Sam

Written by Eric Walters

DCB

978-1-770867949

228 pp.

Ages 9-14

May 2025 

 

She was strong. She didn't give up. She didn't take crap from anybody. I liked that. And all she really wanted was a place to call home. I understood that better than I even would have wanted. (p. 133)

 

The "she" of whom fourteen-year-old Sam Reid speaks is Anne of Green Gables, and, along with support from a select group of new acquaintances, the boy with red hair and a matching temper has a lot to learn and especially from L. M. Montgomery's 1908 fictional character.

 

Sam may be a smart kid, but it doesn't stop him from letting his temper get the better of him. When confronted with a shopkeeper trying to rip $10 off of him and having to stand up against the high school's quarterback, who ends up with a broken nose, Sam knows he should have kept his cool. But things get worse when Sam is accosted in a school bathroom and fights back, leaving Cody, the quarterback, with a concussion.

...there's no question that I have a temper, but that's only because people are always doing things to provoke me. (p. 9) 

With no family–his parents were killed in a car crash by a drunk driver four years earlier–and foster parents who don't want him back, he is sent to the Johnson Juvenile Center, a detention facility for those younger than 18 who were awaiting trial or those already convicted and serving sentences less than 18 months. Sam would be at the Johnson Juvenile Center, a.k.a. the Gables, for at least 5 weeks while he is assessed before heading to court. While his social worker Jenna Williams is keen to help, his court-appointed lawyer Mr. Turner is challenged, especially when additional charges of fraud and theft are brought by the shopkeeper, and everyone seems disappointed that the local football hero would be out of commission. 

At the Gables, Sam must deal with a nasty guard Mr. Roberts who insists on calling Sam "Red" and is just waiting for the chance to write him up for poor behaviour, bad attitude, and more. There's also a convicted "long-timer" Bruce who seems to have it out for Sam after an innocent mistake of sitting at the wrong dining table ends with Sam shooting off his mouth again.

Why did people keep coming at me and why wasn't I smart enough to shut up and move on when they did? (p. 64)

Thankfully Sam has some good people on his side trying to help him be the best version of himself. There's his roomie Nigel, a smaller guy who is in for throwing a chair at someone; Mrs. Martinez, their English teacher; Kate, a kind-hearted guard; and his psychologist, Dr. McEnny. Now if Sam could only stop seeing everything and everyone as a threat or a challenge and use his smarts–and he is very intelligent–to help himself. 

Sometimes smart can't overcome circumstances, situations, and tragedy. (p. 128)

Things start to change for Sam when Mrs. Martinez assigns Nigel and Sam each a book on which they will prepare a report, and Sam gets Lucy Maud Montgomery's Anne of Green Gables, hoping he'll find some interesting parallels with his own life. If he can just get past his outrage and humiliation, especially when he sees that Anne is a redhead like he is, Sam may be able to use his potential and discover his strength to find hope.

 

For lovers of L. M. Montgomery's Anne of Green Gables, the parallels between Anne's life and that of Sam will be evident, even though their differences in time and circumstances are significant. (In fact, an assignment Sam completes for Mrs. Martinez focuses on these very parallels.) Eric Walters is very subtle in his homage to Montgomery and her red-haired character, though his "Author's Note" suggests an extraordinary depth of admiration for the author and her book. This is abundantly evident in his appreciation for her words–quotes from Anne of Green Gables are cited often and always fitting–and the themes of persevering life's challenges and finding hope against tragedy and adversity. Eric Walters makes us believe in Sam. The young teen may not be completely likeable at the beginning of Sam but he's a kid who has had a lot of hard knocks. His temper, which may or may not be as a result of his circumstances, and I don't mean the colour of his hair, is an entity with which he has a relationship, good or bad. It's in his learning about that anger and his recognition that he has been able to keep it in check that almost releases him from it and allows Sam to grow. While he initially thinks Anne is almost delusionally optimistic, he too starts to acknowledge the positives of things that once appeared to only be difficult. 

Sam has had a tough life, bouncing from foster homes and receiving homes, never being offered a true home since the death of his parents. But, as horrific as going to a juvenile center must be, the Gables becomes a place of salvation for Sam, as Green Gables was for Anne, helping him acquire a support system as tough as any loving family and teaching him the strength he has always had to overcome that which seems formidable. With kind souls and kindred spirits, Sam's life goes beyond "a perfect graveyard of buried hopes" as Anne declares at the beginning of Anne of Green Gables, to one of possibilities.

I Lost a Day

Written and illustrated by Briana Corr Scott

Nimbus Publishing

978-1-77471-363-1

32 pp.

Ages 4-8

April 2025 

 

For many of us, losing a day is a negative event. It means that we lost 24 hours in which we could have accomplished something or been more present for others or ourselves or enjoyed life. It could be losing it to strong feelings or procrastination, to futility, defeat or discombobulation. But Briana Corr Scott shows children that the loss of a day can bring positives of calm, greater clarity, effectiveness, and more.

From I Lost a Day, written and illustrated by Briana Corr Scott

In rhyming verse, Briana Corr Scott gets into the heads and hearts of children as they are overcome with anger or rage or sadness.

When my head holds a storm

That blocks out the light

 

When my hands are hard fists

That are ready to fight...

When those times come, each finds a way to cope, whether it be hiding under their sheets, listening to the rain, reading, sketching, playing music, running, or just being outdoors. Everyone is different but they choose strategies that work for them to help be distracted from the anger or the sadness or to help it dissipate. 

I smell the cool earth

As the wind moves the leaves

 

A piece of my sadness

Floats away on the breeze. 

From I Lost a Day, written and illustrated by Briana Corr Scott

The strategy that touched me the most was the untangling of a ball of yarn as it is a metaphor for the undoing of a lost day. After all, a lost day is but one day among many.

Yarn that is tangled

Can always be wound...

 

In the days that I lost

It was me that I found.

The title of I Lost a Day caught me off-guard with the discouraging tone I thought it set for the book. It is but a title. That title and the first illustrations of the book are just a preamble to explain what children can do to deal with big feelings of anger and depression, irritability and anxiety. It sets up the story to be one of enlightenment, in other words one of learning to see differently and to feel the lightness that comes of self-care. Briana Corr Scott, whose book While You Were Sleeping I reviewed in 2023, has a delicacy to her storytelling and her artwork. Her author's note details a personal connection to the story of I Lost a Day–in addition to suggestions for other activities to help cope with those lost days–and I believe that this connection is what has helped her be sensitive and comprehensive in the strategies she recommends to children to try.

From I Lost a Day, written and illustrated by Briana Corr Scott

That awareness of the enormity of those feelings and that potential ways in which they may be addressed and successfully waived come through in Briana Corr Scott's illustrations. She uses gouache and watercolour to create artwork that portrays those overwhelming feelings that can cause a loss of days, days of raging storms and devastating anguish. These images are powerful in their darkness and their influence to dominate. But then Briana Corr Scott shows children finding the stillness in rain and reading and the quiet in running and drawing, and recovering themselves. 

The sadness can't catch me

I'll pass it right by

 

My body feels lighter

When I sit and sigh.

This is not a how-to book to defeat depression or anger. It is however a story that appreciates how time may be lost to feelings that overwhelm and offers possibilities for coping with no judgment and no obligation to conform or control. Briana Corr Scott, instead, shows kindness and understanding with the hope that we might find ways to care for our mental health that work for us.

Aaron's Hair (rev. ed.)

Written by Robert Munsch

Illustrated by Dave Whamond

Scholastic Canada

978-1-0397-0906-5

32 pp.

Ages 3-8

January 2025 

 

It's been 25 years since Robert Munsch first told the story of Aaron's runaway hair. Originally illustrated by Alan and Lea Daniel, Aaron's Hair is a timeless story of hating your hair–don't we all have bad hair days?–but like classic Munsch, the story takes an unexpected turn when Aaron's hair takes off to find an appreciative host. Now illustrated with the wacky art of Dave Whamond, Aaron's Hair has a new and updated sparkle of absurdity. 

From Aaron's Hair (rev. ed.), written by Robert Munsch, illustrated by Dave Whamond

Aaron is proud to have long hair like his dad but when his hair becomes uncooperative, Aaron shouts out that he hates it. Well, that hurts the hair's feelings, and it runs away, leaving Aaron bald. And so, the chase begins.

 

From Aaron's Hair (rev. ed.), written by Robert Munsch, illustrated by Dave Whamond

As Aaron's hair flits from the baby's head to the street, attaching itself first to a woman's tummy and then to man's behind, Aaron gives chase. The star-shaped hair continues to cause mayhem, especially when it covers a traffic policeman's face, resulting in a traffic jam of epic proportions. There are still a few more stops before both Aaron and his hair find their way back to each other and even find a way forward.

 

The absurdity of Robert Munsch's stories has always been in that germ of reality, here in the conflict between hair and bearer of said hair. It's that struggle to style it, tame it, keep it out of food, and more. But Robert Munsch makes that struggle into a crazy action adventure that will have kids rolling on the floor with laughter. With Dave Whamond's illustrations, the wackiness is heightened, giving more laughs as Aaron's hair misbehaves, as the boy panics at the potential for long-term baldness, and as the community becomes involved in the ensuing chaos. Follow the escape, the pursuit, and the confusion through expressive faces, topsy-turvy scenes, and the unexpected details including Dave Whamond's ubiquitous squirrel, bunny and bird from his popular character in his Reality Check syndicated comic.

From Aaron's Hair (rev. ed.), written by Robert Munsch, illustrated by Dave Whamond

Next time you're having a bad hair day, think about Aaron and his unruly hair, and thank goodness for an occasion split end, frizz or cowlick that reassures that you've still got hair on your head. After all, the alternative can be outrageously chaotic,  even if uproariously funny.

Mad at Dad

Written and illustrated by Janie Hao

Kids Can Press

978-1-5253-1026-3

32 pp.

Ages 2-6

October 2024 

What gets this child riled up? It's her dad who is just being a dad, trying to get her to eat her vegetables so he can tidy up the dishes. But when she gets this big feeling, she has an arsenal of strategies to get her out of it.

From Mad at Dad, written and illustrated by Janie Hao

She tries a host of activities to get her out it her anger. She talks it out with her stuffies, she counts, she draws, and she does cartwheels. She tries quiet activities that might not be so, and energy-burning ones that might help her let go of her annoyance at her father. She might not like being mad but it's an emotion that's hard to let go of. 

From Mad at Dad, written and illustrated by Janie Hao

With time, that anger transforms into sadness, probably from the exhaustion of those big feelings, and her dad, the original source of her ire, is there to help her through.

From Mad at Dad, written and illustrated by Janie Hao

Like the emotions the child is feeling, bigger than just being displeased, Mad at Dad is larger than its 9" x 9" format. Mad at Dad is an interactive picture book that allows the reader to fold-out pages that allow for immense four-page spreads that are equal to the size of her emotions. Not only will young readers get the full force of her wrath, depicted with furrowed brows and a clenched jaw–when she's not releasing outraged squiggles from her expressive mouth–they'll see the bigness of those feelings in the slams and the shouts and the cries. Janie Hao, a Sheridan College grad of illustration, gives the full range of anger in her character's fury, using colours of red and yellow, black and orange. It's not until the child is wearing herself out and crashing under a comforter in the dark that the tones become primarily blue. Fortunately, her dad also brings the light and colour with him. 

From Mad at Dad, written and illustrated by Janie Hao

Janie Hao's digitally-rendered artwork relays the full scope of this rollercoaster of a father-daughter relationship but also the changes that happen as the child attempts to calm herself with strategies readers' own parents and teachers might have taught them. It'll be refreshing for young children to see that not everything works and that they just need to try something different. And even if nothing works, time will heal and remind them that the big deal that started the anger does not have to remain a big deal and being mad at dad doesn't have to be a permanent state. In fact, it might be the very thing that reminds them of the love that exists between a parent and child regardless of tough moments.

The Ugly Place

Written by Laura Deal

Illustrated by Emma Pedersen

Inhabit Media

978-1-77227-432-5

28 pp.

Ages 4-7

July 2022

When our negative moods take over, everything becomes ugly: places, people, ourselves.  

There is only one way to get to the ugly place, and you have to feel absolutely miserable.

From The Ugly Place by Laura Deal, illus. by Emma Pedersen

With the wet and gloomy weather, this child recognizes that everything is pointing them to a visit to the ugly place. They see ugliness in the exposed shore at low tide, in the fish, in their own mucky footprints on the wet tundra, and the smells of the salt water and the stale seaweed. And this child wallows in that which they see as ugly and matches their ugly mood.

From The Ugly Place by Laura Deal, illus. by Emma Pedersen

But seeing, really seeing, brings clarity. By focusing on that which is in front of them, perception is changed.

...my heart settles when I see the seagull circle around again in effortless flight, joined by another. Their crisp white feathers are exceptionally bright against the sunless sky. They play while gliding and swooping through the air.

They close their eyes and open their senses to the sounds, the smells and the feel of the emerging sun.

Then, and only then, is when IT HAPPENS.

Small things emerge to announce their joyful presence: a stir of the water, the flip and flop of sculpins, and life in the sea, on the land, and in the air. And in the child's heart, through the art of breath.

From The Ugly Place by Laura Deal, illus. by Emma Pedersen

Everything becomes part of an orchestral piece of music with the child conducting. It's up to them to see the virtues of every piece of their place and harmonize them for the big finish. And that grand performance is what finally takes the child from the ugly place to one where smiling is possible and the despair of the person and place disappears.

 

Getting to the ugly place is not hard when negative emotions overwhelm. Whether it is anger or fear, anxiety or disappointment, misery makes for an efficient vector to joylessness and the blindness to that which would normally inspire gratitude and bring comfort. While Iqaluit's Laura Deal may envision a literal ugly place to which this child visits, with scowling rocks and clouds, the ugliness is actually within and carried by the child, creating the foulness they experience within their landscape. But children, not unlike many adults, don't realize that they carry that ugliness with them to place and people. Fortunately, they also carry the possibility of finding joy both within and without, as this child discovers with some mindfulness in an natural environment. Laura Deal, whose earlier picture books In the Sky at Nighttime and How Nivi Got Her Names share a northern perspective of culture and place, again takes us to a community of the tundra, of rocky terrains, gulls and Arctic sealife. It's a place where a child can walk for great distances from town, ponder their moods and take the time for mindful appreciation beyond themselves. It's a place for insight and reflection, thoughtfulness and solitude, all of which reverberate in Laura Deal's text.

Likewise, Toronto illustrator Emma Pedersen mirrors the moods of the child as they experience the ugly place and shift to acknowledgement of the beauty evident. The furrowed brows and hunched shoulders of a child among the harshness of a landscape teeming with grimacing components reflects the bitterness of their feelings and the gloom of the weather. But all is transformed with light and softness as joy returns. 

 

Misery and despair will happen in our lives. But, it can and will give way to calm and joy given the opportunity for mindfulness of self and nature, a lesson for all who feel.

From The Ugly Place by Laura Deal, illus. by Emma Pedersen

Ophelia

Written by Charlotte Gingras

Illustrated by Daniel Sylvestre

Translated by Christelle Morelli and Susan Ouriou

Groundwood Books

264 pp.

Ages 14+

March 2018

Ophelia is what she calls herself, though her peers at high school have affixed the label of "rag girl" on her.  But Ophelia, like Shakespeare's tragic character, is much more than she appears.  She is a complex teen, overridden with fears and anger and anxiety and isolation that goes far beyond the teen angst label many use to underplay overwhelming personal issues.  

Ophelia's story, past and present, is told in letters to an author, Jeanne D'Amour, who visited Ophelia's school and gifted the teen with an ink-blue notebook. The unsent letters reveal Ophelia's crushing worries of abandoned children; of being seen as ugly; of her struggles at school; of being alone or of finding love; of a mother who had been undeclared unfit once, forcing Ophelia into foster care, and could be again; of never knowing her father; and of her sexuality, especially as she harbours trauma from an incident of childhood sexual abuse.  

I don't love anyone for real, Jeanne.  If I dive down, down to my very depths, all I find is dark and hard.  Nothing alive. (pg. 122)

But when Ophelia, a girl who goes out at night and tags walls with oil-pastel broken hearts, discovers an abandoned building with walls on which she might express herself artistically, everything changes.  She soon learns that her workshop had previously been discovered by another marginalized teen, a new student and fat young man who decides to call himself Ulysses.  The two work out a schedule so that they do not have to interact, and Ophelia can continue to work on her art–first an "upside-down girl" as a depiction of her namesake, then an empowered "right-side-up girl" and more–while Ulysses endeavours to dismantle an old van he has named Caboose, hopeful of setting it to rights so he could take it on a long journey. 

Ophelia is still overpowered by her anger and worries but the innocuous Ulysses subtly begins to share his own fears and pains and finds a way to connect with Ophelia.

He'd defused my suicide-bomber belt with his chocolate bars and calming voice. (pg. 86)

Similarly Ophelia's artwork begins to have a positive impact on the two teens, enabling them to become the warriors she creates on the walls.  But can those shifts in Ophelia and Ulysses be sustained and carry them through a violent invasion into their safe space as well as their emerging sexualities?

Ophelia is a powerful book of a teen's struggles, a deep and insightful introspection of her shattering anger and apprehension.  Though Ophelia writes with the chaotic musings of a young person in trauma, alternating recollections of the past, with current struggles and anticipation of the future, there is a lifeline of progression from out-of-control angst to increasing self-reflection and empathy to self-acceptance and empowerment that is so real that it is visceral.

From Ophelia 

by Charlotte Gingras 

illus. by Daniel Sylvestre

I am so pleased that Groundwood Books has brought Ophélie (Courte Echelle, 2008), the original French-language novel from Governor General-award winning author Charlotte Gingras, to English readers through this translation by Christelle Morelli and Susan Ouriou.  Emboldened with the artwork of Montréaler Daniel Sylvestre, readers will catch glimpses of the fury and anxiety of Ophelia in her sketches and tags as they bear witness to her progress.  But it is the voice of Ophelia, heartfelt and agonized, as she verges on implosion and explosion, as well as that of Ulysses struggling with his own issues, that need to be heard and heeded by young readers and those who care for them.  There may not be a happy ending but there is hope for better.

Two Times a Traitor

Written by Karen Bass

Pajama Press

978-1-77278-031-4

240 pp.

Ages 9-12

May 2017 (Canada), August 2017 (US)

Selected as a Junior Library Guild Selection, Two Times a Traitor may seem a departure for award-winning author of historical fiction, Karen Bass, who won the Geoffrey Bilson Award for her books Graffiti Knight (Pajama Press, 2013) and Uncertain Soldier (Pajama Press, 2015) in consecutive years.  But, Karen Bass knows how to seamlessly weave a bit of the unexpected into her fiction, as she did in her suspenseful The Hill (Pajama Press, 2016), and as she does in Two Times a Traitor which blends a contemporary setting with Canada's past in Louisbourg 1745 through the use of time slip.

Twelve-year-old Lazare Berenger is still angry with his father who moved the family from Ottawa to Boston while Laz was visiting his Grandmère's farm in New Brunswick the previous summer.  And now, when he'd been saving up for a parkour camp for spring break, Laz is with his parents and younger sister Emeline visiting Halifax.  With every new suggestion of his father, Lazare is reeling with anger so, while visiting the Citadel, Laz takes off on his own.

The air seemed to push against Laz, as if it didn't want him to return down the tunnel.  Something strange was happening, but he didn't know if it was this chamber, the whole tunnel, or if he'd had too much bacon for lunch.  He took a deep breath and his lungs refused to fill. (pg. 19)

When he knocks himself out, he awakens in an unfamiliar landscape of pirate-looking men at bonfires on shore, old-time sailing ships moored in the bay and a man with a sword taking him to Captain Hawkins on the ship called the Constance.  Believing it's all a role play as boot camp punishment from his father, he spouts off about 2017 and more, leading the captain to believe he is pretending madness to distract them from recognizing him as an Acadian in league with the French at Louisbourg.  His clothes, which might conceal weapons, are taken away, as is his grandmother's St. Christopher medal ("Papist witchery"; pg. 38) and he is put in fetters.  Ben, a young boy who has been apprenticed to the Constance, befriends him and Laz learns that it truly is 1745 and they are transporting militia to Canso to fight King George's War against the French.

With a militiaman named Cooper seeking retribution on "Master Berenger" and Commander Pepperell, the commander of the expedition, ready to hang Laz for treason, the boy is put to work alongside the militia and then blackmailed–he is convinced his medal is the means to getting back to the future– into going into Louisbourg as a spy to seed doubt and do mischief.  Under the guise of a farm boy warning the French of an incoming barrage of British ships, Laz is welcomed into Louisbourg, becoming the messenger of Port Commander Pierre Morpain, a man who treats Laz as the boy wishes his own father would.  As Laz builds a new family amongst the residents of Louisbourg, he is haunted by his need to fulfill his obligation to the British if he is ever to return to his true family and life in 2017.

Privileged Laz may think his life with his father is impossible but, after facing treason charges twice, once by the British and later with the French after he sabotages their gun powder, he realizes how easy life has been.  Still he wonders about remaining in the past, one in which Morpain keeps him safe and shows him deep affection and respect and Laz has a purposeful life which, though dangerous and unpredictable, feels like home.

While taking the reader into both sides of the 1745 siege of Louisbourg, Karen Bass makes sure that Two Times a Traitor is about Laz recognizing what home is to him.  He may have been angry with the move to Boston but he soon realizes that what matters are the people.  It's evident he adores his sister and is determined to get home for her but he has some qualms when Louisbourg starts to feel like home too.  But before he can make the decision about where he belongs, he has to stay alive. With both sides believing him to be a traitor and an angry militiaman out to kill him, not to speak of the cannon balls, mortar and muskets and bayonets, safety is a commodity in short supply. Readers will adore the action adventure story of  Two Times a Traitor but its story of historical events is extraordinary and not to be relegated to second place. Karen Bass does comprehensive research, providing astounding detail to setting and characters, plunging readers into the fray that was war.  By allowing Laz to be part of both sides and emphasizing his confusion about which side to favour, Karen Bass allows readers to see the conflict from different perspectives and takes history away from the one-sidedness of most textbooks. Moreover, she allows us to see that conflict, whether personal or historical, always has two sides that need to be seen.  Resolution may be amicable or there may be victors and those defeated, but how it plays out is all about point of view.

Everything Beautiful Is Not Ruined

Written by Danielle Younge-Ullman

Razorbill

978-0-425-28759-0

368 pp.

Ages 13–17

February 2017

After, I stand for a few moments looking out over the water, the moon reflecting off its glass-like surface.  It's beautiful, yes.  But the beauty doesn't reach me the way it's supposed to because I feel like it's been shoved down my throat.  I register the stark gorgeousness of the dying day, and what it fills me with is unease, and an ominous sensation of cracking inside–of cracking open, of a corresponding excruciating pain I have kept at bay by incredible discipline beginning to seep toward the surface. (pg. 87)

Ingrid Burke must feel like she's been deposited in another world, and one not of her choosing.  In fact, not even one like in the brochure her mother, retired opera singer Margot-Sophia Lalonde, had shown her of Peak Wilderness, an outdoors camp in northern Ontario, to which Ingrid has agreed to go so her mother would permit her attendance at a prestigious music school in London England.  Worse yet, Ingrid, who perceives herself to be “a model citizen and paragon of stability” (pg. 53) compared to the miscellany of other troubled youth campers, must survive three weeks of hiking, canoeing, roughing it, and sharing under the supervision of leaders Pat and Bonnie who seem to enjoy the group’s failures at near impossible tasks.

What happened that led Ingrid to this challenging and repeatedly dangerous situation is told in alternating chapters, organized by Ingrid's age, that speak to her life before Peak Wilderness.  They tell of her life travelling the world with her famous mother and then, after damage to Margot-Sophia’s vocal chords leads them home to Toronto,  the reversal of roles when Margot-Sophia is overcome with depression.  Revealed slowly but with ease are Ingrid’s experiences at school and home, feeling vulnerable and frustrated, fearful and positive, and her attempts to achieve normalcy and some happiness. Eventually we also learn what led her to Peak Wilderness.

My words cannot do justice to the depth of Danielle Younge-Ullman's characterizations and story-telling.  There is so much to share with readers that my words seem sparse and ineffective. But I can tell you that Danielle Younge-Ullman weaves Ingrid’s present and past into a fabric of ordinary and extraordinary, creating a life of tenacity to which most of us could aspire.  Though Ingrid doesn’t want to acknowledge the vulnerabilities that brought her to the camp, Danielle Younge-Ullman provides hints throughout the story–Isaac, an axe and an injured leg–that there is more to the teen’s story than she reveals to others and even to herself.  Her go-to survival mechanisms include a strained positivity —“How exciting, and what a magnificent opportunity to get in touch with my inner savage” (pg. 29)— and silence with a dose of denial.  But beyond Ingrid’s inner turmoil are the relationships the teen has with her mother, her new father, a boy with whom she has a connection, and all the campers.  These relationships drive Everything Beautiful Is Not Ruined.  They ebb and flow, both serene and passionate, not unlike the music of a great opera that Margot-Sophia might have performed.  Though Ingrid might think she knows the music of her life really well, she’s just learning to perform it with passion so that she can make it successfully to the triumphant finish. And Danielle Younge-Ullman makes sure that we want to stay for the whole performance without ever nodding off.

****************

On May 6, 2017, Danielle Younge-Ullman will be speaking at the Stratford Writers Festival Young Adult forum along with numerous other YA authors.  I'll post about it here soon but you can get details at http://digiwriting.com/stratford-writers-festival-young-adult-2017/

I'll be there and you should be too!

With Malice

by Eileen Cook

Houghton Mifflin Harcourt

978-0-544-80509-5

316 pp.

Ages 13+

June 2016

Eighteen-year-old Jill Charron just wants the truth.  Waking up in a hospital room without any memories of how she got there and struggling to find words because of a brain injury means that getting at the truth is not going to be easy.  As the byline to the book states, "The truth is how you tell it" and it seems the truths are multitudinous and varied.

Jill's divorced parents seem to want to keep a lot of truths from her, especially the key one that Simone McIvory, Jill’s best friend, was killed in the car being driven by Jill while on a school trip in Italy.  The police, both American and Italian, as well as Evan Stanley, her high-priced lawyer, are badgering her for the truths she can’t remember.  And everybody else, from other students on the trip, to newspaper reports, crime drama series, and subscribers to the “Justice for Simone” blog are more than willing to share their opinions as to the truth.  But what is the truth and is there only one?

While Jill, whisked back to the States by her rich and demanding father, endures rehab and counselling to help heal her body and six weeks of memory loss, the police interview Simone’s parents who portray their daughter as a confident and popular teen with old-fashioned values, and Jill as a less well-liked girl from a broken home and desperate for attention.  Though the strength of their friendship is recognized by many who knew them, different stories arise with regards to the two girls-chilly or friendly, studious or popular, jealous or self-centered–by those who knew them well or just marginally and even by those who’d never met them but nastily weigh in on the news story.

“It doesn’t matter what’s true–what matters is what people believe.” (pg. 102)

Eileen Cook brilliantly layers the multifaceted truths recounted in blog posts, transcripts of police interviews, newspaper articles, yearbooks, and other media as she intricately develops the subplots of With Malice, all with the purpose of revealing what actually happened to Simone and Jill in that car in Italy.  Below the very concrete mess of a mangled car lies a substantial mess of romance, anger, pettiness, jealously, hurt and misplaced affection.  The ultimate truth is both expected and surprising and Eileen Cook reveals it with breath-taking patience, taking YA readers on a suspenseful read all the way to the end before exposing a friendship admittedly more fragile than honest.

The Biggest Poutine in the World

by Andrée Poulin

Translated by Brigitte Waisberg

Annick Press

978-1-55451-825-8

160 pp.

Ages 9-12

March, 2016

Reviewed from advance reading copy 

Using food to fill the void of loneliness and to quench the anguish of abandonment would not be unusual but using a 650-kilogram poutine to smother the emptiness of a cold, distant father and an absentee mother is definitely unique.  But that’s what twelve-year-old Thomas Gagné of Sainte-Alphonsine believes might offer his pathetic life some hope.

A glimmer of hope lights up in my mind.  A tiny, fragile, trembling glimmer.  I try not to pay too much attention to it. I’ve tasted disappointment before, and it doesn’t taste good. (pg. 11)

Though it has been seven long years since he’s seen his mother–and yet he does receive  very brief notes with cash from her at his birthday–Thomas has fond memories of her making poutine for him: peeling whole bags of potatoes, buying cheese curds together, making the gravy and cooking the fries.  Taking a cue from his favourite website, the Guinness World Records, Thomas concocts the idea of making a giant poutine and feeding hundreds of people so that he might earn a world record and become worthy of the attention of his parents.  So begins the Phenomenal Poutine Project, PPP, for which Thomas enlists the help of his best friend, Sam Bernier; Sam’s godfather and French fry truck owner Fat Frank; and Irene Ladouceur, who runs the local cheese shop and insists Thomas include her daughter Elie in the project.  But things run amok when the mayor, Thérèse Tartatcheff, refuses to rent the arena to Thomas for the event.

Thomas is not deterred, however, and cooks up a plan to kidnap the mayor’s Senegal parrot and then recover the bird, all to sway Tartatcheff into relenting to his PPP.  But, as with so many good plans, things go awry.  His friendships with Sam and Elie, his missing mother, his aloof father, an allergic reaction, a wayward parrot, and a candy-pink note all get heaped on top of each other and smothered in emotions.  Fortunately, all culminates in a satisfying fusion of humour and coming-of-age drama, with a side order of dysfunctional family.

The Biggest Poutine in the World is the English translation, by Annick Press’s Brigitte Waisberg, of Andrée Poulin’s La plus grosse poutine du monde (Bayard Canada, 2013) which won the 2014 Prix TD de littérature canadienne pour l’enfance et la jeunesse and the 2015 Le Prix Tamarac of the Ontario Library Association’s Forest of Reading.  The story is a visually-appealing mixture of graphics, including fun text messages between Thomas and Sam, drawings of emails between Thomas and Elie, an album of types of poutine (who knew there were so many!), and black-and-white sketches, with text set in large font and broken into small chapters with massive titles.  Young readers will undoubtedly appreciate the organizational format of the book but it’s the story line with which they will empathize.  Thomas is a boy with much resentment, anger and jealousy and yet he can still see the potential for hopefulness.  He even has a willingness and positivity to accept a challenge to captivate that hope although obstacles and self-doubt test him.

With The Biggest Poutine in the World, Andrée Poulin demonstrates an understanding of the complexities of a child’s mind when faced with familial conflict.  Being an accomplished author of over 30 French-language picture books and children’s novels, Andrée Poulin effortlessly translates that strife with compassion and humour into an uplifting tale of friendship and determination and emotional growth.  It does pull a bit at the heart, but no more than the occasional high-cholesterol poutine might.

(A version of this review was originally written for and published in Quill & Quire, as noted in the citation below.)

Kubiw, H. (2016, January/February). [Review of the book The Biggest Poutine in the World, by Andrée Poulin]. Quill & Quire, 82 (1): 44.

When Kacey Left

by Dawn Green

Red Deer Press

978-0-88995-523-3

228 pp.

Ages 12+

April 2015

Books that deal with suicide at their core are never easy to read or review.  They are heartbreaking ends to life. Period.  But When Kacey Left focuses that heartbreak on the survivors and less on the individual who committed suicide and that makes all the difference in the story-telling.  And it’s story-telling that gets to the crux of the repurcussions of suicide: that those left behind are left to grieve, to understand and to go on.

When Kacey Left is written as a series of letters in a journal by 16-year-old Sara a.k.a. Sticks to her best friend Kacey a.k.a. Stones as prescribed by Sara’s counsellor to deal in the aftermath of Kacey’s suicide.  The letters span the gamut of emotional devastation from sadness, depression, anger, denial, and guilt with questions, lots and lots of questions.  As reluactant as she is to pour out her emotions, Sara is very articulate about sharing everything with her friend.

Sara talks about their other friend, Drea, and her rise to popularity after Kacey’s suicide; about the reactions of fellow students to Kacey’s death and to Sara herself; about the funeral itself; about how their parents and teachers and even the school via principal directives have dealt with it.  Sara has to endure that stalklings of  an autistic girl whom she calls Weird Girl who wants to understand the spiritual consequence of Kacey’s demise.  There’s Sara’s mom who seems reluctant to give Sara time to herself, instead filling her time with guitar lessons, helping out at a school dance, and attending counselling sessions.  Dad’s reaction, on the other hand, is to get Sara a chocolate lab puppy she calls Hershey.  Sadly, Sara fells like everyone now knows her only as “the girl whose best friend killed herself.” (pg. 110)

As she attempts to make sense of Kacey’s suicide, taking months before she’ll even acknowledge that Kacey killed herself,  Sara finds herself trying to learn more about teen suicide and grief–such as the stages of denial, anger, bargaining, depression, and acceptance–ultimately helping her to open up to a major meltdown and help others understand what Kacey did.  No one might ever fully understand why Kacey did what she did but they would learn to accept it and and the consequences for all of them of what she did.

I’d told them I’d think about it. Me!? Some teen-suicide-prevention spokesperson? I feel like this is something I need to talk to you about, like I need your thoughts.  I’d be talking about you and I’m not sure you’d be okay with that.  I know you wouldn’t be.  But then again…you’re not here.  When you killed yourself, you kind of lost the right to have an opinion.  I think I’ve already made up my mind.  I just thought you should know…and I do hope you understand. (pg. 200-201)

I know that some people, like Principal Kline, are inclined to consider suicide a taboo subject that should not be discussed.  Whether it is the fear that others might consider suicide an option or the spiritual presumption that suicide leads to damnation, the reasons to keep it hush-hush is just ludicrous.   Dawn Green has done a great service to bringing suicide out of the closet and to the forefront of discussions by addressing what can happen in its aftermath.  By allowing Sara to share her own questions about Kacey taking her own life and trying to find answers whether through research, journaling or social discourse, Dawn Green will allow any young person who reads this book to take a closer look at suicide as more than just death or a storyline or an ending to pain, and instead a sorrowful consequence for those left behind.

I encourage everyone to read the section titled, “Suicide Information and Resources” with which Dawn Green appends her story.  It provides useful links and information, including the assertion that “There is a way through it.”  Her reference to the song, “Hold On” by Good Charlotte (© 2002 Sony BMG Music Entertainment) is especially positive but anguished. Here is a link to the group's YouTube video of the song so you can check it out for yourself. 

The World Without Us

by Robin Stevenson

Orca Book Publishers

978-1-4598-0680-1

226 pp.

Ages 12-16

February, 2015

If we jump, the world will just go on without us. (pg. 2)

The we are teens Jeremy and Melody, their world is St. Petersburg, Florida, and the where is the Sunshine Skyway Bridge.  But only Jeremy jumps and now Melody is left to tell the story or rather stories, the one she knows and the one everyone else believes.

Jeremy, a junior whose 13-year-old brother died two years earlier, introduces himself to the rather reclusive Melody, who has been given the unkind moniker of Death Wish after an accidental poisoning at a party.  Because of their common appreciation for Albert Camus' writing and family experiences with death–Melody's parents are activists against the death penalty–Melody and Jeremy begin to form a bond, ostensibly one based on the finality of life. As Jeremy suggests,

If things get too bad, we can always check out, right?  Like Camus said, the when and how don't matter. (pg. 59)

Somehow their discussions about last meal choices, living with differences, reincarnation, and lucid dreaming take them to the point of no return, and their lives and relationship are forever altered.

Robin Stevenson has a knack for bringing thought-provoking tales to young readers, as she has with her Record Breaker (Orca, 2013), Hummingbird Heart (Orca, 2012) and Liars and Fools (Orca, 2010).  The World Without Us too delves into issues with which young people might be dealing: grief and guilt, suicidal thoughts, friendship and love.  And all these issues have them teetering on the edge of decisions, some involving life and death.  If The World Without Us doesn't convince you how quickly and tragically these issues can escalate for young people, then you'll only see this book as a story, not the cautionary tale about the repercussions of legitimate turmoil.  Robin Stevenson reminds us in her eloquent text that the fictional can become reality in a split second and with just a slip of time or even a misstep.

To This Day: For the Bullied and the Beautiful

Written by Shane Koyczan

Annick Press

9781554516391

72 pp.

Ages 9+

For release September 2014

When Canadian spoken word artist Shane Koyczan wrote and performed his poem To This Day, about his experiences and those of others being bullied when younger, he probably could not have foreseen the truly amazing global impact that it would have. But global it did become when his performance of the poem was animated in a video posted to his YouTube channel as part of the To This Day Project in February 2013.  Over 14 million views later, To This Day continues to send an important message of anti-bullying.

This month, Annick Press releases a static version of Shane Koyczan's poem with double-page spread illustrations by thirty international artists, over half Canadian. In a variety of media and styles, artists interpreted the words from the poem To This Day, providing graphic substance to a poem as real and tangible as it could get.

For anyone who has experienced bullying, as a victim, an instigator, or an observer (and sadly, that probably means everyone), To This Day will resonate loudly with the tales of Shane Koyczan's experiences with bullying, as well as those of other children. From French artist Barroux's powerful image of hands flinging blackened speech bubbles at a boy attempting to protect his face, ears, and eyes from them, to Canadian Kim Stewart's waves of sleeping forms over which the bullying victim cautiously treads upon a tightrope, all the illustrations pound out the viciousness of bullying and juxtapose it against the frosting that could be love and kindness.  A full listing of the artists' bios is available at www.annickpress.com/To-This-Day for more details.

In addition to the graphic representation of the poem, To This Day includes the story behind the development of the video, resources for help against bullying, links to sites related to the poem and personal anecdotes of bullying experiences of the artists.

If you are left with only one message, take this one from Shane Koyczan from his introduction, i.e., Greetings, in which he encourages everyone to find the perfect medium to express yourself.

"Remember that the world will never hear you if you choose to say nothing." (pg. 1)

Finding Ruby Starling

by Karen Rivers

Alfred A. Levine Books/Scholastic

978-0-545-53479-6

304 pp.

Ages 10-14

August, 2014

Reviewed from advance reading copy

Karen River’s latest book for young readers is a successful take on a Parent Trap-type plot, albeit with the benefits of modern technology and perhaps a friendly spirit. 

While goofing around online with a face-matching app called FaceTrace, 12-year-old Ruth Quayle, adopted daughter of a heart surgeon and a scientist, discovers a British look-alike in trendier clothes named Ruby Starling. Through a series of Tumblr posts, emails with her best, talking to her parents, and contacting Ruby, Ruth determines that she and the other girl are identical twins who somehow became separated.

“I feel like half of me has just been peeled away, like a decal being pulled off its back sticky bit, making me just the waxy papery rubbish left behind.” (pg. 11)

Unconvinced about Ruth’s theory, Ruby reaches out to her friends for advice, though she knows that only her mother – a busy artist distracted by her work – and her deceased grandmother could tell her the truth.  Finding the need to talk to grandmother, Ruby writes letters (obviously never sent) to air her thoughts.  When a painting by Ruby’s mother of her as a baby with a shadow baby in the background falls off the wall, Ruby becomes convinced that her Nan has sent her a message from beyond the grave indicating that Ruby and Ruth are indeed twins.

By using only emails, letters, and Tumblr posts for Ruth and Ruby to communicate their secrets, concerns and questions, Karen Rivers’ ensures that the girls’ youthful voices are always maintained.  And, though the twins have bigger issues with which to deal, including fear, abandonment and grief, Karen Rivers embeds those issues seamlessly within natural interactions with family and friends, adding quirky teachings from a Buddhist calendar, occasional ghostly messages and some boyfriend-girlfriend drama to help keep the heavy issues from detracting from the story’s feelgood nature.

Karen Rivers’ story of long-lost twins could have easily followed a typical, comedic path. But by showing how the lives of Ruth and Ruby are enriched by the discovery of each other, the author has created a more complex narrative that explores themes of family and friendship.

(A version of this review was originally written for and published in Quill & Quire, as noted in the citation below.)

Kubiw, H. (2014, October). [Review of the book Finding Ruby Starling, by Karen Rivers]. Quill & Quire, 80 (8): 38.