Makade Asin / Black Stone

Written by Darcy Whitecrow and Cail Judy

Illustrated by Maya McKibbin

Translated by Waskonegabowiik / Pamela Johnson 

Groundwood Books

978-1-77946-015-8

32 pp.

Ages 3–8

August 2026

 

There is never one way to deal with fears. But Makade Asin / Black Stone is based on an Ojibwe story of dealing with fears through a vision quest. The text of the book is minimal, even when presented in two languages (Anishnaabemowin and English), with much told through the digital art of Maya McKibbin.

Illustration by Maya McKibbin from Makade Asin / Black Stone, 

written by Darcy Whitecrow and Cail Judy

When a child awakens from a nightmare, he goes to his grandfather, Mishoomis. Mishoomis comforts him and advises him to search for the black stone if he wants to stop being afraid.

...  when you do, your fears

will lose their power,

Ninoozhis. (pg. 8)

 

Illustration by Maya McKibbin from Makade Asin / Black Stone, 

written by Darcy Whitecrow and Cail Judy

His fears are many, including everything from being chased by a leopard, stepping into quicksand, having eyes watching him, falling from a boat, being attacked by a whale and a snake, and surviving the desert. But through the practice of a vision quest, always guided by the words of his Mishoomis, the boy faces all these fears and more. 

Illustration by Maya McKibbin from Makade Asin / Black Stone, 

written by Darcy Whitecrow and Cail Judy

In an appended note, translator Waskonegabowiik / Pamela Johnson, a member of Mitaanjigamiing First Nation, describes the vision quest as a cultural practice whereby the vision seeker goes out without food, water or warm clothing, and, in isolation, experiences dreams that take them back to the elders. And, although authors Darcy Whitecrow, a member of the Seine River First Nation,  and Cail Judy, tell of a boy facing his fears through a vision quest, this story could be for any person, child or adult, with fears. Just as the boy faces his fears and ends up being guided by them, we must all face them or be ruled by them. Whether there is a black stone to be found or just peace of mind will be determined by the nature of the person seeking solace.

 

As mentioned, even with the story in both Anishinaabemowin and English, the text of Makade Asin / Black Stone is sparse. As such, Maya McKibbin's digital illustrations have to convey much of the story. And she shows us the breadth of the boy's fears in the swirling masses of dark threats, toothed creatures, and alarmingly powerful waters. Her main illustrations speak to the formidable power of the boy's fears, using double-spreads and larger-than-life depictions to reveal their magnitude. Maya McKibbin also uses spotlight illustrations, bordered in a tight zigzag stitch similar to those used to keep fabric from fraying, to focus on the boy's personal experiences. From those borders to the colours of a dry desert or a raging storm on the water, Maya McKibbin gives a visceral experience to the boy's vision quest through her art.

 

Makade Asin / Black Stone has a deeply Indigenous perspective on tackling one's fears, but it's message of facing them and letting them guide us, along with some help from others, is one that transcends the Ojibwe culture and will speak to all.

 

Pipa:m̓: The Touch of the Frog

 

 

 

Written by Joseph Dandurand

Illustrated by Elinor Atkins

Nightwood Editions

978-0-889715004

32 pp.

Ages 6–8

June 2026 

 

As part of his series Kwantlen Stories Then and Now, author Joseph Dandurand, himself a member of the Kwantlen First Nation, tells the story of a clever young girl who helps her community through her relationship with a frog.

Illustration by Elinor Atkins from Pipa:m̓: The Touch of the Frog, written by Joseph Dandurand

The community is preparing for the first fish of the season. Fires are made and nets are mended. Tsa'kwi'ah is a small girl who tries to help but she is too small. After the men go out, Tsa'kwi'ah walks along the river and sees a green frog. She smiles at it and it at her. When she touches it, she becomes strong and tall. Now she can outrun the other children and she can carry heavy fish.

Illustration by Elinor Atkins from Pipa:m̓: The Touch of the Frog, written by Joseph Dandurand

Months later, when many of the villagers, including Tsa'kwi'ah's mother, are sick with red spots and high fevers, Tsa'kwi'ah recalls how the green frog helped her. Taking the frog to her mother and everyone in the village who was sick, Tsa'kwi'ah has them touch the frog and become healed. 

Illustration by Elinor Atkins from Pipa:m̓: The Touch of the Frog, written by Joseph Dandurand

It is known that there are naturally occurring antibiotics secreted from the skin of some frogs so the notion of the touch of a frog being therapeutic is not far-fetched. But, as in all storytelling, it's the germ of an idea that becomes a fuller story. As Pipa:m̓: The Touch of the Frog is told by a member of Kwantlen First Nation, I presume that this is traditional story that has been told many times and through many generations. Whether or not the details are exact—did Tsa'kwi'ah really become stronger and taller or just healthier and older?—is irrelevant. Joseph Dandurand tells the story about community, about healing from unusual sources, and about a connection with the natural world. It's about helping where and when you can, and finding your opportunities to be useful.  

Illustration by Elinor Atkins from Pipa:m̓: The Touch of the Frog, written by Joseph Dandurand

Pipa:m̓: The Touch of the Frog is a deeply traditional story, so Elinor Atkins's artwork complements it with her brightly coloured illustrations that blend the traditional with the organic. Elinor Atkins, also a member of the Kwantlen First Nation, tells more about the story and the community, using line, shapes and colour to take readers to Tsa'kwi'ah's home.

Though Pipa:m̓: The Touch of the Frog  is the first of the Kwantlen Stories Then and Now that I have reviewed, there are four earlier books with more stories to tell. I encourage young readers and those who teach them to look at the whole series. As traditional stories, they keep the stories of a people alive and put to paper that which is usually shared through oral storytelling. 

 

 • • • • • • •

 

Kwantlen Stories Then and Now

The Sasquatch, the Fire and the Cedar Baskets (2020)

A Magical Sturgeon (2022)

The Girl Who Loved the Birds (2023)

The Bears and the Magic Masks (2024)

Pipa:m̓: The Touch of the Frog (2026)

When I'm a Moshom

Written by David A. Robertson

Illustrated by Corrie Hill

Tundra Books

978-1-77488-174-3

40 pp.

Ages 3–7

May 26 2026 

 

This is a story of remembrance and celebration. It's also a story of expectation and promise.

From When I'm a Moshom, written by David A. Robertson, illustrated by Corrie Hill

The narrator remembers all the lovely memories he has with his moshom, his grandfather. He begins each memory with:

When I'm a moshom,

A long, long time from now,

before stating what he promises to do, "Just like Moshom did." He will watch his grandchildren in their activities, whether dancing, swimming, playing hockey, or doing gymnastics. But he will also share with them activities important to him. And so many of these shares are traditions and cultural legacies from past generations, whether hunting for muskrat, making bannock, telling stories, or speaking to them in Swampy Cree. There is also the feelings that Moshom extended to him, from a deep love to respect and pride. The narrator has not forgotten his moshom's legacy of teachings and devotion, and he intends to do the same for another generation, for his own grandchildren. 

From When I'm a Moshom, written by David A. Robertson, illustrated by Corrie Hill

David A. Robertsona is the author of picture books like The Song That Called Them Home (2023) and Little Shoes (2025), both illustrated by Maya McKibbin; middle grade novels like The Misewa Saga series (2021–2015); graphic novels including Sugar Falls: A Residential School Story (2021); and YA (e.g., Strangers, 2017). While his skill at writing different genres for a variety of audiences is clearly evident, David A. Robertson excels at embedding his stories in the traditions of his Indigenous culture. He does the same in When I'm A Moshom. Not only do we learn about that which his grandfather taught him and shared with him, we see a pride in a legacy of culture. From visiting his community, teaching traditions of celebration and food, and sharing in ceremonies, both moshoms, past and future, embrace the richness of their cultures and strive to impart it to their grandchildren. But it's not heavy-handed sermonizing. Instead, it is the gifting, almost a bequest, of that which is treasured and appreciated. 

From When I'm a Moshom, written by David A. Robertson, illustrated by Corrie Hill

While David A. Robertson's words are based in reminiscences of his moshom, When I'm a Moshom is not a story of sadness of loss. It is one of hope and promise for the future. It's a man looking to a time when he can emulate the memories he had with a beloved grandfather and create lasting ones with his own grandchildren. Illustrator Corrie Hill, a member of the Mohawk Nation, Bear Clan, from Six Nations of the Grand River, ensures that expectation of legacy in her digital artwork. While her art may seem restrained with its clean lines and shapes, Corrie Hill endows her illustrations with joy and family in simple touches. It could be hand-holding, a hug, a smile, laughing eyes, or attention. Because of the depth of heart in her artwork, I am in awe that When I'm a Moshom is her debut picture book.

From When I'm a Moshom, written by David A. Robertson, illustrated by Corrie Hill

When I'm a Moshom is a story that looks to the past to guide in the future. It's looking to that which was lived and experienced to help advise that which will be. Here, the narrator remembers his moshom and the ways his moshom made him feel loved and cherished. Through his actions and communications, his moshom made sure the child felt like he mattered. Whether taking them fishing, speaking to them in Swampy Cree, smudging them, or teaching them to play cribbage, this grandfather and this future moshom know what it means to be a caring elder and unexpected mentor to his grandchildren. How fortunate to be the nôsisimak of either moshom.

Kaboom!: Blast Off

Written by Jay Odjick

Illustrated by KC Oster

Scholastic Canada

978-1-4431-9836-3 

142 pp.

Ages 8–12

February 2026 

 

Zack seems like a regular kid. He likes riding his bike and imagining himself as a superhero. He is lured by ads for the snack Choco Pops and the energy drink Splurge and is impressed with the fabulously rich like Konstantin Pierce. Compared to his boring parents who sell refrigerators, Pierce looks pretty exciting. But there seems to be another story that the imaginative Zack does not know. While he believes his parents are at a trade show and he's staying with his Auntie Jess, his mom and dad, calling each other Shadowbird and Greywolf, are working for F.U.S.I.O.N. as true superheroes, currently stopping those who steal ancient artifacts. As for Konstantin Pierce, he's more villain than entrepreneurial genius.

From Kaboom!: Blast Off, written by Jay Odjick, illustrated by KC Oster

Pierce is looking to extort world powers by controlling the weather and he's concerned that F.U.S.I.O.N. agents are going to get in the way. He arranges for them to be eliminated. Not surprising that Zack is shocked when flying robots and a masked man come and take his parents and aunt away. Thankfully his parents have a household security system to protect Zack and he, along with a cute robotic dog rejected by Pierce, are whisked to his parents' underground headquarters where he virtually meets Tana a.k.a. Teknik from New Zealand. Tana/Teknik explains that, like his parents and her Māori father, she is an agent of F.U.S.I.O.N., the First Universal Secret Indigenous Operatives Network, which is tasked with working against any threat to Indigenous Peoples, cultures, and ways of life.

From Kaboom!: Blast Off, written by Jay Odjick, illustrated by KC Oster

So, as Zack and his new robot sidekick Rusty poke around his superhero parents' secret den, Pierce is threatening the U.N. even though he realizes that a thumb drive with the activation codes is missing. But, after finding a special Lycra suit fit for a superhero, Zack, who becomes known as Kaboom, works to help get his parents back and thwart Konstantin Pierce and his villainous henchman and drones. 
 

Looks like there's a new superhero in town as Blast Off! is just the first book in the new Kaboom! graphic novel series. Zack a.k.a Kaboom is a little impetuous, a lot funny, and kind of sweet, and he's a character whose adventures middle graders will want to follow. Jay Odjick, who'd previously illustrated Robert Munsch's Bear for Breakfast / Makwa kidji kijebà wìsiniyàn (2019), gives us a story in which a kid becomes a hero. But Jay Odjick also blends Zack's story with Indigenous superheroes from around the world—Māori, Inuit, Nahua, Khalka, and Algonquin appear in Blast Off—and the importance of doing good. Still Kaboom!: Blast Off is not a story that is told to preach or convey messages of how to live. It's about superhero fun with lots of humour, like when Zack starts pushing buttons he shouldn't or when he mishears Tana when she says kinetic and he hears Connecticut. With Zack just being Zack and Jay Odjick getting all the voices just right for all his characters, Kaboom!: Blast Off entertains completely.

From Kaboom!: Blast Off, written by Jay Odjick, illustrated by KC Oster

But, without the artwork of KC Oster, a new illustrator for me, Kaboom!: Blast Off just wouldn't be the hit it is. I like the style of this Ojibwe-Anishinaabe comic artist, who previously did the art for Rabbit Chase (written Elizabeth LaPensée, 2022). Their graphics are not cluttered, focusing on Zack and the other characters, keeping the details for lively interactions like altercations with the bad guys and fight scenes. And by not limiting their palette of colours, KC Oster makes the art exciting and lavish.

 

An Indigenous superhero organization, a kid hero, a robotic dog, and operations to stop the bad guys sounds like the kind of graphic novel that middle-grade readers will latch onto. I think Kaboom! has just made a dynamite arrival.

Kokum, Are These Moose Tracks?: Celebrating Fall

Written by Tyna Legault Taylor

Illustrated by Michelle Dao 

HighWater Press

978-1-774921470

40 pp.

Ages 5–8

October 2025 

 

When Tyna Legault Taylor introduced Joshua in her series Joshua Learns from the Land, her focus was on traditional and seasonal practices of her Indigenous family and ancestors. In Dad, Is It Time to Gather Mint? (2025), Joshua looked forward to summer and gathering mint for his mother's mint iced tea, though there were other seasons filled with activities like fishing, foraging, and hunting. That picture book celebrated all the seasons while Kokum, Are These Moose Tracks? focuses on the fall alone with the boy spending time with his Kokum (grandmother) tracking animals. 

From Kokum, Are These Moose Tracks?, written by Tyna Legault Taylor, illustrated by Michelle Dao

Joshua and Kokum have a special intergenerational relationship. But Tyna Legault Taylor's dedication indicates that it was even more memorable as Joshua's Kokum was the author's mother, Mary (Okimawinninew) Legault. And when fall comes, Joshua is delighted to join his Kokum or Nookomis (grandmother in both Omushkegomowin [Swampy Cree language] or Anishinaabemowin [Ojibwe language] respectively) in hunting moose, all for her delicious moose meat stew.

From Kokum, Are These Moose Tracks?, written by Tyna Legault Taylor, illustrated by Michelle Dao

As the two explore forests close to streams, muskeg and lakes, they watch for tracks. Dressed safely in orange and walking quietly, the two find multiple footprints. First there are the tracks of the red fox (osawakaysho / miskowaa waagosh), then the wolf, and the black bear before the moose tracks are spotted. With each animal track found, and all identified in both Omushkegomowin (Swampy Cree language) and Anishinaabemowin (Ojibwe language), Kokum reminds Joshua of the attributes of each. There's the fox's tail that is used for balance, the wolf that runs on its toes, and the black bear that stocks up on food in the fall. 

From Kokum, Are These Moose Tracks?, written by Tyna Legault Taylor, illustrated by Michelle Dao

Finally, they spot the tracks of a moose; in fact, they spot the tracks of a cow moose and a calf. And though Kokum uses her birchbark call, the day ends without finding a bull moose. Still, there is a full fall of hunting, fishing and foraging, and ultimately they bring home a bull moose for stew and a new pair of moccasins. 

From Kokum, Are These Moose Tracks?, written by Tyna Legault Taylor, illustrated by Michelle Dao

I know that many teachers and parents will use this book for teaching Indigenous traditions and fall activities, but I think it's important to see Kokum, Are These Moose Tracks? and the series as more. There is a great story here of a charming grandmother-grandson relationship, of an outing into the natural world to learn about animals, while picking up some words of Omushkegomowin and Anishinaabemowin. Tyna Legault Taylor, a member of Attawapiskat First Nation (Kattawapiskak), gives readers a lot to think about, discuss, and appreciate.

From Kokum, Are These Moose Tracks?, written by Tyna Legault Taylor, illustrated by Michelle Dao

As she did in Dad, Is It Time to Gather Mint?: Celebrating the Seasons, illustrator Michelle Dao drops us into the natural world through her use of colour and shape, and welcomes us in joining her characters on their hike. Her blend of golden shades with some reds and greens reflect the striking character of the season outside, while her characters give us the joy of togetherness and discovery.

 

I hope we get to enjoy more seasonal visits with Joshua and his family in the Joshua Learns from the Land series. After all, I know we'd love to experience winter or spring or summer activities with the boy and his moshom or perhaps his nimâmâ, and enjoy vicariously his jaunts outdoors and his exploration of traditional Indigenous practices.

The Animal People Choose a Leader

Written by Richard Wagamese

Illustrated by Bridget George

D & M Kids (Douglas and McIntyre)

978-1-77162-418-3

32 pp.

All ages

October 2024

 

The Animal People Choose a Leader, a picture book based on a short story, is something special. It's obvious from a first glance at the cover. First, there's the author, the late Richard Wagamese, one of Canada's greatest treasures to literature and an Ojibway writer from the Wabaseemong First Nation. Best known for his novels, stories and memoirs, Richard Wagamese had never published a picture book. Illustrated by Bridget George, an Anishinaabe author and illustrator from Kettle and Stony Point First Nation, The Animal People Choose a Leader offers a story, a lesson or five, and beauty.

From The Animal People Choose a Leader, written by Richard Wagamese, illus. by Bridget George

Long ago when only the Animal People inhabited the earth, they decided they needed to choose a leader. And though they spoke of the many attributes needed, from strength and wisdom, to pride and power, they could not decide how to choose until squirrel Ajidimo suggests a race. Horse, Buffalo, Cougar, and Wolverine are all in, convinced that their strengths, whether it be speed or stamina or stealth or something else, would help them win. 

 

It is decided that they would race four times around the lake with Eagle watching from above to count laps. Then Waabooz, the rabbit, decides to race too though everyone suspects that her small size would not help her succeed.  Horse, Buffalo, Wolverine, and Cougar take off, but Waabooz waits and then slowly hops away.

From The Animal People Choose a Leader, written by Richard Wagamese, illus. by Bridget George

As the four primary contenders race to complete their laps, Waabooz takes her time, determined to enjoy the challenge by taking in the land's beauty and considering her paths by smell and observation. Even when the others complete their first laps, Waabooz is far behind, refusing to stop even when Eagle suggests she can't possibly win. Her response?

"It is not honouring the challenge to stop now," she said. "It is a noble pursuit and it asks everything I have."

From The Animal People Choose a Leader, written by Richard Wagamese, illus. by Bridget George

But as Wolverine, Horse, Buffalo, and Cougar go to complete their last lap, Waabooz discovers each unable to continue because of an obstacle or exhaustion or some challenge from which they cannot extract themselves. It is only with the wisdom of Waabooz and her guidance in getting them to work together that the five contenders for leader are able to complete the race together.

 

The Animal People Choose a Leader may share similarities with many other cultural stories in which a race to choose a winner does not turn out as expected but this story goes beyond one of humility and ingenuity. Waabooz is the unlikely winner, and this is obvious to all. But Waabooz has not accepted the challenge to win it. She has taken it on as a worthwhile endeavour, claiming that "It can never be a struggle to engage in a noble cause." Even when the animals complete the race and Waabooz is chosen as leader, her response is not expected. Her intent was to learn which she did. But she shared her wisdom with others so that they might understand what a struggle truly is and how to get out of one's own way. Most of all they learned that when they help each other, they all succeed.

Richard Wagamese's lessons in mindfulness and appreciation of the natural world–"You discover much when you learn to look at things"–extends to those of compassion and empathy, seeing how we can create barriers to our own progress, whether through rushing in or not trusting others or refusing to see something from a different perspective. Wise Waabooz, through Richard Wagamese's insight, firmly embedded in Indigenous voice and culture, gives the reader, young and old, understanding that could help us lead and follow.

Bridget George's Woodland style of art, rich in earthy tones and organic lines of movement, boosts Richard Wagamese's text to story book so simply and yet profoundly, matching the importance of the story with solemn graphic representation. The consequence of his words are reflected in the depth of Bridget George's illustrations, taking it from children's picture book to a tale that can be shared with all.

 

This would be a lovely book to gift anyone at the holidays. From the story within, the Woodland style art, and even the luxurious textured cover, The Animal People Choose a Leader would be a welcome addition to any school or library, public or personal, and one that could be treasured by all. With its timeless lessons and opportunity to appreciate Richard Wagamese's words once more, The Animal People Choose a Leader is an uncontested winner.

The Bee Mother (Mothers of Xsan, Book 7)

Written by Hetxw'ms Gyetxw (Brett D. Huson)

Illustrated by Natasha Donovan

HighWater Press

978-1-774920800

32 pp.

Ages 9-12

May 2024

Hetxw'ms Gyetxw (Brett D. Huson) and Natasha Donovan's latest volume in their illustrated non-fiction series, Mothers of Xsan, takes readers into the insect world for the first time, having previously highlighted mammals, birds, fish, and amphibians. Though the bee may be the smallest of the species showcased, it is no less significant.

From The Bee Mother, written by Hetxw'ms Gyetxw, illus. by Natasha Donovan

The story begins with the recession of winter and the awakening of the bee mother, Nox Ap. The bee mother first looks to make a new home in a burrow or hollow tree. Also making new homes for themselves are the yellow jacket wasps and introduced honeybees. With new moons, Nox Ap builds a nest and lays her eggs which pupate and emerge as worker bees to collect pollen and nectar to sustain the nest. And once pollination is done, the bumblebee queen, as well as those of the yellow jacket and honeybee, must find an overwintering space.  

 

As with all books in the series, the life cycle of the bee is paramount, but The Bee Mother goes beyond a compendium of natural history facts. It is a story, and it all takes place within the Gitxsan Nation, Indigenous Peoples of the unceded territories of the Northwest Interior of British Columbia. Hetxw'ms Gyetxw ensures that the reader understands that the bee mother's story is not one of isolation. It is a story that includes her connection with the environment and those within it. As such, Hetxw'ms Gyetxw speaks of the contributions of Nox Ap and the other bee relatives, from the provision of honey and the pollination of flowers to help provide fruits and vegetables, to pest control and providing food for other species. They are a part of everything.

From The Bee Mother, written by Hetxw'ms Gyetxw, illus. by Natasha Donovan

Hetxw'ms Gyetxw's text certainly speaks to life, as do Natasha Donovan's illustrations. They are vibrant, most especially in colour and shape. From the oomph of pinks and fullness of line and shape in the book's cover to the warmth of greens and golds in close-up art of the bees in their natural habitats, Natasha Donovan gives us stylized but realistic depictions of flowers and plants, bees and other animals, water and snow. Because the topic is the small bee, Natasha Donovan takes us up close to focus on the bee, creating art akin to macrophotography to ensure details are not missed.

From The Bee Mother, written by Hetxw'ms Gyetxw, illus. by Natasha Donovan

Because of the Indigenous roots of both the author and illustrator–Hetxw'ms Gyetxw is from the Gitxsan Nation and Natasha Donovan is Métis– The Bee Mother goes beyond a rehashing of STEM facts and takes on a new life of storytelling and appreciation for the connection of living things. In fact, because the Gitxsan Nation follows a matrilineal line which suggests that the stories come from the mothers, highlighting the mother of each species in the Mothers of Xsan series is both reasonable and respectful. (Hetxw'ms Gyetxw provides notes about the Gitxsan Nation and the Gitxsan Moons, along with a map of their territories.) And, by making the story specific and still broad, it demonstrates to readers  who the bee mother is and what she does and what happens every year, but also that she is part of something bigger. You can read it as a story of a life cycle but read beyond that and recognize that there is far more to the story that needs to be appreciated.

• • • • • • •

Mothers of Xsan series

The Sockeye Mother (2018)
The Grizzly Mother (2019)
The Eagle Mother (2020)
The Frog Mother (2021)
The Wolf Mother (2021)

The Raven Mother (2022)

The Bee Mother (2024)

Circle of Love

Written by Monique Gray Smith
Illustrated by Nicole Neidhardt

Heartdrum (HarperCollins)

978-0-06-307870-3

32 pp.

Ages 4-8

Releases March 12, 2024 

 

Indigenous writer Monique Gray Smith and artist Nicole Neidhardt take us into the heart of an intertribal community center where all are welcome, making for a richer kinship with diverse persons and where family extends beyond blood.

 

tawâw
(nêhiyawêwin: "there is always room")

Molly, her sibling, and her parents are joining their family and community for a feast at their local center. As they partake in the various activities, whether dancing, singing, reading, eating, or storytelling, Molly is bursting with feeling. She frames her experiences with her emotions, and by doing so Molly is mindful of the moment and what she is feeling. When Molly's Kôhkom and her wife, Kôhkom Raven, sing a welcome song, Molly feels connected. When she reads books to the little ones, she feels kind. When her sibling plays their fiddle, she is energized. Everything makes Molly feel something, and she always sees the positives, whether nourished, honoured or awed. And always there is love. And love is love, regardless of its form, of those who feel it, of  those who give it, and of those who need it.

From Circle of Love, text by Monique Gray Smith, art by Nicole Neidhardt

Moreover, everywhere there are reminders that this is a center based in Indigenous culture, whether it be the beading the children do, the sweetgrass burning, an elder smudging, traditional jingle dance, the beating of a drum, or a Métis sash. Everyone is welcome and there is room for all. 

From Circle of Love, text by Monique Gray Smith, art by Nicole Neidhardt

The lovely sense of community is unmistakable in Circle of Love. Diné (Navajo) illustrator Nicole Neidhardt, who came to Victoria BC from Arizona and New Mexico, ensures that her digital images depict everyone, showing different expressions of gender, family, ages, abilities, and backgrounds. Like the food at their table, there's a bit of everything and everyone, making their community vibrant and strong and satisfying. 

From Circle of Love, text by Monique Gray Smith, art by Nicole Neidhardt

Monique Gray Smith is a two-spirit writer of Cree, Lakota, and Scottish heritage whose picture books, novels, and non-fiction have been fueled by her ancestry. She writes for the very young and young adults, about traditions, residential schools, and reconciliation, and she writes of empathy and love. Circle of Love, like My Heart Fills with Happiness and You Hold Me Up, reminds us of the good that comes with building relationships, of being mindful of the moments that give our lives meaning, and of remaining grounded in our belonging to family and community. Monique Gray Smith honours those who are like her and not like her. She celebrates everyone by including them and recognizing their contributions to the community. With comprehensive notes appending her story, Monique Gray Smith ensures that, in this circle of love, everyone is welcome.

From Circle of Love, text by Monique Gray Smith, art by Nicole Neidhardt

Naaahsa is an Artist!

Written and illustrated by Hali Heavy Shield

Second Story Press

978-1-77260-346-0

24 pp.

Ages 6-8

October 2023 

 

Hali Heavy Shield's story, the winner of the Second Story Press Indigenous Writing Contest, is a special one for the depth of the child-grandmother relationship, but it is given life, colour, and texture through the author-illustrator's artwork.

From Naaahsa is an Artist!, written and illustrated by Hali Heavy Shield

A child recalls spending time with her grandmother, whom she calls Naaahsa, an artist. Naaahsa doesn't just babysit her grandchild. She opens doors for creativity and connection to culture, always encouraging the child to try her best. They bead together, sing together, draw together, cook, and paint, and more. They take walks to inspire them, with Naaahsa telling stories in Blackfoot, especially meaningful for her as she had been prohibited from using her language when forced into residential school. Now Naaahsa makes art to help her feel better.

From Naaahsa is an Artist!, written and illustrated by Hali Heavy Shield

Her art is healing but it extends beyond herself, earning her accolades and a show at the National Gallery. She shares that experience with her grandchild, the two travelling by plane to Ottawa. The child hears the praise for Naaahsa, proud of her accomplishments and the recognition she deserves, but it's the little things like her hugs and her inspiration that mean all the world to this child.

Hali Heavy Shield is a member of the Blood Tribe of Southern Alberta and the daughter of an acclaimed sculptor and installation artist. Perhaps Hali Heavy Shield took seeds of her story from life with her mother or a grandmother or someone else but what parts of Naaahsa is an Artist! are true or imagined is irrelevant. (We never see the grandmother's artwork.) What is important is the connection the child has with her Naaahsa that inspires her to do her art, and perhaps fuels the author-illustrator in her own artwork.  Naaahsa was able to use her art to heal and live beyond the tragic circumstances of the residential school experiences, and find work and joy in her art, while imparting those important lessons onto her grandchild.

Art is a language everyone understands.

From Naaahsa is an Artist!, written and illustrated by Hali Heavy Shield

Hali Heavy Shield is a multidisciplinary artist who has used digital media here to evoke both the simplicity and the intricacy of this grandmother-grandchild relationship. Their togetherness may be set on a grassy lawn or against the important Chief Mountain, in a kitchen or in a hotel room, but those landscapes are austere to keep the emphasis on the two as they paint, or walk, cook, or travel. The economy of Hali Heavy Shield's art helps us see the patterns in the child's dresses, the love in their eyes, and the enormity of the world beyond them. They are in their own bubble of love and art. They are, in fact, both artists who create with the inspiration of the other and more.

 

There is more than a story here. There is storytelling. But it goes beyond words and is firmly planted in the artwork of Hali Heavy Shield. There is a new voice and artistry with Hali Heavy Shield's debut picture book and I look forward to seeing more of it,

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The dual-language (Blackfoot and English) edition, translated by Norma Jean Russell and Faye Heavy Shield, is also available as Naaahsa Aisinaki! / Naaahsa is an Artist!

Walking Together

Written by Elder Albert D. Marshall and Louise Zimanyi

Illustrated by Emily Kewageshig

Annick Press

978-1-77321-776-5

36 pp.

Ages 4-7

April 2023

Many will be undertaking Earth Day activities this weekend and next, whether picking up garbage, planting trees or setting up rain barrels. But Earth Day should be every day, as we look out for our planet, for its water, land and air, and its plants and animals. And Elder Albert D. Marshall and Louise Zimanyi promote a message of Two-Eyed Seeing in Walking Together so that perhaps we can see the big picture and ensure that caring for our world goes beyond a single day of environmental attention.

From Walking Together by Elder Albert D. Marshall and Louise Zimanyi, illus. by Emily Kewageshig

When we walk together in a good way...

...good things happen and that is the message that resonates throughout Walking Together. It's acknowledging the many gifts that Mother Earth shares. It's hearing the stories that come from the ancestors and paying attention to the song of the spring birds and the awakening of plants and animals who have lain seemingly dormant over winter. It's hearing nature as it talks, whether it's the deer or the beaver or the frog or the flowers. The teachings of Elder Albert D. Marshall of the Moose Clan of Eskasoni Mi'Kmaw Nation in Unama'ki-Cape Breton remind us that to see fully means to blend both the Indigenous lessons of the ancestors and the knowledge that comes from non-Indigenous ways. With Two-Eyed Seeing will come respect for the Land and Water, so that it may continue to sustain us.

We take only if there is enough.

We ask before we take

And we listen for the answer.

We share.

From Walking Together by Elder Albert D. Marshall and Louise Zimanyi, illus. by Emily Kewageshig

The message that Elder Albert D. Marshall offers with education professor Louise Zimanyi is that Mother Earth offers many gifts but gifts that must be respected, not just received. Walking Together is a thoughtful treatise in being grounded in the lessons of the past with those still to come for greater clarity and compassion. It's keeping both eyes and mind open to hearing and listening what lessons are being shared.

From Walking Together by Elder Albert D. Marshall and Louise Zimanyi, illus. by Emily Kewageshig

Those same important messages are conveyed in the Woodland art of Anishnaabe artist Emily Kewageshig who furthers the stories with her illustrations. The boldness of her lines and colours draw readers in to see, to witness, to walk together in landscapes through the seasons. There is a continuity of place and people that comes through Emily Kewageshig's illustrations, drawing from the past and moving to the future. She shows the sense of grounding that comes with connection and the life that comes with respect for Mother Earth.

 

Today, on a day when we celebrate Mother Earth and on every day on which she should be honoured, I recommend taking a walk under the guidance of Elder Albert D. Marshall, Louise Zimanyi and Emily Kewageshig as they remind us how to see best.

🌎 🌎 🌎 🌎 🌎

For teachers, there is a downloadable lesson plan at https://www.annickpress.com/content/download/69286/919542/version/1/file/Walking+Together+Lesson+Plan.pdf