

Groundwood Books

978-1-77946-067-7

34 pp.

Ages 0–3

May 2026 

 

This is not just another alphabet book. It's Stella and Sam, Marie-Louise Gay's wonderful siblings from countless books including Read Me a Story, Stella (2013), Stella, Princess of the Sky (2004), and Good Night Sam (2003). Together they share, explore, learn, and bond. Now they're helping others learn the alphabet through their relationship and joyous romps through play.

From Stella and Sam ABC, written and illustrated by Marie-Louise Gay

From apple picking to 

moon-watching to 

exploring the jungle, 

every day is a new adventure 

for Stella and Sam. 

Do you want to join them? Let's turn 

the page!

With that first page, Marie-Louise Gay invites us to watch the two children as they play through the seasons. In winter, there's angel-making, ice-skating, and night-time dreaming ... with owls hooting. In the summer, there's fishing and vegetable gardening. And there's always fun in the house like hiding and seeking, reading, rolling and somersaulting, as well as yawning together (Sam and Fred the dog) before falling asleep. These children do so much that I suspect Marie-Louise Gay could write multiple alphabet books for Stella and Sam.

From Stella and Sam ABC, written and illustrated by Marie-Louise Gay

Whether together or off on their own, everything they do gives us new letters to learn, new words to identify, and new qualities to fall in love with. Stella and Sam are filled with joy, whether it's watching the moon, bathing with rubber duckies, or slurping some tasty treat. There are nouns and verbs, sounds and more. Marie-Louise Gay shows us that these kids are into everything, both remarkable and ordinary.

From Stella and Sam ABC, written and illustrated by Marie-Louise Gay

Young children will definitely learn the alphabet as they read along with Stella and Sam ABC, but they'll also be learning to read. The words are simple and will be meaningful to children. Stella and Sam's activities and actions will all be familiar, and easily replicated which will strengthen young children's learning. And because Marie-Louise Gay always gives us more to love in her art, like hiding rabbits, a stray sock, or a hitchhiking snail, children will be pointing and finding and laughing as they learn.

 

It's so lovely to visit with Stella and Sam again. Even though Marie-Louise Gay has continued to give young readers fabulous picture books (e.g., Short Stories for Little Monsters, 2017); The Three Brothers, 2020; and I'm Not Sydney!, 2022) even early chapter books, I've missed Stella and Sam (and Fred too). They are sweet and true. They are delightful to watch in their relationship and in their play. They are different and yet similar in their dispositions—their parents or guardians must be extraordinary—and I want more of Stella and Sam. Please. After all, there is still so much of their world to explore—exploring is the x word, as you were probably wondering—and to see through their eyes and their hearts.

A Friend is a Friend is a Friend

Written by Sara O'Leary

Illustrated by Qin Leng 

Groundwood Books

978-1-77946-026-4

32 pp.

Ages 3–6

April 2026 

 

A concern for many children entering a new situation, whether a new school, a new sports activity, or even a new neighbourhood, is whether they'll make any new friends. For this child, heading off to camp, the worry is very real, but she's hopeful of learning some new strategies from her peers.

From A Friend is a Friend is a Friend, written by Sara O'Leary, illustrated by Qin Leng

Without ever asking a question—or does she?—a little girl gets different perspectives from other children. As the diverse and colourfully dressed children play on a massive tree, they are quoted about their friends and the basis for those friendships. The first piece of advice is about asking questions because that's how you learn if you have things in common with others. It might be a birthday, a favourite colour, or the need for quiet.

From A Friend is a Friend is a Friend, written by Sara O'Leary, illustrated by Qin Leng

The variety of their experiences is rich, as are the friends they have. For one child, their best friend is their grandfather because they share stories. It could be a friend who supports you or one that you appreciate for the type of person they are. There are children who don't speak the same language but understand each other just the same. There is a child whose friend was a he and is now a she and that's okay since they still like doing the same things. There is a shy child, lifelong friends, and one who has an invisible friend. There are so many children, and they all make friends differently and make different friends. The richness of their experiences is only matched by the individuality of their friendships.

From A Friend is a Friend is a Friend, written by Sara O'Leary, illustrated by Qin Leng

Sara O'Leary, author of A Family is a Family is a Family (2016) and A Kid is a Kid is a Kid (2021), gets to the heart of friendships by showing children that there is no right way to make a friend and be a friend. Her message is one of joy in the diversity of who we are and how we make friends. Without telling kids how they can make friends, she allows children to express their own feelings about their processes, giving them voice. (All responses by children to the unasked question of making friends are placed in quotation marks.) By giving them voice, Sara O'Leary lets young readers take what they want from the guidance of their peers, perhaps to help them make their own friends. And, with the wisdom of a compassionate adult, she reminds readers that, "It turns out that the best way to make a friend is to be one." (pg. 29)

From A Friend is a Friend is a Friend, written by Sara O'Leary, illustrated by Qin Leng

A Friend is a Friend is a Friend has been illustrated by Qin Leng, as in the earlier books in this collection. Qin Leng's art, created with ink, marker, and watercolour, are distinct, both light in marks and bright in mood. She does well with stories with young children, giving them innocence, playfulness, and wonder. By making all the children unique in their demeanours and expressions, and by keeping them joyful and natural in the familiarity of play, Qin Leng helps reflect Sara O'Leary's emphasis on diversity and individuality.

  

There will always be those children who make friends very easily, never worrying about how to do it or if they can do it. But there are others for whom it is an uncertainly and even a fear, and A Friend is a Friend is a Friend will help them. Best of all, it's a sweet story without being a contrived teaching tool. And if your little one is heading to summer camp, or to kindergarten or a new school this fall, or you're planning on moving house, A Friend is a Friend is a Friend will reassure those for whom finding a friend may be more of a challenge. It reminds them that they can do it.

 • • • • • • •

 

A Family is a Family is a Family (2016)

A Kid is a Kid is a Kid (2021)

A Friend is a Friend is a Friend (2026)

Every Space Between

Written by Naseem Hrab

Illustrated by John Martz 

Groundwood Books

978-1-77306-710-0

48 pp.

Ages 3–7

March 2026

 

There are big, big moments in life that we can't help but acknowledge. For a child, it might be a special birthday, the first day of school, or a new home. Sometimes though big moments are not as positive. But they're all the kind of moments that children don't forget. But not everything is a big moment. And, in order to get the big moments, those other moments have to happen too.

From Every Space Between, written by Naseem Hrab, illustrated by John Martz

Every Space Between is less story and more insight. As two siblings, a younger sister and an older brother, go about their day, there are moments of heightened emotion and moments in between. We might recognize when we start something and anticipate how it will end but what of the space in between? From playing with her dog to reading to going out for ice-cream, this child's day is filled with moments: expected, unexpected, memorable, and forgettable. But there are also bothersome moments—a tuba mishap with the dog ball, a demolished house of cards, a tumbling ice cream—and will these calamities wash out the good?

Certain in-betweens

are as breathtaking

as the shift from

day to night

just before

the starts wake up

and the light scatters

and the sky glows . . . (pg. 46)

From Every Space Between, written by Naseem Hrab, illustrated by John Martz

Naseem Hrab, author of Weekend Dad (2020), Otis & Peanut (2023), and How to Be Brave Like a Snail (2025), takes an almost philosophical approach to the idea of moments in time and the circumstances of those moments. But, though it could be a heavy topic, Naseem Hrab just makes young readers think about those in-betweens. We all remember the great and the horrific moments, but they are rare when we consider all the time and experiences spent in between them. Although it's not a mindfulness practice, thinking about those in-betweens while we're in the in-betweens can give us a different perspective on the big moments and the beginnings and endings of experiences. It's actually insightful to have kids think beyond, or rather between, the occasions. Focus on everyday school work not the exam at the end. Enjoy the moments of camaraderie and comfort of team play rather than the outcome of the game. There is so much special in the in-betweens.

From Every Space Between, written by Naseem Hrab, illustrated by John Martz

I'm embarrassed to say that I've never reviewed a book illustrated by John Martz though his artwork has been nominated for the Governor General's Literary Award, the Eisner Award, and the Doug Wright Award. This Toronto cartoonist, illustrator, and writer creates digital art that is both simple and filled with details that may be ordinary but say a lot. Two kids reading on a couch is more because of the kiss on a forehead, a scratching of a knee, a hamster hiding, a stray playing card, and a dog and a cat napping. And every John Martz illustration makes the reader think about what is happening, what could happen, and what it all means.  

 

There's always more to life than the highlights that others or we remember. There's much more to this sibling relationship than some accidents and bickering. And Naseem Hrab wants us to see all those extras that aren't just in-between but rather the stuff that gives substance and content for the rest. 

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.

Community Snowman

Written by Deborah Kerbel

Illustrated by Tine Modeweg-Hansen

Groundwood Books

978-1-77306-951-7

32 pp.

Ages 3-7

October 2025 

 

There's snow out there and loads more coming. Whether it's in a yard, in a park, or in a schoolyard, there will be snow persons being built. (Actually, there will be snowmen, snow women, snow friends, snow dinosaurs, snow bears, and more.) And what's better than building a snow person? It's building it with others.

From Community Snowman, written by Deborah Kerbel, illustrated by Tine Modeweg-Hansen

After an ordinary night of sleep, a child awakens groggily to their routines. But when they look out the winter, everything changes from ordinary to amazing because the world outside is coated with deep, fluffy snow. Soon it's a race to get dressed and bundled up and head outside with their caregiver, perhaps a grandfather, following with similar enthusiasm, albeit a little more slowly and carrying a satchel with his knitting. So, as the child make snowballs and snow angels and starts making a snowman, their grandfather clears a bit of bench and gets to his sock knitting.

From Community Snowman, written by Deborah Kerbel, illustrated by Tine Modeweg-Hansen

All around people are bustling. Some trudge through the snow, heads down, oblivious to the snow joy in this child and in other children. Maybe they're going to work or to school, or walking their dogs, or going for groceries. But our child is busy too. Now they are starting to build a snowman. The bottom ball is always easy because you just roll it in to place. But the next ball, still large and needing to be lifted, is far more challenging, especially when another kid throws our child off balance with a snowball. No worries. He comes to help them. Two children then become three children at work and then a couple of teens join in to create the three-ball shape. 

From Community Snowman, written by Deborah Kerbel, illustrated by Tine Modeweg-Hansen

Now everyone gets in on the creation, with food stuffs like a pickle, chocolates, and bagels being added, and then with bits and bobs of clothing: a hat, work gloves, a shawl, and earmuffs. Everyone contributes something. But what does a man without a coat, socks, or gloves have to give? A poppy.

 

Without words, Deborah Kerbel tells a story of a community coming together to build a snowman and building kindness and compassion. It's a powerful story of how a small thing can become a meaningful moment. What's starts as play leads to friendship, to acceptance, and to benevolence. That's tough to get all that into a story that is wordless. But, with Deborah Kerbel as the storyteller, I'm not surprised by the strength of her story to draw her readers in, touch them, and make them feel the fellowship of the moment. But Tine Modeweg-Hansen, a Copenhagen-born illustrator who lives in Montreal, gives Deborah Kerbel's story the life of colour and community. In watercolour and ink, Tine Modeweg-Hansen's art, very reminiscent of the award-winning Quentin Blake, fills in those words with activity and detail. The cold and the wetness of the snow, the movement of the characters, human and animal, and the diversity of people makes the story spirited. Everyone and everything becomes part of a story that could only be described as feel-good.

 

At this time of year, with snow on the ground and holiday cheer ringing out, let's remember that community can come together spontaneously and with the greatest of heart without the giving of expensive gifts or conspicuous charity. It can happen naturally from a child's delight with snow and not overlooking those who might need help, whether it's lifting a ball of snow or providing a pair of socks.

From Community Snowman, written by Deborah Kerbel, illustrated by Tine Modeweg-Hansen

A Single Dreadlock

Written by Xaiver Michael Campbell

Illustrated by Eugenie Fernandes

Groundwood Books

978-1-77306-938-8

32 pp.

Ages 3–6

September 2025 

 

For many, our hair, or lack thereof, can define us. If hair is present, it can be one of the first attributes by which people identify others: colour, length, texture, appearance. And when you're new to a community and your hair is unusual, it can unfortunately become the difference that separates rather than connects. Ask Lovie.

From A Single Dreadlock, written by Xaiver Michael Campbell, illustrated by Eugenie Fernandes

As a young child in Jamaica with his dads and grandma, Lovie grew up feeling like he belonged. He looked like the other kids, and his grandmother would care for his hair every Sunday before bedtime. She would grease and comb and then style it whatever way he wanted. But then he and his dads move to Newfoundland, and no one, not even his fathers, know how to tame his curly hair. In the summer, his hair is free and full and playful, dreading in one spot only. Lovie likes that. But when he goes to school, a bully pulls at the one dreadlock and makes fun of Lovie's hair. Now, instead of appreciating all the loveliness of his hair, Lovie wants to hide the dreadlock and avoid the teasing. 

From A Single Dreadlock, written by Xaiver Michael Campbell, illustrated by Eugenie Fernandes

When his grandmother comes for a surprise visit for Chanukkah, she reassures him that dreading is what their hair type does naturally, and that his strands are full of love. Loving the idea of his hair hugging itself in dreads, he's pleased when his grandmother gets out her hair grease and works on Lovie's hair, making perfect dreads. Proudly he displays them at school. When he's taunted once again, he tells the kids, "They're called dreadlocks, and I love them. And please don't touch my hair."(pg. 28)

From A Single Dreadlock, written by Xaiver Michael Campbell, illustrated by Eugenie Fernandes

Lovie's story is Xaiver Michael Campbell's story. It's one of immigration from Jamaica to Newfoundland. It's one of fitting in to a new community and self-acceptance. It's one of heritage and family, of traditions and self-love. It's a big story about hair. You just wish young Lovie didn't need to endure any intolerance of his differences, but we can be thankful that he has a grandmother with such wisdom and love to help him see the joy of his hair. A writer of both fiction and non-fiction, A Single Dreadlock is Xaiver Michael Campbell's first children's book. And it is a deeply personal one because it is one that was lived. Still, Xaiver Michael Campbell's focus is on the joy that is his hair and the help he gets from his grandmother–as well as some generous aids–rather than the bullying. By placing the emphasis on Lovie rather than his unnamed bully, Xaiver Michael Campbell lets young readers see that Lovie and how he feels about his own hair is the story.

 

The joy of Lovie's life in Jamaica and in Newfoundland is depicted in Eugenie Fernandes's paintings (acrylic on watercolour paper). She emphasizes Jamaica's tropical nature and Newfoundland's temperate climate with shades of yellow and blue, but she always makes Lovie this beacon of happiness. Eugenie Fernandes has always been able to bring the warmth of goodness into her art work (e.g., When Rabbit Was a Lion, 2023, and Finding Lucy, 2019), showing children, or animals, finding the strength to be themselves, regardless of those who cannot accept differences. Between her choice of colours and the lushness of the lines she uses to create shapes, whether mangoes, water, or hair, Eugenie Fernandes makes us feel the warmth of place and people.

 

We all have something that makes us unique. It might be a single dreadlock, or a physical attribute, or a skill. But a difference does not need to isolate us. It can be a difference that bears strength and individuality rather than inequality. I hope that Xaiver Michael Campbell always celebrates his hair in whatever style he wants now.

Nightmare Jones: Poems

Written by Shannon Bramer

Illustrated by Cindy Derby

Groundwood Books

978-1-77306-946-3

56 pp.

Ages 9–12

October 2025

 

It's the time of year when the frightening and the strange are everywhere, whether in movies and stories, or in costumes and activities. Nightmare Jones will fit in beautifully with this collection of 28 poems which are steeped in darkness and will introduce unease and even reflection.

 

The titular poem, "Nightmare Jones," is about a scary swashbuckler who also dances. Other poems with chilling characters include "Chatterbox" about a collector of teeth, "Ghost in the Mirror," and "If She Was a Monster." And there are spiders and more spiders and insects and worms and more. 

Iridescent Flies and Beetles
of Dung and Doom
are Fools for Blood, come sing
inside me. Sing! Sing! Sing!
Di-dum-di 

(p. 47, from "The Strangest One")

From Nightmare Jones: Poems, written by Shannon Bramer, illustrated by Cindy Derby

Poet Shannon Bramer also writes of the scary things called feelings, whether it be about being lonely as in "Badlonely," that tenuous relationship with home ("The Scariest Word I Know"), or grief  as in "Sorrow." Shannon Bramer may present her poems to shake us up with the images she creates with her eloquent and powerful words, but she also makes us feel things that we might not want to feel. Still, her poems are elegant and sophisticated, and deep in their darkness and weightiness.

From Nightmare Jones: Poems, written by Shannon Bramer, illustrated by Cindy Derby

Several of Shannon Bramer's poems are prose poetry, and these are personal reflections about the moon ("Moon Song"), roses ("Loading Roses"), and a friend ("Button Rose"). Even in these she makes us feel for her insights and incidents.

From Nightmare Jones: Poems, written by Shannon Bramer, illustrated by Cindy Derby

San Francisco's Cindy Derby adds the right touch of ominousness, and she accomplishes this with a blend of powdered graphite, watercolour, gouache, colour burst powder, and pastels. With those mediums, the splattering and bleeding of colours just makes everything a little more unsettled.

 

Maybe you'll want to read these poems for Halloween, or maybe anytime you want a little chill, but Shannon Bramer deserves to have Nightmare Jones read throughout the year. Her words remind me of a deep pool that can be a little scary because of what might lurk beneath the surface, but there's a calm beauty that can be found within as well. I encourage you to take a dip.

A Pond, a Poet, and Three Pests

Written by Caroline Adderson

Illustrated by Lauren Tamaki

Groundwood Books

978-1-773068930

32 pp.

Ages 3–7

October 2025

 

In the 1600s,  the Japanese poet Matsuo Bashō wrote a poem titled, "The Old Pond." This is Caroline Adderson's charming imagining of how that haiku may have been created on the spot. And with Lauren Tamaki's acrylic ink illustrations, readers will be transported to a Japan of contemplative art to hear and smell and see that which is memorable at the pond.

From A Pond, a Poet, and Three Pests, written by Caroline Adderson, illustrated by Lauren Tamaki

One evening, the poet Bashō goes for a walk and rests by a pond. A carp, a lily, and a mosquito are all attracted to the poet who closes his eyes to quiet thought. One by one, these living organisms attempt to get the poet's attention, hopeful that he might include them in the poem he was sure to be bringing to life in his mind.

 

First, the carp dances and flutters her tail, determined that her loveliness in the moonlight might be noticed by Bashō. But even calling out, "O Bashō! Look at me!" does not trigger the poet to open his eyes.

From A Pond, a Poet, and Three Pests, written by Caroline Adderson, illustrated by Lauren Tamaki

The water lily first notices the antics of the carp and then the poet sitting on the bank of the pond. Wondering if he might be immortalized somehow, the lily concentrates his efforts to send the perfume of his flower to grab Bashō's attention. Still Bashō does not react, though a mosquito does notice the scent of the lily. Convinced that her life could fill a book of poetry, the mosquito also attempts to captivate the poet.

 

Finally, a frog who is preparing for his midnight swim decides not to be discouraged by the "Flashing fish, lavish lily, megalomaniacal mosquito, pensive poet" and jumps in, giving Bashō the inspiration for his famous haiku.

 

And so, a six-word haiku is born. Though the frog is the star of Bashō's poem, Caroline Adderson's story is more about the exhibitionism of the carp, the lily, and the mosquito that attempt to grab Bashō's attention. They get most of the story just as attention-seeking individuals usually demand most of the consideration through their efforts. The frog, on the other hand, is unconcerned with anything but its own business, and as such becomes immortalized in the poem of elegance and ordinariness. Caroline Adderson gives us a big story for a very simple poem and reminds all those who are Look-At-Me people—you know the ones that always demand attention and recognition—that fame doesn't have to come from the ego but rather from the lack thereof. The natural beauty of that frog just going about its business is far more notable than the extreme actions of some other self-absorbed organisms.

From A Pond, a Poet, and Three Pests, written by Caroline Adderson, illustrated by Lauren Tamaki

Artist Lauren Tamaki—yes, she is related to graphic novel artist Jillian Tamaki—has the perfect subtlety of style and medium to help tell the story of a poet and his inspiration. And with a Japanese backdrop, Lauren Tamaki gives Caroline Adderson's A Pond, a Poet, and Three Pests the essence of traditional sumi-e (black ink painting) but with loads of colour. Still, with the ink on watercolour paper (I presume), the art evokes a dynamic essence to the landscape, so in keeping with the textures and fluidity of a pond.

 

If I was still a teacher, I would love to use A Pond, a Poet, and Three Pests as a wonderful introduction to haiku and to finding inspiration for writing poetry. (For older kids, I'd definitely let them recreate scenarios for inspiring other poems.) But I'd also sneak in a discussion about attention-grabbing behaviour and the need for fame as character education never goes amiss. Even without its teachable potential, A Pond, a Poet, and Three Pests will provide a beautiful and evocative rendering of how the natural world can hearten us with contemplation, beauty, and inspiration.

One Can

Written by Lana Button and Eric Walters

Illustrated by Isabelle Malenfant

Groundwood Books

978-1-773067346

32 pp.

Ages 3–6

September 2025 

 

For many Canadian public schools, yesterday was the first day of the 2025-2026 academic year. That first day of school brings such promise. It's usually a fresh start with a promise for better and more opportunities for...everything. But for too many children, that hope may be limited, even if they don't know it. For the child in Lana Button and Eric Walters's first picture book collaboration, illustrated by Isabelle Malenfant, those limitations do not curb their generosity and compassion.

From One Can, written by Lana Button and Eric Walters, illustrated by Isabelle Malenfant

Knowing that their class is collecting canned food for a food drive, a child grabs the lone can of Zoodelicious from an almost-bare pantry. Knowing it's their favourite, the child hopes it is that for someone else too. In class, the students place their donated cans on a 100-place carpet, with the child placing the Zoodelicious on the number 100, earning their can a snowflake sticker.

From One Can, written by Lana Button and Eric Walters, illustrated by Isabelle Malenfant

Things take an unexpected turn when Mom returns with groceries a few days later and his Zoodelicious can has a snowflake sticker on it. For the first time, the child recognizes that their family may be one of those in need that they were trying to help at school. A frank discussion between mother and child helps them understand better and even how to pay it forward with some much-loved mittens. 

From One Can, written by Lana Button and Eric Walters, illustrated by Isabelle Malenfant

While there are too many adults who think that picture books are frivolous stories aimed for our youngest readers, One Can will surely remind them of the power of storytelling to present deep issues that are also commonplace. There is no frivolousness to this story. Instead, Lana Button and Eric Walters have given us a lovely story of sharing, reciprocity, need, and compassion, all told from the perspective of a young child. What is most surprising is that the child does not even recognize their family as a needy one until they see the snowflake sticker on the Zoodelicious and realizes where their mother must have gotten those groceries. Before then, they had what they needed, probably because their mother worked hard to ensure that they did. Not surprisingly, when their mother reveals their circumstances, the child thinks only of the other 99 families who would still need food and more. 

 

This could have been a very heavy story. Poverty and food insecurity are serious issues. Even as food and clothing drives become common practices throughout the year, and children such as this one are provided regularly with school lunches, here by their own teacher, the silence and secrecy and even shame are resounding. I'm so pleased that Lana Button and Eric Walters avoided those negatives with much sensitivity. The child is not ashamed to look at the school's Mitten Tree–where donated mittens and winter accessories are displayed for gifting–and doesn't hide the macaroni given by the teacher for lunch. Illustrator Isabelle Malenfant matches that powerful but tasteful approach to their story. Isabelle Malenfant, who similarly gave a softness of touch to Morris Micklewhite and the Tangerine Dress and Pinny in Summer, keeps her palest colours for the child's home and the boldest for outside. Their poverty creates a veil over their life, though outside of the home and at school, the child is seen as vibrant as everyone else. In addition to the colours of her digital illustrations, Isabelle Malenfant uses perspective to juxtapose the child against two different worlds, one of limited resources and another where there is more. It gives the reader more context for this child's reality and even enhances our understanding of why they are able to extend generosity and compassion to others.

Lana Button's picture books like Tough Like Mum and Willow Finds a Way have always spoken to young children and what they might experience at school and home. And Eric Walters never shies away from tough issues like poverty in The King of Jam Sandwiches or COVID-19 in Don't Stand So Close to Me or incarceration, bullying, discrimination and more. Together these writers have approached the reality of many children, and instead of focusing on any limitations these children experience, they highlight how children can extend compassion and generosity to others. It seems one can, whether that of Zoodelicious or the picture book, can make a difference.

 • • • • • • •

 

Please consider joining author Lana Button 

 

at 

 

A Different Drummer Books 

513 Locust St., Burlington, Ontario

905-639-0925 

 

for the launch of One Can 

 

on 

 

Sunday, September 7, 2025 

1 PM

 

If you're able, please bring a can of food for FeedHalton.  

 

The Tufted Puffins of Triangle Island (Wild By Nature)

Written by Deborah Hodge

Illustrated by Karen Reczuch

Groundwood Books

978-1-773067186 

32 pp. 

Ages 3–7 

August 2025 

 

Children's non-fiction books generally take two formats: one as a story, and the other as an information book with graphs, maps, info boxes, a glossary and more. Both formats work but some stories work better one way than the another. For the Tufted Puffins of Triangle Island, Deborah Hodge and Karen Reczuch's chose to tell their story as a narrative, taking readers right onto the island and making them witness to the lives of these seabirds. 

From The Tufted Puffins of Triangle Island, written by Deborah Hodge, illustrated by Karen Reczuch

First, Deborah Hodge transports us to Triangle Island, an isolated island off the northwestern tip of Vancouver Island. This Ecological Reserve is protected, as is the Marine Wildlife Area around it, offering safety for millions of seabirds from people and land predators. Each year, more than 50,000 Tufted Puffins return in the spring and, after finding their mates, prepare burrows in which nests are created.

From The Tufted Puffins of Triangle Island, written by Deborah Hodge, illustrated by Karen Reczuch

In addition to recounting the life cycle from the laying of the egg to it hatching six weeks later, Deborah Hodge discusses the food and feeding of the Tufted Puffins, the fledging of the birds, and their end-of-summer departure to the North Pacific. It's not until the birds are mature that they will return to Triangle Island to start new lives with the laying of eggs.

From The Tufted Puffins of Triangle Island, written by Deborah Hodge, illustrated by Karen Reczuch

While Deborah Hodge does append her story with a graphic list of other seabirds of Triangle Island and extensive information about the island itself—an extraordinary place of seabird diversity and national and provincial protection—including further reading, she stays true to a narrative. From their arrival to their breeding, departure and return, the lives of the Tufted Puffins of Triangle Island are told with simplicity but heart. It is evident that Deborah Hodge has a deep appreciation for this place and its wildlife and the need to protect them all.

From The Tufted Puffins of Triangle Island, written by Deborah Hodge, illustrated by Karen Reczuch

The remarkable beauty of Triangle Island and its uncommon accommodation of seabirds, among which the Tufted Puffins are but one species, is gloriously portrayed in Karen Reczuch's watercolour and coloured pencil illustrations. The scientific accuracy is there but it's Karen Reczuch's style of creating textures in the birds, in the landscape and with her perspective that generates an elegance of graphic storytelling.  

 

Karen Reczuch and Deborah Hodge have collaborated on previous picture books in their West Coast Wild series (e.g., West Coast Wild Rainforest and West Coast Wild ABC) and, as in The Tufted Puffins of Triangle Island, they have always given us reality with feeling. Even as they tell us about plants and animals and Canadian landscapes, they make us feel for the places they portray. I anticipate no less for this new series Wild By Nature if The Tufted Puffins of Triangle Island is any indication.