The Hawk Shadow

Written by Jan Bourdeau Waboose

Illustrated by Karlene Harvey

Kids Can Press

978-1-5253-1084

32 pp.

Ages 4-7

September 2024

 

When Serenity's older brother, Big Ed, decides to go fishing with his shiny new store-bought rod, she tags along with the hand-made one of spruce and moose sinew that her father has given her. But, though Big Ed is focused on the fishing he will do, Serenity's focus is elsewhere.

From The Hawk Shadow, written by Jan Bourdeau Waboose, illustrated by Karlene Harvey

As the two head out along Big Ed's fishing path to the river, Serenity revels in all the wonders of the natural world, from the sun and the singing robin, to a raven and some chokecherries. Big Ed may walk faster than Serenity but, even as she dawdles, he watches out for her. He also teaches her about their cultural beliefs from why the river is called Hawk River, the value of the cedar tree, and more.

From The Hawk Shadow, written by Jan Bourdeau Waboose, illustrated by Karlene Harvey

But when they start fishing and Serenity is distracted by a Red-Tailed Hawk that circles around her, and then leaves and returns, she realizes that he wants her to follow him. Fortunately, she does and finds that a little sister's help is needed.

From The Hawk Shadow, written by Jan Bourdeau Waboose, illustrated by Karlene Harvey

It's always a treat to read a Jan Bourdeau Waboose picture book. It's been far too long since her The Spirit Trackers (illustrated by François Thisdale) and it's lovely to revisit a sibling relationship that is embedded in an Indigenous community. The Hawk Shadow may be considered an Indigenous story–Jan Bourdeau Waboose is First Nation Anishinaabe of the Ojibway Bear Clan–but it also speaks to the interactions of an older brother and younger sister, an appreciation for the natural world, and a mindfulness to it and the messages within. Serenity is like her brother's shadow, following him, listening to his teachings, asking him questions, and ultimately freeing him from a dangerous situation. If she hadn't been mindful of him and of her surroundings, including listening to the Hawk, the siblings' outing may have had a far worse outcome. Jan Bourdeau Waboose shows us that even though  Serenity is watching and listening to everything around her, and is ostensibly distracted from her brother's words and quicker step, she is fully engaged. It's a lesson in being wholly present in place and with people.

Karlene Harvey, who has illustrated several other picture books including Melanie Florence's Kaiah's Garden, is a Tsilhqot'in and Syilx illustrator who respects the Indigenous basis for the story without highlighting any of the major styles such as the Woodland Style.  The realism of the Hawk's morphology is blended with the bold and the bright of the characters as they journey and fish but Karlene Harvey still adds light touches to remind readers of the community from which Big Ed and Serenity were born. In addition to the glorious end papers of beaded flowers, there's Big Ed's beaded bear paw medallion necklace and the bead work on Serenity's collar.

From The Hawk Shadow, written by Jan Bourdeau Waboose, illustrated by Karlene Harvey

Here's to listening, seeing, and being a part of something, whether it be a sibling relationship, the natural world, or a community. There is always much to learn and appreciate, even from the shadows.

Hair Oil Magic

Written and illustrated by Anu Chouhan

Bloomsbury Children's Books

978-1-5476-1104-1

40 pp.

Ages 3-6

February 2024

 

Most of us love learning about cultural practices and traditions that may be familiar and commonplace to others. The ancient and routine practice of hair oiling, while customary in some places in the world and more popular in some societies, is becoming more of a thing elsewhere. Still, a story like Hair Oil Magic doesn't just educate readers about these traditional rites. It also reminds us of the connections that are the basis for them.

From Hair Oil Magic, written and illustrated by Anu Chouhan

For Meenu, Sunday is "Magic Hair Day." It is the day that her mother, like her grandmother once did, would mix a wonderfully-scented concoction and massage it into Meenu's scalp. Then Meenu would go on with her day, playing and helping her Biji (Punjabi for grandmother), until bath time when Mommy washed her hair with a special shampoo.

From Hair Oil Magic, written and illustrated by Anu Chouhan

She loved the way her hair felt and bounced at the end of the day but most of all she loved how she felt as she sat in Mommy's lap and had her scalp massaged.

It was like little floating stars

twinkling around her heart!

Not surprising that little Meenu wants to recreate that feeling and impress Mommy and Biji by making her own magic oil, recalling what her mother telling her about fenugreek oil and rosemary and castor oil and more. And so, in bathroom, accompanied by her dog, Meenu begins to pour and mix but she can't quite get the formulation right. After a few mishaps, resulting in a broken bottle, tears, and a fresh bath, Meenu learns the true secret ingredient of their Magic Hair Days.

From Hair Oil Magic, written and illustrated by Anu Chouhan

Anu Chouhan has illustrated several picture books, including Bharatanatyam in Ballet Shoes and A Dupatta Is..., and created art for video games, but this is her debut picture book as the author-illustrator. This Punjabi-Canadian creator knows this story from her heart and speaks to the connection in her "Author's Note." (She also includes "Meenu's Magic Hair Day Tips" as she learned as a child.) The physical benefits of hair oiling are tangible but the emotional bonding that happens between family members as the hair is oiled is even deeper. Anu Chouhan expresses the kinship that comes with this tradition as magic, and her digital illustrations certainly give readers that enchanted vibe. With sparkles and smiles, and tender embraces and swirls of charming alchemy, Anu Chouhan lets us see the magic that surrounds the family as they maintain their traditions and connect with each other through sweet-scented oils, touch, and affection.

 

Drawing on her Punjabi ancestry, I suspect Anu Chouhan has more stories to tell. Fortunately, as an accomplished artist, she is perfectly placed to give colour and heart to those stories and enlighten some young readers and connect with others who already have found the magic in hair oiling.

Kaiah's Garden

Written by Melanie Florence

Illustrated by Karlene Harvey

North Winds Press (Scholastic Canada)

978-1-4431-9025-1

32 pp

Ages 5-8

January 2024

 

When a child moves with her family to a new home, she misses her old home at her Grandma's. The house isn't just far away in a new town, it lacks the colour that was part of her grandmother's home. That life came from many things, inside and outside, and, compared to that home, everything feels gray here.

From Kaiah's Garden, written by Melanie Florence, illus. by Karlene Harvey

From the quiet stairs to the backyard of dried-up weeds and flowers, Kaiah can't see anything beyond her feelings of missing her grandmother and her home. But when she hears a voice she senses as her grandmother saying, "Did you forget what's in your treasure box?" Kaiah is reminded of all she'd once enjoyed. In a special box worn smooth by generations of her people, she recalls the beading projects she'd completed with her Grandma. There's her very first, an apple, which brings back memories of an apple tree in the yard and of Grandma's warm hands touching hers to teach her how to bead. There's the sunshine yellow sun she'd beaded, as well as a flower, turtle, butterfly, and more. Her grandmother and her garden may not be there at their new house but Kaiah, with a little help from her mother and brother, knows how to bring her grandmother and more to this new home.

From Kaiah's Garden, written by Melanie Florence, illus. by Karlene Harvey

Melanie Florence, author of the award-winning Missing Nimâmâ and Stolen Words, again shares her heritage with us, teaching us about the importance of beadwork to Indigenous Peoples. (There is "A Note on Beadwork" at the conclusion of the book.) For Kaiah, the beadwork takes her back to her earlier life with her grandmother, learning the skill and embedding memories to help her reconnect with those who came before her. Now, she will use the beadwork for healing her spirit as well as for connecting her with her new home. Those tiny little beads can do so much when used to create and honour.

From Kaiah's Garden, written by Melanie Florence, illus. by Karlene Harvey

Karlene Harvey, a Tsilhqot-in and Syilx illustrator from BC, reminds us that the beadwork of Melanie Florence's story is what is most important. From the colourful and meaningful beadwork that adorns the endpapers of Kaiah's Garden to each of the pieces Kaiah draws from her treasure box, there is life and luminosity that is derived as much from the beads as from the association they endow.

 

Kaiah may believe that all there is a grayness at her new home–well, until she remembers her treasured beadwork–but Kaiah's Garden is nothing but colour. It's bold and beautiful and memorable, just like the treasures Kaiah pulls from her box.

Chaiwala!

Written by Priti Birla Maheshwari

Illustrated by Ashley Barron

Owlkids Books

978-1-77147-368-2

24 pp.

Ages 3-7

October 2021

For kids in North America, it may be a treat to pick up a hot chocolate or a smoothie at their local fast food spot, but for this young girl it's all about the chai, and getting it from the skilled and artistic chaiwala at the train station.

From Chaiwala! by Priti Birla Maheshwari, illus. by Ashley Barron

When she and her mother disembark their train, the child runs to the line for the chaiwala, a person who makes the aromatic and tasty beverage, chai. 

From Chaiwala! by Priti Birla Maheshwari, illus. by Ashley Barron

But waiting for a cup of chai to be made is a whole experience. There is no impatience for the time and effort the chaiwala takes to make that heavenly chai. In fact, judging by the expression on the child's face, every sound and every scent enhances that experience to something ethereal. From the "clink" of the cups to the grinding of the ingredients and the  scooping of tea leaves, the child observes and enjoys. This is not a child irritable with waiting. For her, the making of the chai is as gratifying as drinking it. And her appreciation is as palpable as the tea itself.

From Chaiwala! by Priti Birla Maheshwari, illus. by Ashley Barron

This is teacher Priti Birla Maheshwari's first picture book and, by basing it on a childhood memory of enjoying chai with her family, she is able to evoke an anecdote about the chaiwala and turn it into a sensory celebration. From the smells of the spices, the sounds of the chaiwala at his task, and the colours of the train station and its people, Chaiwala! celebrates an attribute of Indian culture that may be familiar for those living or visiting India but new to others. By sharing, Priti Birla Maheshwari is teaching and inviting readers to see something amazing and perhaps different.

Those same sensory experiences burst from Ashley Barron's paper collage work. Like the busyness of a train station and the symphony involved in the making of the chai, Ashley Barron bombards us with feeling through colour and form. She lets us breathe in the sweet and the spicy, feel the warmth of location and drink, and enjoy the taste of a cup of chai. By focusing on the child and her experiences, Ashley Barron's cut-paper art brings an intimacy to the process of watching the chai being made and then savouring it with family.

Although I've enjoyed a cup or two of chai, I've never visited India, that is, until I read Chaiwala! With this picture book, I experienced a brief moment of being in that train station in Jaipur, watching a child watch the chaiwala and appreciating the specialness of that moment with her mother. I believe my next cup of chai may seem somewhat bland compared to that made by the chaiwala but it'll certainly evoke memories of reading Chaiwala!

If You Want to Visit a Sea Garden

Written by Kay Weisman

Illustrated by Roy Henry Vickers

Groundwood Books

978-1-55498-970-6

32 pp.

Ages 5-9

September 2020

Sea gardens are man-made reefs traditionally constructed by Pacific Northwest Indigenous peoples for cultivating clams and other shellfish. Some of these sea gardens which consist of boulders lined up at the lowest tide line have been around for thousands of years. They are significant cultural elements of the First Nations both for the food that is provided by the shellfish harvested here and the community that utilizes them and Kay Weisman brings readers to that community of gratitude with her words as Roy Henry Vickers delivers us to that sense of place.

From If You Want to Visit a Sea Garden by Kay Weisman, illus. by Roy Henry Vickers

If You Want to Visit a Sea Garden begins with a child and adult setting out in the early morning when the sea gardens are revealed by the lowest of tides. They take their canoe out at dawn and "Listen closely for the symphony of clams, welcoming us to their beaches. Here, there and everywhere they spurt and sputter, exhaling right on cue."

As they walk on the beach, the elder, whether grandfather or father, recounts the history of the sea gardens, around for thousands of years, sometimes built piecemeal over time, to give habitat to creatures including rock crabs, chitons, sea stars and, of course, butter clams, littlenecks and cockles.

Imagine the generations of First Peoples who have maintained this wall in order to feed their families. They have come here to build and care for the sea garden, harvest and eat clams, and share stories and knowledge about this special place.

From If You Want to Visit a Sea Garden by Kay Weisman, illus. by Roy Henry Vickers

Like the many to have come to the sea garden, they tend to the garden, returning stray boulders to the wall, clearing away debris and giving new opportunities for the sea garden to thrive. And then, with the tide, it is gone from view, until its next revival.

Kay Weisman makes this pilgrimage to a sea garden a sacred experience for people and the environment. From the interaction between child and adult, solemn and instructive, to the awe-inspiring landscape of forever, Kay Weisman is respectfully informing her readers and honouring the legacy of sea gardens.

From If You Want to Visit a Sea Garden by Kay Weisman, illus. by Roy Henry Vickers

With Roy Henry Vickers's illustrations, which I have admired since reviewing his earlier books (Raven Squawk, Orca Squeak; Hello Humpback; One Eagle Soaring), If You Want to Visit a Sea Garden is elevated. I learned from Kay Weisman's words but they are given life with Roy Henry Vickers's artwork. Using vector illustration tools, Roy Henry Vickers gives a smooth power to his images. While the people are kept in shadows, the scenes are bold and spirited and important symbols of Indigenous cultures are highlighted. The art both gives life and takes our breath away.

If you want to visit a sea garden and cannot tour the West Coast, I suggest a stroll with a child and guardian in Kay Weisman and Roy Henry Vickers's captivating picture book. It's a safe and vibrant way to understand the magic of these amazing sea gardens.

Sharing Our Truths/Tapwe

Written by Henry Beaver and Mindy Willett
with Eileen Beaver

Photographs by Tessa Macintosh

Fifth House Publishers

978-1-92708352-9

34 pp.

Ages 9-12

May 2019

We can't tell you what to do with the truths we share in this book, but we hope that reading our story will help you get to know us a little better so that together we can make this nation a place we can all be proud of.

With his opening, Henry Beaver explains his intention for Sharing Our Truths/Tapwe. He and his wife Eileen Beaver live in Fort Smith, NWT and through time have taught their children and now their grandchildren about their culture and their ways.  Sharing Our Truths/Tapwe is an opportunity to teach others the same.

From Sharing Our Truths/Tapwe by Henry Beaver, Mindy Willett and Eileen Beaver, photos by Tessa Macintosh

With their grandchildren visiting, Henry Beaver and Eileen Beaver introduce them to a variety of activities, places and learning that comes from living where and as they and their ancestors have. There is the harvesting of salt from the Salt Plains, and trapping of the beaver as well as preparation of its hide and meat. Henry Beaver shows his grandchildren how to set up a mikiwawhp (tipi) and prepare a scared fire circle. As a retired educator, Eileen Beaver shares her teaching about the medicine wheel, smudging, sacred plants and storytelling including her telling of How the Female Moose Lost her Beautiful Antlers. 

From Sharing Our Truths/Tapwe by Henry Beaver, Mindy Willett and Eileen Beaver, photos by Tessa Macintosh

Amidst the richness of their activities and teachings, the authors also share details about the Salt Plains and Wood Buffalo National Park, the Nēhiyaw or Cree, and the Salt River First Nation, as well as including a glossary and short list of Cree words. Sharing Our Truths/Tapwe may only scratch the surface of the teachings that Henry Beaver and Eileen Beaver and other elders can and have shared with others but it's a wonderful introduction that places young readers into their culture. Co-authored by Mindy Willett, who has been integral to the whole The Land is Our Storybook series, and documented in photographs by Tessa Macintosh, Sharing Our Truths/Tapwe shows us the actuality of what it is to be Cree in the NWT and to live on the land.

Tapwe means "it is so" or "the truth" and so it is in this exemplary non-fiction book for young readers which will surely engage and educate.

From Sharing Our Truths/Tapwe by Henry Beaver, Mindy Willett and Eileen Beaver, photos by Tessa Macintosh

••••••••••••••••

The Land is Our Storybook series, which includes several in French translation, is a great starting point for teaching the culture of Indigenous peoples from a child's perspective. There are now nine titles in this series, written at an early reader-middle grade level and featuring photographs that take readers into the heart of Nunavut, the Northwest Territories and Indigenous communities in Canada.

French Toast

by Kari-Lynn Winters

Illustrated by François Thisdale

Pajama Press

978-1-77278-006-2

32 pp.

Ages 6+

November 2016

Although National French Toast is celebrated on November 28, I thought that reviewing this inspirational picture book on that day would trivialize its significant message.  And since my family enjoys French toast, the food, on Christmas morning, I opted to celebrate the book’s publication closer to that celebration, one similarly wrapped in inclusivity, culture, love and family.

While out for a walk with her grandmother, Nan-ma, Phoebe is called “French Toast” by kids from school.  Obviously humiliated, the little girl clarifies to the blind woman that she is called that because the colour of her skin is “Like tea, after you’ve added the milk.” (pg. 10) But Nan-ma sees that as “Warm and good” which gets Phoebe wondering since the label doesn’t usually make her feel good, just as “I don’t feel good when strangers at the mall comment on my ringlets or ask me about my accent.” (pg. 11)  This begins a discussion about the colour of Phoebe’s mother’s skin, usually identified as white, but which Phoebe recognizes more like stirred peach yogurt, filled with sweetness and goodness.  She sees her father as warm banana bread and her Nan-ma like maple syrup, and then others as cinnamon honey and toasted coconut. Meanwhile, as they walk, a girl from school engages Phoebe, surprising her by calling her by name. Finally Phoebe takes to heart the guidance she has taken and likewise given, flavouring her life, her family and herself with optimism.

From French Toast 

by Kari-Lynn Winters 

illus. by François Thisdale

French Toast starts out as less about the food and more about labelling but Kari-Lynn Winters, with illustrator François Thisdale (most recently awarded the TD Canadian Children’s Literature Award), turns the story around to be about the goodness of food and relationships that nourish us.  Kari-Lynn Winters, who can do fun and whimsical (e.g., Good Pirate, Pajama Press, 2016) as well as serious and meaningful (e.g., Gift Days, Fitzhenry & Whiteside, 2012), impresses with her splendid foray into understanding and acceptance of skin colour, diversity and multiculturalism (Phoebe’s family is Haitian) and one that warms the heart and fills the belly with virtue and affection.

From French Toast

 by Kari-Lynn Winters 

illus. by François Thisdale

Kari-Lynn Winter’s story could only have been paired with the artistry of François Thisdale who illustrated the memorable The Stamp Collector (Jennifer Lanthier, Fitzhenry & Whiteside, 2012) and That Squeak (Carolyn Beck, Fitzhenry & Whiteside, 2015). François Thisdale, whose artwork is a magical blend of drawing and painting with digital imagery, balances the reality of Phoebe and her grandmother’s relationship and emotional situations with a dream-like landscape. His colours and textures fuse so many elements that the book becomes more art than merely a child’s picture book. And then there are the images of glorious food that cultivate nourishment for the soul, inspiring Phoebe and her grandmother, and anyone who reads the book, to see family and skin colour from a fresh perspective.

French toast may not be part of your holiday buffet but French Toast should definitely be on everyone’s bookshelf and story-telling list for the holidays and every day of the year when acceptance is vital i.e., always.  It feeds the spirit and bakes up multiple servings of compassion and open-mindedness, helpings we should all scoop out enthusiastically.

From French Toast

by Kari-Lynn Winters 

illus. by François Thisdale

Looks Like Daylight: Voices of Indigenous Kids

by Deborah Ellis

Groundwood Books

978-1-55498-120-5

256 pp.

Ages 12+

September 2013

Looks Like Daylight would appear, on the surface, to be the stories of 45 young people who were interviewed by Deborah Ellis about their lives, their aspirations, their ancestry, their cultures. But the book is so much more than just the profiles of these kids, ages 9 to 18.  It is a history of rich cultures, often assimilated or obliterated, of neglect and abuse, of poverty and ostracism, of fortitude and determination, of work and pride.  It's a comprehensive and moving portrayal of young people whose voices many of us never hear.  This is our chance to listen.

An expressive introduction by Loriene Roy, university professor and director of a national reading club for American Indian students, is followed by the narrative profiles of the youth with whom Deborah Ellis visited, interspersed with a selection of quotes by prominent Aboriginal leaders.  The author begins each narrative with relevant background information regarding historical events, statistics, nations, distinctions, and details which may provide insight into the kids' stories. The kids belong to a wide variety of nations including Ojibwe, Nipissing, Navajo, Pueblo, Inuit, Haida Gwaii, Mi'kmaq, Mohawk, Cree, Lakota, Cherokee, Choctaw, Coast Salish, and Métis, and identify themselves according to their parents' and grandparents' heritage.  With forty-five narratives, the wealth of information provided is comprehensive.

Some of the stories in Looks Like Daylight deal with racism, foster care, art, self-esteem, traditions, pollution, alcoholism, residential schools, activism, science, language, environmentalism, leadership, gangs, armed forces, horses, suicide, sports, powwows–the list goes on and on.  But each narrative ends with the future as the young person sees it–often hopeful, always realistic, sometimes heavyhearted.  Regardless, these kids are the bright lights in that dark history of First Peoples, a history these young people inherited. "We're a very hurting people." (pg. 95) But most of them look forward to a future of making a difference and making things right.  As Jeffrey, 18, declares,

"It's a big responsibility, but it's no bigger than what our ancestors did for us.  And what we do, we do for the Native youth who will follow us, seven generations from now.  It's on us now." (pg. 144)

Looks Like Daylight should be required reading for every government agency in North America, for every teacher and administrator involved with young people, for every law enforcement and justice officer, for social workers, for historians, for urban planners, for granting agencies, for medical personnel–for anyone whose life takes them into interactions with others, Indigenous or other.  With a wealth of additional resources, Deborah Ellis ensures that readers get the big picture.

The people in the government who make decisions for us have no idea who First Nations people really are.  They have no clue.  They lump us all together.  They think we're all the same.  ~ Waasekom (pg. 243)

It provides a compendium of history and insight into the lives of First Nations, Métis, Inuit and Native American youth, as raw and hopeful and tragic and rich as they may be.  In bringing the reality of  these Aboriginal young people up close, bruises and beauty, this may be Deborah Ellis' finest work.

~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~

All royalties from the sale of this book go to the First Nations Child and Family Caring Society of Canada.