10 Shocking Facts About Capybaras

Written and illustrated by Mélanie Watt

North Winds Press (An imprint of Scholastic Canada)

978-1-0397-16179

 48 pp.

Ages 3–8

January 2026 

 

Mélanie Watt, the creator of Scaredy Squirrel and cheeky Chester, the cat with the red pen, returns with another fun book that blends facts with humour and playfulness. (FYI, there may be 10 facts explained in 10 Shocking Facts About Capybaras, but there's loads more that is included. Pizza is at the heart of those discussions.)

From 10 Shocking Facts About Capybaras, written and illustrated by Mélanie Watt

In a series of double-page spreads, Mélanie Watt informs young readers about capybaras, starting with the basic info that they are the biggest rodents in the world. And, with each new spread, readers will learn something new. There are facts about their bodies, from their ever-growing teeth to their webbed feet. There are details about their behaviour, from what they eat to how they communicate and interact with others. 

From 10 Shocking Facts About Capybaras, written and illustrated by Mélanie Watt

But after the ten facts, the book takes an odd turn. Instead of revealing the unusual way in which capybaras get essential nutrients, Mélanie Watt's capybara interjects with pizza as his answer. The author has to try to get the information back on track with "Fact 11: Capybaras DO NOT eat pizza," though the capybara responds with "Fact 12: Capybaras order PIZZA every day!" And so begins a clever repartee between writer and capybara, and then also a monkey,

From 10 Shocking Facts About Capybaras, written and illustrated by Mélanie Watt

Mélanie Watt is an author-illustrator who not only entertains but also teaches, and she does it with humour and much quirkiness. Her capybara is adorable, as is her monkey, and young readers and a few old ones like me will learn more about these unusual rodents than expected from a picture book. Narrative non-fiction is a fabulous way to share information in an engaging story, and 10 Shocking Facts About Capybaras works persuasively to do so. 

From 10 Shocking Facts About Capybaras, written and illustrated by Mélanie Watt

Of course, with any Mélanie Watt book, the humour is in the art as well as the text. The capybara's cheekiness is reflected in his words but also in his robust and textured form, his big eyes, and his smile. The focus is always on the capybara, so Mélanie Watt uses few other elements—pizza, monkey, cell phone, legs of birds—to feature him. It's simple but it's fun and informative.

 

I often used Mélanie Watt's books for teaching because they're so entertaining, and 10 Shocking Facts About Capybaras will work just as effectively to teach animal characteristics and to captivate. Add the activities at the Scholastic Canada website for the book, including connect-the-dots, an easy quiz, and a drawing activity, and you've got a nice little package of learning fun for young children.

Left-Handed: Getting a Grip on Handedness

Written by Maria Birmingham

Illustrated by Catherine Chan

Owlkids Books

978-1771476201

48 pp.

Ages 8–12

January 2026 

 

While I suspect that identification as being left-handed is not the big deal that some used to make it, it is still an issue for many whose left hands are their dominant hands, particularly as they live in a world that is dominated by right-handers. For those who are left-handed and those who aren't but love learning about human behaviour, how our brains work, and what makes us unique and different, Left-Handed: Getting a Grip on Handedness offers opportunities for insight and for understanding. 

From Left-Handed: Getting a Grip on Handedness, written by Maria Birmingham, illustrated by Catherine Chan

Maria Birmingham, one of the stars of children's non-fiction (e.g., Snooze-O-Rama: The Strange Ways That Animals Sleep, 2021; Canada Wild: Animals Found Nowhere Else on Earth, 2022; When Nature Calls: The Unusual Bathroom Habits of the World's Creatures, 2024; Can We Talk?: How Humans Stay in Touch, 2025), takes a historical and scientific approach to the topic of why and how some people become lefties. Outside of her introduction and conclusion chapters, Maria Birmingham organizes her information according to the following:

• The History of Lefties
• Why is a Lefty a Lefty?
• Fact or Fiction?
• Inside Sports
• Body Talk
• Can Animals Be Lefties?
• Living in a Righty World 

After an introduction to being a lefty, including a fun quiz to help determine whether the reader is a lefty, a righty, or a bit of both—about one percent of people are ambidextrous—Maria Brimingham discusses some fascinating historic evidence of lefthandedness, like scratches on teeth and hand painting. She also writes of how lefthandedness was perceived in ancient civilizations—either as cursed or magical—through the middle ages, and into the Industrial Revolution. Readers will also learn how lefthandedness was seen in modern times, with parents and teachers forcing kids to write with their right hands.

From Left-Handed: Getting a Grip on Handedness, written by Maria Birmingham, illustrated by Catherine Chan

Beyond the history, Maria Birmingham gives readers the basics of the science of lefthandedness, from DNA to baby's development, and brain differences. There's also some discussion related to creativity, intelligence, and memory, as well as its role in sports and perhaps survival. And even though the term "lefthandedness" rests on the premise of having hands, other animals seem to show preferences too. A penultimate discussion about living in a world of righthandedness will give readers pause, particularly for righties who never consider the challenges for lefties using scissors, tech, and other tools.

From Left-Handed: Getting a Grip on Handedness, written by Maria Birmingham, illustrated by Catherine Chan

I appreciate Maria Birmingham's final note about moving away from the lefty-versus-righty idea. The issue isn't that we're different; it's the idea that one may be better than the other because of dominance. Since we're all about diversity, equity, and inclusion, maybe separating people along lines of handedness may not be appropriate. But, acknowledging those differences will help everyone be included and get what they need, and that's a good thing.

 

Left-Handed: Getting a Grip on Handedness is a terrific introduction to why some people use their left hands for writing and other functions rather than their right hands. The book is a thorough examination of the topic from history to science and sports, and even identity. With Toronto illustrator Catherine Chan's digital artwork (created on a Wacom tablet) to bring the non-fiction text to life in colour and context, Left-Handed: Getting a Grip on Handedness becomes an entertaining and informative read about the extraordinary nature of the ordinary.

Owl

Written by Kara Griffin

Illustrated by K. Shawn Larson

Acorn Press

978-1-773661971

32 pp.

Ages 5-8

November 2025 

 

When a grandfather tells his grandson about a beautiful barred owl who lives in the forest nearby, the child is determined to see the bird. The grandfather explains how she hunts for food and where she lives and the sounds she makes. The two even practise calling the barred owl. But no matter how often the child looks and listens for the bird, he is disappointed. 

From Owl, written by Kara Griffin, illustrated by K. Shawn Larson

Learning that the owl is out at night when the boy is sleeping, he finally catches a glimpse of it but only a flash before it disappears. Surprisingly, the bird has seen the boy and even watched him as he sleeps. They are both intrigued with the other. 

 

When the two finally meet, it is because the barred owl has come to the child's window and the two connect in an unexpected and sweet way that the child will never forget.

From Owl, written by Kara Griffin, illustrated by K. Shawn Larson

Seeing any owl–barred, barn, great horned, screech, snowy or another–is always an amazing experience. There is a mystery to them, wrapped up in their magnificence of morphology and their behaviour. For this child, seeing a barred owl that had a connection to his grandfather would be especially prized. Kara Griffin, an author from Prince Edward Island, reminds us of the importance of our connections to the natural world. Her earlier picture books, Flitt's Call (2023)—also illustrated by K. Shawn Larson—about a bank swallow, and The Sea That Sings To Me (2023), both emphasize that powerful connection. In Owl, Kara Griffin tells the story beyond a kid wanting to see a majestic bird. It's a story that speaks to an interrelationship.

 

K. Shawn Larson, also from P.E.I., uses watercolours with an earnestness that addresses the authenticity of this story. It seems very real. I know it's astonishing to imagine an owl purposefully covering a child with a blanket but the way K. Shawn Larson paints it, and Kara Griffin tells is, it all seems very plausible. But K. Shawn Larson doesn't give up any of the whimsy of the story, including some unusual residents in her scenes along with a plethora of local flora and fauna. It's a place you want to visit and to appreciate the beauty of its scenery and the diversity of its wildlife.

From Owl, written by Kara Griffin, illustrated by K. Shawn Larson

I know that there are numerous STEM lessons that could be derived from Owl, but, if you have a little one who is enamoured with these impressive creatures, Owl will teach as well as delight and is sure to have them looking for one in a forest or in their dreams soon enough.

All of Us

Written and illustrated by Manon Gauthier

Translated by Michel Savard

Running the Goat, Books & Broadsides

978-1-98802296

32 pp.

Ages 3–8

October 2025 

  

The message of All of Us is a simple one, but sadly one that we need to reinforce continually. It's one of inclusivity and diversity and it's basic science. We're all the same and yet we're all different. 

From All of Us, written and illustrated by Manon Gauthier

Manon Gauthier, who has wowed this reviewer with the books she's illustrated such as Middle Bear (Susan Isern, 2017), Good Morning, Grumple (Victoria Allenby, 2017), and Elliot (Julie Pearson, 2016), has combined her talents by authoring as well as illustrating All of Us. With simplicity of text and complexity of art, Manon Gauthier develops the idea of how all animals, including humans, are different in their abilities or lack thereof, in their morphologies, in their physiologies, and more. There's "the fish who blows bubbles as it breathes,"(p. 12) and "the quiet and solitary moose," (p. 22) as well as "the tall bharal who has no fear of heights." (p. 7) There's the dancing sifaka, the cold-blooded reptiles and amphibians, and the savannah animals that can tolerate the heat. All differ in what they like, what they look like, what they can do, and more. But, essentially, we all are made up of cells, and Manon Gauthier conveys this in her words and her illustrations, using the same irregularly-shaped oval as the basis for all animals.

From All of Us, written and illustrated by Manon Gauthier

It's not until her last illustration, a double-page spread of a cell, that the reader will recognize Manon Gauthier's cleverness at using the cell's shape as the face or body or abdomen of all the mammals, birds, reptiles, amphibians, invertebrates and fish within All of Us. All of us really do have something in common, even with all the differences. And by using her defining cut-paper collage, in earthy tones of browns, greys, and creams with occasional touches of red, blue, green, and orange, Manon Gauthier gives a textured dimensionality and hearty organic feel to her story.

From All of Us, written and illustrated by Manon Gauthier

Whether you're a teacher who'd love to introduce a lesson on the diversity of living things with a captivating picture book, or open a lesson on animal cells, or even launch discussions about inclusivity and connection, All of Us will work beautifully. (Manon Gauthier even includes an activity in which readers can create their own animal with the same template she used throughout the book.) Whether you read it for the messaging which is presented gracefully or for the intriguing artwork, All of Us is a book for all of us about all of us.

Jackie's Drawing

Written by Andrew Katz

Illustrated by Tony Luzano

CrackBoom! Books (An imprint of Chouette Publishing)

978-2-898025679

32 pp.

Ages 3-6

May 2025 

There have been more than several novels, picture books, and short story collections that have been based during in the early months of the COVID-19 pandemic with its lockdowns (stay-at-home orders) and other measures. Though never mentioning the pandemic, Jackie's Drawing sees a child's perspective on the resulting isolation and a rebound to normal in terms of nature's response and her own inspiration for creativity.

From Jackie's Drawing, written by Andrew Katz, illustrated by Tony Luzano

Jackie's story begins with a rusty haze befalling her community. This haze forces everyone to stay indoors and to isolate from everyone and everything, including the mountain she'd often visit for inspiration for her art. At first, Jackie is still able to draw, gathering ideas from memory and her own experience. But, with time, it becomes more difficult as she had "lost the heart to do anything."

From Jackie's Drawing, written by Andrew Katz, illustrated by Tony Luzano

But one day a flash of silver in the canal beneath her window gets her attention. An unexpected dolphin has appeared, and with it a menagerie of other animals, from a bald eagle to moose and deer and foxes who have begun to make their way onto the streets, into the air, and into the water where only people had ventured. Jackie is enthralled and takes up her drawing pencils, determined to draw them all.

From Jackie's Drawing, written by Andrew Katz, illustrated by Tony Luzano

But as she draws them all, a wonderful dragon with antlers, a tail fin and feathers appears and transports her to the mountain where her drawing inspiration always lived.

From Jackie's Drawing, written by Andrew Katz, illustrated by Tony Luzano

While Jackie's Drawing speaks to a child's loss of enthusiasm for her drawing with her separation from nature, Andrew Katz's note at the conclusion of the story reminds us that the natural world too responded to the pandemic or could have. So, as Jackie had lost her creative muse the longer the "haze" drenched her community, the animals who normally would have been relegated to outside that community were able to find their way onto the quiet waterways, skies and land within. And for Jackie to find that nature was coming to her to awaken her imagination was a lovely positive during a dark time. Of course, it is still Jackie's imagination that helps her create a chimera–Andrew Katz discusses this in his appended note too–of the animals she sees, allowing her to travel in a flight of fancy to her beloved mountain to re-experience the joy of drawing outdoors.

 

Andrew Katz and Tony Luzano have previously collaborated on a picture book, I Want to Be Super!, so there seems to be a harmony of styles that works. Jackie's Drawing is again about an imaginative kid and Tony Luzano's digital art reflects every nuance of a child who is enthusiastic but then loses that enthusiasm when troubled with isolation and then finds a way to regain that passion for her art. His use of bold colours and distinct animals places the emphasis on the wonders outside and in Jackie's artwork, not on the grim haze that permeates their world for such a long time. He finds the light for her and for the reader to get beyond that haze of bleakness. 

The first year of the pandemic was especially difficult for many people but for children whose creativity was stifled, it might have been more challenging. Finding new things to do helped many but only coming after feeling the loss of their routines and familiar activities. Finding their new normal involved grief, courage, and imagination. Thankfully for Jackie, she found her ability to express herself from the very same source of encouragement she'd always relied upon, just in a different configuration.

The Comfort Tree

Written and illustrated by Holly Carr

Plumleaf Press

978-1-738165230

48 pp.

Ages 4-8

August 2024

 

For many people, a tree is just a tree. It's a woody plant that reaches above the ground. Sometimes it's green and sometimes it's not. But trees are so much more than just what we see. They are life. And this tree is a comfort tree to the many species that make the forest their home.

From The Comfort Tree, written and illustrated by Holly Carr

This tree is an oak and so it begins life as an acorn, dropped from the bill of a blue jay. It grows until it towers over the forest and is named the Comfort Tree by the forest animals.

From The Comfort Tree, written and illustrated by Holly Carr

For each animal, the tree provides comfort, whether for its views for Raven or its food and storage facilities for Squirrel. In different seasons, the tree provides shelter whether for Lynx who rests on the tree's limbs or in its fallen leaves like Rabbit and Deer. For some, its comfort derives from the aesthetic, Fox appreciating its fall leaves that match its fur or Blue Jays that enjoy playing in its branches. The Comfort Tree provides for all the animals in its own way throughout the year.

From The Comfort Tree, written and illustrated by Holly Carr

Holly Carr, an artist from Nova Scotia, is best known for her painting on silk, a unique medium that produces fabulous forms when paint is applied. Holly Carr's art in The Comfort Tree is extraordinary, intricate and textured, emulating the layers of leaves whether in the tree or in the litter beneath it, or the complexity of animal features like feathers. The patterning of tree and animal and scene require more than a cursory look. They demand the reader stop and look for the bees, the fungi, the butterflies, and more. Her art tells a story of a comfort but also of life cycles, the seasons, and the interrelationships of all living things. It's a big story. Holly Carr's remarkable art matches that story, page for page.

From The Comfort Tree, written and illustrated by Holly Carr

The story of the Comfort Tree goes beyond the forest, with Holly Carr starting dialogues about ways for children to comfort themselves. She acknowledges that there are different strategies, including breathing, going into nature, and stretching, that can all be helpful. (She provides QR codes to activities to help young people to stretch or to visit a forest and listen to Nova Scotian birds.) But first try a walk to the Comfort Tree with Raven, Blue Jay, Deer, Owl, and others to find comfort vicariously. It's as wonderful as forest bathing in vivid colours and the soothing shapes of the natural world, and you don't need to find transport to get there.

Sea Snooze

Written by Sarabeth Holden

Illustrated by Emma Pedersen

Inhabit Media

978-1-77227-442-4

28 pp.

Ages 3-5

July 2024

 

While a mother reads a bedtime story to her children perched in their bed, their imaginations are invited to soar.

From Sea Snooze, written by Sarabeth Holden, illustrated by Emma Pedersen

All aboard our little boat!

We'll sail all night. Let's see where we float!

In their dream boat, they travel far and wide, over mountains and icy seas, where the stars shine bright and guide their way. They see gulls and guillemots, minke whales and belugas, and seals.  As the animals play and feed, the children sail across the waves.

Minkes in the sound exhale from their spouts,

spraying drops of sparkling water all about.

From Sea Snooze, written by Sarabeth Holden, illustrated by Emma Pedersen

These are but their dreams, spurred on by their mother's reading and their own lives in an Arctic environment. In fact, their bedroom provides all the setting elements, from the animals in a mobile near the bed, to a wallpaper border of water and starry sky, and stuffed bears and narwhal. (If readers look closely, they'll see the patches on the balloon tethered to their boat match those of the well-loved stuffed narwhal toy on the bed.) Their dreams come from their lives: the bed is their boat, its blankets their sails, and their experiences, from snacking on seaweed and fish to watching the wildlife of their Arctic home, give texture to their dreams.

Soon the morning will come,

the sunshine glittering gold,

with all the wonders that

the new day holds.

What a lovely rhyming text to send your own young ones into their nightly respite! They may not know of an Arctic home with an ocean rich with wildlife both in the water and above it, but they'll appreciate taking a boat to a wondrous place with familiar elements from their own lives. Author Sarabeth Holden, who also wrote Please Don't Change My Diaper! and Benny the Bananasaurus Rex, both of which were also illustrated by Emma Pedersen, may currently live in Toronto but her experiences living in Nunavut and being a mother feed her stories. Sea Snooze speaks to parents putting little ones to bed and to those same little ones visiting dreamland via their own experiences. A co-founder of the Toronto Inuit Association, Sarabeth Holden embeds this story in modern Inuit life whose homes could be anywhere in Canada. But, by emphasizing the landscape that only those of the far north would understand and the inclusion of an occasional Inuktitut word, Sarabeth Holden helps us see that the dreams of these children are unique to their home, and all the richer for their familiarity with it. Yet, with her energetic rhyming that has us travelling with the children on their dream boat, Sarabeth Holden is singing a lullaby for children to rest, imagine, and enjoy their lives in a different way.

From Sea Snooze, written by Sarabeth Holden, illustrated by Emma Pedersen

Emma Pedersen keeps the playful in the soothing tranquility of children heading to sleep and into their dreams. From their colourful pajamas and bedding to their assortment of toys and art, these kids have wonderful energy to feed those dreams. And though their dreamworld is mostly one of dark turquoises and blues, not unlike the Arctic Ocean and a night sky, Emma Pedersen infuses those scapes with warmth in the playfulness of the animals and the whimsy in their faces and in the clouds. 

 

You might want to read Sea Snooze to your own little ones, perhaps before bedtime, so that they might be encouraged to use their imaginations to discover their own sleep journeys. Their beds may be different, their toys unlike those in Sea Snooze, and the animals they have seen a far cry from the narwhal and the minke whale, but hopefully they'll have their own foundation for dreams to bring joy and contentment and, of course, sleep.

Have You Ever Heard a Whale Exhale?

Written by Caroline Woodward

Illustrated by Claire Victoria Watson

Pownal Street Press

32 pp.

Ages 3-7

June 2024

 

With humour and rhyme, Caroline Woodward, who wrote the text for beautifully illustrated picture books  A West Coast Summer (2018) and Singing Away the Dark (2017), again takes us to her beloved West Coast to really take in all the sensory experiences that life there offers. We will hear, and see, and smell, and taste, and learn and wonder at the unique ecosystem that is the ocean and its coast from those who live and enjoy it.

Have you ever heard a whale exhale

and SLAP the water with its tail?

Breathing in after breathing out,

heaving WHOOSH with a mighty spout!

Our visit to the West Coast has us listening to a whale as it breaches, breathing and tail slapping and spouting. Its behaviours may be typical but to any observer they are captivating and revealing. Such are the actions of the seals who spy-hop to see what's going on–one with a monocle suggests they are paying close attention–or of the oystercatcher, a shore bird, who can pry open molluscs.

From Have You Ever Heard a Whale Exhale? by Caroline Woodward, illus. by Claire Victoria Watson

And what of the smelly sea lions and the squawking seagulls, eagles and dolphins? All have their place and ways of living that intrigue and reveal life on and near the ocean. But Caroline Woodward also includes humans who are invited to think about what it means to be these animals and the ocean and what living on it and near it is truly like.

From Have You Ever Heard a Whale Exhale? by Caroline Woodward, illus. by Claire Victoria Watson

By phrasing her text as a series of questions, Caroline Woodward invites the reader to think about the ocean, its animals and their behaviours, including those of humans on the water, at a campfire or something else. Questions like "Have you ever felt the freezing north wind blow...?" or "Have you ever wondered why eagles love to fly..?" encourage young readers to look and smell and feel a little deeper about the coast and its inhabitants and not take for granted that which makes the West Coast their home.

From Have You Ever Heard a Whale Exhale? by Caroline Woodward, illus. by Claire Victoria Watson

Like Caroline Woodward, illustrator Claire Victoria Watson is a creator in British Columbia. Her visual art blends a variety of media including pen and ink, watercolours, and acrylic, with some digital design. Though the media she uses are plentiful, there is still a simplicity to her art that helps the readers focus on the smells–wavy lines emanating from the sea lions make this clear–or the sounds or the visuals of the scenes depicted. And though she follows Caroline Woodward's text to bring life to Have You Ever Heard a Whale Exhale?, Claire Victoria Watson also adds her touches of humour. There are the cormorants with the clothespins on their noses, the gray whales fine dining on herring roe, and a cowboy-hatted octopus square dancing or at least trying to. The message about the ocean and the diversity of its animals is never lost but it is told playfully as well as naturally.

From Have You Ever Heard a Whale Exhale? by Caroline Woodward, illus. by Claire Victoria Watson

Have You Ever Heard a Whale Exhale? may not cover every animal that lives in the ocean or near it, but it does cover an important message of appreciating our natural world so that we might protect it and all its inhabitants.

 🐋🦭🌊

 

Picture Book Giveaway 📫📘

 

Because I was fortunate to receive two copies of this lovely picture book,  I would love to share one with a reader of CanLit for LittleCanadians. (Only Canadian addresses are eligible to apply. Sorry.)

 

Leave a comment about the ocean (whether you've visited one or not) for me on X (formerly known as Twitter) by tagging me @HelenKubiw or on Bluesky at @hkubiw.bsky.social and using the hashtag #HaveYouEverHeardAWhaleExhale. I'll log all comments until Friday, July 26th, 2024 at 12 noon (EST) and then do a random draw. If you are selected, I will DM you to let you know and get details about where to send the book.

 

Good luck everyone! 

 

 🐋🦭🌊

Bunny Loves Beans

Written by Jane Whittingham

Pajama Press

978-1-77278-301-8

24 pp.

Ages 2-5

April 2024

 

Concept books tend to be simple because they are trying to push learning of a new concept like the alphabet or numbers. But Jane Whittingham has taken concept books to a new level with Bunny Loves Beans, giving our young children a book about colours, foods, and animals. And it's all told with loads of bold and colourful photographs. Bunny Loves Beans, in Pajama Press's trademark padded hardcover with rounded corners and extra-heavy paper, will be a pleasure to read over and over and over again as those little ones learn new concepts and become encouraged to read for themselves.

From Bunny Loves Beans by Jane Whittingham

 In a series of double-page spreads of photographs of animals and children with foods, Jane Whittingham, whose earlier picture books include Wild One, Queenie Quail Can't Keep Up and A Good Day For Ducks, introduces a colour, always in bold font, and an animal, also in bold font, before connecting to the child, with the emphasis on the word "me." The pattern to the text, as well as the emphasis on only colours, the animal and the child will allow the young reader to pick up on the concepts being introduced so that they may ultimately connect words they hear with words they see. It's very clever and multilayered without the confusion that can arise with melding too many concepts together. Moreover, by using sensory words with which children will be familiar, like sweet, crunchy, squishy and drippy, the concept learning becomes even better embedded.

From Bunny Loves Beans by Jane Whittingham

The colours taught are orange, gold, white, black, pink, yellow, blue, red, and green, and the animals associated with the foods of those colours are the groundhog, bee, monkey, fox, puppy, parakeet, chipmunk, pony, and bunny. With an overlying message of healthy food being colourful and good for everyone, Jane Whittingham's Bunny Loves Beans teaches a lot.

Healthy colors,

vibrant colors,

Yummy in my tummy colors– 

Colors for the animals,

And colors for me!

From Bunny Loves Beans by Jane Whittingham

Bunny Loves Beans is a great introduction to colours and foods and to show children that they are connected to other animals who also partake in those healthy foods. Better yet, even if the child can't read yet, the learning can be reinforced independently by using the endpapers which depict various colours with foods, some in addition to those in the main text, to help them make those same connections. Bunny Love Beans will teach the concepts but also encourage little ones to start reading by making connections with words, colours, foods, and animals, and always relate it back to them. If they didn't like beans or carrots before, they might just want to eat them now.

The Old Oak Tree

Words by Hilary Briar

Music by Reid Briar

Art by Angela Doak

Nimbus Publishing

978-1-77471-199-6

24 pp.

Ages 3-7

April 2024

 

With the spring, children will bear witness to many elements in nature undergoing change that will both delight and surprise. They will see robins busily at work, building their nests and then tending to their young. There will be oak trees and other deciduous trees leafing out. There will be animals born and growing. And they will all converge intermittently. In Hilary Briar's story and lyrics, that point of converge is The Old Oak Tree.

From The Old Oak Tree, words by Hilary Briar, music by Reid Briar, illustrated by Angela Doak

Based on their song, The Old Oak Tree, Hilary Briar and Reid Briar give us a story of the life cycle of an old oak tree as it changes through the seasons and the lives it impacts. Told in rhyming verse, the life of a robin and oak tree are intertwined, reflecting what each experiences. If the robin is happy, so is the oak. When the robin is tender, so is the oak. If there is sweetness in the robin's life, so is there for the oak.

In her nest so cozy

The robin dreamed so sweet

That she woke up every morning

Singing tweet tweet tweet

In the old oak tree

The strong oak tree

The sweetest old oak

That you ever did see

From The Old Oak Tree, words by Hilary Briar, music by Reid Briar, illustrated by Angela Doak

As the seasons change and the animals that use the oak tree come and go, from a fawn, a raccoon, a fox and birds like the woodpecker and blue jay, both the robin and the tree deal with weather until a lightning strike takes down the old oak tree. And though there is sadness for the robin "to say goodbye to a friend so dear," that old oak tree still has life to offer. 

From The Old Oak Tree, words by Hilary Briar, music by Reid Briar, illustrated by Angela Doak

It is never too early for children to learn about life cycles of plants and animals, especially as that learning will help them understand our own life cycle. Still, the loss of a tree is always a tragedy. For a life force that gives so much to others in its environment, from shelter and food to mitigating deficiencies in physical surroundings, trees are still, like other living things, ephemeral. Even so, Nova Scotia's Hilary Briar's rhyming verses, put to music (appended to the story) by partner Reid Briar, blends the appreciation and heartache with hope. Even after the tree is no longer standing, it serves a significant role, perhaps a little different but important just the same.

Halifax's Angela Doak gives The Old Oak Tree an organic feel to the art through her collage work that blends fabric and found objects to give texture and depth. Just as the robin integrates grass and twigs, roots and moss, to construct an effective nest, Angela Doak combines a variety of materials, all of a realistic and natural colour palette, to create outdoor seasons that are both uncluttered and sophisticated. (See the austere scene in which the tree is struck by lightning but look deep into the multi-layered sky that evokes menace and light.)

From The Old Oak Tree, words by Hilary Briar, music by Reid Briar, illustrated by Angela Doak

Like the old oak tree that can do it all, The Old Oak Tree story, with its rhyming verses, music, and art is a fine package of lessons about the circle of life and the interrelationships of living things. These are lessons that are broad and far-reaching but delicate when taken down to the level of one tree which will help children see beyond the forest and deeply into it.

I Am a Rock

Written by Ashley Qilavaq-Savard

Illustrated by Pelin Turgut

Inhabit Media

978-1-77227-475-2 

28 pages 

Ages 3-5

April 2024

Never has a rock been less of an insentient thing than in Ashley Qilavaq-Savard's I Am a Rock. For this child and his mother, this pet rock feels, sees, hears, and experiences all the seasons and life of an Arctic landscape, with or without its child by its side.

 

As a boy prepares for bed, a time open to great inquisition, Pauloosie asks his mother, "Anaana, what would it be like if rocks were alive?" as his adorable pet rock, Miki Rock, rests alongside him. With a playful voice and great wisdom, his mother answers him.

From I Am a Rock, written by Ashley Qilavaq-Savard, illustrated by Pelin Turgut

First, his mother tells of the rock watching as animals feed and make homes with the changing seasons. There are foxes and ptarmigan, belugas, and char. But there is more than just watching. There is also listening.

From chirps to howls to

beating hooves and squeaks,

I can hear them all.

From I Am a Rock, written by Ashley Qilavaq-Savard, illustrated by Pelin Turgut

And feeling? Miki Rock feels everything from the snow that blankets it to "the joy of the sun's warm kiss."

From I Am a Rock, written by Ashley Qilavaq-Savard, illustrated by Pelin Turgut

Finally, Miki Rock acknowledges that, though it can see, hear, and feel, it could not fly, run or walk until Pauloosie picked it up.

 

As I write this review, I hear Simon & Garfunkel's 1965 song with the same title but know their message is completely opposite to that of Ashley Qilavaq-Savard's book. While they sang of closing oneself off for protection, Ashley Qilavaq-Savard gives us a story of companionship and feeling that speaks to consciousness and awareness. Miki Rock is as sentient as we are. It may not be able to grow or to move (or can it?) but its appreciation for what goes on around it is evident. It senses warmth and cold and feels excitement and joy. It may be Pauloosie's Anaana who is giving that life to Miki Rock but, as a reader of I Am a Rock, I am convinced, as I'm sure Pauloosie is, that life exists within that rock.

 

If Ashley Qilavaq-Savard's words don't convince you, pair them with Turkish illustrator Pelin Turgut's artwork. Between Miki Rock's expressive face, which is limited to two specks for eyes and a crack for a smile, as well as orange lichen cheeks and a tuft of "hair" and landscapes of snowy mountains, frozen lakes, northern lights, and bright Arctic flora, Pelin Turgut gives us a rock that embraces its "life."

 

From I Am a Rock, written by Ashley Qilavaq-Savard, illustrated by Pelin Turgut

We may know logically that rocks don't feel anything but isn't fiction supposed to help us imagine different worlds and reach beyond the rational into something else? With the special companionship Pauloosie gets from Miki Rock, he already knows that a rock can be more than a fixed object. (A reading of I Am a Rock would be a fabulous lesson to teach the characteristics of living things.) Courtesy of his Anaana, Pauloosie now knows even more about his pet.