Tanna's Owl

Written by Rachel and Sean Qitsualik-Tinsley

Illustrated by Yong Ling Kang

Inhabit Media

978-1-77227-250-5

32 pp.

Ages 5-8

January 2020

In "A Greeting from Rachel" as the preface to the book, Rachel Qitsualik-Tinsley recounts how all animals were important and considered family. When her father brings home an orphaned baby snowy owl, she learns an important lesson about caring and ownership.

I don't think you can really own an animal. Or a piece of Land. Or anything, actually. You can only bring things together. Learn to help. To care.

The little grey and brown owl with the big eyes that Tanna thought to be ugly at first needs lots of care. They house the little bird whom they called Ukpik (Inuktut for owl) in her father's workshop. It needs to eat several times a day and that means Tanna and her siblings must go out to catch lemmings. When Ukpik does not get her food right away, she stomps and sways and chomps in her demanding way.

From Tanna's Owl by Rachel and Sean Qitsualik-Tinsley, illus. by Yong Ling Kang

As Ukpik grows, becoming both bigger, less cute and more dangerous with her sharp beak, Tanna continues to feed her, now giving her any kind of meat or fish. When Tanna takes her outside, Ukpik looks interested in flying, flapping her wings, but she is too young to fly yet. After Tanna goes away to school and returns the following summer, she learns that Ukpik is gone.

"It was grown," Father told her. "The owl didn't belong to us. It had to fly free."

From Tanna's Owl by Rachel and Sean Qitsualik-Tinsley, illus. by Yong Ling Kang

Though the child had felt burdened taking care of the little owl, she missed Ukpik. So when she spots a fully grown snowy owl, Tanna hopes that maybe it was the owl she'd cared for.

From Tanna's Owl by Rachel and Sean Qitsualik-Tinsley, illus. by Yong Ling Kang

Though many a child will bring home an animal for which to care, Tanna's Owl is a unique tale of the far north and embedded in a culture and heritage that respects its animals as part of the Land or Water or Sky. Tanna's father is very matter-of-fact about her need to care for the orphaned bird but also for its need to leave when ready. Staying as a family pet was not respectable nor natural. Tanna knows this in her heart but she obviously comes to care for the animal who may not have seen the little girl as more than a food source. Fortunately, her father's wisdom is subtly shared with the child about what she needs to do, positive or sad.

Nunavut's Rachel and Sean Qitsualik-Tinsley's stories always bring readers to an Inuit world of place, people and experience. I've reviewed a variety of their tales from origin stories in How Things Came To Be: Inuit Stories of Creation (Inhabit Media, 2016) to history in Tuniit: Mysterious Folk of the Arctic (Inhabit Media, 2015) or picture books like Lesson for the Wolf (Inhabit Media, 2015). They provide a real glimpse into life in the Arctic for the Inuit people and a reminder that they reside in a natural world that is vast and complex. With their stories, we learn more each time. Accompanied by the simple and informative illustrations by Toronto's Yong Ling Kang, children will see what a baby owl and a full-grown snowy look like as well as how an Inuit family may live. The art depicts a modesty of life with a practicality of wisdom and pleasures while still representing familial and natural connections.

Inviting us in to learn the story of Tanna's Owl, Rachel and Sean Qitsualik-Tinsley with Yong Ling Kang have taught us more bout compassion, responsibility and respect, as well as cultural experience, than any school lesson might.

From Tanna's Owl by Rachel and Sean Qitsualik-Tinsley, illus. by Yong Ling Kang

How Things Came To Be: Inuit Stories of Creation

by Rachel and Sean Qitsualik-Tinsley

Illustrated by Emily Fiegenschuh and Patricia Ann Lewis-MacDougall

Inhabit Media

978-1-927095-78-2

80 pp.

Ages 5-11

2015

It may be the end of Aborginal Heritage Month (June) and the end of the school year, but How Things Came To Be: Inuit Stories of Creation will need to be on any booklist that focuses on the Inuit culture or myths and legends.  The unstoppable team of Rachel and Sean Qitsualik-Tinsley, whose collaborations include Lesson for the Wolf (Inhabit Media, 2015) and Tuniit: Mysterious Folk of the Arctic (Inhabit Media, 2015) and who won the 2015 Burt Award for First Nations, Métis and Inuit Literature, share nine classic creation stories based on the Inuit’s love and respect of the Land, the Sea and the Sky.

In their comprehensive introduction, Rachel and Sean Qitsualik-Tinsley familiarize young readers with the Inuit concepts of Nuna (the Land) and Sila (Grand Sky or Big Everything), as well as ideas of life and breath, riddles and dreams, and beginnings and endings. It’s a perfect opening for the stories When Things Came to Be; The Land’s Babies; The Battle of Day and Night; How the Caribou Came to Be; How the Sun and Moon Arose; Feathers and Ice; The Deep Mother; The Storm Orphans; and The One Who is Tied.

In the beginning, will was all that drove creation. What is will, but the dream of someone who is awake? (pg. 13)

When Things Came to Be is an all-inclusive beginning of the origins of the earth, flowers, humans and dogs, light and dark, and more, until forgetfulness about people's origins led to the diminishment of their Strength.  But the stories that follow are a record of “a few deeds of those times.  The tantrums.  The strangeness. The foolishness.  And the wonder.” (pg. 18)

The Land’s Babies tells of the time when babies were born of the Land and women had only to search for them, nearby for girls and farther out for baby boys. As such, the Land was everyone’s ancestor.  Light and darkness born out of conflict between the Fox and the Raven is the focus of The Battle of Day and Night.  While the emphases of the origin stories How Caribou Came to Be and How the Sun and Moon Arose are obvious, Feather and Ice is less so, though still deeply rooted in explaining how an infuriated shaman wields her ulu (a crescent-shaped knife) to create icebergs and waterfowl from the Sea in which her husband flees from her.

From How Things Came To Be: Inuit Stories of Creation 

by Rachel and Sean Qitsualik-Tinsley, 

illus. by Emily Fiegenschuh and Patricia Ann Lewis-MacDougall

Cruelty and weakness are the themes of the final stories in this collection.  Frightening elements of a spirit enslaving a young woman and of her father sacrificing her to the Sea permeate The Deep Mother, an origin story of the first seals and walruses and other ocean mammals, as well as the  torrential wrath the Sea can display.  The Storm Orphans spotlights two children whose suffering at the hands of the people of the Weak Sky transform them into Thunder and Lightning. Finally, in The One Who is Tied, the murder of a selfish giant and his wife, and the cruelty towards their orphaned baby creates the spirit Silaup Inua, the furious storm winds.

Completing the collection, Rachel and Sean Qitsualik-Tinsley append the stories with a discussion About Endings, and provide a Glossary of Inuktitut Terms, both useful in framing and for clarification.  But the ultimate finishing touch to How Things Came To Be is the artwork by illustrators Emily Fiegenschuh and Patricia Ann Lewis-MacDougall who meld the serene Arctic worlds of land and sea with both realistic and supernatural elements and model the Big Everything so vividly. How Things Came To Be is a complete package of story-telling and art for giving voice to classic Inuit creation stories and meaningful discussions of beginnings and endings.

Lesson for the Wolf

by Rachel and Sean Qitsualik-Tinsley

Illustrated by Alan Cook

Inhabit Media

978-1-77227-005-1

32 pp.

Ages 4-7

May 2015

Any book that can teach self-acceptance in a succinct but non-preachy manner is a keeper.  But, coupled with an appreciation for the Arctic and its innate beauty, Lesson for the Wolf is all the more poignant.

The story begins with the wolf “who disliked all the things that wolves enjoy” like running and playing and hunting and hanging with other wolves.  He’s a bit of a loner, preferring to study other animals including the wolverine and the snowy owl.  So overwhelmed by the beauty of the Land and compelled to feel part of it, not be “just a wolf”, he gathers some fallen caribou antlers, some wolverine hair and a feather from an angry owl and sings to the Land until “his own life moved with the life of the Land.”  Imbued with power, he is transformed into a wolf with an antlered head, a feathered body and a bushy orange and black tail.

Problem is that the wolf is no longer a wolf and not even a caribou, a wolverine or a snowy owl.  He is embarrassed and starving, and runs from the other wolves.  But they are his salvation.  They help him recognize “the greatest beauty that a wolf can know” and return him to his former beautiful self.

The wolf of Lesson for the Wolf is truly a creature of the Land, so filled with love for its beauty and creatures.  But, like so many of us, he cannot see the beauty within, not realizing until it is too late what he has lost by coveting the attributes of the other animals.  Lesson for the Wolf provides an Arctic-themed story for the idiom of “The grass is always greener” and it works so well because of the partnership of Rachel and Sean Qitsualik-Tinsley.  Rachel Qitsualik-Tinsley speaks from one who knows the Arctic, born in a wilderness camp and being of Inuit ancestry. Sean Qitsualik-Tinsley comes at the story from the folklorist side.  Together they make Lesson for the Wolf a story resplendent in a valuable lesson about self-acceptance and in the beauty of the Arctic Land and Sky and its creatures.  Alan Cook, who studied animation at Sheridan College, uses subtle colour and line to evoke an Arctic of contrasts: delicate and bold, elusive and obvious, precarious and inviting.  An amazing accomplishment with a limited palette of whites, browns and turquoises (except for the single spread in which the wolf transforms).  Still, the wolf and the other creatures and the landscape in Lesson for the Wolf are truly characteristic of the tundra and complement Rachel and Sean Qitsualik-Tinsley’s newest foray into wisdom-sharing stories.

Tuniit: Mysterious Folk of the Arctic

by Rachel and Sean Qitsualik-Tinsley

Illustrated by Sean Bigham

Inhabit Media

978-1-927095-76-8

32 pp.

Ages 9-12

February 2015

Forget about references to the Dorset and Thule cultures that I once taught as part of the Grade 6 Heritage and  Citizenship curriculum.  (Of course, since then, that curriculum has changed from Aboriginal Peoples and European Explorers to First Nation Peoples and European Explorers and now Communities in Canada Past and Present.)  While I thought I was so enlightened ensuring that my students were made aware of pre-colonial Arctic cultures, my understanding was flawed.  Happily, this tome corrects any misconceptions I had and expands on the limitations in my knowledge by clarifying the veritable history of the people whom the Inuit encountered when they first arrived to the North American Arctic.

According to the stories passed by oral tradition and by archaeological evidence, Rachel and Sean Qitsualik-Tinsley share the history of the Tuniit, a people who had been part of a migration coming out of Alaska and the people that the Inuit encountered upon their own migration into Canada’s Arctic.  Though the authors make it clear that what is told about the Tuniit is a blend of Inuit myth and fact, three attributes upon which all agree are that the Tuniit were short, strong, and shy.  They were not a nomadic people, like the Inuit,  instead establishing stone longhouses.  Their hunting, less reliant upon their flint-based tools, was based on their strength and speed, as well as use of inuksuit.  And, amidst the stories of their eccentricities and the Inuit predilection for kidnapping the beautiful Tuniit women, it was believed that the Tuniit were powerful shamans who could access the power trapped in the land.  But, as Rachel and Sean Qitsualik-Tinsley offer,

We must remember the Tuniit as those who inspired myths, but who were real humans. (pg. 28)

Tuniit: Mysterious Folk of the Arctic is a reader-friendly and accessible history organized into 3 main discussions:  1) the differences between the Tuniit and the Inuit; 2) the unique features of the Tuniit; and 3) the science behind our understanding of the Tuniit.  But, beyond the information, told objectively but with the sensitivity needed when approaching discussions of a little understand peoples, the artwork of Sean Bigham provides visual interpretation of the Tuniit story and how they lived.  What a superb choice, using a concept artist such as Sean Bigham, who works in the video game industry, to generate illustrations of a people without visual representation.  In a neat package, Tuniit: Mysterious Folk of the Arctic presents readers, who should include all Canadian students, with a story that can and should be read, for history's sake.