Scaredy Squirrel Scared Silly (Scaredy's Nutty Adventures, Book 4)

Written and illustrated by Mélanie Watt

Tundra Books

978-1-77488-884-1 (pb)

84 pp.

Ages 4–8 

July 2026

 

I didn't get a chance to review this book of Scaredy's Nutty Adventures when it was released as a hardcover in 2024, so I'm pleased to review it now that a paperback edition was just released this month. When Scaredy Squirrel was first released in 2006, he became a beloved character. Mélanie Watt brought us a little squirrel who was overwhelmed, seeing threats everywhere. Now the star of his own animated series, as well as picture books and this early reader graphic novel series, Scaredy Squirrel is a much beloved character to helps young children see beyond their worries by laughing with him.

From Scaredy Squirrel Scared Silly, written and illustrated by Mélanie Watt

In Scaredy Squirrel Scared Silly, Mélanie Watt shares five short graphic stories about Scaredy and his relationship with Halloween. In the first chapter, titled "October 31st," our sciurine friend is actually looking forward to the un-scary aspects of the holiday. He likes the decorations and the lighting, but he's terrified of haunted houses, crows, vampire bats, and more. So, he's happy to stay in his cheerfully decorated tree, along with some unusual preventative measures.

From Scaredy Squirrel Scared Silly, written and illustrated by Mélanie Watt

The next stories have Scaredy planning a cute, but not scary pumpkin carving activity with his friends, working on his costume, considering going trick-or-treating—hard candy, gummy worms, and chocolate all have drawbacks—before heading out in search of candy apples.

From Scaredy Squirrel Scared Silly, written and illustrated by Mélanie Watt

It may seem a little early to be thinking of Halloween, but I suspect there are many for whom the holiday is a big deal and who are already planning their costumes and parties. Whether you get Scaredy Squirrel now in anticipation of the holiday or keep it to read in October, Scaredy Squirrel Scared Silly will give young children a lot of laughs about his wacky but legitimate worries. Scaredy Squirrel may seem like an excessive bundle of anxiety, but he emulates the many children who have misgivings and fears about the familiar and the unknown. With a lighthearted approach and quirky and colourful illustrations, Mélanie Watt will let children see that many anxieties can be lessened and even alleviated with some friendly intervention and a new perspective.

From Scaredy Squirrel Scared Silly, written and illustrated by Mélanie Watt

Mélanie Watt's Scaredy Squirrel will always charm. She has created him as sweetly guileless—check out his toothy grin—and oddly expressive. And with detailed illustrations that give young readers much to enjoy, from costumes to decorated homes, readers will be looking forward to their own nutty Halloween adventure and all that it entails.

 

🎃 🎃 🎃 🎃 🎃 

 

This is Book 4 in Scaredy's Nutty Adventures series. Here are all published titles:

Scaredy Squirrel in a Nutshell (2021)
Scaredy Squirrel Gets a Surprise (2022)
Scaredy Squirrel Gets Festive (2023)

Scaredy Squirrel Scared Silly (2024) 

Eon: My Pet Tardigrade

Written by Cybèle Young

Illustrated by Cybèle Young and Nell Jocelyn

Tundra Books

978-1-77488-041-8

56 pp.

Ages 3–7

Releases August 11, 2026 

 

Don't be surprised if you've never seen or heard of a tardigrade. They're very tiny. Very, very tiny. At about 0.5 mm in length, they are barely visible to the naked eye. Ah, but a microscope reveals this tiny creature to a young scientist with a new tool and captures her heart.

From Eon: My Pet Tardigrade, illustrated by Cybèle Young & Nell Jocelyn, written by Cybèle Young

Once she spots the micro-animal with his two little eyes and his ambling, plodding gait, she wants to take care of him. Actually, she wants to hug him but that's impossible so she plans to make that which he might appreciate. A bed? A chair? A slide? 

From Eon: My Pet Tardigrade, illustrated by Cybèle Young & Nell Jocelyn, written by Cybèle Young

But this young scientist knows it's best to ask questions, so she researches the little guy she names Eon, and learns he's a tardigrade a.k.a. a water bear or a moss piglet. She learns of the extremes at which it can live, and the diversity of habitats it can occupy. So, she prepares a wide variety of dioramas in which to live. And when she loses sight of him—he is very small—she learns more about what a tardigrade needs and gives him an opportunity for a new life where he might have a new home that is "the most magical most-est yet." (pg. 42)

From Eon: My Pet Tardigrade, illustrated by Cybèle Young & Nell Jocelyn, written by Cybèle Young

As small as Eon, the tardigrade, is, Eon: My Pet Tardigrade tells a big story. It's a story of scientific discovery, creativity, and benevolence. It's seeing what is almost not seen and educating oneself to help guide one's actions. Cybèle Young has garnered much attention and many awards with the intensity of her simple texts and the complexity of her mixed media illustrations. With Eon, she and collaborator Nell Jocelyn will charm readers into discovery, into looking deeper and smaller, and finding ways to express creativity. They've blended pencil drawings (Cybèle Young) with paper sculptures made with Japanese papers (Cybèle Young) and a variety of western papers (Nell Jocelyn). This blending of media gives substance and texture to a story of something almost imperceptible. Because Eon is so small, young readers may have to hunt for him on the many pages, especially when he's dressed in scuba equipment, hiding among stalagmites, or basking on a cactus. The creativity of the child—or rather Cybèle Young and Nell Jocelyn—to create miniature scenes of wondrous detail and movement brings Eon, the tardigrade, from insignificant to something substantial, a star of her displays and a superstar on the planet. (Read about tardigrades in Cybèle Young's "The story behind Eon" or do your own research. It will fascinate.)

From Eon: My Pet Tardigrade, illustrated by Cybèle Young & Nell Jocelyn, written by Cybèle Young

The story of Eon: My Pet Tardigrade is as much about the child and her response to Eon as it is about learning about tardigrades. I'd never heard of tardigrades and am now excited to learn more. Teachers might love to create lessons on adaptation, habitats, life cycles, and more based on these little invertebrates, but they shouldn't limit themselves to STEM lessons. Eon: My Pet Tardigrade gives opportunities for teaching about compassion, understanding, and letting go as well. For a little guy, Eon has a lot to give.

The Wise Pickle

Written by Sarah Howden

Illustrated by Sabina Hahn

Tundra Books

978-1-77488-698-4

40 pp.

Ages 4–8

June 2026 

 

When is a pickle more than pickle? In Sarah Howden and Sabina Hahn's picture book, it's more than a pickled vegetable when it falls from the sky and imparts wisdom to those who seek its knowledge of life. 

From The Wise Pickle, written by Sarah Howden, illustrated by Sabina Hahn

When a pickle lands next to a dry cleaner and begins to speak, recognizing that it had lived a lot of life, it is overheard by a rat. Surprised by a talking pickle, other animals, including a small bird, a worm, a chipmunk and a mouse, gather. But it's the pickle that starts the discussion with, "You might ask me, What do you have to say, pickle, that's so important? Why do you think you're so wise?" (pg. 10)

From The Wise Pickle, written by Sarah Howden, illustrated by Sabina Hahn

As the animals ask about its life, there is a deep discussion of purpose, journey, and choices. The animals provide a pillow, food—unnecessary—and even summon a dog to ultimately eat the shrivelling pickle, thereby fulfilling its métier to provide food. But fate—or was that a gull?—intervenes, and the wise pickle's end is deferred with a new pathway to be taken.

 

If Sarah Howden's story tells readers anything it's that things can always change. You might see yourself on one path, when something changes, sometimes without personal liability, and a new path opens up. It may lead to the same outcome, but maybe not, and being flexible helps to see the positives in the new direction. 

From The Wise Pickle, written by Sarah Howden, illustrated by Sabina Hahn

But Sarah Howden doesn't just give us a deeply philosophical look at life's journey—there's also a look at who we revere and why. She also tells her story with a dry humour, which is bolstered by NYC's Sabina Hahn's pencil and watercolour art. Sabina Hahn keeps the humour, claiming she used pickle brine in her illustrations. Still, it's the starkness of her art that elevates Sarah Howden's story from cute to meaningful. There's a pickle that expresses itself with only its eyes, animals that show concern and reverence for the brined cucurbit, and connection between all of them.

 

Looks like there's a new guru in town—by way of falling off of someone's plate—and it has some life lessons to share. I will still enjoy my garlic dill pickle, but I may never look at it the same way, thanks to Sarah Howden and Sabina Hahn.

Whale, That Was Unexpected

Written by Casey Lyall

Illustrated by Kathryn Durst

Tundra Books 

 978-1-77488-361-7

40 pp.

Ages 3–7

Releases June 30, 2026 

 

Maude believes she's seen everything. Going out on the sea in her little fishing boat with her dog Claude year after year, Maude doesn't expect anything different. But soon she learns that anything can happen. 

From Whale, That Was Unexpected, written by Casey Lyall, illustrated by Kathryn Durst

It's a typical day of fishing for Maude and Claude. Her boat, aptly called trusty little boat, has all she needs plus snacks, a cozy armchair, and tea service. Unbeknownst to Maude, there is a humongous whale beneath the boat.

From Whale, That Was Unexpected, written by Casey Lyall, illustrated by Kathryn Durst

Soon Maude and Claude and the little boat are tossed to and fro as they are swallowed by the whale. Maude doesn't waste time flipping out about their circumstances. Instead, she begins to prepare a goodbye party. 

From Whale, That Was Unexpected, written by Casey Lyall, illustrated by Kathryn Durst

She and Claude paint a big banner that proclaims, "Farewell Maude and Claude" and they recruit the writer to proclaim the official farewells. So begin the farewells. And there are many.

Farewell, Maude, a grand old dame.

Farewell, Claude, sixth of his name.  

Farewell, trusty little boat. (pg. 16-18)

And just as they prepare to say goodbye, there's a magnificent "whooosh" and a crab and an octopus are thrown onto the deck. Well, now there will more farewells that will need to be said. It's a cumulative story, that goes from farewells to Maude and Claude and a little boat, to include that crab and octopus, as well as a goat, a sea lion, and a puffin, before they can get to their party.

From Whale, That Was Unexpected, written by Casey Lyall, illustrated by Kathryn Durst

But how they revel in that farewell will be a whale of a story of another kind, and one that even Maude could not imagine.

 

Casey Lyall has made Maude the perfect curmudgeon. Her dour expression is only matched by her matter-of-fact attitude. Maude just does what she always does and is only mildly miffed when things go differently, but with a casual air. When she realizes that they've been swallowed by the whale, her response is, "Well, how about that." (pg. 11). Then she starts planning a farewell party to commemorate their imminent departure from the world. And with each new arrival, Maude takes it in strike, adds to their banner, and gets the author to add more farewells to their tribute. Maude is such a character, as is Claude in his own quiet way. Maude is folksy and unfussy, taking all in stride. Even near the end when Maude and her guests are immersed on a flooded deck, she berates the author to, "Speed it up a little. I'm hungry." (pg. 29) With Maude and Claude and a host of other characters, Casey Lyall brings the humour to a bleak situation. And, with her punny word choices and repetitive and cheeky farewells, Casey Lyall makes being swallowed by a whale less frightening and more inconvenience to Maude and more playful for readers.

 

My first impression of Toronto's Kathryn Durst artwork is amazement at how she makes Maude both grumpy and matter-of-fact about her circumstances. Nothing fazes her. (Maude, that is.) From the striking marionette lines on Maude's face, her no-nonsense work clothes, and practical hair braids, Maude is a woman who has lived a life on the water and is nonplussed about getting swallowed by a whale. Beyond the characters, Kathryn Durst gives us a richly textured landscape, both in and out of the whale. The maritime community is a colourful patchwork of colours and shapes, which Kathryn Durst brings to the limited deck of the trusty little boat. The inside of the whale may be dark but even it has character through line and colour. 

 

For a whale of a tale and word play at sea, Casey Lyall and Kathryn Durst's Whale, That Was Unexpected is a voyage of epic fun and colour. And coming from Casey Lyall, that was absolutely expected.

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.

A Door Is to Open

Written by Kyo Maclear

Illustrated by Julie Morstad

Tundra Books

978-1-77488-744-8 

48 pp. 

Ages 3–7 

April 2026 

 

Doors come in all sizes and shapes. They can be opened and closed. They can protect and invite. They offer so many possibilities. And Kyo Maclear and Julie Morstad show us the promises that come with those doors.

From A Door Is to Open, written by Kyo Maclear, illustrated by Julie Morstad

Kyo Maclear begins her reflective exploration of doors and all they entail with the simplest of functions. As a child opens a blue door, a mother cat and a trail of kittens, each a little different, follow. But there are many doors still be put to work. There are doors that are knocked upon, doors to walk through (into a birthday party), and to close. There are house doors, classroom doors, frosty doors and tent doors. There are automatic doors, turning doors, clear doors, and colourful ones. And there are doors that are organic portals used by animals, both on land and in the water, opening to places of shelter and family.

From A Door Is to Open, written by Kyo Maclear, illustrated by Julie Morstad

But doors can be as imaginary as they are real.

Some doors are made of words
and lead to places you’ve never imagined. (pg. 17)

And all these doors can make us feel different ways, whether nervous or calm, excited or creative. Each offers something.

From A Door Is to Open, written by Kyo Maclear, illustrated by Julie Morstad

I could not have predicted that a book about doors would make me feel so much. While many may see doors as barriers, Kyo Maclear gets on the other side of doors and revels in the potential that each presents. I've always appreciated the physical nature of doors, but never have I really looked at what doors offer. With this new perspective, all readers, young and old, are invited to think about what these physical and intangible portals bring to our lives. And Kyo Maclear presents this perspective with few but powerful words—I love writers who use few words to tell big stories (probably explains why I love novels in verse)—and helps us to see more than a barrier.

From A Door Is to Open, written by Kyo Maclear, illustrated by Julie Morstad

But, with few words, Julie Morstad's illustrations have to be equally powerful, imparting the story graphically. Her art uses pencils, coloured pencils, markers, and watercolours, and then assembled digitally. Because of the variety of media, Julie Morstad's art unlocks details and insight, showing us feeling, opportunity, and children as they live. 

From A Door Is to Open, written by Kyo Maclear, illustrated by Julie Morstad

A Door Is to Open is a triumph of perspective in storytelling. Not only are we invited to think more about doors and see the promise of their structure and function, both real and imaginary, Kyo Maclear and Julie Morstad have invited us to see more than doors. They've opened something else for us. They let us see possibility.

A Deadly Inheritance

Written by Kelley Armstrong

Tundra Books

978-1-77488-803-2 

424 pp.

Ages 14+

March 2026 

 

Understanding where you fit in the world is rare here. Embracing it is even rarer. (pg. 45)  

For seventeen-year-old Liliana Green, getting by since her mother died recently is everything to her. That and avoiding the Illinois Department of Child and Family Services. She works two part-time jobs, works hard at school to get that full scholarship to college in September, and she sells stuff to make rent. When lawyer Cecilia Robbins appears on her doorstep and announces that Liliana to be the grandchild of the billionaire Chamberlains, Liliana's financial troubles appear to be over. She's whisked away to Westdale, her mother's alma mater and a school that only admits the wealthiest of students. 

 

Of course Liliana has lots of questions, especially why her mother never went to her parents for help, but once she's at Westdale, Lili just has more questions. She may be enjoying the perks of being part of a billionaire family—". . . I'll enjoy what I can, while I can" (pg. 20)—but she still has to navigate meeting new peers who see her as the new Chamberlain girl. She becomes friendly with Maddox Moreno, son of a tech wizard, and Theo Dubois, son of an actor and a director, although the two boys have a cool relationship with each other. And Lili is invited to join Allegra Khan, Polly Reeves, and Isolde Brandt in the Lilith society, one of four societies on campus. 

Soon Lili is being recruited to join the race for that year's Optima, a prestigious competition that would win her a place in an elite networking group outside the school. Even before she has agreed, she's targeted and told to watch herself. Would her competitors really try to eliminate her? But Lili has another mystery to solve when she learns her mother was the Dux (leader) of the Liliths, and ran away with her father before she graduated. Why did they run away? What does it have to do with the death of a scholarship student? And what secrets is Westdale keeping?

 

Like many boarding schools, Westdale is a microcosm of good and bad and ugly. There is a clear class structure and distinct peer groups. There are secrets from the past and mysteries from the present. There are rules to be broken and a system to work in. And there is danger hiding everywhere. Kelley Armstrong takes us into a school of the fabulously wealthy and lets us watch as the students form alliances and friends, tread cautiously around others, and do what they can to safeguard themselves and support those for whom they care. But no one is ever safe. So, as we learn more about the secrets behind Liliana's parents, Rose (Rosalyn) Chamberlain and Will Green, and several suspicious deaths, including that of Maddox's sister and that of a friend of Rosalyn's, Kelley Armstrong twists and turns the reader into believing no one is to be trusted. She gives us all the clues but she cleverly tangles us into seeing connections where there are none and ignoring key players because they seem inconsequential. Still, even if you pay attention, Kelley Armstrong will surprise you, both with her ending and the solution to the mystery. And there's nothing better than the unraveling and intertwining of plot threads leading to a refreshing and a gratifying denouement, which is what you always get with Kelley Armstrong's suspenseful reads.

Now I See . . . board book series

Written by Mac Barnett

Illustrated by Jon Klassen

Tundra Books

24 pp.

Ages 2–5

April 2026 

 

There are only 35 words in the four board books in Mac Barnett and Jon Klassen's new series, Now I See. That's because each book has the same 35 words, in the same order, and describing almost the same things. What changes is what is happening to the people and places over the four different seasons, and that is communicated with the dramatic and yet straightforward artwork of Jon Klassen.

 

The four books are as follows:

 

Now I See Spring

978-1-77488-673-1

Now I See Summer

978-1-77488-677-9

 

 

 

 

Now I See Fall

978-1-77488-665-6

 

 

 

Now I See Winter

978-1-77488-669-4

 

 

 

 

In each book, a double-page spread focuses on an illustration of one element and then its identification. They are the house; the tree; the garden; me (shadow of a child on the side of a house); some birds; a treat (that's nice and sweet); the farm; the sky; the wise old cat; something red; and the perfect hat. The final text is a declaration that, "it's my favorite time of the year." But, in each book, each element is a little different. The tree might be leafing out in Now I See Spring, fully green in summer, losing its red leaves in the fall, and bare in the winter. Each season brings something different in where we live, what we wear, what we like to eat, and what we see. And they are all true.

From Now I See Spring, written by Mac Barnett, illustrated by Jon Klassen

Mac Barnett and Jon Klassen collaborate to produce extraordinary books. There's their Caldecott Honor books Extra Yarn (2012) and Sam and Dave Dig a Hole (2014)—Jon Klassen won the Caldecott Medal for his own This Is Not My Hat (2012)—and their Shape trilogy of Triangle (2017), Square (2018) and Circle (2019). The Now I See books equal these earlier books in their verve, teaching an important concept without instruction. They teach by helping children make observations and connect to that which they experience in their own lives. And, by reading all four books together, children will see how the seasons change and their reading of simple words, repeated in each book, will be reinforced.

From Now I See Winter, written by Mac Barnett, illustrated by Jon Klassen

Mac Barnett gets the text right by keeping the words simple—mostly articles and nouns—and giving them rhythm, though not necessarily rhyme. The text has a quiet pep to it, carrying the reader from one scene to another. And Jon Klassen's watercolour and digital art is the ideal medium for giving a lot in an unambiguous way. His lines and shapes give us the seasons with their distinctions, emphasizing both colour and shape to the familiar and perhaps less familiar. 

From Now I See Summer, written by Mac Barnett, illustrated by Jon Klassen

Exceptional concept books are those that do more than teach. They delight with their words, they charm with their artwork, and they engage readers by inviting them to be part of the story. Mac Barnett and Jon Klassen's Now I See series is fresh in its exceptionality.

Canada: We Are the Story

Written by Richard Wagamese

Illustrated by Mangeshig Pawis-Steckley

Swift Water Books (An imprint of Tundra Books)

978-1-77488-638-0

32 pp.

Ages 3–7

Releases March 17, 2026

 

The cover of Canada: We Are the Story announces this book as bold, beautiful, and powerful. From its flow of luminous colours and glowing shapes, this picture book, one of the first releases from Tundra's new Indigenous imprint, Swift Water Books, declares itself to be what it is: momentous.

From Canada: We Are the Story, written by Richard Wagamese, art by Mangeshig Pawis-Steckley

Based on a poem by Richard Wagamese, Canada: We Are the Story speaks to a child tasked with a school assignment, "What makes you proud to be Canadian?" Struggling, the child is guided to listen and feel so that they might sense their ancestors and what they could impart.

Close your eyes and tell me if you can hear your Ancestors in the Spirit World exhaling all at once. They are standing beside you even now. They are talking. Listen. (pg. 7)

From Canada: We Are the Story, written by Richard Wagamese, art by Mangeshig Pawis-Steckley

It doesn't matter whether the ancestors speak in Dene, Cree, Inuktitut, or German, Mandarin or English, because they are the Old Ones and their souls had "fallen head over heels in love with the spell of this country." (pg. 13) More importantly, the ancestors tell us that we are all in this together, no matter whether we're on the East Coast, on the prairies, or at the Arctic Circle. (Richard Wagamese mentions more than several place names like Belle Isle, Labrador; Wynyard, Saskatchewan; Revelstoke, BC; Okotoks, Alberta; the archipelago Haida Gwaii, and Pangnirtung on Baffin Island.) The message is that the ancestors come from throughout the country, and if we just listen, they'll tell us its story.

We are the story of our time here,

they have come to say.

 

It is all we bring with us

and all we leave behind. (pg. 24)

From Canada: We Are the Story, written by Richard Wagamese, art by Mangeshig Pawis-Steckley

Richard Wagamese's message is one of inclusivity and acknowledgement. His free verse poetry recognizes that everyone is part of the land and part of its story, whether Indigenous or immigrant. And this child, once they listen to the ancestors and hear their stories, can accept and cultivate themself as part of it. The voice of Richard Wagamese's narrator is profound and sweepingly affirming of all. They want this child to feel connected and embraced from their ancestors and from the people of the country to which they belong.

 

Mangeshig Pawis-Steckley, whose illustrations I first enjoyed in Mii maanda ezhi-gkendmaanh / This is How I Know (written by Brittany Luby, 2021) and Biindigen! Amik Says Welcome (written by Nancy Cooper, 2023), has acknowledged the message of Canada: We Are the Story with his simple but weighty dedication: "For all my relatives, Indinawemaaganidog." His Ojibwe (Anishinaabemowin) words invite all of his people to enjoy the art of this book, just as all readers will. Every page is a delight of colour and shapes. Mangeshig Pawis-Steckley draws his main character as a unique individual, wearing a personalized jacket with badges like a thunderbird, an NDN sweater, and a plaid skirt. They are unique and fit in because they belong. Mangeshig Pawis-Steckley has made this child any child, from an Indigenous community or one of a diverse background. They are Canadian by being part of the land. And with their meaningful background of ancestors, from all cultures and traditions, Mangeshig Pawis-Steckley urges us to see ourselves as part of the story.

From Canada: We Are the Story, written by Richard Wagamese, art by Mangeshig Pawis-Steckley

From words to art, Canada: We Are the Story is a stunning picture book, as valuable in its message for young children as it would be as a visual art book for the adults who might purchase it. It should give us all pause to think about how we belong, perhaps in our way, perhaps like others, to this country, and our stories will become part of it, now and forever.

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.